Spirited (2022) - Movie Review

Up until just a few years ago, writer/director Sean Anders seemingly did all he could to push mainstream edgelord comedy to its breaking point. Hot Tub Time Machine, That’s My Boy, We’re The Millers, Horrible Bosses 2, Dumb And Dumber To, both Daddy’s Home movies; I don’t even outright hate all of these, but they are all grown out of the same cynical view of us as a species. We’re all shit, the world is shit, so just turn it all into an even sicker joke than it already is; not exactly the kind of perspective I can get behind.

But then Instant Family happened. I reviewed it for FilmInk and was genuinely surprised by it because… well, it saw Anders turn over a new leaf. While it still carried some of his tendencies as far as comedic timing, it was also way more wholesome at its core and was made not because he wanted to point out the worst of us, but highlight the good we can do through the foster care system. I’ve mentioned before that I love redemption stories like these, and Anders’ might be one of my favourites in recent memory. It’s why I ultimately decided to give his latest a chance, and it’s also why I really, really enjoyed myself with it.

Thunder Force (2021) - Movie Review

Over this blog’s lifespan, I have reviewed (almost) every film written and directed by comedian and Melissa McCarthy’s husband Ben Falcone. The only exception is Superintelligence from last year, and that was only because I legally couldn’t leave the house to see it when it came out (not that I’m exactly shedding tears about that development, given how lame the trailers made it look). While I can’t say I have any special affection for his films thus far, and I recognise him being one in a string of filmmakers who seemingly exist only to prop up their spouses, I can’t say I have any real hate for them either. Tammy was alright, The Boss had its fun-crazy moments, and Life Of The Party ultimately got a pass for having its heart in the right place. I am unable to be anywhere near as charitable with his latest, however.

The Witches (2020) - Movie Review

There was always going to be some level of disappointment to this for me personally. I’ve gone on record about how Nicholas Roeg’s The Witches is one of my all-time favourite movies, and the idea of something coming along that can do that story better seems unlikely. But to give this production credit right off the bat, all the pieces are certainly in place for something that can at least stand out from the original, if not ascend it. Between Robert Zemeckis as director/co-writer, who knows how to use cinema technology to tell a gripping story, and creature feature maverick Guillermo Del Toro teaming up with creator of the -ish franchise Kenya Barris to add to the script, there’s a chance for this to take the source material into an interesting new direction. But while there’s certainly traces of that intent in here, it still can’t manage to escape the shadow of its predecessors.

Onward (2020) - Movie Review

Even without bringing the cinema closures into the equation… I’ll admit, I was putting off watching this one. After the utter clusterfuck that was 2019 in Disney’s history, simultaneously one of their best and one of their worst in terms of both content control and financial reward, I’m a lot more hesitant about the House of Mouse than I used to be. And as I’ll get into, while that event lingering in the background does cut into the enjoyment a little, I still managed to have fun with it.

Ma (2019) - Movie Review

 

Much like with Welcome To Marwen, we’re dealing with another film that was released theatrically over here, yet I personally see no evidence of it making it to theatres. The fact that there is more than one example of that this year, also from a rather high-profile background and in the midst of Disney's ultimate transformation into Omnicorp, is a bit concerning. At any rate, with its home video release, I can finally check out the latest from The Girl On The Train director Tate Taylor… and man, did I miss out not getting to see this on the big screen.

The Shape Of Water (2018) - Movie Review

The plot: Mute Elisa (Sally Hawkins) works as a cleaner at a secret government facility, one houses a creature (Doug Jones) the likes of which the world has never seen before. As she converses with her colleague Zelda (Octavia Spencer), and dealing with the leering eye of her boss Colonel Strickland (Michael Shannon), she develops a bond with 'The Asset' and plans to break him out of the facility. However, between Strickland and certain whispers of the Russians wanting to get their hands on The Asset, that task may prove difficult.

Gifted (2017) - Movie Review

The plot: After the death of her mother, seven-year-old Mary (Mckenna Grace) was left in the care of her uncle Frank (Chris Evans). When Mary’s school teacher Bonnie (Jenny Slate) discovers Mary’s talent for complex mathematics, it sparks a debate between Frank and Mary’s grandmother Evelyn (Lindsay Duncan) about whether the opportunities Frank is allowing her niece are fulfilling her potential. As the matter gets brought into court, Mary’s ultimate fate rests on who can make a better case for what is right for the child.

The Shack (2017) - Movie Review

 

This film isn’t getting an introduction. It doesn’t deserve an introduction. And hopefully, by the end of this review, you’ll understand why because a shocking lack of people seem to see this film for what it truly is. Let’s get this shit over and done with because I am legitimately getting more pissed the more brain power I have to devote to it.

Hidden Figures (2017) - Movie Review

One of the relatively smaller drawbacks of the Oscar season is that you end up finding certain releases that make a little too much sense in terms of why they were made. Between how space exploration has been framed as an example of where and why humanity should unite under a common cause, and anything involving racial prejudices makes for easy Oscar bait, it’s no wonder that this film exists. Of course, it’s not like I’m not complaining about this; we’re just reaching the end of February and I’ve already seen a handful of films that have pretty much no reason to exist. Films with rather obvious intents aren’t inherently bad things, so long as the people behind them can make those intents ring true in the work proper. So, with all that said, which side of the Oscar bait line does this land in?