SYNOPSIS: “Look, up at the IMAX screen! It’s a Bird… It’s a Plane… It’s the rebooted Superman!” Set in the DC Universe, the new film is the story of 30-year-old Metropolis journalist and Kryptonian Clark Kent, a.k.a. Superman (David Corenswet) and his commitment to the old-fashioned values of truth, justice, and kindness. “My parents sent me to serve the people of Earth and be a good man,” he says. His benevolence has left the cynical public skeptical of his motives, including tech billionaire Lex Luthor (Nicholas Hoult) who is tired of being overshadowed by the Man of Steel, and is steadfast in his belief that Superman’s unrestricted power is a threat to humanity. “Superman is not a man,” he says. “He’s an ‘it’ who somehow became the focal point of the entire world’s conversation. Nothing has felt right since he showed up.” Capitalizing on the fear of the “other,” Luthor uses technology and disinformation to dehumanize and destroy Superman.
CAST: David Corenswet, Rachel Brosnahan, Nicholas Hoult, Edi Gathegi, Anthony Carrigan, Nathan Fillion, Isabela Merced, Skyler Gisondo, Sara Sampaio, María Gabriela de Faría, Wendell Pierce, Alan Tudyk, Pruitt Taylor Vince, Neva Howell, and Milly Alcock. Directed by James Gunn.
REVIEW: The new “Superman” is a state-of-the-art movie with whiz-bang special effects that nonetheless feels old-fashioned. The moody, sombre vibe of the Zack Snyder films has left the building, ushering in a heartfelt story that harkens back to the optimistic, earnest tone of the 1950s and ‘60s comics.
Where Snyder portrayed the Man of Steel as a modern god, new DC head honcho James Gunn frames him as an extraterrestrial with human foibles. “They’ve always been wrong about me,” Superman says, “I love, I get scared… but that is being human. And that’s my greatest strength.”
It’s a throwback, but there’s a timeliness to it as well.
Gunn’s “Superman” reflects a polarized public, poisoned by tech billionaires, the government and on-line toxicity. Hope is a rare commodity, and anger is the new normal.
Sound familiar?
You don’t have to look further than your X feed to see the real-world inspiration for Gunn’s Metropolis. He weaves hot button references to the Russia–Ukraine war, grooming, Fox News and even bot farms that stoke outrage 24/7 into the story’s fabric. Shows like “The Boys” and the animated “Invincible” have used similar methods to essay the world’s current cynicism, with often grim results, but Gunn flips the script, opting for optimism.
Is it corny or is it heartfelt and hopeful? It’s all that, and proudly so.
Under the superhero’s S-shield is a beating heart, brimming with compassion for a world in which goodness is as rare as a hair on Lex Luthor’s head. It’s a gear shift from Snyder’s dark, introspective storytelling; not necessarily better, just different. It’s more surface, but it’s a pretty good surface. The messianic messaging is gone, replaced by a Clark Kent conflicted by his dual identity as an alien and a human, raised on a Midwestern farm. Mix in some of Gunn’s trademarked goofy humour, and a riff on John Williams’ classic “Superman” theme and you’re left with a character-driven film that values uplift over angst.
David Corenswet brings both nostalgia and a modern sensibility to his charismatic take on the Man of Steel. His heroics recall the Supermen of the past, but his Clark Kent is of the present day. In a less cartoonish performance than the exaggerated take of some earlier movies, his Clark is grounded in reality.
He shares great chemistry with Rachel Brosnahan as Lois Lane. Whether they’re sharing intimate moments as Lois and Clark, challenging one another as journalists and love interests, or in action as the movie leans into the big set pieces of the final third, Brosnahan’s dynamic Lois easily sits on the shelf next to Margot Kidder’s beloved performance.
Every superhero movie needs a villain, and Nicholas Hoult delivers a cold, calculating tech billionaire framed as a modern-day baddie.
There are fun supporting turns from Isabela Merced as Hawkgirl, Edi Gathegi as Mister Terrific and Nathan Fillion as the abrasive Green Lantern Guy Gardner, but the film’s scene stealer is the CGI, scruffy-but-loyal superdog Krypto.
It would be easy to be cynical about a movie that wears its heart on its sleeve as loudly and proudly “Superman” does, and while it gets a little supermanic in its final half hour, it delivers an up-to-the-minute feel filtered through the nostalgic lens of a vintage comic book.
“’Superman,’ the latest iteration of the Man of Steel now playing in theatres, is a state-of-the-art movie with whiz-bang special effects that nonetheless feels old-fashioned…” Read the whole thing HERE!
Recently Cailee Spaeny played the wife of one of the most famous musicians on the planet as the title character in “Priscilla.” In her new film, “Alien: Romulus,” a standalone “interquel” set between the events of “Alien” and “Aliens,” she trades her ex-husband Elvis’s Graceland for another weird, otherworldly place—outer space.
In the new film, the seventh installment in the “Alien” franchise, Spaeny plays Rain Carradine, a new style Ellen Ripley, and one of a group of space scavengers fleeing their home planet, a dystopian hellhole run by a company whose ironic slogan reads, “Building a Better World.”
“The company is not going to give us anything,” says Bjorn (Spike Fearn), “we have to take it.”
To avoid working in the company’s mines, a small group, including Rain, her model ND-255 synthetic “brother” Andy (“Industry’s” David Jonsson), her ex-boyfriend Tyler (Archie Renaux), mine workers Bjorn and Kay (Isabela Merced) along with pilot Navarro (Aileen Wu), set off to rummage parts from a decommissioned space station. But instead of space pods and spare parts, they discover the universe’s most horrifying life form, the Xenomorph.
A horror film set in space, “Alien: Romulus” is a back-to-basics movie that owes a debt to the first two films in the franchise. The first part is all atmospherics and world building, reminiscent of the creeping dread that defined the original film. From the forty-five minute mark—the first Facehugger sighting—director Fede Álvarez amps up the action and the stakes, dispensing the fast-paced intensity of James Cameron’s “Aliens.”
The result is a movie that finds a way to use our nostalgia for the original films as a springboard for some new ideas. Álvarez, along with co-writer Rodo Sayagues, steers the story to a wild final act that stays true to the franchise, but combines sci fi and body horror in an unforgettable, spine-chilling fashion.
Seven movies in (plus two “Alien vs. Predator” crossover flicks) nothing will ever beat the original chest-bursting scene for sheer shock and awe, but “Alien: Roimulus’s” aggressive Facehuggers and Xenomorph are still potent horror images.
They’re iconic in their hideousness, drip acidic blood, and, if that wasn’t enough, force their proboscis down throats to impregnate their victims. Álvarez uses them to unnerving effect, mixing the creatures with a zombie synthetic character, some House of Horrors visuals and enough graphic, gory and grim practical effects to provide a pedal to the metal thrill ride.
“Alien: Romulus” doesn’t have the thematic depth of some of the other films in the series, but it delivers a crowd-pleasing and exciting link between the first and second movies on the “Alien” franchise timeline.
“Rosaline,” a new romantic comedy based on “Romeo and Juliet,” alters the dynamics of William Shakespeare’s play by flipping the script to focus on Rosaline (Kaitlyn Dever), Romeo Montague’s ex-girlfriend. “The greatest story ever told,” she says, “was missing a chapter. Mine.”
Based on Rebecca Serle’s young adult novel “When You Were Mine,” which was inspired by Shakespeare’s romantic tragedy, the Disney+ movie sees Kaitlyn Dever play a character who is mentioned but never seen in the original play. She is Rosaline, Romeo’s (Kyle Allen) girlfriend, at least she is until her cousin, Juliet Capulet (Isabela Merced) shows up.
Turns out Romeo uses his trademarked flowery romantic language to seduce Juliet. “I’m afraid you’re not the first maiden he’s charmed with his high cheekbones and fancy words,” says Rosaline.
Distraught, Rosaline is determined to break them up, and win back her man, even as a possible new romance with Dario (Sean Teale) brews. “Romeo and Juliet,” she snorts, “It doesn’t even sound right.”
These times of woe afford no time to woo, indeed.
Like “A Knight’s Tale” or the recent “Catherine Called Birdy,” “Rosaline” is a medieval period piece presented with modern sensibilities and idioms. The iconic balcony scene, for instance, is there, but tweaked for laughs, and at one point the morose Rosaline uses cholera as an excuse to not get out of bed.
Even the play’s famous ending has been spun. No spoilers here, but it should be noted that “Rosaline” isn’t exactly a romance and it isn’t a tragedy. It’s more a heartbroken journey of empowerment and self-discovery.
It doesn’t all work. The story slows in the middle, and, for older viewers the high school romance aspects may get old quickly, but at the heart of the story is Dever. As the title character she is both vindictive and vulnerable, a young woman with an attitude and a big beating heart. Her recent work, heavier turns in the film “Dear Evan Hanson” and TV dramas like “Dopesick” and “Unbelievable,” haven’t showcased her comedic talents, but “Rosaline” gives her the opportunity to stand out in the midst of the movie’s screwball co-incidences and farcical aspects.
Strong work from Bradley Whitford as Friar Laurence—who scolds his daughter with, “You are a woman. You’re not supposed to talk about what you want!”—and “Good Will Hunting’s “Minnie Driver as the outspoken Nurse, round out the cast.
“Rosaline” is no “Rosencrantz and Guildenstern are Dead.” Tom Stoppard’s absurdist, existential tragicomic “Hamlet” riff examines the mystery of life. “Rosaline” sets its sights lower. It is a high school romance in a corset that should work for fans of “Romeo and Juliet,” the Coles Notes version.
It’s been almost two decades since the adventures of a Kiger Mustang stallion named Spirit were nominated for an Academy Award for Best Animated Feature. “Spirit: Stallion of the Cimarron” lost to another spirited entry, “Spirited Away” from Japanese master Hayao Miyazaki, but spawned a cottage industry in the form of television shows and video games.
This weekend the headstrong horse goes on another feature length DreamWorks Animation adventure in “Spirit Untamed.” Now playing in theatres, it’s a re-imagined version of the television series “Spirit Riding Free.”
First some background.
Lucky Prescott’s (Isabela Merced) mother Milagro was a fearless horse trick rider from Miradero, a small town in America’s Wild West.
Milagro’s legend looms large in Lucky’s imagination, but she never got to know her. After her mother’s death, Lucky was raised on the East Coast by Aunt Cora (Julianne Moore), a straightlaced woman who struggled with his niece’s inherited wild side.
When Lucky pushes her luck too far, Aunt Cora decides the youngster needs stability in the form of her father, Jim (Jake Gyllenhaal) in the family home in sleepy little Miradero.
Life in the small town doesn’t sit well with Lucky until she meets her kindred spirit, a wild Mustang who shares her independent streak. The horse, Spirit, is the leader of a herd of wild stallions who become the target of animal poachers led by the evil Hendricks (Walton Goggins).
In an effort to save the horses from a life of captivity and hard labor Lucky recruits two local horseback riders, Abigail Stone (Mckenna Grace) and Pru Granger (Marsai Martin), and embarks on a rescue mission.
“Spirit Untamed” contains good messages about independence but also about being connected to a larger community. Lucky and Spirit are, well, spirited in their own ways but their true strength lies in their respect for the people and horses around them.
It is a simply told story of empowerment that doesn’t gallop over any new ground but, hackneyed though the message may be, it’s still an important one for younger viewers.
The big-eyed Margaret Keanesque character animation is nicely rendered, accompanied by energetic voice work, and should appeal to fans of the original. Younger viewers, who may not have been around when the original made a stir, could find parallels between this and the “How to Train Your Dragon” franchise.
With “Cruella” taking a dark turn, “Spirit Untamed” is the best family flick of the season.
