From discordant opening sequences to a transcendent finale, the Spike Lee’s latest operates in an auspicious plane as “most improved Joint.” Highest 2 Lowest (B-), playing in select theatres before streaming on Apple+, is Lee’s neo-noir remake of Akira Kurosawa’s 1963 High and Low, and Lee makes the story completely his own with contemporary themes about public image, wealth and morality. The director appears to have a lot on his mind, including how to spend one’s time making art and impacting society; there are artifacts throughout the protagonist’s home and world showcasing the giants of history on whose shoulders its characters stand. The plot is centered on a charismatic but stoic music mogul played by Denzel Washington, with small parts for his wife (Ilfenesh Hadera) and his chauffeur/henchman (Jeffrey Wright), who get much less to do. Together this trio confronts double-crosses in ways that feel at first overly melodramatic and ultimately cathartic. The ensemble also includes music artists ASAP Rocky and Ice Spice creating original characters plus basketballer Rick Fox, actors Rosie Perez and Anthony Ramos and pianist Eddie Palmieri inexplicably playing themselves. The film’s first act leans too much into subversive symbolism with sparse characters posed and juxtaposed against a towering NYC/Brooklyn borderland and an all-too-perfect family underscored by a fussy score. The Howard Drossin music massively improves and makes better sense as the film moves into more kinetic action; it’s soon downright rousing. There’s lots to recommend for viewers who hang in there for the full parable, not the least of which is another towering and nuanced performance by Washington. The parts of the film which are twisty are nifty; other lumpy portions work in circulative spurts. It’s esoteric, genre-defying and largely entertaining with a narrative examining modern anxieties and legacy.
Third time’s the charm for the new Four, for the most part. Faithful and fastidious to its comic book origins but strangely dramatically inert, Matt Shakman’s The Fantastic Four: First Steps (B-) does a better job than past attempts to ignite this story but remains simply a passable initial entry into Phase Six of Marvel movies. The glorious production design evokes a retro-futuristic Manhattan with such splendid detail in the film’s first act that it’s a shame there’s really no place to go from there. Pedro Pascal and Vanessa Kirby dutifully play a married couple in a quartet of astronauts imbued with superpowers. He’s stretchy and she’s sometimes invisible, and very few interesting sight gags come from that premise. Joseph Quinn is equally unmemorable playing the Human Torch, supposedly the comic relief, but he doesn’t really blaze the screen with much of a bonfire of hilarity. This feels like the most obligatory team-up since the Gerald Ford cabinet. The heroes fight an intergalactic character who gobbles up full worlds, and yet his presence is evocative of a kaiju rampaging a city block. Still, given some of the MCU movies of late, this one has a positive message and a science-forward agenda and doesn’t careen into too much nonsense. The crafts are impressive. Graded on a curve, this is at least cogent if uninspiring.
One could fret this superhero reboot’s ambition is akin to Icarus soaring straight and unflinching into the Krypton sun. But fortunately in the hands of writer/director James Gunn’s singular craftsmanship, the new Superman (A-) is sufficiently earthbound and will keep viewers leaning in breathlessly, blissfully to trace its lofty legend. In keeping with his tuned-in, punked-up pop cultural sensibilities, the auteur tenders a mighty mixtape of everything currently intriguing him about comic books, comic book movies and life in the (mis)Information Age, and we as viewers are the beneficiaries of his visionary and occasionally cheeky gifts. Gunn’s candy-colored liberal arts curriculum of peculiar fandom and folklore sometimes careens into a pace oddity, but the boisterous blend of art, science and movie magic will surely reward repeat viewings. There’s a central theme simmering about the mysterious planetary protector being too good to be true and a hypothesis about what would happen if a supervillain pierced the perceived mythology he and we have come to expect. A constant hum of newspaper story uploads, breaking broadcast news, word of mouth buzz and social media posts fills the film’s vaguely contemporary Metropolis and surrounding dreamscapes. Gunn’s whiz-bang fortress of freneticism almost overwhelms and threatens to topple over itself, domino-style, like skyscrapers on a chasm: there’s more imagination per frame of this adventure than we’re used to getting in a summer blockbuster or even in a few twirls of a fidget spinner. From the get-go of its intriguing opening scrolls and multiple milieus, Gunn quickly plots the flight and fight patterns of his hero and those who love and loathe him. David Corenswet, graceful and earnest, and Rachel Brosnahan, wide-eyed and wordy, make an absolutely splendid Clark/Supes and Lois, respectively, with charming and too-infrequent screwball sequences straight out of classic Tracy/Hepburn mode. Nicholas Hoult is a deliciously diabolical Lex, always two steps ahead of his adversaries in his fastidious evil plotting. And Edi Gathegi is a solid standout as Mister Terrific, one of a series of DC Comics emerging characters who spice up subplots across various dimensions (he gets an amazing trick with a force field that’s a showstopper). Gunn raises the stakes with a title character vulnerable to physical and emotional pain, and the film is best when it spotlights this protagonist facing fear and fragility, including in tender moments with his nifty Smallville foster parents. The movie’s visual palette is unusual but inventive; not every effect gets “inked” with precision, but whisked in the whirlwind of super-breath, x-ray vision, heat rays and single-bound leaps, contours are maximized with thrilling panache. Once the action starts, with powerful pups and pocket universes hovering around each corner, the film sustains a rather relentless and surprising rhythm. It’s a run-on sentence no amount of diagramming can harness. The hopes and tropes powering this installment provide ample payoff in a superhero treatise with much on the mind. There’s also meta-textural material here about those who aren’t particularly keen on the filmmaker’s hokier, jokier take on the caped wonder plunged into a primary colored silver age universe; Gunn’s humor is preemptive disarming armor shielding against the haters, but sometimes his clever sensibilities do border on eclipsing the superhero himself. Regardless of the whirling dervish of it all, this movie definitely gets the Superman character right; he’s sure to be a fan favorite. It’s all a glorious calling card for a DC universe of possibilities (things are certainly looking up!), and it all makes for an invigorating and slightly exhausting time of fun under the Gunn.
Thankfully at least the Cretaceous creatures and their gnarling antics are impressive on the big screen for those checking out this summer sequel! Director Gareth Edwards creates some splendid action panoramas, but his film’s storyline is scattered and characters uninspiring in Jurassic World Rebirth (C). Several entourages travel to the scene of the dinosaur crimes of the series’ past films to extract yolk from a dino-egg to provide life-saving medicinal benefits for mankind. Scarlett Johansson is a credible action heroine given little to do, and Jonathan Bailey makes the most of his scientist role. Rupert Friend is wooden and Mahershala Ali underused in a film that flashes back and forth between two groups journeying through a dangerous jungle. There are instances of excitement involving capsizing boats plus rappelling and rapids escapades, but other times the action in the woods is way too throwaway. Edwards directs select sequences like beautiful paintings, and the effects are roundly lush, but the creator can’t find a way to unite screenwriter David Koepp’s (and presumably the studio executives’) disparate story ideas. We are left with a film that looks and feels like a big budget tentpole, but it’s built on a mushy mound. Fans of the franchise will eat up this entry but may have to admit it wasn’t all that consequential.
Director Joseph Kosinski generally elevates the saga of another aging maverick with a need for speed in the polished sports adventure F1 (B+) set amidst the globetrotting Grand Prix of the Formula One World Championship, with its glam characters connected at the hip to the fastest regulated road-course racing cars on earth. Brad Pitt is an American pro driver on the last leg of a rough and tumble history recruited by an old friend and now team owner played by Javier Bardem as a last ditch effort to elevate his struggling franchise; and with the help of Irish actress Kerry Condon as the team’s technical director and British actor Damson Idris as a cocky rookie, they’re off to the races. The movie makes the motorsport majestic on screen, buoyed by the strength of this charismatic acting quartet and especially Pitt’s casual, grizzled grace. Character development by quip service and plot conflicts as largely obligatory obstacles rarely sideline Kosinski’s kinetic placemaking marked by wide open, brisk and bustling raceway vistas. This summer tentpole is an exercise in stargazing, lifted in all cases by the quality of the ensemble and film crafts including clutch cinematography by Claudio Miranda and spirited music by Hans Zimmer, as the flick’s flimsy contours hardly support its ample running time. But as an immersive action experience, it’s a lowkey lark, a technical tour de force to be reckoned with for fans of the charming movie star, a game director and the conventions of the racing genre.
Danny Boyle reclaims the director’s chair for the third entry of the dystopian future saga he originated with writer Alex Garland in which brave British citizens fend off hoards of “rage virus” infected humans (don’t call ‘em zombies!). Although still made with urgent, kinetic energy and exciting chases with graphic kills, 28 Years Later (B+) pulls a page out of A Quiet Place: Day One territory to culminate in a more internal and emotionally contemplative conclusion than possibly expected. This sequel centers on a very good child actor, Alfie Williams as Spike, whose stalwart loyalty to his parents played by Aaron Taylor-Johnson and Jodie Comer puts him in some precarious crosshairs. Boyle sets the action up on a British island with folksy townspeople who have successfully protected themselves from the encroaching undead. Several missions to a mainland connected by a narrow isthmus uncovered by the tide in brief spells reveal mysteries and open up Spike’s eyes to the ways of the world as he and his family face various forms of mortality. The movie is an enjoyably character-driven coming of age story with a dad intent on showing his son the power of the hunt and a mom grappling with a different set of demons. Both actors command attention and interact brilliantly with the young protagonist. Boyle blazes a sensational landscape for this journey and finds balm in the heart of darkness courtesy of a peculiar and too brief performance by Ralph Fiennes. Boyle certainly elevates the tropes of the genre in this outing, even as tone and energy mutate from time to time. His return to form in this series is welcome.
A decade and a half after he co-directed the animated film of the same name, Dean DeBlois helms the 2025 live-action version of How to Train Your Dragon (B), and it often soars. The cuteness and spunk of the titular dragon Toothless doesn’t fully translate into the real-life fantasy realm, but the flights of fancy, rugged adventure and central character conflict make for solid family entertainment. Action and adventure fans should not be disappointed; in fact, the dread and doom are heightened in this production. As the film’s protagonist, Mason Thames is a dynamic lead as he weighs whether to be a warrior or whisperer in dealing with the beasts plaguing his Viking island. Gerard Butler is a bit more basic as his boorish warrior dad, and few others in the ensemble were standouts. The effects are quite strong throughout, and the rousing score by John Powell enlivens even some overextended sequences. For those who savor repeat viewings of this favorite scale tale, the remake is nearly interchangeable with its modern classic predecessor. It traces the same arch but doesn’t bring all that much new firepower.
This requel is no equal to 40 years of predecessors in the triumphant underdog series, but the good-natured, proven crowd-pleasing formula will still likely delight young viewers and families. Jonathan Entwistle’s Karate Kid: Legends (C+) places casually charismatic young actor Ben Wang at its center, transplanted from Beijing to NYC with a non-emotive mother (Ming-Na Wen) who doesn’t support his kung fu fighting hobby. His character befriends a pizza parlor purveyor and former boxer played by Joshua Jackson and his teen daughter and love interest (Sadie Stanley); and when wronged by an underdeveloped neighborhood bully, feisty fighter and romantic rival character (Aramis Knight), our hero turns to two mentors in the lineage of the “Mr. Miyagi” school of karate – Jackie Chan and Ralph Macchio – to prepare him for an avenging “Five Boroughs” showdown. This merging of martial arts multiverses prompts some head-scratching force-fits, and the color-by-numbers story line fails in delivering even the smallest morsels of surprise. Still, the movie is upbeat, with some fun, fast-paced fighting stunts and joy in the relaxed depictions of found family especially – and surprisingly – between Wang and Jackson, who’s particularly good in this role. The obligatory presence of Chan and Macchio yields distracting and perfunctory doses of fan service rather than consequential plot advancement. It’s all more pretty than gritty and looks largely filmed on sound stages. Video gamified graphics, comic book dissolves and animated explainers dumb down the drama even further for those with zero attention span. It’s all perfectly serviceable fare and doesn’t wax all that poetic as it strikes its predetermined poses.
The eighth and purportedly last installment in the stunt-forward espionage film series, Christopher McQuarrie’s Mission: Impossible – The Final Reckoning (B-) is a very late bloomer, with both extended exposition and also a soggy undersea sequence overstaying their welcome before the movie’s final hour finally delivers the goods with intersecting sequences of suspense and Tom Cruise in an amazing fight climbing between two mid-air biplanes. For Cruise, this film delivers all the tropes: maverick hero who is the only one with the right answers to save the world, extended risky business in underwear (this time on a submarine) and so much running through cities that a few good men would hardly be able to keep up the pace. The story is over-engineered, but the stakes are high. The ensemble doesn’t get much room to shine, except Angela Bassett who’s in the zone as a resolute American president. And alas few new gadgets are introduced to add to the novelty factor in a series often known for surprising disguises and inventions. The movie really rises to the occasion in the final act with Simon Pegg and Hayley Atwell adding aplomb to the climactic countdown; but by then many may have lost patience with it. Like the seven films before it in the series, it’s a film of impeccable crafts, mighty set pieces and globetrotting adventure. As a franchise it has eclipsed its TV origins to become its own sensation, and still producer Cruise is giving it his all to justify viewers choosing the big screen experience. There are some clever grace notes connecting the new film to prior outings, although this direct sequel to Dead Reckoning can certainly be watched standalone and will not be all that much more confusing. The villain being AI in these final two outings is prescient but also a little underwhelming. Fortunately what starts out as a snooze sticks the landing with Cruise’s control.
It’s a support group for superheroes as a ragtag bunch of renegades stares into the void of depression to summon better days in solidarity as Jake Schreier’s Thunderbolts* (A-), the most cohesive and satisfying and least fussy Marvel film in quite a while. Looking to get out from under the trauma dump and back with a chest pump, several outcast MCU characters get a timely reintroduction. Ensnared in a death trap, an unconventional team of antiheroes — previously introduced characters Yelena Belova, Bucky Barnes, Red Guardian, Ghost, Taskmaster and John Walker — embarks on a dangerous mission that forces them to confront the darkest corners of their pasts. Florence Pugh and David Harbour are emotional and comic standouts as literal family members in this film of found family. Lewis Pullman is a solid addition to the troupe, and Julia Louis-Dreyfus is a delight as a prickly politico. The action sequences are a thrill, the sarcastic comedy is consistent and the emotions are earned as natural outcroppings of solid character work. Music by Son Lux gracefully underscores the occasion of a thoughtful allegory about the road to mental health recovery and how even heroes need a boost from each other sometimes. This rewards the casual viewer and those obsessed with Marvel minutiae alike.
NOTE: This Cannes Film Festival 2024 entry premiered April 26, 2025 at the Atlanta Film Festival.
It’s a turf war for a surf corps as Nicolas Cage’s character, revisiting his idyllic childhood beach with an optimistic nostalgia, becomes entangled in an escalating conflict with local bullies led by Julian McMahon that pushes him to his psychological limits. Lorcan Fennigan’s offbeat thriller The Surfer (B) summons that urge to avenge those who have crushed one’s precious sandcastle or pierced the armor of one’s very existence. The film is a triumph of mood and tone, filmed on a sun-baked Australian shore where even the animals appear to be mocking the titular character’s plight while a twisted form of toxic masculinity settles in on the seaside enclave. The film is told from Cage’s objective point of view, and audiences will truly relate to the notion of a world crumbling around his increasingly pathetic persona. The bright colors of cars and cabanas eclipse the man’s harrowing breakdown while the exotica style music seems to gleefully dance on his living grave. This is Cage at his most Cagey, culminating in some truly outrageous misadventures as he employs survival tactics in a myopic and petty tribal battle; even eating and drinking become a ridiculous ritual for this man entrenched against the world. His character isn’t really crafty enough to go full Falling Down on his adversaries, but it’s all a fascinating journey into this particular rabbit hole. McMahon’s character is a delightful primal match for him, and the set pieces and situations set up a perfect insular environment for a complete unravel. The film isn’t terribly insightful but is mostly rather riveting. Experience the undertow of this playful and peculiar tale; but whenever the crafty Cage is involved in an idiosyncratic project, swim at your own risk.
An offbeat espionage thriller franchise gets a full buddy comedy treatment in the tax season extension surprise sure to please action fans. Gavin O’Connor ups the ante from its predecessor for an epic sequel, The Accountant 2 (A-), by maximizing the intrigue and world building of his protagonist Christian Wolff’s (Ben Affleck, never better) savant status as an advantage in all aspects of his life and pairing this idiosyncratic character primarily with his lethal bad boy brother Brax (the absolutely fantastic John Bernthal). This time the stakes are higher and involve timely topics such as human trafficking. The film starts with some extremely larger than life environments showcasing cunning and comedy – namely a bingo parlor turned bloodbath and a romance convention augmented by algorithms. Treasury Agent Marybeth Medina, played again with aplomb by Cynthia Addai-Robinson, is a convener of the odd couple siblings to get to the heart of a murder mystery, and Daniella Pineda is dynamite as a ruthless assassin. O’Connor wields both humor and high-stakes action with tremendous dexterity in this installment; and although the film loses a little momentum in the final act, it’s so successful in luring audiences to care deeply about the characters amidst the stunts and grandstanding. Giddy moments include manipulation of traffic lights and home computers and even honkeytonk dance floors in this raucous romp with unexpected heart and verve. It’s much more gripping and fun than anyone could have anticipated.
