Webslinger

Decided it was finally time for a new avatar after rolling with the La La Land one for so long. This one feels like a better fit on a few different levels.

The Whale might just be the most erratic, uneven film I’ve seen from 2022, but the depth of its strengths comfortably counteracts some of the stranger choices and less savory qualities of what transpires onscreen. From the trailers and a brief plot synopsis, I wondered how this film could be so divisive; having now seen it, I get that divisiveness completely. This film – and likely also the play it’s adapted from, given that they share the same author – traffics in characters who become increasingly unlikable as the narrative progresses, and the script sometimes seems like it’s having them say the exact wrong thing at the exact wrong time for the sake of ratcheting up the drama. There’s also the uncomfortable intimacy with the depiction of the protagonist’s binge eating, which makes for scenes that feel like they’re present more for the sake of inducing squirms than for dramatic necessity. (It practically goes without saying that viewers who have any sort of eating disorder should probably skip this one.) However, amid the film’s difficulties and missteps, it also boasts two searing performances from Brendan Fraser and Hong Chau. After quite some time away from major leading roles, Fraser disappears into his performance as morbidly obese protagonist Charlie, giving viewers a full, brilliantly realized depiction of his character’s emotional life. Fraser brings touches of humanity to the part that feel like they go beyond what is present in the script, and he sells his decisions so convincingly that Charlie’s selfishness and naivety – qualities that would come across more gratingly in a lesser performance – do not impede viewers’ ability to connect with him. Chau is also superb as Liz, the nurse who comes over to take care of Charlie. Chau’s chemistry with Fraser sells the nature of their relationship perfectly, and she absolutely nails a monologue that delivers a twist that admittedly reads a little forced on the page. There’s also strong work from Ty Simpkins as a young missionary (I think he hits the right level of misplaced good intentions) and Samantha Morton in a brief but moving part. With Sadie Sink as Charlie’s troubled daughter Ellie, it’s hard to tell what, exactly, is off: Sink’s erratic performance, Aronofsky’s direction of it, the writing of the character (she never feels like a real teenager), or some combination thereof. The Whale is not a fun sit by the very nature of its subject matter, and it sometimes feels like a film that could be better with a lighter touch; however, with how great Fraser and Chau are and how effectively it hits when it needs to, it’s a worthwhile viewing experience. B

A little late to the party on this one (saw it almost two weeks ago now), but hey, I've been busy. Though it certainly delivers on its internet hype as an instant meme-ready camp delight, M3GAN also succeeds as a unique, compelling piece of sci-fi speculation. In emulating the feeling of a Black Mirror episode with its focus on well-meaning technological advancements gone horribly wrong, M3GAN works on a genuine level as an engrossing thriller that has something to say about our increasing dependence on technology as a replacement for human interaction and the ways in which we fail to anticipate the long-term consequences that spring from it. That it does so while also delivering a doll who slays just as much in the metaphorical sense as the literal one is just icing on the cake. The narrative hums along at a steady clip, and there is genuine excitement as the stakes get progressively higher in the build-up to a third act that nails the tricky balance between tension and campiness. In the lead role, Allison Williams does what is easily her best work since her performance in Get Out, making her character’s motivations feel understandable and nailing believable awkward chemistry with child actress Violet McGraw as the niece she initially has no idea how to raise. However, as expected, the titular character – played by Amie Donald and voiced by Jenna Davis – walks away with the show every time she’s onscreen. Donald and Davis hit virtually each of M3GAN’s varied beats effectively. January releases usually don’t inspire much faith in me, and M3GAN is a film whose trailers had me ready to simply kick back and enjoy something campy and tongue-in-cheek, even if it wasn’t especially good; however, what the filmmakers deliver is both as fun as the trailers indicate and surprisingly effective in its higher-minded endeavors. B+

01/07 The Fabelmans (2) 01/08 M3GAN 01/21 The Whale

I went and saw The Whale this afternoon. Fraser and Chou are incredible and I think there's enough done well to counteract the negatives, but oof, that script is messy and Aronofsky can't help but give you plenty of "Well, that certainly was a choice" moments. As a later edit to avoid a double post, I also watched Shallow Grave ahead of the debut of the Blank Check podcast’s series on Danny Boyle. Damn, Boyle came out of the gates swinging with a taut, dynamic thriller - and the dark humor hit well too.

And we're off! Theatrical repeats noted in parentheses. 01/07 The Fabelmans (2)

Well, I've got a busy New Year's Eve ahead of me, so I'm pretty sure this list is final. 78 total trips to the theater, including 16 theatrical repeats. Repeats are denoted in parentheses. 01/15 Licorice Pizza (2) 01/16 West Side Story (2) 01/28 Red Rocket 01/30 The Matrix Resurrections (2) 02/05 Jackass Forever 02/05 Spider-Man: No Way Home (2) 02/06 C'mon C'mon 02/12 Parallel Mothers 02/19 Uncharted 02/26 Scream 03/04 The Batman 03/26 The Lost City 04/02 The Batman (2) 04/03 X 04/04 Dog 04/09 Morbius 04/15 Everything Everywhere All at Once 04/16 Fantastic Beasts: The Secrets of Dumbeldore 04/17 The Batman (3) 04/30 Ambulance 05/06 Doctor Strange in the Multiverse of Madness 05/07 The Unbearable Weight of Massive Talent 05/13 Doctor Strange in the Multiverse of Madness (2) 05/14 The Northman 05/27 Top Gun: Maverick 05/28 Everything Everywhere All at Once (2) 06/04 Top Gun: Maverick (2) 06/09 Men 06/11 Jurassic World: Dominion [IMAX] 06/14 The Maltese Falcon 06/16 Everything Everywhere All at Once (3) 06/21 The Bob's Burgers Movie 06/24 The Black Phone 06/25 Elvis 07/01 Top Gun: Maverick (3) 07/08 Thor: Love & Thunder 07/12 Goodfellas 07/25 Nope 07/29 Marcel the Shell with Shoes On 07/30 Vengeance 08/04 Lightyear 08/06 Bullet Train 08/13 Bodies Bodies Bodies 08/20 Nope (2) 08/27 Three Thousand Years of Longing 09/03 Emily the Criminal 09/04 Honk for Jesus. Save Your Soul. 09/05 Spider-Man: No Way Home (3) [More Fun Stuff Edition] 09/15 Barbarian 09/23 Don't Worry Darling 09/24 Avatar (6) [3D] 09/25 The Woman King 09/27 Pearl 10/04 Bros 10/07 Amsterdam 10/09 Halloween [1978] 10/15 Smile 10/16 Halloween Ends 10/27 The Rocky Horror Picture Show (5) 10/29 Tár 11/04 The Banshees of Inisherin 11/06 Till 11/08 Full Metal Jacket 11/11 Black Panther: Wakanda Forever 11/19 Armageddon Time 11/20 The Menu 11/23 The Fabelmans 11/24 Strange World 11/25 Bones & All 11/26 She Said 12/03 Violent Night 12/13 Elf 12/16 Avatar: The Way of Water [3D] 12/22 Spoiler Alert 12/25 Puss in Boots: The Last Wish 12/27 Babylon 12/28 Empire of Light 12/30 Avatar: The Way of Water (2)

A The Banshees of Inisherin Everything Everywhere All at Once The Fabelmans Glass Onion: A Knives Out Mystery Guillermo del Toro's Pinocchio Tár A- Armageddon Time Avatar: The Way of Water Babylon Barbarian The Batman Bros Nope The Northman Till Top Gun: Maverick Turning Red The Woman King X B+ Black Panther: Wakanda Forever The Black Phone The Bob's Burgers Movie Bodies Bodies Bodies Bones and All Cha Cha Real Smooth Chip 'n Dale: Rescue Rangers Emily the Criminal Fresh Hustle Marcel the Shell with Shoes On The Menu Pearl Puss in Boots: The Last Wish She Said Smile Thor: Love and Thunder Vengeance B Ambulance Bullet Train Causeway Doctor Strange in the Multiverse of Madness Dog Elvis The Good Nurse Honk for Jesus. Save Your Soul. Jackass Forever Lightyear The Lost City Men Not Okay Scream Spirited Spoiler Alert Strange World Three Thousand Years of Longing The Unbearable Weight of Massive Talent Violent Night B- The Adam Project Amsterdam Death on the Nile Empire of Light C+ Halloween Ends Uncharted C Don't Worry Darling Fantastic Beasts: The Secrets of Dumbledore Pinocchio C- Blonde Jurassic World: Dominion Morbius

Babylon marks yet another big swing for writer-director Damien Chazelle – his biggest yet – and like his past work, it connects in exhilarating fashion. If Chazelle’s 2016 musical La La Land was a tribute to the optimism and allure of movies, Babylon is a no-holds-barred glimpse into the darkness and cynicism that undergird the very same industry. Taking an approach reminiscent of Paul Thomas Anderson’s Boogie Nights, Chazelle charts the meteoric highs and abysmal lows of several industry players against the backdrop of the emergence of sound. The film pulsates with energy from one dizzying scene to another, and Chazelle’s instincts for spectacle and pitch-dark humor resonate all the way through. Much will be made of the film’s opening sequence – essentially a horny, drug-fueled rager that introduces us to all the major players – but the sequences depicting film production in both the silent era and the burgeoning talkie era are also mightily impressive – and that’s to say nothing of later sequences that explore the true depths of the hypocrisy and depravity at the core of the film’s universe. And of course, in characteristic Chazelle fashion, the finale is a dazzling sequence that left me breathless at the final cut to black. In front of the screen, the cast is truly huge (to the point where staying for the first part of the credits is practically a requirement to see who you caught and who you missed), and the performances match the go-for-broke ambition of their director. Margot Robbie swings big in her work as rising star Nellie LaRoy and does impressively energetic and committed work, even if it does seem – as in this year’s Amsterdam – like she is sometimes playing Emma Stone playing this character. (The fact that Chazelle frames and lights her similarly to Stone in La La Land adds to this weird phenomenon, for sure.) Fresh face Diego Calva works well as the straight man and audience surrogate, though he feels just a bit underdeveloped amid so many other moving pieces. Brad Pitt is clearly having a grand time as a silent film legend, though he’s also effective in imbuing his character with a haunted edge. There are also some killer scenes from Jean Smart (who gets a searing monologue that underlines many of the film’s themes brilliantly) and Tobey Maguire (who is at his most unhinged and creatively inspired in many years). Though I suppose that the film is vulgar, cynical, and long-winded enough to turn potential viewers off (as evidenced in a wildly polarized reception that I must confess I’m a little confused by having now seen the film), it’s such a spectacle that must be seen to be believed. A-

I ended up really loving this. It's such a big, go-for-broke swing, and it mostly connects. And damn, Damien Chazelle still knows how to end a movie. I'm kinda baffled as to how this ended up being so wildly polarizing with critics. If the whole movie had been like the opening half-hour, I'd get it, but it mostly settles down after that point.

After a decade-plus hiatus from the universe the title character inhabits, Puss in Boots: The Last Wish is a highly entertaining sequel that succeeds in feeling like a fresh new spin on its larger franchise’s tropes. The story mostly goes in directions that won’t be difficult for savvy viewers to guess, but it’s a funny and heartfelt affair whose comedic and emotional beats land gracefully all the way through. The stylistic shift to animation reminiscent of that of Spider-Man: Into the Spider-Verse is also very well-executed and helps the action-driven sequences feel more impressive and impactful. As always, Antonio Banderas is a delight in the titular role, and there’s fun vocal work from just about everyone in the star-studded cast. It may be slighter than the films that occupy the uppermost tier of this year’s animated offerings, but The Last Wish is a whole lot of fun and left me game for a further continuation of this character (And perhaps the wider Shrek universe? We’ll see, I guess.). B+

Edited Sunday 12/25 to avoid a double post. A The Banshees of Inisherin Everything Everywhere All at Once The Fabelmans Glass Onion: A Knives Out Mystery Guillermo del Toro's Pinocchio Tár A- Armageddon Time Avatar: The Way of Water Barbarian The Batman Bros Nope The Northman Till Top Gun: Maverick Turning Red The Woman King X B+ Black Panther: Wakanda Forever The Black Phone The Bob's Burgers Movie Bodies Bodies Bodies Bones and All Cha Cha Real Smooth Chip 'n Dale: Rescue Rangers Emily the Criminal Fresh Hustle Marcel the Shell with Shoes On The Menu Pearl Puss in Boots: The Last Wish She Said Smile Thor: Love and Thunder Vengeance B Ambulance Bullet Train Causeway Doctor Strange in the Multiverse of Madness Dog Elvis The Good Nurse Honk for Jesus. Save Your Soul. Jackass Forever Lightyear The Lost City Men Not Okay Scream Spirited Spoiler Alert Strange World Three Thousand Years of Longing The Unbearable Weight of Massive Talent Violent Night B- The Adam Project Amsterdam Death on the Nile C+ Halloween Ends Uncharted C Don't Worry Darling Fantastic Beasts: The Secrets of Dumbledore Pinocchio C- Blonde Jurassic World: Dominion Morbius

With Glass Onion: A Knives Out Mystery, it feels like writer-director Rian Johnson has succeeded in making lightning strike twice. From the outset, it seemed inevitable that a continuation of his Benoit Blanc character would be fun, but produce diminishing returns. What we get with Glass Onion, however, is a film that somehow succeeds in feeling just as enjoyable, clever, well-constructed, and thematically interesting as its predecessor. As with the first film, I was hooked from start to finish and delighted in Johnson’s approach to untangling the mystery at the film’s center. Also as with the first film, it works as a clever skewering of wealth and privilege, successfully using the covid-19 pandemic as the backdrop for a critique of corrupt rich people trying to ride their privilege to avoid accountability and consequences. Once again, the craft elements of the film are well utilized, with the cinematography successfully directing – and misdirecting – attention, eye-catching production design, and clever use of visual storytelling to communicate important details. The starry cast – all-new apart from Daniel Craig and Johnson regular Noah Segan (in an entirely different minor role this time out) – is also once again a top-flight ensemble operating at the peak of its powers. Craig is once again having a blast as Benoit Blanc, letting loose now that he is free from the Bond franchise and leaning all the way into the comedic character touches he brings to the part. Among the newcomers, the standout is Janelle Monáe in a winning, expertly crafted performance that further demonstrates why they should be a much bigger star. By turns enigmatic and hilarious, Monáe expertly displays their range of cinematic talents in a manner that builds upon the strengths of their earlier performances in Moonlight and Hidden Figures six years ago. Edward Norton is also tons of fun as the shamelessly smarmy billionaire who invites the players to his private island residence, and Kate Hudson, Kathryn Hahn, Dave Bautista, Leslie Odom, Jr., Jessica Henwick, and Madelyn Cline all get their standout moments in a script that creates room for each of them to leave a solid impression. (And that’s to say nothing of all the cameos!) Even with such a high bar to match, Glass Onion makes all its big crowd-pleasing swings look easy, and it delivers one of the most thoroughly entertaining viewing experiences of the year. Just like the first one, I will revisit it many times over. A Also, it is a SIN that this didn't get a full theatrical release. As much fun as it was just to watch this film at home (and as fun as I'm sure it will be to go and watch it again with my parents later tonight), it would have brought the house down in just about any crowded multiplex. With how much fun it is and how little there has been in the last two months outside of Avatar and Black Panther, I feel like this would have made an easy $200 million domestic if given the same theatrical rollout as the first film.

It’s high praise that even after seeing all 192 minutes of it, I’m still trying to wrap my head around the fact that Avatar: The Way of Water exists. After 13 years and a big blockbuster landscape that has shifted so radically in that interim, I really did not know what to expect out of James Cameron returning to a story that felt like it was already concluded rather cleanly and clearly in the original film. And after that film raised the bar on visual effects work so high that no movie since feels like it has been anywhere near as big of a breakthrough, I was also left wondering what Cameron and company could possibly do that would feel as impactful as what they accomplished 13 years ago. Yet, somehow, The Way of Water is a singular viewing experience that leaps well ahead of its predecessor in ambition and technological innovation. Though I don’t think it’s quite as effective as the first film in its storytelling and character development (which were always better than their much-dumped-upon reputation would suggest), it takes big swings in opening up the world of Pandora and its inhabitants in such grand fashion that – if anything – a running time in excess of three hours feels short for everything it’s trying to explore. Visually, it is an overwhelming experience – the underwater sequences in particular are awe-inspiring and feel like a gigantic leap forward in terms of what a film can do. (And that’s just in regular 3D – I’m definitely interested in seeking out a high frame rate presentation to see what Cameron accomplishes in that format.) The action sequences, in characteristic Cameron fashion, are also stunning in their construction and execution. Like the first Avatar, it also boasts sneakily strong performances. It’s true that lead Sam Worthington is mostly still a blank slate, but Sigourney Weaver and Stephen Lang are once again terrific in their roles. Weaver does inspired, emotionally resonant work as the teenage daughter of her character from the prior film, while Lang once again commits fully to playing the villainous Quaritch, but this time with a vaguely haunted edge added to it. The performances from the young actors are convincing and succeed in selling many of the film’s biggest emotional beats. Though it doesn’t register as forcefully as the original did with me – a tall order for any sequel given how much I vibed with the original’s “protagonist in an exciting new world” during my freshman year of college – Avatar: The Way of Water is a stunning cinematic achievement whose immense strengths far outweigh any of its limitations. It’s a grand cinematic experience that I can’t wait to see again. A-

Opening day number for Avatar is solid. This isn't a summer movie where the studio is throwing all their eggs in the opening weekend basket - it's a 192-minute sequel to a film released 13 years ago (from a director who hasn't helmed any other films in the interim), and it's clearly being positioned to be the dominant film through the next several weeks. A 50+ Friday and 130+ weekend represent an unqualified win, I think. Now, if it doesn't hold up as well as anticipated, then I think you can sound the alarm bell.

Fully embracing its B-movie concept with over-the-top gore, unabashedly silly gags, and the ironic juxtaposition of all of it with Santa Claus and Christmas imagery, Violent Night is about as much dumb fun as its premise and trailers would suggest. Unlike in his abysmal 2013 horror-comedy hybrid Hansel and Gretel: Witch Hunters, director Tommy Wirkola strikes the right balance between gleefully graphic violence and effective dark comedy, keeping the proceedings enjoyably silly from scene to scene. David Harbour brings fun energy to a Santa whose cynicism is melted by facing down a team of mercenaries to save an innocent little girl. Harbour leans into the silliness like a pro and makes for a surprisingly fun action hero in the giddily exaggerated action set pieces. There’s also fun comedic work from John Leguizamo, Edi Patterson, Cam Gigandet (did not see a performance this funny coming from the guy best known for being the forgettable villain in the first Twilight), and Beverly D’Angelo. It admittedly does run a bit too long for its premise and won’t tickle everyone’s fancy, but for those who can get onboard with its brand of bloody, festive silliness, it's a fun, decidedly off-kilter Christmas movie. B

A The Banshees of Inisherin Everything Everywhere All at Once The Fabelmans Tár A- Armageddon Time Barbarian The Batman Bros Nope The Northman Till Top Gun: Maverick Turning Red The Woman King X B+ Black Panther: Wakanda Forever The Black Phone The Bob's Burgers Movie Bodies Bodies Bodies Bones and All Cha Cha Real Smooth Chip 'n Dale: Rescue Rangers Emily the Criminal Fresh Hustle Marcel the Shell with Shoes On The Menu Pearl She Said Smile Thor: Love and Thunder Vengeance B Ambulance Bullet Train Causeway Doctor Strange in the Multiverse of Madness Dog Elvis The Good Nurse Honk for Jesus. Save Your Soul. Jackass Forever Lightyear The Lost City Men Not Okay Scream Spirited Strange World Three Thousand Years of Longing The Unbearable Weight of Massive Talent B- The Adam Project Amsterdam Death on the Nile C+ Halloween Ends Uncharted C Don't Worry Darling Fantastic Beasts: The Secrets of Dumbledore C- Blonde Jurassic World: Dominion Morbius

Behind strong performances and sharp writing, She Said works well as a compelling procedural. In exploring the hurdles to publishing the article that finally broke the news of Harvey Weinstein’s decades-long history of abuse, director Maria Schrader crafts a moving, mostly riveting study of the difficulties in revisiting trauma, the ways in which various institutions are built to protect abusers, and the necessity of courageous journalists in bringing the truth to light. It’s admittedly territory that past films have covered better (in particular, it comes up short in comparison to Spotlight in numerous areas), but Schrader wisely builds scenes around the powerful, heartrending stories of women (plus the occasional man with a guilty conscience) who agree to speak to the two lead reporters; veteran character actors Samantha Morton and Jennifer Ehle especially stand out with brief but crushing contributions to the proceedings. In the lead parts, Zoe Kazan and Carey Mulligan both do smart, committed, and subtle work where their tenacity in their jobs and outrage at what they learn register powerfully. It’s perhaps not as monumental a film as the subject matter deserves, but She Said resonates as a needed and compelling exploration of the lasting pain inflicted by one of the industry’s cruelest and most powerful men, and the need to hold the powerful accountable no matter the cost. B+

Oh, I was definitely that person when I went and saw Cats over its opening weekend. I felt a little bad about it at first - and strategically sat a few rows away from other patrons in either direction - but it was Cats, so it was hard not to laugh. One of my friends and I also whisper-riffed on Breaking Dawn - Part 1 on its opening night with a sellout crowd of Twihards. I'm still not sure how we made it out of there alive. It was her idea, though, so I didn't feel too guilty about it.

I had totally forgotten about the drawn-out saga of Disney pushing A Wrinkle in Time past $100 million (which, in turn, prolonged the effort to get Black Panther past $700 million) until reading this thread.

With its juxtaposition of intimate, beautiful framing and deeply macabre subject matter, there is no doubt that Luca Guadagnino’s Bones and All is a strange film that is unafraid to take chances – and for the most part, it is successful with them. Though it takes a little bit of time to get going and sometimes wanders a little too long in its protracted 131-minute running time, it is a visually striking film that also raises compelling ideas about the predicament its leads find themselves in and the consequences that could spring from it. The obligatory gnarly cannibalistic scenes are there, but Guadagnino is ultimately more interested in exploring what this condition does to those affected with it. For cannibalistic “eaters” like Taylor Russell’s Maren and Timothee Chalamet’s Lee, life will never be straightforward nor easy; though they get glimpses at normalcy through parts of their road trip with one another, those flashes of happiness come with the nagging reminder that the compulsion to feed on human flesh will ultimately keep them isolated. Whether one reads it as “elevated horror” using cannibalism as allegory (for, say, addiction) or just takes it at face value, it lends the film a powerful intellectual edge that more than makes up for the loose nature of its plot progression. Russell and Chalamet are also both very good in their respective roles, and their chemistry with one another sells the relationship in convincing fashion. There’s also solid work from a stacked supporting cast, including a few deeply creepy scenes from Mark Rylance, a short but cleverly played appearance from Chloe Sevigny, and a masterful cameo from Michael Stuhlbarg that features a haunting monologue whose presence hangs over the rest of the film. Though it wanders perhaps a bit too much at points, Bones and All works as a beautiful and haunting character study that feels daring even by arthouse horror standards. B+

This is still at one of my local first run theaters. (Yes, seriously.) Longest run I can recall for a movie here outside of My Big Fat Greek Wedding. The funny thing is that the one-sheet outside - which has been up since a few weeks before the film's release - has faded so much that it practically looks like it's in black and white now.

I'm bummed that Glass Onion didn't get a full, proper release. Knives Out felt like a throwback to box office hits of yesteryear as an appealing, well-reviewed star-driven vehicle that also hung around for a long time. Seeing the sequel go to a streamer with a not-too-wide release and no official box office reporting just feels wrong.

Ugh, the bad faith discourse on this one is going to be awful, isn't it? Before the review proper, I'll just say that everything with Ethan and his openly acknowledged crush on Diazo is really cute. It doesn't occupy much of the running time (though I'm sure it's the one thing a segment of its audience will hyper-fixate on), but the fact that it's acknowledged at all and treated as no different from a straight teenage crush feels like a big deal. (It's also nice that his entire personality is not just "being gay.") Representation matters, and I'm glad that it's more than just a throwaway line or a blink-and-you'll-miss-it background event. Gay kids exist, and it's long past time that they get, y'know, maybe a sliver of nonjudgmental representation in a big-budget film. Anyway, off my soapbox and onto my proper review... Strange World, the latest entrant into Disney’s animated pantheon, is a diverting if perhaps underdeveloped adventure. While not as impactful nor as memorable as most of Disney’s more recent output, it has aesthetically pleasing visuals, plenty of cute side gags with the array of sentient creatures, and nice, heartwarming messages about the bonds of family. The narrative admittedly bites off a bit more world-building than it can chew and sometimes lets the character development take a backseat, but when it takes the time to focus on the dynamics of the intergenerational relationship between the three main male characters, it’s as funny and touching as one would expect from a Disney animated film. Sadly, much of the discussion surrounding this film will likely center on either its poor box office performance (something it seemed doomed to with how relatively little Disney advertised it) or the fact that teenage character Ethan is presented unambiguously as gay – or worse yet, bad faith arguments that the latter is the root cause of the former. However, while it doesn’t quite measure up to the heights that director Don Hall has reached with his other efforts for Disney, it’s a fun family film with more than enough material to keep older viewers entertained. B

A The Banshees of Inisherin Everything Everywhere All at Once The Fabelmans Tár A- Armageddon Time Barbarian The Batman Bros Nope The Northman Till Top Gun: Maverick Turning Red The Woman King X B+ Black Panther: Wakanda Forever The Black Phone The Bob's Burgers Movie Bodies Bodies Bodies Cha Cha Real Smooth Chip 'n Dale: Rescue Rangers Emily the Criminal Fresh Hustle Marcel the Shell with Shoes On The Menu Pearl Smile Thor: Love and Thunder Vengeance B Ambulance Bullet Train Causeway Doctor Strange in the Multiverse of Madness Dog Elvis The Good Nurse Honk for Jesus. Save Your Soul. Jackass Forever Lightyear The Lost City Men Not Okay Scream Strange World Three Thousand Years of Longing The Unbearable Weight of Massive Talent B- The Adam Project Amsterdam Death on the Nile C+ Halloween Ends Uncharted C Don't Worry Darling Fantastic Beasts: The Secrets of Dumbledore C- Blonde Jurassic World: Dominion Morbius