Reviews

Things have slowed down at the movie theatres for the time being, so why not enjoy a nice refreshing glass of wine, or read your favourite romance novel, or go see YOU, ME, AND TUSCANY. This might just be the most rom-com movie I’ve ever seen. It tells the tale of Anna (Halle Bailey), a free-spirited house-sitter who gets fired for sitting on that house a little too hard. She meets Matteo (Lorenzo de Moor), a mysterious Italian man who reminds her of her passion for cooking. Before leaving her a note in the morning, he convinces her to finally go on a long-standing trip to Tuscany, where he has an empty villa. Ignoring her friend, she goes to squat in the villa, with all the naivete of $500 in her pocket. On her fairy-tale adventure, she meets Michael (Regé-Jean Page), Matteo’s brother. You can pretty much see where things go from there. This has every rom-com trope in the cookbook, but with sprinkles of eye-candy, food porn, and self-awareness. Bailey and Page have great chemistry together, making this an easy breezy fun bit of fluff. Despite this being extremely predictable I was having too much fun with the unique characters to care. It also has a funny blooper reel during the credits. Movies really need to bring those back. Overall, YOU, ME, AND TUSCANY has a recipe that has been done too many times to count, but that just proves it still tastes great.

Being a fan of Michael Jackson is complicated. You have the fans who adore his music despite the controversy, and the fans who adore his music but not him as a person. MICHAEL is a musical biopic about the man the myth the legend himself. He is played by his nephew Jaafar Jackson, who embodies his childlike sense of wonder, and his thrilling dance moves. It truly feels like Michael was revived. Taking place between 1966 and 1988, this movie portrays the rise of Michael as he puts out hit after hit, despite his domineering and controlling father (Colman Domingo), earning the title of the King of Pop. This tenuous father-son dynamic becomes the focal point of the entire movie. This is a biopic that falls prey to the trope of being surface-level, just going through the motions, not stopping to delve deeper into who Michael was, relying on his music to keep the audience entertained. To its credit, the movie does just that. The concert sequences are spot-on, both visually and stylistically. The rest of the Jackson family is in this, except for Janet, who declined to be involved. The Jackson Five have quite a bit of screen time, but they barely have any lines at all. They do a good job depicting his loneliness, like how he calls his exotic pets his friends. This is more like a concert film, so sanitized and whitewashed, hyper-focused on all of the highs of Michael’s life, with only a couple of lows. This movie doesn’t say anything new about its subject, just headlines and highlight reels. I did enjoy the music and concert scenes, but that can’t be all you have in a biopic. As a concert experience, this is fantastic. As a movie, I needed more depth. Overall, MICHAEL is a movie obviously made and paid for by the Jackson estate, speeding through MJ’s rise to stardom. I’m curious how they will handle it if they get the legal green light to release the sequel. Yes, I am still exhausted from all of the musical biopics.

I was introduced to writer/director David Lowery with his very unique THE GREEN KNIGHT. Back then, I had never seen anything like it and I thought I wouldn’t again. Well, in comes MOTHER MARY, a psychological, metaphysically metaphorical story of a pop star who has transcended the type of spiritual fame only a handful of people have achieved. This is about two people who are connected by something greater, between pop star Mother Mary (Anne Hathaway) and her estranged friend and fashion designer Sam (Michaela Coel). Preparing for her comeback tour, Mary reluctantly seeks out Sam, asking her for a dress worthy of her status. What follows is a conversation piece of two people emotionally unpacking themselves and their relationship. If you know what I mean when I say that this is a very A24 movie, you know what you’re getting yourself into. There’s an ethereal, gothic vibe that lends itself well to the subject matter, and to where the story eventually goes. There’s an underlying tension between the two leads that draws the audience in. Coel’s performance combined with Hathaway’s physicality is a deadly duo. The score, when it makes itself known, is haunting and catchy. Speaking of catchy, the original songs in this are awesome, sang by Hathaway herself. Later on, the movie takes an ambitious swing that is unpredictable and possibly off-putting for some. I commend them for not playing it safe. By the end of it, I was thinking “What did I just watch?”, and “Did I like that?”. Ultimately, I decided I love MOTHER MARY. It’s original, bold, and it made me think, which are some of my favorite things a movie can do.

Tourette’s Syndrome is a neurological condition. Most often, this involves involuntary vocal outbursts and jerky body movements, called tics. This makes social interaction extremely difficult, as was the case for John Davidson. His true story is told through the lens of I SWEAR, a humorous, heartfelt look into this man’s trying life. Diagnosed with Tourette’s when he was 15, John (newcomer Scott Ellis Watson) develops tics that drastically change the course of his life. He is misunderstood by the people closest to him and bullied by the people who are not. Some years later, John (now played by Robert Aramayo) meets his friend’s mom Dottie (Maxine Peake), an understanding light in John’s life. Oh I loved this movie so much. Finally we get a biopic that ended with me learning something interesting I didn’t know before. Not only is this movie educational about Tourette’s, it’s also educational about empathy, kindness, patience, and resilience. It’s a reminder that people can still be really good. It doesn’t sugarcoat the challenges that come with having Tourette’s. Both the tone and pacing are perfect. Aramayo’s performance earned him the BAFTA award for Best Actor, beating out DiCaprio, Chalamet, and Jordan. If the US release date had been earlier, I believe he could’ve won the Oscar. Guess we’ll have to wait until next year. My only problem with this movie is that not enough people are seeing it. It’s one of the top of the year for me. Movies like RORY O’SHEA WAS HERE, CODA, and MILDLIFE all have an educational message, giving voice to the previously voiceless. I SWEAR this is one of them. My favourite type of biopic is about an unknown (to me) person who does extraordinary things. I SWEAR this is one of them. Remember, if you truly can’t help it, don’t apologize for being who you are. Don’t adapt to society, make society adapt to you for a change.

Writer/director Damian McCarthy has become yet another strong voice in the horror genre with his third film HOKUM. This is about a horror writer named Ohm Bauman (Adam Scott) who visits a hotel in Ireland to scatter his parents’ ashes, unaware that the property is said to be haunted by a witch. He is also haunted by his past. When this movie begins, you might be wondering if you’re in the right room. Don’t worry, you are. The movie tells us a lot without dialogue, especially in the beginning. I like how Scott’s character is kind of a prick, it helps make it feel real. Not every protagonist has to be a saint. There are a few jump-scares, but the story had me hooked. It utilizes the claustrophobic space to more smoothly scare and unsettle the audience. It’s unpredictable and atmospheric. The sound design and score are proper spooky. It has layers, character depth. With a low budget of just $5 million, it’s already a success. This might be my favorite performance from Scott. Overall, HOKUM is a classic haunted house story with a fresh perspective and images that might stick with you long after leaving the theatre. I highly recommend this, now I want to see his previous film ODDITY.

If there was ever a sequel that needed to be made, I didn’t think it would be THE DEVIL WEARS PRADA 2. Much like the original, this story picks up 20 years later, Andy (Anne Hathaway) now an award-winning journalist. Due to the drastically changing times, she and her team are fired through text. She is then hired back at Runway to help stave off controversy, reuniting with the cold and sharp Miranda (Meryl Streep) and her right-hand Nigel (Stanley Tucci). She also finds Emily (Emily Blunt), who is now a senior executive at Dior. This movie is more somber than the first, acknowledging the rise of click-bait social media and the fall of various forms of media. This movie tackles this head-on, while also being a fun and glamourous ride. The characters are the best part of this movie. You really want everything to work out for them. Each of them has terrific performances. The overall message gets a little naïve. I enjoyed the cameos I recognized. The music is popping off and catchy. I loved seeing these great characters together again. While the story might be forgettable, I still had a great time with THE DEVIL WEARS PRADA 2, and I believe you and your friends will too. Remember, when in doubt, strut.

One of my favourite screenwriters is Craig Mazin. He’s written such series as CHERNOBYL and THE LAST OF US. He’s also written some SCARY MOVIES and a couple HANGOVERS. Now, he has written an unexpectedly remarkable entry for his portfolio, THE SHEEP DETECTIVES. This is exactly what it sounds like. Shephard Charles (Hugh Jackman) loves his flock of sheep. They are his peace, his life. He enjoys reading murder mysteries out loud to his sheep. Much to their dismay, Charles gets murdered. Sadly, they live in a small town with a bumbling cop Tim (Nicholas Braun), so the sheep decide to solve the case. This movie is live-action with CGI talking sheep that look visually flawless. It’s directed by Kyle Balda, whose work involved some MINIONS. Don’t worry, this movie is less wacky and aimed at a higher age range than those. It’s executive produced by Lord and Miller, who are involved in so many projects I love. In other hands, this movie could’ve gone so badly. It has the perfect tonal balance. It’s remarkably emotional, for a talking sheep movie. What really elevates it are all the voice actors here, each breathing life and personality to the sheep; Julia Louis-Dreyfuss, Bryan Cranston, Chris O’Dowd, Regina Hall, Rhys Darby, Bella (Ram)sey, Brett Goldstein as twins, and Patrick Stewart. The sheep have an ability to make themselves forget whatever they’re feeling, shying away from uncomfortable feelings. This brings up a lot of interesting and deep moments as they metaphorically break out of their cocooned lives. This is the biggest surprise movie of the year. It’s a different breed of whodunnit, a… herder mystery. Overall, THE SHEEP DETECTIVES is a wonderful family friendly murder mystery that’s fun for everybody, with a sprinkle of important life lessons. Go figure.

In 2021, an adaptation of the MORTAL KOMBAT video game franchise was released. I did not see it back then. A sequel has now been released in theaters, MORTAL KOMBAT 2. This review is brought to you by a guy who has played maybe 1 of the plethora of games out there and hadn’t seen any of the movies. Unlike the previous one, there’s an actual fighting tournament in this one. The story is split in 3 ways. The first focuses on Johnny Cage (Karl Urban), a washed-up action star who gets chosen to participate in the tournament with the world at stake. The second focuses on Kitana (Adeline Rudolph), a princess whose father is killed, the kingdom taken over by Shao Khan (Martyn Ford). The third focuses on the tournament itself, 5 fighters are chosen on each side to fight to the death. The winner takes control of “Earthrealm”. The rules of the tournament feel more like guidelines later on, but I digress. It’s as violent as needed. The set design is impeccable. Whether they’re CGI or not, they’re faithful to the video games. I really enjoyed the humour, especially from Urban and Lawson. It has poor acting and poor dialogue. You can definitely tell who’s a martial artist and who’s acting like a martial artist. The fight moves are accurate. It feels like the filmmakers listened to the fans and focused on what made the last movie good. If you’re a fan, you’re going into this movie for the fights, and most of them are great here. If you’re a newcomer to this franchise, you’re not gonna know what the hell’s going on. Overall, MORTAL KOMBAT 2 isn’t flawless, but it does its job: Bringing together a whole roster of cool-looking characters to fight each other, and not much else. MK fans rejoice!

When we all fall asleep, where do we go? People are going to concerts less and less these days because of soaring ticket prices. Artists have been cancelling tour dates. This isn’t the case for a certain bad guy. She has released a concert film recorded live in Manchester called BILLIE EILISH: HIT ME HARD AND SOFT: THE TOUR LIVE IN 3D. If you are sensitive to flashing lights, avoid this movie! It’s a collaboration between one of the youngest and biggest pop stars in recent history with one of the oldest and biggest directors in recent history: Billie Eilish and James Cameron. I love how supportive Cameron is here, allowing Eilish and her music to shine. Not only does this movie give an immersive concert-going experience using 3D technology and some unique handheld camera work, it’s also interspersed with behind-the-scenes footage of getting ready for the concert itself. Cameron asks some great questions to Eilish. Seeing so many fans get emotional got me emotional. She really has helped a lot of people find the confidence to be whoever they want to be. It’s easily the best concert film. I refuse to see a 3D movie unless James Cameron is involved. I can tell he really enjoys trying things nobody’s done before. I don’t usually listen to music in general, but I loved this setlist from Billie and loved seeing her command the stage, on and off it. Overall, BILLIE EILISH: HIT ME HARD AND SOFT: THE TOUR LIVE IN 3D is definitely one of the longest movie titles out there. It felt like I went to the best and cheapest concert ever. If you’re a fan, I can’t recommend it enough, this is everything I wanted. So, when the party’s over and you’re having a bittersuite lunch with a skinny wallflower at the diner, and you sign an NDA because you need to bury a friend with those lovely blue ocean eyes, try to think “what was I made for?”, and know you’re happier than ever. You’re the greatest!!!!!!!

The friendzone is a very real place where a lot of guys have tried to claw their way out of. A select few have succeeded, but most fail. In OBSESSION, Bear (Michael Johnston) is in love with his coworker/childhood friend Nikki (Inde Navarrette). At a convenience store, he buys a toy, a Wishing Willow. You get one wish, say it out loud, then break the willow in half. Bear wishes that Nikki loved him more than anyone in the world. He really shouldn’t have done that. As the movie goes on, Bear becomes a professional red-flag ignorer as Nikki slowly becomes more unhinged. This movie is a psychological horror, and it’s one of my favorite movies this year. It’s sadly relatable for a lot of guys. It’s unsettling, as good horror movies are. It’s terrifying in its subtlety, the way it lingers on certain scenes, making the audience feel like they have to take a moment outside. I actually physically gasped a few times. I’m not joking when I say Inde Navarrette deserves an Oscar for this performance. I finally figured out where I had seen her before, as the daughter from the SUPERMAN&LOIS TV series. This role will definitely help build a career if she is so inclined. This movie has a few very gory scenes, with one that needed to be cut down to avoid an NC-17 rating in the US. The budget for this is an unbelievable $750,000, and it’s made around $7 million in the first two days. It has become a fact that YouTubers make amazing, low budget horror movies. I’m so happy for the horror genre in general, even though they’re usually not good for my high startle reflex. 26-year-old writer/director Curry Barker has already filmed his next horror, called ANYTHING BUT GHOSTS, and he has been tasked with the reimagining of TEXAS CHAINSAW MASSACRE. I’m excited. Overall, I’m simply obsessed with OBSESSION. I’m happy my wish came true, more amazing original movies that do well in the theatres. It’s an instant horror classic. Remember, be careful what you wish for.

It’s been almost eight years since musician Boots Riley became a writer/director with his debut SORRY FOR BOTHERING YOU. It was an inventive and surreal middle finger to capitalism. He is back with his other middle finger for I LOVE BOOSTERS, a fashionista’s fever dream of a surrealist comedy. Corvette (Keke Palmer) is the leader of a gang of shoplifters who boost high-end clothes, selling them at a massive price-drop. Demi Moore plays the Miranda Priestly type of character, literally leaning into the stereotypical billionaire fashion mogul. Everything pops in this movie, from the vibrant colours to the score. There is a lot going on, sometimes too much. As with his last movie, Riley cranks up the surrealism in the third act, which could be divisive for some. The movie slightly loses the overall message as it goes on, but it goes to places I never thought possible. Don Cheadle, LaKieth Stanfield, and Will Poulter all play hilarious roles. The visuals are wild and unique, utilizing different styles. I loved seeing Riley just go for it. It has a similar tone from EVERYTHING EVERYWHERE ALL AT ONCE, but it goes a little too far with its absurdity. The writing is clever and very funny. Overall, I LOVE BOOSTERS is a unique, strange, and original tale that speaks to real issues. I had a fun time, but I know not everybody will feel the same.

It’s been seven years since there was a “Star Wars” movie in theaters. STAR WARS: THE MANDALORIAN AND GROGU is a new movie based on the Disney+ series, also directed by Jon Favreau. Taking place one year after RETURN OF THE JEDI, the Empire has been dismantled, and the New Republic is trying to track the remaining Imperialists who are scattered. Commander Ward (Sigourney Weaver) tasks Din Djarin (Pedro Pascal) and his adopted son Grogu to hunt them down. First of all, they should’ve called this film THE ADVENTURES OF THE MANDALORIAN AND GROGU and taken out the “Star Wars”. It raised expectations too high. I feel like most critics who saw this expected higher stakes, and were disappointed and underwhelmed. I thought of this as just a few episodes of the series smushed together and thrown on the big screen. In that mindset, I had a lot of fun. This is a space western that almost feels like a Saturday morning cartoon. Din and Grogu off on another adventure, fighting all manner of creatures and meeting unique characters. Funnily enough, there’s a sequence that reminded me of THE LAST OF US, which also has Pedro Pascal. Award-winning composer Ludwig Göransson takes his iconic score from the series and evolves it into something unique for each character and situation. Grogu A.K.A Baby Yoda is as cute as ever, sufficiently growing Disney’s bank account with the merchandising. I do feel like Disney made the wrong choice in this being a theatrical release. They could’ve delved a lot deeper and expanded this story into another season of the series, but that would’ve made them less money. I am curious what they do next with this seemingly tumultuous franchise. Side note: If you want to see something that’s deeper with a more poignant message, the ANDOR series is a must-watch. Overall, STAR WARS: THE MANDALORIAN AND GROGU is a fun and entertaining side-story from the galaxy far far away with minimal stakes and maximum heart. Go have some fun with your friends and family! This is the way.

The year is 1944. Exercise Tiger, a mission designed to be a rehearsal for the planned invasion codenamed D-Day, failed catastrophically, haunting General Dwight D. Eisenhower (Brendan Fraser). Learning from their mistakes, they hire a British expert meteorologist James Stagg (Andrew Scott) to work with their own meteorologist Irving Krick (Chris Messina), who is protective of his work. They butt heads, all the while trying to forecast the weather for the planned D-Day that’s supposed to happen in 72 hours. Without good weather, the boats won’t land on the beach and the soldiers won’t know where to land from the air. This is a tense and powerful WW2 drama. It’s a pressure cooker that doesn’t let up. There are two systems shown here that were used to predict weather. This is a movie about people facing the direst of problems, using intelligence, logic, and comradery to pursue the truth. It has amazing performances from Fraser and Scott, including Kerry Condon as Eisenhower’s aide. This is a straightforward yet very well-shot and well-written film. It’s a reminder that wars are fought on many fronts. Overall, PRESSURE is the most intense movie about the weather I’ve ever seen, and I recommend it.

Try describing what a dog looks like to somebody who has never seen one. Ask them to draw one. They’d get the basics right, but the small details would be a little off. It would look pretty unsettling to somebody who has seen a dog before. This is the concept of BACKROOMS. It started with an image on 4chan, which inspired 16-year-old Kane Parsons to create a 22 video web series, expanding the concept and the lore. Now 20, Kane has expanded this world even more with his directorial debut. Taking place in 1990, the story is about Clark (Chiwetel Ejiofor), a man whose life is in shambles. Struggling with alcoholism, a broken heart, and a failing furniture store, he stumbles upon a place he can’t easily explain. This place is called the backrooms. He has a therapist, Mary (Renate Reinsve). She has her own layers. If I had one word to describe this experience, it’d be fascinating. Parsons adapted his own web series, constructing 30,000 square feet of rooms using 4 large sound stages right here in Vancouver, Canada. The atmosphere, set and sound design, and cinematography are all incredible. The performances are excellent. They sometimes use a hand-held camera, deepening the immersion. The ability to create a fully fleshed out story based on one seemingly mundane image is endlessly creative. They make the most expansive areas feel claustrophobic. The oppressive hum of the fluorescent lights. The beige halls and walls. This movie explores how your memories, feelings, and traumas can be a prison. Both characters are trapped, in their own ways. Horror is having quite the moment. It seems like people still want that communal movie theater experience, where scary movies get the biggest reactions. Much like the backrooms themselves, there are endless interpretations your mind can create for this movie, especially the ending. There’s a drastic shift at one point that will probably throw some people off. After seeing this, I went ahead and watched all 22 videos of the web series. I’m just so intrigued by all of it. I have never done this much research for a review. When you really dig into BACKROOMS and not dismiss it, it’s a truly fantastic conversation piece. All of these amazing low-budget horror movies are inspiring me in ways that give me hope for what’s possible for myself and movies in general. Between this and OBSESSION, my brain hurts.

After the success of BARBIE, Mattel went to work on brainstorming what other toys of theirs could be good on the big screen. Their first idea that came to fruition is MASTERS OF THE UNIVERSE. This is my first foray into this universe, its masters, and its action figures. The story here is sort of like THE LION KING. As a kid, Adam (Nicholas Galitzine), the prince of Eternia, is transported to Earth with the Sword of Power to keep out of the hands of the evil Skeletor (Jared Leto). Losing the sword for an inexplicable 15 years, he finally finds it. With the help of his childhood friend Teela (Camila Mendes), her father Duncan (Idris Elba), a robot named Roboto (Kristen Wiig), and a giant cat named Cringer (Tom Wilton), they go back to Eternia to try saving it. I had quite a lot of fun watching this. There are a lot of jokes that mostly landed for me; some aimed younger, but others were aimed older too. This is directed by Travis Knight, who previously did BUMBLEBEE, which also had an 80’s vibe and was based on action figures. This reminds me a lot of THOR: RAGNAROK in that fun 80’s vibe. The visuals are on point, as are the costumes. Unfortunately, it felt like there were 6 different writers involved, and at least 3 of them are great. The quality is inconsistent. The action sequences are great though, especially as it goes on. There’s also a funny meta cameo here. The music is fantastic; everything Daniel Pemberton does is gold. They could’ve shaved off at least 20 minutes from the runtime. This is mostly a cheesy comedy that reminds me of an 80’s cartoon, which makes sense. It’s uplifting, full of charm, and surprisingly self-aware. Adam may be the protagonist, but Skeletor is my favorite part of the movie. Chewing the scenery, Leto’s voice work is actually excellent. He brings a sense of sass to the character, with the help of some of the writers. He’s so much fun to watch, as is this movie as a whole. Overall, MASTERS OF THE UNIVERSE wears its heart on its sleeve and doesn’t take itself too seriously. Casual movie-goers will enjoy it, as will fans of the animated series. Remember, there are many end credit scenes, so be sure to stick around until the very end. Until we meet again!

Steven Spielberg is the most celebrated filmmaker of all time. Quite a few of his movies have become classics. He has now gone back to his science fiction roots with DISCLOSURE DAY. I can’t disclose that much about this, but I’ll give you enough. It follows two plots, the first being a cat-and-mouse chase that reminds me a lot of THE MATRIX, involving a cybersecurity expert Daniel (Josh O’Connell) who steals data from a shady government agency led by Noah (Colin Firth) who is trying to find him. The second plot follows TV meteorologist Margaret (Emily Blunt) who suddenly develops strange supernatural abilities, leading her on a journey of self-discovery. I like to think of this movie as a combination of CLOSE ENCOUNTERS OF THE THIRD KIND and THE POST. The movie throws you into the shallow end of a pool, expecting you to pay attention right away to what’s going on, without letting you drown. Spielberg has brought along his frequent collaborators such as Oscar-winning cinematographer Janusz Kaminski, 94-year-old Oscar-winning composer John Williams, and 4th most successful screenwriter David Koepp. This brings me to the most glaring problem that most people will have, the script. Koepp has written some great films. He has also written some bad films. This one has a few contrivances, conveniences, a couple under-developed characters, and other people whose names aren’t Steven might say an unsatisfactory conclusion. The visual effects are also hit-and-miss. When the other aspects of a movie are this top tier though, I’m willing to overlook some things and go with the flow. This has fantastic acting, thought-provoking questions about religion, and a curiosity about humanity’s place in the universe. This could only come from a filmmaker who is clearly passionate about this subject matter, and I’m honored to have the same name. He wanted to make this film as a summation of all of his sci-fi movies, and I believe he succeeded. I think this is Blunt’s best performance. She has to do so many things with this role. I feel like I’ve been saying this somewhat more often, but some parts were actually very emotional. Before I forget, I have to give a shoutout to Courtney Grace, who only has maybe 2 minutes on screen. She absolutely crushes her role, you’ll see. Overall, DISCLOSURE DAY is essentially about the need for empathetic connection with other people and the starving need for truth. It made me want to believe. It is on the low end of Spielberg’s filmography, but the bar is so high that this is still a must-see movie with a healthy reminder; To not be afraid of what you don’t know. Listen.

I was 3 years old when the first TOY STORY came out. Now, while some people my age now have kids of their own, TOY STORY 5 has just been released. This one shifts the main focus away from Woody (Tom Hanks) and Buzz (Tim Allen) and onto Jessie (Joan Cusack). Still struggling with her PTSD, she is the new leader of the toys owned by 8-year-old Bonnie (Scarlett Spears). Bonnie is in that awkward phase where every kid around her has been brainwashed by technology, leaving her behind. When Bonnie’s parents get her a Lilypad tablet (Greta Lee), Jessie takes it upon herself to prove that making friends online is not the same thing as in person. I can imagine this aspect hits a very relatable nerve with most people, especially these days. Yet again, this franchise keeps finding ways to justify its existence. Many people, myself included, hoped the 3rd installment would be the final one. It ended on a very emotional high, having an adult message about growing up and letting go. Despite this, this franchise continues to surprise me with their awareness and heartfelt care towards these beloved characters. Randy Newman is back doing great music. It’s nostalgic, yet the storytelling still finds ways to evolve and grow with its audience. It captures the anxiety of an older generation looking at an increasingly lost younger generation. It touches on the draining of imagination, on cyberbullying, and addiction to technology. There are actually 3 distinct storylines that eventually mesh together very nicely. There’s a lot of laughs, especially with a new toy voiced by Conan O’Brian. I feel like Woody’s character arc was sufficiently finished in the last one, but I understand why he had to be included. Despite the fact that this is one of the most expensive animated movies out there, it has already blown past breaking even. Frankly, my biggest issue with the movie is there’s no blooper reel at the end. Bring them back, Disney! That’s some core memory poop right there. Overall, TOY STORY 5 is yet another amazing adventure full of characters I’ve loved my whole life, with a message that’s for kids and adults alike. Be brave enough to show who you really are, and don’t let technology change that. This might be the 5th installment, but they’ve still got a friend in me.

Unbeknownst to probably most people, DISCLOSURE DAY wasn’t the only movie released that week. We also got THE FURIOUS, the best action movie in years. This is truly an international production. Director Kenji Tanigaki and his fight choreographer Kensuke Sonomura are both Japanese, his cinematographer Meteor Cheung (awesome name) is from Hong Kong, and his editor Chris Tonick is American. Together, they have created such a fun and entertaining thriller. This has an easy story to get behind. Somewhere in South Asia, a mute father (Xie Miao) tries to get his daughter back from child traffickers with the help of another man (Joe Taslim) who has the same goal. They plow through many people, quite violently. The camera moves so fluidly around the actors, who are really putting in the physicality. It’s immersive and frantic, but not too shaky. The complexity of the choreography boggles my mind. If I had to guess, I’d say they were all martial artists. The many fights in this movie are inventive and ferocious. They are also extremely satisfying. The more people in your theater, the more fun you’ll have. It’s the kind of movie that enjoys eliciting reactions from its audience. Unfortunately, it’s a tad too long. There’s a certain point where I thought it was over, but it kept going. There are moments where I thought the dialogue was dubbed over, like the voice didn’t match the face. It’s because they used ADR (Automated Dialogue Replacement), which was a little off at certain moments. This made me think that it would’ve been better if it was just a non-English film. This movie made my inner video gamer very happy, with many moments reminding me of the YAKUZA games. It’s cartoonish at times, but not in a negative way. If you’re looking for realism, look somewhere else. Think of this as TAKEN mixed with THE RAID. This is my favourite action movie since JOHN WICK: CHAPTER 4 and just makes me want to rewatch THE RAID movies. Overall, if you love action movies and don’t mind some gore and a lot of fighting, THE FURIOUS is a must-see movie for the big screen.

There’s a movie that’s relatively young in its life, currently blowing up the film festival circuit. MILDLIFE is a coming-of-age story about Lawrence (Cory Thibert), a timid drummer who’s trying to make it big with his charismatic friend Jeremy (Tony Adams). His girlfriend Julie (Ivy Charles) wants to move to Vancouver to pursue acting, but he seems stuck in Victoria because he’s also struggling with a codependent relationship with his parents (Adam Grant Warren and Lianne Crowe), who both have cerebral palsy. We get a peek into both Lawrence’s and Julie’s family dynamic, which are very different. The acting is superb all around. Not only is Cory the lead, he’s also the director, writer, producer, and editor. It has the perfect tonal balance, using humour to convey complex emotions. Being a man with cerebral palsy, this hit me good. I’ve almost never seen people like me in movies, at least not this authentically. Granted, I don’t have kids. If I did, I would strive to give them the most accessible life possible, without giving them the oh so great burden complex that I have. It tackles some relatable issues I’ve had in my life with the utmost care and authenticity. This movie is inspiring, opening up new avenues for people with disabilities, either by seeing themselves on screen or disabled filmmakers. To me, this is fantastic all around. So far, MILDLIFE has had an honourable mention (Impact in Fiction Filmmaking) in the 2025 Woodstock Film Festival, was nominated twice (BC Performer’s Mastery Award and Best British Columbia Feature Film) in the 2026 Sundar Prize Film Festival, and won the award for Best Canadian Feature at the 2026 Victoria Film Festival. I bet you’ll be hearing more about this one in the future. Remember, self-care is important.

Actress Olivia Wilde has now directed three movies. She flew out of the gate with BOOKSMART, then made DON’T WORRY DARLING (which was harshly criticized in my opinion). Now she has made THE INVITE, an A24 comedy of neighbours and manners based on a stage play and a remake of a few films over the past few years. It’s a story of Joe (Seth Rogen) and Angela (Olivia Wilde). Their marriage is pretty burnt out, but when Angela tells Joe that their upstairs neighbours Hawk (Edward Norton) and Pina (Penélope Cruz) are coming over, things get interesting. This features two relationships and their different dynamics. I knew Wilde had so much fun working with Rogen on THE STUDIO, so I knew this would be fun as well. This is directed by somebody who has a strong idea of what it’s about, and who knows how to perfectly balance tone. It’s also the funniest movie so far this year. The humour is snappy and smart. The script (written by Will McCormack and Rashida Jones) is fast paced and well-rounded. Each character is well thought out, each taking me on a different emotional path. Each performance is amazing. The apartment is its own character here too, letting these characters unfold within it. The score has highs and lows alongside the characters, with certain scenes heightened. Man I’m saying character a lot, but it really is the biggest aspect of this type of film. I enjoyed just watching these…people…just exist. This movie is clever, sexy, unpredictable, fresh. It’s genuinely insightful about adult relationships. It’s full of interesting conversations. It goes deeper than one would think. It’s one of the best edited films I’ve seen. Overall, THE INVITE is a very well-crafted movie that deals with relatable and universal adult themes in a very fun way. Everything is on the table, so it’s a very entertaining watch. It definitely gets my recommendation.