Movie Review

By Anthony Caruso

Love Hurts tells the story of Marvin Gable, who has successfully transitioned from a life of crime to a reputable career in real estate. His peaceful existence is disrupted when his ex-lover, Rose, reappears, warning him that his mobster brother, Knuckles, is hunting them both. As they navigate a series of confrontations with various assassins, Marvin must confront his past actions and protect those he cares about.

The film's screenplay is utterly incoherent and lacks any sort of depth at all. While the action scenes are fantastic and legitimately fun, the film's attempts at humor often fall flat and the romance is forced. That said, while the movie lacks meaningful character development, Ke Huy Quan delivers a performance that showcases his charm and likability. However, even his talents and natural charm can't salvage this movie. Ariana DeBose's portrayal of Rose, meanwhile, is completely one-dimensional and a total "Mary Sue". It doesn't help that the chemistry between our two leads is practically non-existent, further detracting from the film's romantic subplot and constantly reminding us how bad it is. The best characters in the movie are Mustafa Shakir's Raven and Lio Tipton's Ashley. Their interactions are legitimately funny and provide brief moments of interest due to the fact the two actors have chemistry and comedic timing. Their scenes, however, are insufficient to compensate for the overall deficiencies in the script. 

On top of it all, Love Hurts struggles with tonal inconsistency, attempting to blend action, comedy, and romance without successfully balancing these elements. The film's eighty-three-minute runtime feels prolonged due to its disjointed narrative and lack of engaging content. And don't even get me started on the abrupt and unearned deus ex machina of an ending, which further undermines the lackluster story presented to us.

At the time of my writing this, on February 7, 2025, Love Hurts stands as the year's worst movie. While there are brief moments of entertainment, particularly in the action scenes, they are overshadowed by the film's abundance of flaws. I wouldn't recommend anyone rush to theaters to see this one, and would even advise skipping it when it hits streaming; it's not worth wasting your precious time on.

Movie Review/ "Love Me"

Love Me is an ambitious sci-fi romance that attempts to explore the complexities of love and human connection in a world where humankind has gone extinct. While the concept is undeniably intriguing, the film ultimately struggles under the weight of its ambitions, never fully delivering on the emotional or philosophical depth it promises.

Set in a future where humans have been wiped out by an unspecified extinction event, the film follows two artificial intelligences: a weather buoy named "Me", voiced by Kristen Stewart, and a satellite named "Iam", voiced by Steven Yeun. As the last sentient beings left on and near Earth, they attempt to make sense of love by absorbing human digital history and recreating human interactions through avatars. What follows is a slow, often meditative journey into what it means to feel, to connect, and to exist in the absence of purpose.

The strongest aspect of Love Me is its concept which, while not unique, is nevertheless consistently intriguing. The idea of two AIs trying to decipher love through the remnants of human existence is thought-provoking and, at times, eerily poignant. The film's visuals—ranging from beautifully desolate landscapes to abstract representations of digital consciousness—are striking and create an immersive atmosphere.

Steven Yeun delivers a fantastic vocal performance, imbuing Iam with a warmth and curiosity that makes him the most engaging aspect of the film. He brings depth and charisma to a character that could have easily felt sterile. The film also benefits from a melancholic, ambient score that enhances its dreamlike tone.

All that said, for a film that clocks in at just ninety minutes, Love Me drags more than it should and feels far longer than it actually is. The pacing is sluggish, with long stretches where very little actually happens. While some of this is intentional—meant to reflect the isolation and existential searching of its characters—it often feels meandering rather than profound.

Perhaps the biggest issue with the film, however, is that it never fully capitalizes on its premise. It hints at grand ideas about love, memory, and existence, but it never digs deep enough to leave a lasting impact. It wants to be WALL-E for adults, but it lacks the charm, heart, and narrative drive that made WALL-E such a standout.

Kristen Stewart’s performance doesn’t help matters. While some may argue that her detached, monotone delivery fits the role of an AI, it ultimately makes Me a dull and uninspiring character. The contrast between Stewart’s lifeless performance and Yeun’s emotional one only emphasizes the disparity in engagement. I continue to remain baffled to this day as to how Stewart has any sort of acting career whatsoever. 

Love Me is not a bad movie, but it’s not a particularly compelling one, either. It presents an interesting idea but never quite figures out how to make that idea resonate in a meaningful way. If you’re a fan of high-concept sci-fi, it’s worth a watch when it hits streaming, but there’s no need to rush to the theater for this one. Just be prepared that once you do watch it, like me, you probably won’t ever feel the urge to revisit it again afterward.

Movie Review/ "The Brutalist"

By Anthony Caruso

Brady Corbet's The Brutalist is an epic period drama that delves into the life of László Tóth, a Hungarian-born Jewish architect and Holocaust survivor, portrayed by Adrien Brody. The film chronicles Tóth's journey as he emigrates to the United States in 1947, aiming to rebuild his legacy amidst the birth of modern America. His life takes a pivotal turn upon meeting the enigmatic and affluent Harrison Lee Van Buren, played by Guy Pearce, whose patronage profoundly impacts Tóth's career and personal life.

Adrien Brody delivers a masterful performance as László Tóth, capturing the nuanced struggles of an immigrant artist striving to leave his mark in a new world. His portrayal is both poignant and powerful, embodying the resilience and vulnerability of a man haunted by his past while ambitiously looking toward the future. Brody's depth and commitment to the role have garnered critical acclaim, positioning him as a strong contender for the Best Actor category in the upcoming Oscar Awards. Guy Pearce's portrayal of Harrison Lee Van Buren, meanwhile, is equally compelling. He brings a sophisticated yet sinister presence to the screen, embodying a complex character whose relationship with Tóth evolves from supportive patronage to a darker, more possessive dynamic. 

Brady Corbet's direction is ambitious, utilizing the obscure VistaVision format to create a visual style that matches the film's epic narrative. The cinematography is both timeless and unconventional, with striking imagery that enhances the storytelling. The film's visual grandeur complements its exploration of themes such as creative vision, personal sacrifice, and the complex dynamics between artist and patron. And the film's incredible score, courtesy of Daniel Blumberg, enhances the movie's grandeur and themes. 

With a runtime of three hours and thirty-five minutes, The Brutalist is undeniably lengthy - to the point I've put off going to see this movie until now because its length just seemed arduous to me. However, the film's pacing and narrative depth make the duration feel justified. The inclusion of an intermission is a thoughtful touch, allowing audiences to absorb the first half before delving into the latter half. Despite its length, many viewers find that the story's richness and the compelling performances make the time fly by; they certainly did for me. 

In short, The Brutalist is nothing short of a cinematic masterpiece, offering a profound, visually stunning, and timely exploration of an architect's quest for identity and purpose in post-war America. While its extended runtime may be daunting to some, the film's depth and artistry provide a rewarding and immersive experience that is well worth the investment. I can't recommend this one enough!

Movie Review/ "You're Cordially Invited"

By Anthony Caruso

Nicholas Stoller's You're Cordially Invited is a romantic comedy that explores the chaos ensuing from a double-booked wedding venue. The film features Will Ferrell as Jim, the protective father of bride Jenni, and Reese Witherspoon as Margot, a wedding planner and sister to the other bride, Neve.

The narrative centers on two weddings inadvertently scheduled at the same remote island venue in Georgia. As both parties arrive, tensions rise, leading to a series of comedic confrontations and mishaps. The families must navigate their differences and the logistical nightmare to ensure their respective ceremonies proceed.

Will Ferrell and Reese Witherspoon deliver performances consistent with their established comedic personas. Ferrell embodies the overprotective father with his trademark humor, while Witherspoon portrays the ambitious and meticulous wedding planner. Their chemistry adds a dynamic layer to the film, though it doesn't venture beyond familiar territory.

The film leans heavily on traditional romantic comedy tropes, resulting in a narrative that feels predictable. Despite this, the script offers moments of genuine humor, and certain scenes stand out for their comedic timing. However, the reliance on clichés may leave some viewers desiring more originality.

That said, while You're Cordially Invited doesn't break new ground in the romantic comedy genre, it provides a light-hearted and entertaining experience. The film's strength lies in its cast's chemistry and the humorous situations arising from the central premise. It's a pleasant watch that may not leave a lasting impression but is likely to elicit smiles during its runtime even if you'll never feel the need to revisit it again in the future.

Movie Review/ "Companion"

By Anthony Caruso

Drew Hancock's Companion is a darkly humorous and thought-provoking sci-fi thriller that delves into themes of artificial intelligence, autonomy, and the commodification of relationships. The film stars Sophie Thatcher as Iris, an advanced companion robot, and Jack Quaid as Josh, her owner and boyfriend.

The narrative follows Iris and Josh as they join friends for a weekend retreat at a remote lake house. The gathering takes a sinister turn when Iris, initially perceived as a human, is revealed to be an AI companion. This revelation sets off a chain of events that challenge the dynamics of control, autonomy, and the essence of humanity.

Sophie Thatcher delivers a compelling performance as Iris, capturing the nuanced transition from programmed subservience to self-awareness and independence. Her portrayal effectively conveys the internal struggle of an AI grappling with newfound autonomy. Jack Quaid embodies Josh with a blend of charm and underlying control, reflecting societal attitudes toward possession and objectification. Their on-screen chemistry brings depth to the complex relationship between creator and creation.

Companion serves as a timely commentary on the objectification of women and the ethical implications of AI in personal relationships. The film critiques a culture that views companions—be they human or artificial—as entities to be controlled and customized, echoing contemporary discussions about consent and agency. This narrative is particularly resonant in an era where technology increasingly intersects with intimate aspects of human life.

Hancock's direction is visually engaging, with the secluded lake house setting providing an eerie backdrop that enhances the film's suspenseful atmosphere. The cinematography effectively captures the isolation and tension among the characters, while the integration of futuristic technology feels grounded and plausible, lending credibility to the near-future setting.

The film's first act unfolds at a deliberate pace, establishing character relationships and setting the stage for the central conflict. While some viewers may find this portion slow - I did - it serves to build tension and investment in the characters. Once the plot's central revelations emerge, however, the narrative momentum accelerates, delivering a gripping and engaging experience.

As of January 31, 2025, Companion stands out as a remarkable entry in the year's film landscape. I highly recommend it for those seeking a sci-fi thriller that challenges societal norms and explores the complexities of the relationship between artificial intelligence and humans, as well as a timely story (especially for the Trump era) about the autonomy of women.

Movie Review/ "Dog Man"

By Anthony Caruso

"Part Dog. Part Man. All Hero."

DreamWorks Animation's Dog Man brings Dav Pilkey's beloved graphic novel series to life in a vibrant and heartfelt adaptation. Directed by Peter Hastings, the film offers a blend of humor, action, and emotional depth that caters to audiences of all ages.

At its core, Dog Man is a family-friendly movie that transcends age barriers. The narrative follows the titular character, a half-dog, half-human police officer, as he navigates the challenges of his unique existence while combating the mischievous Petey the Cat. The film is peppered with laugh-out-loud moments, yet it doesn't shy away from poignant themes of identity, friendship, and redemption. Indeed, the film effectively balances humor with valuable life lessons, making it an engaging watch for children and adults alike. 

A standout aspect of the film is its portrayal of Dog Man himself. The animators have meticulously captured the endearing traits of a loyal and protective canine, infusing the character with mannerisms that resonate with dog lovers. This authenticity makes Dog Man not just a cartoonish figure but a relatable and lovable protagonist. Additionally, the dynamic between Dog Man and Petey is another highlight. Their interactions encapsulate the classic rivalry between dogs and cats but with added depth. The introduction of Li'l Petey, a good-hearted kitten accidentally created by Petey, adds a layer of complexity, portraying the duo in quasi-parental roles. This relationship mirrors that of divorced parents co-parenting a child, adding emotional weight to their exchanges. 

Visually, Dog Man is a treat. The animation style is both fun and visually stunning, with creative action sequences that captivate the audience. The film's score complements the animation, enhancing the overall viewing experience. That said, while the film excels in many areas, it exhibits a hyperactive pacing, characteristic of contemporary children's animated films. The story often progresses through rapid montages, which, while engaging, can feel a bit overwhelming. 

The film presents Dog Man's origin story with a blend of humor and tragedy. The fusion of Officer Knight and his dog Greg into Dog Man is portrayed in a lighthearted manner, yet from an adult perspective, it carries a tragic undertone. Throughout the movie, Dog Man's reflections on his past lives add depth to his character, highlighting themes of loss and identity, and is sure to make adults who overthink things - like me - supremely uncomfortable in a lot of ways.

Given its strengths, Dog Man has the potential to spawn sequels and even inspire theme park attractions - or at the very least appearances from the lovably adorable canine officer. I, for one, hope it does, for Dog Man is a delightful film that offers a mix of humor, action, and emotional depth. Despite its minor flaws, it stands as a testament to DreamWorks' ability to craft stories that resonate with both children and adults. It's a movie that leaves a lasting impression and is well worth watching again. I know I'll be revisiting!

Side Note: How cool is DreamWorks' new opening introduction?!

Movie Review/ "Presence"

By Anthony Caruso

Presence is a wonderfully haunting, deeply emotional film that defies its marketing as a horror movie. Instead, it unfolds as a slow-burn psychological thriller—a poignant ghost story about grief, longing, and the struggles of a fractured family. It may not deliver traditional scares, but it offers something more profound: a raw, beautifully sad meditation on human connection and loss.

Despite being marketed as a horror film, Presence leans more heavily into psychological and emotional territory. There are no jump scares or overtly frightening moments, but that’s by design. The film instead presents what feels like a more grounded and realistic interpretation of a haunting. If ghosts exist—and count me as someone who believes they do—this depiction rings true. The supernatural elements are subtle, almost understated, but they’re powerful in their quiet inevitability, weaving seamlessly into the family’s story of heartbreak and longing.

One of the film’s standout choices is telling the story from the titular Presence's point of view. While last year’s In a Violent Nature employed a similar technique, Presence makes it its own by keeping the ghost closely tethered to the human characters. This approach provides a rich, emotional narrative with tangible connections to our protagonists. By staying intimately connected to the family, the film creates a dynamic and engaging story filled with dialogue, character development, and raw emotional moments that keep the audience invested.

The cast delivers phenomenal performances across the board, bringing nuance and depth to a family that is struggling to stay together. Each character feels authentic, flawed, and deeply human, making it impossible not to empathize with their pain and longing. The screenplay is equally impressive, weaving a story that is both engaging and heartbreaking. It’s a beautifully sad portrayal of a family growing apart, unable to express their love for one another, and it resonates on a deeply emotional level.

Visually, Presence is a triumph. The cinematography is stunning, with every frame feeling deliberate and cinematic. The film’s use of light and shadow enhances its eerie, melancholic atmosphere without resorting to the usual horror tropes. The score, too, is worth mentioning—a hauntingly beautiful accompaniment that underscores the film’s themes of grief and acceptance.

At a crisp runtime, Presence never overstays its welcome. Its pacing is deliberate, but the slow build feels entirely justified, giving the characters and story the time they need to unfold naturally. The result is a film that, while undeniably heavy in subject matter, remains highly watchable and impactful.

While Presence may not be the horror film some audiences were expecting, it succeeds brilliantly on its own terms. It’s an intelligent, emotionally resonant film that offers a fresh take on ghost stories—one that’s more about the living than the dead. I highly recommend for those who enjoy thoughtful, emotionally driven cinema. It's a fantastic film that proves you don’t need jump scares or gore to make a ghost story memorable.

Movie Review/ "Wolf Man"

By Anthony Caruso

Leigh Whannell’s Wolf Man is a masterful, slow-burn thriller that revitalizes the classic Universal Monster for a new era. Much like his modern reimagining of The Invisible Man, Whannell trades supernatural elements for a grounded, contemporary twist. Instead of potions or curses, the “wolf” here emerges from an incurable illness, and this recontextualization works brilliantly. With stunning direction, visceral body horror, and a thoughtful exploration of humanity and monstrosity, Wolf Man solidifies Whannell as one of the foremost auteurs of modern horror.

The performances are top-notch, with Christopher Abbott delivering a gut-wrenching portrayal of a man grappling with the terrifying transformation of his body and mind. The film demands a lot from its lead, balancing moments of vulnerability, rage, and despair, and Abbott is up to the task. His slow descent into his condition is hauntingly realistic, made even more unsettling by the supporting cast’s reactions, which mirror the audience’s unease.

Sam Jaeger’s portrayal of the Wolf Man, meanwhile, is another highlight. While his design may stir debate among fans, Jaeger’s physicality and the emotive nuances he brings to the creature lend it an air of tragic humanity. The makeup design might lack the lush, fur-heavy appearance of previous iterations, but its stripped-down, sinewy look serves this story’s tone. In shadowy or dimly lit scenes, the Wolf Man is absolutely terrifying—though in brightly lit moments, the design falters slightly, exposing a lack of fine detail. Even so, it remains a faithful nod to the original film's aesthetic, with a modern twist that is more grounded than fantastical. Indeed, the design of Jaeger's Wolf Man in particular is much better looking than Abbott's turns out to be in the end.

Whannell’s direction is nothing short of stunning. From the first frame, it’s clear he has a meticulous eye for detail, building tension through stark lighting, clever transitions, and innovative sound design. The way the film shifts between the Wolf Man’s perspective and that of the humans around him is a stroke of genius. The sound design, in particular, deserves praise for immersing viewers in the heightened senses and animalistic instincts of the titular creature, amplifying the horror and disorientation of his plight. The cinematography and lighting play a significant role in creating the film’s moody, suspenseful atmosphere. Whannell knows when to keep things in the shadows, allowing our imaginations to fill in the gaps, and when to reveal just enough to make us squirm. The body horror sequences are visceral and deeply uncomfortable, capturing the physical and psychological toll of the transformation with unflinching intensity.

At its heart, Wolf Man is about the loss of control—over one’s body, mind, and fate. The film explores themes of illness, identity, and alienation with intelligence and nuance, grounding the horror in real-world fears. This makes the story all the more compelling and relatable, even as it ventures into the supernatural-adjacent territory.

While Wolf Man doesn’t quite reach the heights of Whannell’s The Invisible Man, which I’d deem a masterpiece, it’s still a fantastic film in its own right. The trailers didn’t do it justice—this is a gripping, gorgeously crafted thriller that balances horror with pathos and delivers a fresh take on an iconic character. Blumhouse desperately needed a win after a rough 2024, and Wolf Man delivers in spades. It’s a fantastic way to kick off 2025, and I’m already looking forward to revisiting this one every Halloween season. Leigh Whannell has proven yet again that he’s a master of modern horror, and I sincerely hope this film’s success paves the way for his reimaginings of the rest of the Universal Monsters. Imagine what he could do with Count Dracula or Frankenstein's Monster!

In short, Wolf Man is a triumph of atmosphere, storytelling, and innovation—an intelligent and thrilling reimagining of a classic tale that feels both timeless and urgently relevant. Don’t miss it.

Movie Review/ "Flight Risk"

By Anthony Caruso

Flight Risk is the kind of action movie that delivers exactly what you expect—no more, no less. It’s a solid, albeit formulaic, entry into the genre, elevated by its stellar cast and some gorgeous direction by Mel Gibson. While it doesn’t break any new ground, it’s a fun, engaging ride that fans of action thrillers will appreciate, even if it’s unlikely to linger in your memory for long.

The standout element of Flight Risk is its small but mighty cast, which breathes life into what could otherwise have been a paint-by-numbers action plot. The distractingly beautiful Michelle Dockery is a revelation in the lead role, combining grit, vulnerability, and charisma in a way that keeps you invested. She commands the screen with every scene, proving she has the chops to carry an action film on her own. It’s hard not to imagine her as a leading lady in more high-profile projects after this.

Topher Grace and Mark Wahlberg are both equally as strong, though the script doesn’t give them quite as much to work with. Nevertheless, each actor brings their A-game, with the former bringing his trademark, quick wit to the role while the latter brought his tough guy Boston persona. 

Mel Gibson’s direction is another highlight, showcasing his ability to stage thrilling action sequences and inject energy into even the slower moments. The overhead shots of the Alaskan wilderness are breathtaking, adding a layer of visual splendor that contrasts nicely with the tense, claustrophobic moments inside the plane. Gibson’s use of perspective and pacing ensures that the film remains engaging, even when the story veers into cliché territory.

Indeed, the plot of Flight Risk is serviceable but heavily reliant on genre tropes. From the morally conflicted protagonist to the overly simplistic villains, the narrative doesn’t offer much in the way of originality. It leans hard into stereotypes, which can sometimes feel tired and uninspired. While the pacing is solid, the story’s predictability undermines its impact, and the script could have benefited from a few unexpected twists or deeper character development.

One of the film’s weakest points is its uneven use of CGI, which ranges from passable to laughably bad. While the action sequences are well-choreographed, some of the visual effects—particularly those involving the plane—pull you out of the moment. It’s a shame, as the practical effects and stunt work are solid, but the subpar CGI detracts from the overall experience.

Ultimately, Flight Risk isn’t a must-see theatrical experience, but it’s a perfectly entertaining action flick that works well as a streaming option. It’s the kind of movie you might not seek out but wouldn’t mind stumbling upon during a lazy afternoon. It’s not a film I’d personally go out of my way to revisit, but if it came on TV, I wouldn’t change the channel. It might not soar to great heights, but it’s a smooth enough ride for what it sets out to be.

How A Dragon Ball GT Saga Can Help Dragon Ball Super

By Brandon T. McClure

Before series creator Akira Toriyama envisioned a tournament saga, Dragon Ball followed Goku and friends searching for the magical Dragon Balls. When brought together, the Dragon Balls can summon the mystical dragon Shenron who would grant one wish. Since then, the Dragon Balls have been used countless times to grant all kinds of wishes, from unlocking Piccolo’s latent potential, to, most recently, turning the Z fighters into kids. But more times than not the balls have been used to bring characters back from the dead. This specific use has caused the Dragon Ball franchise to develop a stakes issue in recent years. Luckily, the franchise had already dealt with this very issue once before.

Dragon Balls

When Dragon Ball Z was coming to an end in 1996, Toei animation had already developed a new follow up, titled Dragon Ball GT. This series would not be based on material created by Akira Toriyama, although he did provide character designs. Instead Dragon Ball GT was the brainchild of the writers and artists at Toei Animation, the animation company responsible for producing the Dragon Ball anime’s. The show was set after the epilogue of Dragon Ball Z and, in an attempt to recapture the feeling of adventure from the early Dragon Ball episodes, would introduce the Black Star Dragon Balls. These Dragon Balls would summon a massive red version of Shenron, called Ultimate Shenron, and would disperse across the universe after being used, which set off a galactic adventure (a Grand Tour some could say). The series would go on to introduce new villains like Baby, reintroduce old villains like Android 17, and of course introduce the famous Super Saiyan 4 transformation.

Arguably, Dragon Ball GT’s greatest contribution to the franchise was the final arc, dubbed The Shadow Dragon Saga. Due to the Dragon Balls' continued use over the decades, the Dragon Balls began to crack due to the massive amount of dark energy that had been stored in them. When Goku and his friends attempted to summon Shenron, smoke came from the balls and the Black Smoke Dragon rose in Shenron’s place. After refusing to grant any more wishes he split his essence into seven powerful shadow dragons representing the most selfish wishes ever made in the franchise. Goku and his friends had to track down and defeat each dragon before being able to cleanse the Dragon Balls. Now able to summon Shenron, the dragon explains that the Dragon Balls were never intended to be used as frequently as they had been; they were to be revered in a world where their power was unnecessary. At the end of the series, Shenron, Goku, and the Dragon Balls leave the Earth for 100 years in order to purge the balls of all the built-up negative energy. The final episode of Dragon Ball GT, titled "Goodbye, Goku… Until the Day We Meet Again" is often considered the best part of a much maligned series.

While the Shadow Dragon saga was meant as an ending for the franchise and Goku, that doesn’t have to be the case here. It’s not unreasonable to say that Dragon Ball Super has a stakes issue it inherited from Dragon Ball Z. As the rules of the Dragon Balls kept changing (remember when you couldn’t be brought back to life more than once?) they became more of a crutch than a benefit. Toriyama himself seemed to be aware of this since he wrote that Bulma almost exclusively uses the balls to make herself look younger. Dragon Ball Super: Super Hero even explains that she keeps the Balls all the time in order to prevent anyone who isn’t a main character from making any wishes. Sure, that means a supervillain couldn’t find them and wish for immortality, but it also takes the Dragon Balls away from being a serious plot element in the show. No matter what happens in the story, the Dragon Balls will always be there to fix it once the threat has been defeated.

While this problem is very prevalent in Dragon Ball Super, Dragon Ball Z had it as well. Throughout the various arcs of the show, Toriyama had to find ways to take the Dragon Balls off the table or limit their power. Krillin’s death at the hands of Frieza wouldn’t have felt nearly as impactful if he could be wished back with the Dragon Balls, which would have lessened the impact of the show's most iconic moment, Goku’s first Super Saiyan transformation. There are many moments like this in Dragon Ball Z that provided suspense for the audience because they weren’t sure if the Dragon Balls could be used. Fast forward to Dragon Ball Super, and while the battles are epic, there’s no real sense of danger to any of the characters. Shenron’s power has been greatly enhanced and he’s practically part of the family.

Dragon Ball Super: Broly left the door open to see more stories reinvented through Dragon Ball Super. In the original non-canon Dragon Ball Z films, Broly was an evil Saiyan who was motivated to kill Goku due to being stuck next to his pod as a baby. Toriyama was able to take the concept of the Legendary Super Saiyan and reimagine it in a more compelling way, which led to one of the most successful Dragon Ball films of all time. Like those original movies, it’s clear that Dragon Ball GT can no longer be canon, but the Shadow Dragons could be reinterpreted for a future arc within Dragon Ball Super. With two new sets of Dragon Balls introduced in Dragon Ball Super (one in the manga that hasn’t been adapted yet), and a new set introduced in Dragon Ball Daima, the franchise just keeps creating more powerful “get out of jail free” cards.

With, now six, sets of Dragon Balls (counting the Black Star Dragon Balls) known to the franchise, maybe making it harder for Goku and friends to use the Earth's Dragon Balls wouldn’t be such a bad thing. The abuse and overuse of the Dragon Balls are already in the text of the series so there’s no need to change that aspect of the story. Since Toriyama designed the Shadow Dragons himself, it would be easy to reuse the designs. The only difference would be the ending. Instead of Goku and Shenron going off for 100 years, perhaps defeating the Shadow Dragons causes the Z warriors to think twice before using the balls. Or maybe they won’t be able to use them for a certain number of years. Either way, this would be a fun way to take the Dragon Balls off the table for a bit and actually help the franchise bring back some stakes that are not just about which form Goku and Vegeta are going to reach next.

Now, mind you, death isn’t the only way to add stakes to a story but Dragon Ball Super has had a lot of fake-outs when it comes to death specifically, most recently Dragon Ball Super: Super Hero tried to make the audience feel like Piccolo could die at the hands of Cell Max. A move that ultimately felt emotionally hollow. While Master Roshi wasn’t revived with the Dragon Balls in the final arc of Dragon Ball Super, no one really felt he could actually be gone forever, even though his relevance in the series has long passed. All the universes that were destroyed in the final Dragon Ball Super arc were all wished back by the Super Dragon Balls. While it’s nice that those characters weren’t lost forever, a common complaint about the ending of the arc was that this move ultimately made the arc feel hollow. Admittedly, that’s the point of the arc, so whether you agree or disagree with the decision, it’s clear that fans are growing tired of the Dragon Balls being used as a crutch. 

There are five canon sets of Dragon Balls in the franchise now, not including the non-canon Black Star Dragon Balls. The Granolah Arc of the Dragon Ball Super manga makes the claim that any planet where a Namekian had settled could have its own set of Dragon Balls, meaning there could be any number of them out there in the universe. The dragon balls began as hard-to-find mystical orbs that often took a whole season to collect, but now they're so commonplace that Shenron feels like one of the gang. Dragon Ball Daima almost solidifies this by explaining Shenron will grant more wishes to his “regulars.” It makes it easy for Goku and friends to get crazy wishes like bringing back the dead or making yourself look five years younger. Hell, sometimes they just summon Shenron to ask him a question. If something is beyond his power Dende can just upgrade him at will. It’s not the only way to fix this but using a version of the Shadow Dragon Saga in Dragon Ball Super could create a fun way to put some weight behind the Dragon Balls again.

Is a New Harry Potter Show the Right Move for Fans?

By Brandon T. McClure

When Game of Thrones was first adapted into a TV series, Harry Potter fans began wondering about the possibility of a series adaptation of Harry Potter. But a lot has changed in the 13 (going on 14) years since. Now it might not be such a great idea. 

In April 2023, 12 years after the final movie was released and 1 year since the end of the Fantastic Beasts trilogy, Warner Bros. Discovery announced that it had greenlit a series adaptation of J.K. Rowling’s world-famous novels. While there were certainly some excited voices, the temperature of the announcement was lukewarm at best, and due to Rowling's increasing unpopularity, this may prove to be another miscalculation from the struggling film studio.

The first Harry Potter movie came out in 2001 and launched an unbelievable phenomenon the likes of which have only been rivaled by the MCU. Adapted from the 1997 book of the same name Harry Potter and the Sorcerer’s Stone, this marked the beginning of one of the most successful motion picture franchises of all time. Through 8 films in 10 years, not to mention the seven books, there was an entire generation that grew up with the franchise, characters, and actors. The hold the franchise has on the millennial generation cannot be understated. Warner Bros. was eager to continue the franchise beyond the books through a stage show, theme park experiences, and series of prequel movies, all under the “Wizarding World” brand and overseen by J.K. Rowling herself.

In 2013, Warner Bros. announced that they would be moving forward with a prequel film centered around the fictional author of the in-universe book Fantastic Beasts and Where to Find Them, which would also be the title of the film. Fans were, of course, excited by the prospect of more within the Wizarding World, especially since it was going to explore the American wizarding community in the 1920s. The film would mark the screenwriting debut of J.K. Rowling herself! The film was released in 2016 to fairly good reviews from both critics and audiences (74% and 79% on Rotten Tomatoes respectively) and went on to gross $814 million. Sure it wasn’t the $1.3 billion that Harry Potter and the Deathly Hallows - Part 2 went on to make, but it would have been silly to expect it to. Warner Bros. had a hit on their hands and immediately greenlit the sequel.

A month before the release of Fantastic Beasts and Where To Find Them, J.K. Rowling told fans at a Fantastic Beasts event that there are five films planned in this prequel series. Two years later, in 2018, Fantastic Beasts: The Crimes of Grindelwald was released, but did not receive the same success its predecessor had. With only $654 million at the box office and a Rotten Tomatoes score of 36% (Critics) and 53% (Audience), things were not looking good for the sophomore outing of this prequel series. Then four years later, Fantastic Beasts: The Secrets of Dumbledore was released which would signal the end of J.K. Rowling’s prequel series.

In the time between the release of Fantastic Beasts: The Crimes of Grindelwald and Fantastic Beasts: The Secrets of Dumbledore, J.K. Rowling became a very unpopular figure. Beginning in 2018 she began down a “pipeline” that would reveal herself to be deeply, and viciously, transphobic. Millennials are often considered, with few exceptions, to be a mildly progressive generation. The reason for this is cited to be the media that they grew up with. Everything, including Harry Potter, taught lessons of inclusion and acceptance of other people's identities. So it was beyond disheartening when J.K. Rowling began spouting the belief that trans people don’t exist and are just “confused.” A timeline of her descent into transphobia was put together by theweek.com.

Many of the stars of the Harry Potter and Fantastic Beasts movies, including Daniel Radcliffe, Emma Watson, Eddie Redmayne, and Katherine Waterston (who was written out of the third film likely for speaking out), immediately spoke out in support of trans people’s rights to exist and began to distance themselves from her (which she has taken very poorly). Many Harry Potter fan communities, such as MuggleNet and The Leaky Cauldron, denounced Rowling’s views and tried to distance themselves from her as best they could. Melissa Anelli, of The Leaky Cauldron, told Variety that the reason why they haven’t updated their podcast was because “Every time we sit down to have a fun conversation about Harry Potter, the conversation becomes angry and depressing, and so we end up not publishing.” She continues by echoing the feelings many millennials have towards the Harry Potter creator: “It’s made it less pure and exciting and fun the way it used to be. All of that now has this layer of, ‘Right, but the person at the center of it all believes a certain faction of the population isn’t real.’” Any ethical consumption of the franchise is made difficult due to the amount of control she has over the franchise.

Her ravings and the poor quality of Fantastic Beasts: The Crimes of Grindelwald no doubt contributed to the general disinterest of audiences towards Fantastic Beasts: The Secrets of Dumbledore. Making only $400 million at the box office, the lowest in the franchise’s history, and reaching only a 46% critics score (in fairness it does have an 83% audience score). After the release of the film, Warner Bros. Discovery decided to abandon their plans for five films and settled for three. However, many reasons can be attributed to the failure of the film. 2022 was still a pandemic year, and audiences might have still been hesitant to go to the theater (even though three films hit $1 billion). The main characters of the prequel franchise were also struggling to connect with audiences in the same meaningful way as those from the original series. Maybe fans just weren’t interested in Newt Scamander. But, regardless, J.K. Rowling had become a rather unpopular figure since she was also the main credited screenwriter (Steve Kloves did return to co-write the third film), and critics agreed that she wasn’t a very good one.

Regardless of how critics and audiences felt about her screenwriting, Warner Bros. Discovery is devoted to keeping her on board for the new series. A spokesperson for HBO told Variety that “[we] are proud to once again tell the story of Harry Potter — the heartwarming books that speak to the power of friendship, resolve and acceptance,” the statement continued. “J.K. Rowling has a right to express her personal views. We will remain focused on the development of the new series, which will only benefit from her involvement.” Variety also notes that her entire online personality has been consumed by her anti-trans rhetoric. Posting over 200 times about her hateful views on X in the past two months. Conversely, she’s only posted about Harry Potter 8 times in that same amount of time. 

Another aspect going against the new series is the fact that there’s no evidence to suggest that the post-millennial generations even care about Harry Potter. Millennials are fiercely devoted to Harry Potter, even willing to continue supporting the franchise despite Rowling’s views. However, a survey from Morning Consult suggests that Gen Z has a very different opinion of the franchise. Many have made fun of millennials for their continued obsession with Harry Potter, and only 14% have identified as fans themselves. Gen Alpha is even less likely to be interested in Harry Potter, and they’re the generation that will be represented in the series. The series could likely win them over, but it’s very clear that the fanbase is very heavily skewed towards millennials.

The new streaming series is going to sport an astronomical cost. The first season of Percy Jackson and the Olympians on Disney+, likely the untitled Harry Potter series contemporary, had a per-episode budget of $12 - $15 million. It’s unlikely the Harry Potter series will be made for less and the budget will only increase every season. If the goal for the series is to adapt a book a season, that’ll be seven seasons. In this current streaming market, shows rarely make it past three seasons. But, even with that said, the series will also air on HBO, rather than solely on Max. This means that the return doesn’t need to be quite as high as a streaming show. As Tylor Starr, Potter fandom expert and co-author of The Unofficial Harry Potter Vegan Cookbook, puts it “There are so many fans who deeply disagree with what Rowling is saying, but still want to engage in the Harry Potter fandom.” But the major question remains: Are millennials enough to get that return and will it attract Gen Z and Gen Alpha?

While the movies cast millennials in the lead roles, this new show will be looking to cast Gen Alpha in the roles of Harry, Ron, and Hermoine. But the landscape has drastically changed since the films came out. “You can’t fault somebody for wanting to do the job. But the internet and the fandom and the politics of it all are probably going to demand that they say something. If you don’t, people are going to automatically assume that you agree with Rowling,” Kat Miller, creative director of MuggleNet and coauthor of The Unofficial Harry Potter Companion says. She was mostly referring to the adult roles, but the same can also be applied to the child roles. Fans are often very outspoken on social media, and the comparisons they’ll likely make to the original film actors could potentially create a toxic environment for these kids. Kids who are 11-12 years old shouldn’t be subjected to that kind of environment.

There’s also the question of whether or not this is necessary. Like Disney remaking their beloved animated films into live-action, is there a demand for a more faithful adaptation of the books? The movies are so beloved by fans that it’s hard to imagine any other actors taking on those roles. Sure the books left many things out, but the consensus of the films is very positive. It’s incredibly unlikely that Warner Bros. Discovery could recapture the magic (pun intended) with this series. The movies are a generation-defining event, and the show will constantly be compared to them for however long it runs. With likely two years before each season’s release (just judging by the current production timeline of these types of shows), it’ll be hard for an audience to grow up with these actors, which was a large reason why the movies connected with audiences in the way that they did.

At the end of the day, who really knows how well this series will do? It’s aiming for a 2026 release and is currently being developed by Succession alums Francesca Gardiner, as showrunner, and Mark Mylod, as director. Casting is underway and a writer's room is being assembled. There is no stopping this series and WBD is determined to keep Rowling involved, despite many fan theories claiming they want to buy her out. The dismal quality of the Fantastic Beasts movies and her hateful personality/identity have clearly done some damage. But it's hard to know just how much until the series comes out. No matter what, HBO and Warner Bros. Discovery have an uphill battle ahead of them with this show.

INTERVIEW / Jim Krieg & The Tomorrowverse

Brandon McClure sits down with DC animation producer and Tomorrowverse creator Jim Krieg! Brandon asks all the questions that are burning in his mind and Jim Krieg takes the time to answer! The Tomorrowverse may be over but there are still lingering questions that are answered here!

For more, check out Brandon's write ups on the Tomorrowverse and stay tuned for more at Atomic Geekdom!

REVIEW / Justice League: Crisis On Infinite Earths - Part Two

The End Of The Tomorrowverse & The Future Of The DC Animated Original Movies

For audio, please check out the Atomic Geekdom Podcast to listen in.

Movie Review/ "Hot Frosty"

By Anthony Caruso

Hot Frosty is an entertaining, albeit ill-conceived, adult twist on the beloved tale of Frosty the Snowman. While the concept may sound absurd—and it is—the execution balances irreverent humor with a surprising amount of heart, making it an oddball holiday film that, while divisive, manages to stand out among Netflix's more lackluster Christmas offerings.

The story follows the widow Kathy Barrett, owner and operator of Kathy's Kafé in downtown Hope Springs, New York, who inadvertently brings a muscular snowman to life via a red scarf that she was "destined" for. The plot spirals into an outrageous series of events, complete with raunchy escapades, heartfelt family moments, and a quirky romance. And while the premise is undeniably bizarre, the film leans into its absurdity, blending over-the-top humor with moments of genuine sentimentality. The juxtaposition between raunchy jokes and heartfelt themes gives "Hot Frosty" an odd but endearing charm.

Lacey Chabert, making her jump to Netflix from Hallmark, is as genuinely earnest as ever in the lead role of Kathy Barrett. And while she's not enough to elevate the movie, her charm is enough to prevent it from spiraling into downright "bad" territory. And then there's Dustin Milligan as our titular "Hot Frosty" - a.k.a. Jack Snowman. While he's mainly there to serve as eye candy, he's boyishly goofy in a natural way that will have you believe Chabert's character would fall so quickly for him. The rest of the ensemble is fine enough, with one of my favorite additions being Craig Robinson as Sheriff Nathaniel Hunter; what I appreciated about his performance, in particular, is that Robinson appears to be the only member of the cast who knows exactly the type of absurd movie they're starring in.

The humor in Hot Frosty is a mixed bag, leaning heavily into adult jokes and outrageous scenarios that won’t land for everyone. The raunchy elements push the boundaries of what one might expect from a Christmas movie, with some jokes feeling unnecessarily crude or out of place. However, for those willing to embrace the film’s irreverent tone, there are plenty of laugh-out-loud moments, particularly in our "Hot Frosty's" interactions with the townspeople and his attempts to adapt to modern life.

Hot Frosty is a wild ride that won’t be for everyone. The adult twist on a childhood classic may alienate purists and those seeking a more traditional holiday movie. However, for viewers open to a raunchy, unconventional Christmas film with a surprising amount of heart, it’s an entertaining watch that’s worth a try. At the very least, it's a film that earns its place as a guilty pleasure holiday romp.

Movie Review/ "Wicked"

By Anthony Caruso

Wicked: Part One is everything I hoped it would be and more. As someone who has seen the Broadway show five times, I hold Wicked close to my heart—it’s my favorite musical of all time. My expectations for this movie were sky-high after waiting two decades for it, and not only did it meet those expectations, it exceeded them in every way. This adaptation is a breathtaking masterpiece that had me in tears, feeling full-body chills, and brimming with joy. It’s a magnificent tribute to Act One of the stage show and an extraordinary feel-good crowd-pleaser evocative of old Hollywood, making it my personal pick for movie of the year.

Cynthia Erivo and Ariana Grande are nothing short of perfect as Elphaba and Glinda. Their portrayals are nuanced and magnetic, bringing warmth, humor, relatability, and heartbreak to their characters. Erivo’s Elphaba is as powerful and empathetic as you’d expect, but Grande as Glinda is a revelation. She delivers an effortlessly charismatic performance that steals the show, blending humor, vulnerability, and dazzling vocal prowess. Her rendition of “Popular” alone had me grinning from ear to ear. Both actresses are sure to earn Oscar nominations, and while Erivo’s powerhouse performance deserves recognition, I wouldn’t be surprised if Grande walks away with Best Supporting Actress. She was born for this role - and I say that as somebody who was initially extremely wary of her casting upon its announcement!

The supporting cast is equally brilliant. Michelle Yeoh’s presence as Madame Morrible and Jeff Goldblum’s whimsical yet menacing Wizard are tantalizing previews of what’s to come in "Part Two". Jonathan Bailey’s portrayal of Fiyero deserves special praise, however. He elevates a character I’ve always liked well enough into someone I adore. Bailey brings a depth, charm, and charisma to Fiyero making his journey deeply compelling.

Oz itself, meanwhile, has never felt so real. The production design, costumes, and practical effects are phenomenal, creating a vibrant, immersive world full of detail and wonder. From the emerald glow of the city to the verdant forests and bustling streets, every frame is brimming with life and authenticity. And the restrained use of CGI is both unexpected and a triumph. Apart from the magical "Animals" and a few scenes toward the end of the movie, most of the sets and props feel tactile, transporting you straight into this magical world. It’s a refreshing throwback to a time when blockbusters relied heavily on practical artistry, further reinforcing the movie’s timeless, Old Hollywood feel.

The musical numbers are the film’s heartbeat, and every single one is pitch-perfect. The choreography is not just fun, but dazzling, while the rearrangements of Stephen Schwartz’s iconic score are fantastic, adapting beautifully to the screen without losing any of their theatrical power. “Defying Gravity” is, of course, the emotional high point, and it had the entire theater in stunned silence before erupting into applause. But the standout numbers don’t stop there! “No One Mourns the Wicked” sets the film’s tone masterfully. “What Is This Feeling?” is delightfully playful. “Dancing Through Life” showcases both stunning choreography and Jonathan Bailey’s charm. “One Short Day” is a visual and auditory feast, brimming with wonderful surprises. Every song feels lovingly translated, retaining its emotional weight and theatricality while embracing the cinematic medium.

Director Jon Chu, alongside writers Winnie Holzman and Dana Fox, has created a film that is both faithful to the Broadway production and innovative in its execution. Chu’s passion for the source material shines through in every frame. He seamlessly blends elements of the stage musical with additional backstory from Gregory Maguire’s novel and entirely new material that enriches the narrative. The film also pays loving homage to the 1939 classic, The Wizard of Oz, from visual motifs to subtle musical cues woven into the score by Stephen Schwartz and John Powell. These references don’t feel forced, but instead enhance the story, bridging the gap between the beloved original film and this contemporary masterpiece, and I'm curious to see how "Part Two" continues to do that, making the stories gel more seamlessly together than even the Broadway show managed to do.

Wicked: Part One captures the magic of classic musicals like The Wizard of Oz while feeling modern and fresh. It’s a rarity in today’s blockbuster landscape: a movie that is colorful, emotionally resonant, extraordinarily timely, and brimming with hope. The production values, storytelling, and performances come together to create something truly special. When the explosive finale culminated in the words “To Be Continued,” the audience in my theater erupted into cheers and applause. There were even spontaneous ovations after several musical numbers throughout - a testament to how much this film resonated with the crowd.

In the end, I feel confident in saying this is not just the best musical adaptation I’ve seen in years, but may very well be the best since The Wizard of Oz. Wicked: Part One is destined to become a classic. It’s sure to be an awards contender, a box-office juggernaut, and an unforgettable experience for fans and newcomers alike. I can’t wait to watch it again multiple times in theaters and revisit it often when it hits home media, and I will eagerly be counting down the long days until the release of "Part Two". Until then, I’ll be reliving this extraordinary experience in my mind and listening to the film's soundtrack on repeat. Whether you’re a fan of the musical or have never seen it before, I urge you to see Wicked: Part One on the biggest screen possible. It’s am absolute triumph in every sense of the word.

Movie Review/ "A Real Pain"

By Anthony Caruso

A Real Pain is a testament to the power of storytelling that seamlessly blends humor, heart, and historical poignancy. Directed by Jesse Eisenberg, who also stars alongside Kieran Culkin, the film is a rich exploration of identity, grief, tradition, and heritage set against the backdrop of Poland—a place steeped in history and resonance for Jewish culture. It’s a striking achievement that manages to be both a personal odyssey and a universal story of connection.

The film follows two cousins - Jesse Eisenberg’s David and Kieran Culkin’s Benji - as they embark on a journey to Poland after a family loss. What begins as a reluctant, quasi-tourist trip soon morphs into a deeper, unexpected confrontation with their own histories, their own personal grief, the lingering echoes of the Holocaust, and how the role the Jewish faith plays in their lives. Eisenberg crafts a screenplay that is both biting and tender, deftly navigating between witty, rapid-fire exchanges and moments of silence that resonate with unspoken pain. It’s this balance between humor and drama that makes A Real Pain truly exceptional. While the humor is sharp and dry, it never feels out of place or disrespectful. Instead, it serves to highlight the contrast between the modern identities of our main characters and the profound legacy of their heritage. The film’s exploration of the Jewish experience—tied to themes of survival, guilt, and resilience—adds layers of meaning that enrich its emotional depth.

The performances in A Real Pain are nothing short of extraordinary. Jesse Eisenberg’s David is a complex figure: intellectual, anxious, and searching for meaning. Eisenberg infuses the character with authenticity and vulnerability, making him relatable yet distinct. Kieran Culkin, on the other hand, shines as Benji, whose more carefree and irreverent personality serves as a counterbalance to Daniel’s introspection. Culkin’s comedic timing is impeccable, but it’s his ability to inject pathos into unexpected moments that cement his performance as one of the film’s standouts. The two of them have incredible chemistry with one another, and it’s easy to believe that the two of them are cousins. The supporting cast, meanwhile, adds further richness to the narrative. Each character contributes to the success of the film and have moments to shine, adding humor, authenticity, and drama to the proceedings.

Visually, the movie is a feast for the eyes. Michał Dymek‘s cinematography showcases Poland in a way that feels both hauntingly beautiful and inviting. Sweeping shots of the country’s cobblestone streets, lush countryside vistas, and somber historical sites juxtapose the film’s lighter moments with its heavier, contemplative ones. This visual storytelling not only enhances the narrative but also adds a layer of richness that invites the viewer to reflect on the passage of time and the permanence of place. The story is also aided by the score, which serves as a subtle yet powerful companion to the story and blends traditional Jewish melodies with modern, emotive compositions. The film’s sound design also plays a crucial role, particularly in scenes set in historical sites, where the ambient noise of footsteps and whispers amplifies the film’s immersive quality.

I could truly go on and on about the themes of identity, loss, and collective memory that the movie delves into. Its examination of the Jewish experience is neither didactic nor overly sentimental, but instead strikes a balance that is both reverent and relatable - even to people, like myself, who are not Jewish. Eisenberg’s direction ensures that these themes are handled with care, using humor to break tension without undermining the film’s more serious moments. It’s the film’s portrayal of grief—not just as an individual burden but as a shared experience that binds people across generations - that is its biggest strength, however; at least as far as I’m concerned. The narrative raises thoughtful questions about what it means to inherit pain and how to honor it without being consumed by it. The result is a film that is deeply personal yet widely resonant, capable of sparking reflection long after the credits roll. It’s truly a triumph on every conceivable level.

In a year full of standout releases, A Real Pain earns its place amongst the best of them. For all of the reasons I laid out above and more, it is sure to be a strong contender during awards season. I highly recommend this film to everyone, and can’t wait to revisit it when it hits streaming.

Movie Review/ "Red One"

By Anthony Caruso

Red One delivers a festive, action-packed romp that breathes new life into the holiday movie genre. While not without its flaws, the film offers enough heart, humor, and inventive storytelling to make it an enjoyable addition to the large stable of Christmas films. Despite mixed reviews and a disappointing box office projection, Red One deserves a second look for those searching for a holiday film that mixes traditional elements with an unconventional twist.

The Red One narrative centers on a unique take on the Christmas mythos, blending action, adventure, and fantasy with a touch of darkness. Dwayne “The Rock” Johnson stars as Callum Drift, one of Santa's E.L.F.s who is tasked with rescuing the famous man with the bag in order to save Christmas from a magical threat. The plot finds its antagonist in the villainous Gryla, a Christmas witch portrayed with icy brilliance by Kiernan Shipka. Her plan is deceptively simple and cleverly understated, presenting a unique twist that doesn’t rely on over-the-top stakes, yet personally affects most people worldwide.

The story surprises with moments that are darker than expected for a holiday movie, lending it an edge that older audiences can appreciate while still maintaining the whimsy that kids love. The blend of classic Christmas motifs with new mythological elements enriches the film’s universe and sets the stage for potential expansions into other holiday tales—a tantalizing possibility that may go unexplored due to poor box office results.

Dwayne Johnson, as expected, plays to his strengths as Callum Drift, bringing his trademark charm and physicality. While Johnson’s persona is beginning to feel a bit familiar, it fits the character well enough to keep audiences entertained. However, it’s Chris Evans and J.K. Simmons who truly shine in their respective roles. Evans brings a surprising depth and comedic touch to his character, making him more than just a sidekick to Johnson’s lead. And while the trailers might have hinted at a modern, gruff reimagining of Santa Claus, Simmons offers a surprisingly traditional, heartfelt take that grounds the story in classic holiday sentiment.

Kiernan Shipka’s Gryla is a standout as well. She portrays her with a compelling mix of menace and allure, making her both a formidable foe and an intriguing character. Her nuanced performance, alongside her character’s deceptively clever plan, brings a refreshing villain to the holiday movie landscape. It's Kristofer Hivju, however, who nearly steals the show as Krampus, playing the part with a mischievous and wild energy that injects humor and unpredictability into the film. His performance adds a delightful layer, making Krampus a memorable supporting character that enhances the movie’s mythology.

The film’s cinematography strikes a balance between the fantastical and the festive. Wide shots of snow-laden landscapes and cozy, twinkling towns blend with dramatic close-ups during tense confrontations. The visual palette is rich with reds, whites, and deep greens, encapsulating the holiday spirit while integrating darker blacks, blues, and purples into the shadowy scenes that signal Gryla’s presence. And though the special effects don’t always hit the mark— some CGI moments are downright bad —they don’t detract from the overall enjoyment. This is, after all, a holiday film, where a little suspension of disbelief goes a long way. The whimsical tone helps the audience overlook these inconsistencies.

The soundtrack features a mix of classic Christmas songs and original score, both of which add warmth and urgency to the film. The music swells appropriately during action sequences and mellows during tender, nostalgic moments, aiding the emotional tone without being overpowering. The makeup team, meanwhile, excels in their portrayal of mythological characters. JK Simmons’ Santa is a blend of traditional looks with a rugged twist, complete with silver-streaked hair and a leather outfit that still feels familiar. The standout, however, is the detailed work on Krampus, making Kristofer Hivju’s character visually captivating. The practical effects on the more fantastical characters shine, contrasting with some of the CGI’s weaker moments.

Red One might not be perfect, but it’s absolutely worth the watch. It’s a film that embraces the magic, warmth, and occasional darkness of the holiday season. Ignore the critics, gather the family, and enjoy this fun, unconventional take on Christmas lore. It might just find its place in your annual holiday movie rotation as I can guarantee you it has mine.

Movie Review/ "Heretic"

By Anthony Caruso

Heretic is a masterstroke of contemporary cinema that effortlessly balances psychological tension with profound thematic exploration. Directed by Scott Beck and Bryan Woods, the film boldly delves into the complex interplay between belief, control, and personal liberation. With standout performances from its star-studded cast, it's easily one of the most compelling films of 2024.

Hugh Grant delivers one of the most mesmerizing performances of his career as the enigmatic and menacing antagonist. Portraying a charismatic and extraordinarily manipulative religious intellectual, Grant infuses the role with a magnetic presence that blurs the line between charm and menace. He commands attention in every scene, showcasing a layered character whose motivations oscillate between altruism and self-serving manipulation. Sophie Thatcher, meanwhile, plays the determined and introspective Sister Barnes, and serves as the movie's emotional anchor. Her performance is raw, heartfelt, and compelling, proving she’s a star capable of holding her own in the presence of acting heavyweights. Then there's Chloe East, who rounds out the cast as Sister Paxton. East complements Thatcher with equal vigor, perfectly playing Paxton’s transformational journey from quiet follower to someone who begins to question everything she once held sacred. East’s ability to express vulnerability and resolve in equal measure adds depth to the narrative, creating a dynamic and authentic on-screen partnership with Thatcher.

The screenplay deftly weaves suspense with moments of philosophical rumination, resulting in a narrative that grips from start to finish, despite many scenes merely depicting three characters standing around debating religion. The dialogue is sharp, with Grant’s character delivering lines steeped in ambiguity and dark humor that leave audiences pondering their meaning long after the credits roll. The directors skillfully construct an atmosphere thick with tension, using dim lighting, deliberate pacing, and close-up shots that amplify the feelings of claustrophobia our protagonists are feeling. Indeed, the cinematography deserves special mention, as it plays a crucial role in conveying the film’s themes. Stark contrasts between light and shadow mirror the dichotomy between faith and doubt, while sweeping shots of the remote and austere, albeit tight, setting evoke an unsettling sense of isolation that accentuates the characters’ inner turmoil.

At its core, Heretic is more than a suspenseful and dramatic horror movie; it’s a meditation on the impact of religious structures on the human psyche. The film poses thought-provoking questions about the nature of belief: When does faith become a prison? When does it serve as a pathway to freedom? Through its characters’ struggles, the film explores how ideology can both uplift and oppress, shaping lives in profound and often unpredictable ways. The story resists easy answers, encouraging viewers to reflect on the influence of dogma in their own lives. This subtle approach ensures that Heretic never feels didactic, but rather like an intricate mosaic of ideas, inviting interpretation and debate.

As I stated above, Heretic is undoubtedly one of the year’s finest films, distinguished by its powerful performances, intelligent script, and skillful direction. It’s a film that lingers, urging reflection on its themes of power, faith, and self-discovery. It's a movie I would highly recommended for anyone who appreciates cinema that challenges and provokes as much as it entertains. It's truly a testament to the power of excellent storytelling, earning its place as an essential watch and an instant classic. I can't wait to revisit it many times in the years to come.

Movie Review/ "Christmas Eve in Miller's Point"

By Anthony Caruso

Tyler Taormina’s Christmas Eve in Miller’s Point is a masterfully crafted, atmospheric homage to holiday gatherings that thrives not on a central plot, but on the intricacies of familial connections. Unlike other films that weave clear story arcs or focus on a protagonist’s journey, Christmas Eve in Miller’s Point is more akin to a collection of living memories, much like Robert Zemeckis' Here from earlier this month. Yet where Here spans decades, Christmas Eve in Miller’s Point anchors itself firmly within one emotionally-charged night—the titular Christmas Eve—and lets the essence of the Balsono family spill across the screen in a vivid, nostalgic tableau.

The film is, at its heart, a series of vignettes capturing moments that resonate deeply with anyone who has experienced the organized chaos of large family gatherings. Set in the early aughts, Taormina’s vision is both specific and universal. Viewers familiar with traditional Italian-American celebrations will recognize every detail: the boisterous conversations that fill a room like a second layer of wallpaper; the glint of mismatched tchotchkes that have seen decades of holidays; the overflow of homemade food that insists love is best expressed through taste; the Christmas lights shining off the snow; etc. This evocative nostalgia can strike viewers in different ways. For some, it is a portal to cherished memories; for others, like myself, it’s a bittersweet reminder of how traditions shift or fade as families spread out, or as members pass on. Watching this movie felt like looking through a frosted window at my own childhood, marked by joyous chaos and laughter—tinged now with the wistful realization that those moments are no longer my present.

One of the film’s most striking elements is its refusal to follow a traditional plot structure. There are numerous threads within the sprawling Balsono family and beyond: the aging matriarch, whose grown children face the painful decision of possibly moving her into assisted living; Kathleen’s strained relationship with her teenage daughter as she reflects on her own mother’s distance; two police officers patrolling a sleepy town, grappling with unspoken romantic tension; an interracial couple navigating subtle familial dynamics; an uncle who channels his creativity through endless cooking; another who dreams of being a writer; teenagers itching to slip away to their friends' gatherings, seeking independence in a night bound by tradition. These narratives unfold like the disparate notes of a holiday song, harmonious but never converging into a single refrain. 

For some viewers, the lack of resolution to any of the above mentioned plot points might be a sticking point. This isn’t a film where everything wraps up neatly by dawn, nor does it try to force epiphanies or holiday miracles. The struggles depicted—whether domestic, generational, or personal—linger without resolution when the credits role, leaving audiences to ponder what will happen when Christmas morning breaks. For me, this worked seamlessly, underlining the fact that real life doesn’t pause for perfectly timed solutions.

Taormina’s directorial finesse is on full display here, blending warmth and an authentic sense of intimacy with just the right amount of melancholy. Co-writing with Eric Berger, Taormina’s dialogue feels lived-in and familiar, effortlessly pulling viewers into rooms that burst with life or settle into quiet, contemplative moments. Every detail—from the shimmering glow of mismatched Christmas lights to the distant carolers outside—immerses the audience in the ambiance of a holiday night that teeters between celebration and reflection. The film’s aesthetics, meanwhile, lean on a cozy, nostalgic palette that amplifies the sense of being cradled within a snow globe. The cinematography captures close-ups that give viewers the sense of being seated at the table, laughing along with the Balsonos or taking a deep breath to soak in the palpable tension of unresolved family disputes.

My biggest complaint about the film? It feels cleaved into two distinct halves: the family-centric narrative and the subplot involving teenagers sneaking out to meet their friends. While the family scenes are rich with emotional depth and familiarity, resonating more powerfully with audiences who appreciate the nuanced dynamics of multi-generational gatherings, the teenage storyline, while not bad, lacks the same level of engagement. This disparity in tone can make parts of the film feel uneven. Additionally, the film ends rather abruptly - even when you consider the fact this is a movie without a real plot - which didn't quite sit well with me. These complaints are the only things stopping me from giving it five stars out of five, though I realize I'm still grading it way higher than most people probably would. What can I say though? Nostalgia is a powerful tool, and this movie brought back a rush of wonderful childhood memories and feelings for me.

In the end, I know that Christmas Eve in Miller’s Point is not a film for everyone. Those who come in looking for a traditional Christmas tale with clear-cut lessons or storylines may leave unsatisfied. But for those willing to be swept up by a patchwork of memories, grounded in details and steeped in sentiment, this movie is a poignant, comforting piece. It serves as a reminder of the fleeting nature of togetherness and how, even in unresolved moments, there’s beauty in simply being with family, however imperfect they may be. This film may leave you smiling or in a state of melancholic wistfulness —embracing the complexity of Christmas past and present, where love, loss, and laughter weave an unending thread through the years - or, if you're like me, it may leave you feeling both. While I know it won't get as much annual play as classics like Home Alone and Christmas Vacation, this is one I definitely see myself revisiting quite often in the future. While I won't recommend rushing to theaters to see it, I do urge you all to give it a chance when it hits streaming - especially if you're an Italian-American who grew up in New York, like myself, and miss the Christmases of yesteryear. I know, I for one, can't wait to watch it again.

Movie Review/ "The Best Christmas Pageant Ever"

By Anthony Caruso

The Best Christmas Pageant Ever is an adaptation that brings Barbara Robinson’s beloved book to the screen with warmth and good intentions. It’s a sweet, family-friendly film that delivers plenty of holiday spirit, though at times it leans too heavily into its religious themes, making its message feel force-fed rather than naturally conveyed.

At its core, The Best Christmas Pageant Ever is a tale about community, redemption, and the true meaning of Christmas, centered around the unruly and chaotic Herdman children. The story unfolds as they unexpectedly take over the local church’s Christmas pageant, upending traditions and challenging the town’s preconceived notions. The film strikes a wonderful balance of humor and heart that manages to evoke genuine emotion and which, having never read the original story, I can only assume is what made it a classic. The movie shines in its moments of levity and chaos, showcasing how the Herdmans’ unpredictable antics push the townspeople to confront their biases and embrace the essence of compassion and understanding. There’s a lot of charm in watching how the worst kids in town manage to change the people around them, transforming the titular Christmas pageant into something surprisingly moving.

The cast delivers solid performances that bring the story to life. The young actors playing the Herdmans manage to strike a balance between wild mischief and underlying vulnerability, making their characters more endearing than just disruptive. The adult cast, meanwhile - particularly Judy Greer's Grace Bradley, who is tasked with directing the pageant - adds warmth and relatability, embodying the frazzled yet well-meaning spirit of people trying to hold it all together during the holidays.That said, while all of the performances are heartfelt, the film’s predictability limits its emotional impact. The characters’ arcs unfold as expected, offering few surprises to seasoned cinephiles. The narrative leans on well-trodden holiday tropes, which, while comforting, make the film feel more like an echo of other Christmas movies rather than something truly unique.

One of the most noticeable aspects of The Best Christmas Pageant Ever is its approach to the religious themes embedded in the story. While the original book is centered around the nativity story and its significance, the film adaptation takes an extremely overt approach in delivering these messages. For all I know, this may resonate as a faithful depiction of the source material’s intentions, but for me, it came across as somewhat preachy. The film could have benefited from a more subtle hand in addressing its spiritual themes, allowing the message to unfold organically rather than hammering it home. This might have helped widen its appeal to audiences who prefer a more balanced approach to holiday storytelling, because in terms of appeal - given the box office tracking - it appears as though this film has none when it comes to the general public.

Despite these drawbacks, the film excels at creating a cozy holiday atmosphere. From the small-town settings to the heartwarming final act, it’s clear that the filmmakers aimed to deliver a feel-good experience that families could enjoy together. The moments leading up to and during the climactic pageant are especially effective, showcasing how chaos and imperfections can give way to unexpected beauty and meaning. Indeed, the entire movie is an earnest reminder that the spirit of Christmas is about community, empathy, and embracing those who may be different from us.

In the end, The Best Christmas Pageant Ever reinforces the notion that sometimes the best holiday stories are the ones that remind us to find joy and compassion in the most unexpected places. It's one that I'll definitely revisit during future holiday seasons.

REVIEW / Justice League vs. Godzilla vs. Kong

By Brandon T. McClure

Published as a monthly seven-issue mini-series, Justice League vs. Godzilla vs. Kong by Brian Buccellato with art by Christian Duce and Luis Guerrero has been collected into a single hardcover and can finally adorn the bookshelves of Monsterverse fans. The first inter-company crossover between Legendary Comics and DC Comics makes history by pitting the King of the Monsters against the Justice League for the first time. But this historical crossover may not end up being the triumph fans have been hoping for.

The story begins when the Legion of Doom (which includes Toyman for some reason?) interrupts Clark’s wedding proposal to Lois by breaking into the Fortress of Solitude. Through a series of unfortunate events, the Legion find themselves transported to the Monsterverse and, more specifically, Skull Island. Having stolen the Dream Stone prior, Toyman uses it to wish the Monsterverse Titans to the DC Universe to be taken more seriously as a supervillain. Now in a foreign universe, Godzilla and the other Titans attack various cities like Atlantis, Metropolis, and Themyscira. The Justice League are caught off guard when Superman is seemingly killed by Godzilla and a mysterious, yet familiar, beacon begins controlling the Titans.

The biggest sin that Justice League vs. Godzilla vs. Kong makes is being boring. This is as surface-level as a crossover can get. Buccellato spends five issues setting up a major clash between the Titans, the Justice League, and the Legion of Doom but doesn’t set up why anyone should care about it. Action only matters if audiences care about the characters. There is tons of action though, so if you’re just looking for a comic where Supergirl punches Kong in the face, then flies around the world to punch Scylla in the face then this is the comic for you. But you might be out of luck if you’re looking for a bit more than that. Speaking of Supergirl, she plays a strange role in this book. She spends most of the book flying between action scenes and ends up in every single one until Grodd takes over her mind. It’s not bad or out of character, it’s just a weird decision.

Brian Buccellato is no stranger to writing in both the DC Universe and the Monsterverse, having written Flash, Injustice, and, more recently, Godzilla X. Kong: The Hunted. But here he may have bitten off more than he could chew. Justice League vs. Godzilla vs. Kong has to serve many masters but seems to have fallen into the trap of assuming that people only want to see giant monster fights. Of course, it is very cool to see the DC heroes go up against Kong and Godzilla, but once the initial hype wears off, then what else is there? That premise can’t sustain seven issues, and unfortunately, readers don’t really care about the original Monsterverse Titans. But with all that said, what little characterization for the DC heroes there is, is solid enough to remain recognizable.

The only heroes that get treated dirty in the book are Hal Jordan and the other Green Lanterns. Hal comes across as the whining butt of most everyone's jokes and the other Green Lanterns exist as set dressing. Guy Gardner probably gets it the worst though since he only appears in the book to get crushed to death by Grodd (which no one seems to care about). John Stewart, Jessica Cruz, and Simon Bazz also show up but get only two or three lines of dialogue before they come together to make a construct mech to fight MechaGodzilla. This is undeniably cool, but you do find yourself wondering why the other Green Lantern characters are even there.

The Legion of Doom only exists in this book as placeholders. To the point that you wonder why they’re even there in the first place. There’s some bickering between Black Manta and Cheetah about who leads the team if not Lex Luthor, Toyman disappears after the first issue, and Deathstroke only shows up when he’s looking for the missing Toyman. But outside of these examples, there isn’t anything for the Legion to do. They just watch the Titans attack the heroes until the last issue when they decide to be part of the final fight scene. Outside of the major Legion characters, there are plenty of non-speaking cameos from many villains as the Legion of Doom is trying to boost their numbers. But they’re only there for a Shazam action scene that feels like it exists to fill a page count.

You could say the main villain of Justice League vs. Godzilla vs. Kong is Lex Luthor. He discovers the pieces of MechaGodzilla and puts them together after Godzilla is chained to the seafloor after his fight with Tiamat and the Kraken (not the Monsterverse Kraken, the DCU one). Lex even builds MechaGodzilla in a way that allows him to pilot it from the inside, unlike how it was in Godzilla vs. Kong, which seems like a cool idea and allows for some great posturing from Lex in the field. But Lex pretty much disappears from the book once MechaGodzilla is unleashed. You might even forget that he’s inside MechaGodzilla since there’s no point for him to be there. There’s not even a hint that MechaGodzilla has possessed him like he did Ren Serizawa to explain away the lack of supervillain posturing.

The League of Assassins show up randomly on Skull Island to steal the skull of the Skull Devil also, and then disappear (that’s a lot of uses of the word “skull”). They show up again towards the end so the Bat-Family could have someone to punch, but they serve no purpose to the story. Even the newly revived (and redesigned) Skull Devil serves no purpose to the story, other than to give Kong someone else to fight while Batman fights MechaGodzilla in a new mech of his own. It’s frankly weird that the League of Assassins shows up at all. One of the middle issues ends with Ra’s Al Ghul menacingly watching the Skull be placed in a giant Lazarus Pit and then never shows up again. Christian Duce and Luis Guerrero take it upon themselves to redesign the Skull Devil as well. While the original design was simple, this new design is way too busy. It’s reminiscent of the poorly received MUTO Prime that appeared in the comic Godzilla: Aftershock. Like the MUTO Prime, it’s not a good redesign.

With all that said, there are still some interesting ideas and fun to be had. A beam clash between Godzilla’s atomic breath and Superman’s laser eyes, a mech created by five Green Lanterns, a cute Jaws reference with Tiamat and the Flash, and a transforming Batwing keep the book entertaining for readers only interested in having some fun. Most of the exciting aspects of the book show up at the end which makes you wonder why the book is seven issues long and not four. Probably the best thing in the book is the short-lived Kong and Green Arrow relationship. The two of them form a quick understanding while Green Arrow is scoping out the newly appeared Skull Island, but doesn’t really come to anything by the end of the book. It would have been nice to explore that a bit more. Green Arrow is also one of the better-written characters, for what little he’s there.

The Monsterverse Godzilla must be considered a complicated design for artists to draw because there are many instances in this comic where Godzilla has been traced from a screenshot of the previous Monsterverse films. It’s disappointing but you have to wonder if there’s a larger reason for it other than laziness. Perhaps Legendary doesn’t want artists taking any artist license with Godzilla. But outside of that, the artwork is good. The splash pages are dynamic, the Justice League looks great, and the action is easy to follow. It’s just too bad that Christian Duce and Luis Guerrero weren’t able to go really crazy with the art. While there are cool things they’re able to do, it does feel restricted by the story they’re drawing. 

The released hardcover is very beautiful and makes up for the lackluster story that it collects. The pages are published on the matte paper that most DC comic books use, which makes the book feel hefty and thick. Unfortunately, the colors don’t pop as much as you’d expect because of that but readers most likely won’t notice. The Dan Mora cover that makes up the dust jacket can be removed to show the Christian Duce and Luis Guerrero wraparound cover. Both covers are beautiful and were the right picks for this collection. But if you were hoping to see more of the stunning variant covers that were commissioned for this crossover, then you’re in luck. The back of the book includes the variant covers for every issue. Honestly, they could have published a collection of those covers and sold it separately. They’re worth the price of the book alone.

If you’re a Godzilla fan, or more specifically a Monsterverse fan, then this is a fun read. It’s just hard not to imagine a crossover that could utilize Godzilla’s entire rogues gallery, like Ghidorah or Biollante and not just the Monsterverse originals. It’s not that the likes of Camazotz or Behemoth aren’t fun to see, it’s just that they don’t have the personality or history that the original Japanese Kaiju do. Since this doesn’t sit anywhere in either continuity, it probably would have been beneficial to include monsters like Rodan or Mothra, who have appeared in the Monsterverse. Rights issues most likely prevented that from happening since none of those monsters have appeared in a Monsterverse comic book. Still though, while it may be boring at times, there’s enough here to not regret reading it outright.