Furiosa: A Mad Max Saga (2024)

Furiosa: A Mad Max Saga (2024)

 

6/10

 

Starring

Anya Taylor-Joy

Chris Hemsworth

Tom Burke

Alyla Browne

 

Directed by George Miller

 

There comes a point where I believe a franchise has had its time, and for Mad Max, I think that time is long gone. George Miller seems to have pushed this series to its limits. While Mad Max: Fury Road was fun to watch, this prequel lacked the same spark, it had too much fluff. The film dragged the story for too long, just dancing around the main plot without hitting the nail on the head.

I found myself trying hard to stay alert and had to stretch occasionally just to stay awake. Some scenes felt entirely unnecessary, and the conversations in some scenes were not needed and it would have been best if it were summarized. I felt Miller is too much in his own head about this franchise and thinks everyone is just as hooked in the long talks and wasted scenes as he is when he is building his franchise. Despite solid performances from the leads, the plot was a letdown, and the makeup and props, especially the one on Chris Hemsworth, was glaringly off. You will be able to spot that he had a fake nose.

The action sequences were decent, though they didn’t measure up to the visual brilliance in the previous movie, Mad Max: Fury Road. My main biff with this movie is, why did the plot take so long to converge on the warlords’ plan to eliminate Dementus?

This prequel explores Furiosa’s backstory, revealing how she came to be in the Citadel with Immortan Joe and why she has a deep hatred for him. The story begins with Furiosa’s capture by Dementus’ men from a green haven, unlike the surrounding wasteland. Her mother went after her to save her from her captures but failed and was killed, but not without first killing everyone who knew where this place was. Furiosa after seeing the death of her mother, refused to divulge the location of her home to protect its people.

Dementus, a deranged warlord leading the Biker Horde, forces Furiosa into his fold, hoping she’ll eventually disclose her origins, but Furiosa was mostly quiet. When Dementus targets the Citadel but failed in capturing it. He then captured the town where gas is mined and cuts off the supply to the Citadel. He then sets up a treaty where he is the one who supplies Immortan Joe. It’s during this treaty that Furiosa ends up at the Citadel.

As for how she lost her hand, escaped, and became a relentless force against Dementus well, that’s for you to discover in this two-hour-plus film.

Inside Out 2 (2024)

Inside Out 2 (2024)

9/10

Starring

Amy Poehler

Maya Hawke

Kensington Tallman

Liza Lapira

Tony Hale

 

Directed by Kelsey Mann

 

Inside Out 2 comes nine years after the original, Inside Out (2015). This sequel reflects a conscious decision by Disney to return to its roots of what made their animations amazing. I have to be honest, in recent years, Disney’s storytelling had taken a backseat to messaging. Their animations now have plots designed to appeal to specific groups, and side lining the rest of us. This resulted in weak plots and thankfully bad box office returns. So, Inside Out 2 signals the needed shift back to masterful storytelling and thoughtful world building, over messaging. The movie is well-directed, making it easy to transition from the mindset of the first film while also adding context for new viewers. The original voice cast returns, and the addition of new voices is strong enough to do more than just make the movie flow.

We are back again in Riley's mind, and seeing how her emotions deal with the new stage in Riley's life, the chaos that is puberty. In the first animation we met the original emotions of her childhood: Joy, Sadness, Anger, Fear, and Disgust. These emotions worked together to create Riley’s sense of self, this sequel flips the narrative. You see, Riley turns thirteen, and along with this new age comes new emotions. We now have Anxiety, Envy, Ennui, and Embarrassment. These emotions quickly take over the control center in her mind, side lining the original team. Anxiety, in particular, takes control of Riley’s actions in a bid to prepare her for the uncertainties of adolescence.

With Anxiety in control, you can imagine what follows. Try and thinking of the bad decisions you make when you allow anxiety to be the driving force of your decisions, which I found relatable. We see how Riley struggles to fit in, and, choosing to distance herself from her old friends which she went to the hockey camp with, and reshaping herself to match what she perceives as "cool" and fit in with her new friends. She starts to pretend to like what they like, and lie about who she really is, so that she can fit in.

Anxiety becomes the dominant force, steering Riley into choices that threaten her sense of identity.

Meanwhile, the sidelined emotions from the first animation embarked on a journey through Riley’s streams of consciousness to return to the control center. They face numerous challenges in the maze-like terrain of her mind, many of which are signs of what to expect if there is an Inside Out 3.

The film’s ability to depict the psychological and emotional upheaval of adolescence is where it truly shines. It captures how anxiety can magnify insecurities, driving us to conform and suppress our authentic selves.

Visually, for me, Inside Out 2 continues Pixar’s tradition of stunning animation, with the mind’s landscapes brought to life in vivid detail. The film’s exploration of Riley’s psyche is both imaginative and emotionally grounded, enhancing the storytelling.

The success of Inside Out 2 at the box office is a testament to its quality and how much viewers can relate to it. The movie feels like a turning point for Disney, a reminder of the studio’s ability to craft timeless stories that balance humor, heart, and innovation.

Instead of trying to please the few, they should focus on compelling narratives and memorable characters, returning to the magic of classic storytelling that stands the test of time.

Hit Man (2023)

Hit Man (2023)

 

6/10

Starring

Glen Powell

Adria Arjona

Austin Amelio

Retta

 

Directed by Richard Linklater

 

I have to be honest, this film has some twists I didn’t see coming. The lead, Gary (Glen Powell), becomes deeply entangled in one of his cases, which unexpectedly escalates into a murder. The complexity of his involvement and the warped relationship dynamics are captivating, albeit baffling. The film operates on a modest budget, but the performances by the cast, especially Powell, compensate for this limitation.

Adapted from Skip Hollandsworth’s book of the same name, the story follows a professor who collaborates with the police to catch individuals seeking to hire hitmen. The narrative emphasizes that there isn’t a long queue of people ready to kill for money; instead, it’s about catching those who think they can hire someone to do it.

Gary is thrust into the role of an undercover hitman after the suspension of a police officer originally tasked with the job. Powell’s performance as the hesitant yet determined civilian stepping into such a dangerous role stands out. Although the premise of a civilian taking on such responsibilities stretches believability, the screenplay by Powell and Richard Linklater ensures the story remains engaging.

Initially nervous, Gary quickly adapts to his undercover persona. He was so convincing in this new persona that he was more productive in capturing people trying to hire hitmen than the officer he was replacing.

However, everything changes when he meets someone he’s meant to incriminate. As you would expect, he meets a woman he likes and then he decided to sacrifice it all to save her. There was a form of instant connection between him and her, and he wanted so much to save her from her circumstances that he was ready to fling his life away.

Their connection made him to act like a counsellor who wants to help her turn her life around than he wanted to help her achieve the idea of killing the person she wanted dead. The police are suspecting this double cross, and now we are left to see how he is going to manage this situation.

The office he is replacing is also on his case, and he also must live a double life not letting the lady know that he is working for the police and not let the police know he is working to save the lady from them.

This is a fun Netflix watch, as long as you’re willing to suspend disbelief and embrace the whimsical narrative.

The Holdovers (2023)

The Holdovers (2023)

 8/10

 

Starring

Paul Giamatti

Da'Vine Joy Randolph

Dominic Sessa

 

Directed by Alexander Payne

 

Even though it starts slow, when it gets going, there are no pandering, just a little slice of life glazed with just the right amount of comedic tonic, making this comedic drama, The Holdovers, an enjoyable masterpiece. I enjoyed how well the acting in this movie draws you into their lives, and you wish you could reach into the screen and hug them.

The story is well written to make you feel you’ve got the plot figured out as the movie develops, then it takes a turn. A helicopter arrives, and we are left with the three leads. The plot pulls you into the story of three different people, but balances the plot to ensure you get enough fun and drama from their stories and struggles. It does not wave a Hollywood magic wand at the end, where everyone gets the ending we all wish for. Instead, it ends and lets you decide how you think it is going to play out for each of the characters.

This movie’s key power is not just the story, but the acting is also magnificent. Paul Giamatti is clearly having the best time of his life as an actor, doing all the movies he wants, in the way he wants.

Set in the 70s, the movie explores the intertwined lives of three people in a private boarding school. Giamatti’s character, Paul, is a strict teacher disliked by both students and teachers in the school. During the Christmas break, he is left to care for five students whose parents cannot accommodate them for the holidays. Helping him is Mary, the cafeteria manager and a bereaved mother, whom Paul is fond of.

The three characters whose lives become entwined are Paul, Mary, and Tully. Tully is left behind at school because his mother wants to go on a honeymoon with her second husband.

Together, the three find a way to bond over their differences, challenges, and unfortunate situations as they spend Christmas and New Year’s together.

There are some weaknesses in the movie, if you are not used to dramatic slow pacaed movies, you can get bored and walk away before the movie does get started.

There are some weaknesses in the movie, one of which is—if you're not used to dramatic, slow-paced films, you might get bored and walk away before the story truly begins.

The movie received five nominations at the 96th Academy Awards and was listed among the top ten movies of 2023 by the American Film Institute. You will enjoy this movie very much, as it will not give you the sense that you can guess how it will end from the way it starts. At the very end, after all the bonding, you can piece together what the characters might do next, but the joy lies in the journey of watching this movie.

The Fall Guy (2024)

The Fall Guy (2024)

 

7/10

Starring

Ryan Gosling

Emily Blunt

Aaron Taylor-Johnson

Hannah Waddingham

 

Directed by David Leitch

 

It has been a while since I saw a movie that had nothing to do with politics, pop culture, or trying to stay woke. This movie is pure action/comedy with just the right dose of romance to ensure it isn’t an all-out macho show. If you're looking for something logical or realistic, then I’m sorry you’re sitting in the wrong cinema seat. This movie was made purely for enjoyment. Out of nowhere, the main character gains fighting skills, can withstand injuries and drugs, all to foil the “bad guys’” plans.

The movie boasts amazing explosions, stunts, scenery, and acting that will make you feel like you’re back in the 90s, reliving the action movies of that era.

The plot follows Colt (Ryan Gosling), a stuntman who has built a reputation as a talented performer behind the scenes. He works as the stunt double for Tom Ryder (Aaron Taylor-Johnson), a wealthy and famous actor. While working on a film with his girlfriend, camerawoman Jody (Emily Blunt), an accident leaves Colt severely injured.

He falls into a dark place, abandoning the stunt world and Jody for eighteen months.

Now working as a valet, Colt gets a call that Jody has landed her first big break as a director and has asked for him to be part of her project. He hasn’t spoken to Jody since the accident, and the idea of working with her again prompts him to accept. Upon arriving, Colt learns that Jody doesn’t know he’s there and never requested him. Producer Gail (Hannah Waddingham) lied to bring him on board. She reveals that Tom has gone missing, and without him, Jody won’t be able to finish the film. Gail convinces Colt that, as someone who knows Tom well, he’s the best person to find him. Keeping this under wraps is crucial to prevent the studio from shutting down production. This guilt-tripping by Gail worked on Colt and instead of being smart and speaking with Judy first, he decided to jump on the wagon to find Tom.

His search for Tom plunges him into a dark web, leading to a murder he didn’t commit and forcing him to go on the run.

It’s an amazing movie, the acting is fantastic and the way the story is laid out for us to see is also fun. The only thing is the movie didn’t stay in theatres long enough for more people to see it. Thankfully, it’s now available for streaming.

The Ministry of Ungentlemanly Warfare (2024)

The Ministry of Ungentlemanly Warfare (2024)

 

7/10

Starring

Henry Cavill

Eiza González

Alan Ritchson

Alex Pettyfer

Hero Fiennes Tiffin

Babs Olusanmokun

Henry Golding

Cary Elwes

 

Directed by Guy Ritchie

 

I, for one, am happy and fortunate not to have lived through the Second World War. The tragedy and unbelievable events that occurred during the war form the basis of many movies and heroic film characters we see today.

Even though war and violence still persist, with even more unspeakable acts being committed, I consider myself fortunate not to have directly witnessed them (only through TV and the internet). It remains deeply sad that such atrocities continue.

This film tells the tale of Gus March-Phillipps and his team, who were sent on a mission that played a part in helping Europe defeat Hitler. It is based on Churchill's Secret Warriors: The Explosive True Story of the Special Forces Desperadoes of WWII.

The way Guy Ritchie crafted this film is what I love about it. There’s an intensity that comes from the team striving to achieve something seemingly impossible, coupled with the fear of what might happen to any one of them. I intentionally distanced myself from the story to focus on the entertainment aspect, not worrying about which characters were real or fictional. It was worth it. The film’s well-crafted dialogue made it easy to follow the plot. The visuals also added to the experience, as the scenes conveyed additional subtext and character development alongside the dialogue.

The plot revolves around how British intelligence persuaded the Americans to join the Allies during World War II. German U-boats were preventing American ships from reaching Europe. To counter this, the British devised a plan to sink the U-boats by targeting their supply ship, which was docked in a neutral region. Since the area was neutral in the war, bombing it was not an option. Gus March-Phillipps and his team were tasked with destroying the supply ship. Operating on neutral soil meant they couldn’t be linked to the British government, they were entirely on their own. The film depicts their planning, failures, and improvisations, highlighting the political stakes and showing how the success of the war hinged on their mission.

With a moderate budget, it’s surprising that this film isn’t raking in millions at the box office. However, it will likely appear on streaming platforms soon, and I encourage you to watch it, it’s worth your time.

There is a sense that the movie moves quickly. Even though the director did a good job with character development, some character dynamics feel underdeveloped—perhaps intentionally to set up future sequels.

It’s easy to imagine how busy Winston Churchill must have been during the war, given all the events we’ve read about or seen in movies. Similarly, the Germans, as portrayed in many World War II books and films, must have been highly technologically advanced and well-prepared. Without worldwide efforts like this one, the war might have ended differently.

Ghostbusters: Frozen Empire (2024)

Ghostbusters: Frozen Empire (2024)

6/10

Starring

Paul Rudd

Carrie Coon

Finn Wolfhard

Mckenna Grace

Kumail Nanjiani

 

Directed by Gil Kenan

 

It felt like this movie was rushed out, even though the last Ghostbuster movie was three years ago. Then it was a thrill to see a CGI of the late Harold Ramis (Egon Spengler). The film did a wonderful job when it came to comedy and science. The all-round guckingness of the cast members and the coming together of the crew to save the day, with the addition of the family of the Spenglers, was a nice job. Still, it felt like we just got over the first one and here is another.

As you would expect, the acting was cool. It was a wonderful job the cast did in the movie, but this new addition introduced more characters into the mix, and at times it felt crowded. There were too many people involved in stopping this bad guy that it just did not feel right.

The movie digressed a lot from the matter at hand, and the matter at hand was a creature called Garraka from thousands of years ago, who was trapped in an orb and kept there to save the world from his anger. Now, this creature is no ordinary ghost. The proton packs do not work on this creature, so trying to stop it will require certain skills from the descendant of the people who caught him thousands of years ago.

The movie starts with these new four (Gary, Callie Spengler with her two children Trevor and Phoebe) going about busting ghosts. If you are a fan of the Ghostbusters, you know in doing this, they are also making a mess of the city of New York, and everyone is not happy about it, especially the mayor.

Turns out, Phoebe Spengler was too young to be running around busting ghosts and needed to be benched, which did not go well with her. She was forced to make friends with a ghost in her loneliness.

On another note, the ghost tank in the firehouse is getting full, and they need to transfer the ghosts from there to a new, bigger tank. With all this happening, the orb in which Garraka was trapped was sold to Ray Stanz, who then took it to the company which Winston runs for them to extract the paranormal being in it. But when they tried, it caused so much chaos in the new lab, and almost caused the person working on it to lose a hand to frostbite.

But Garraka wanted out, and he is able to communicate with other ghosts from within the orb to help him get out, promising them anything they wanted.

As you would expect, he got out, and we watch the team, now united with the old team and with the new set of casts, try to stop Garraka and put him back into the orb.

I can say, the movie was not bad, but it still felt like it was too soon, and we have had enough of ghostbusting for a while. The combination of the nostalgic nods, the Spengler family integration, and the dynamic interplay between the new and old cast offered some bright moments, but the story didn’t always deliver the freshness needed to keep the audience thoroughly engaged. While it was enjoyable, it feels like a breather before the next installment would have made this experience more impactful.