2025 CATCH-UP: IS WICKED: FOR GOOD?

 In this continuation, we pick up several years after Elphaba flees The Emerald City. Glinda has just been given a new propagandist position, Fiyero has been made head of the royal guard (a role he has been using as an excuse to search for Elphaba), and The Yellow Brick Road has just been completed. With all of Oz out for her head, will Elphaba be able to protect not just herself but the lives of her friends? 

Jonathan Bailey is fine as Fiyero, but is given little to do and gets minimal screen time. Surprising, as he’s an integral character to the proceedings. Jeff Goldblum remains as wonderful and delightful as ever as The Wizard. He is incredibly charismatic and actually does a little dancing this time (YAY!!!). Ethan Slater as Boq gives what is likely the best supporting performance in the film. His arc remains rich and intriguing.

Ariana Grande remains the VIP, continuing to completely nail it as Glinda. Expect another Best Supporting Actress nom for her. Cynthia Erivo is still great as Elphaba (no surprise there). The less said about Michelle Yeoh’s Madame Morrible, the better. What tragic mis-casting.

The cinematography by Alice Brooks is fine, but can’t hold a candle to that from Part One. The Vaseline on the camera lens remains an issue. The production design by Nathan Crowley is still quite good, but his work in Part One was vastly superior. The reason why the technical elements don’t dazzle as much here is likely because this sequel is much darker, and having bright and poppy sets (no pun intended) would probably dilute the darkness found here.

Jon M. Chu is back in the director’s chair, but lacks the sauce this go-round. The energy from Part One effectively bleeds into the first two acts, but the pacing is uneven. There are also a few areas that could have been expanded upon. More Fiyero would have been nice, more time with the classic characters from Oz or new takes on the pre-existing scenes from the classic film would have been appreciated, it would have been cool to spend more time in Kiamo Ko aka Elphaba’s castle. 

Jon M. Chu faithfully adapts the second act of the musical, and in so doing also adapts all of its flaws. There was plenty of room for improvement and expansion, but all avenues are ignored for the already trod (yellow brick) road. There is still some fun to be had, but this sequel could have been great. Instead, it’s only For Good. Don’t expect a Best Picture nom this time.

3 STARS

2025 CATCH-UP: FIVE NIGHTS AT FREDDY'S TWO IS AN EMBARRESSMENT

 You guys DO know that if you don’t have an idea for a sequel, you don’t HAVE to waste your money and make a movie, right? There is very little plot or story this time. A year after the events of FNAF, Mike is trying to move on while Vanessa is paralyzed by memories of her past. Meanwhile, Charlotte/The Marionette is trapped inside the original Freddy Fazbear’s location, and tricks Abby into helping her escape. Her end goal? Kill all the adults/parents in the town (I wasn’t expecting FNAF 2 to turn into an anti-parent tirade, yet here we are). 

The production design continues to impress, and there has to be some credit given for these films choosing to more-or-less follow the lore from the games (although this sequel seems to confirm the Bite of 83 didn't occur within the filmic timeline, meaning we aren't ever going to see those events play out. How very disappointing). It’s cool that the second game is recreated for around ten minutes in the third act. The animatronics found in this sequel are more in keeping with how the animatronics are portrayed in the games, which is to say they are malicious, murderous, and scary. Charlotte/The Marionette is legitimately scary/freaky/terrifying throughout (especially her design).

All the animatronics are of a high-quality, though the dilapidated prototypes/The Withered impress the most. In general, we get less time with the animatronics here. They don’t really show up until the third act, although Toy Chica is featured (albeit seldomly) in the second act. Freddy Carter as Michael the security guard (a role I would bet money was originally intended for Markiplier, who is missing YET AGAIN!) might be the stand-out as far as the human cast goes. He only gets two scenes but definitely has screen presence. 

Matthew Lillard is sprinkled throughout the first act,but fails to impress. Skeet Ulrich does a great job in his one scene. Apparently, he is supposed to be Henry Emily, but I didn’t get that while watching the film. It’s fun to see Wayne Knight play an asshole again, and he’s in more of this than you would expect. The screenplay and dialogue are simply atrocious. There is a lot of stuff that just doesn’t make any sense (like Fazfest, for example. Who is putting this festival on?) and there is some Christian propaganda concerning Heaven very lightly inserted here. There are also some references to the games (like a nod to Security Breach). 

Scott Cawthon is the sole credited screenwriter, and that was likely a VERY bad decision. I love you, Scott, but you really should just stick to developing games. You lack the sauce for films. Emma Tammi returns to direct and does a terrible job. This movie feels directionless and aimless, though in Tammi’s defense there’s only so much you can do with this material. 

Complete with an insulting non-ending that refuses to wrap anything up (it literally ends with Mike telling Vanessa to stay away from him and Abby because he can’t trust her, and then she gets possessed by Charlotte/The Marionette), FNAF 2 is a disappointment and mostly a waste of time and money. There is some amount of fun to be had here (and there are more scares), but not nearly enough to earn this anywhere near a passing grade. FNAF 2 has less intelligence than a Chuck. E. Cheese animatronic show, and it lacks any of Chuck and Pal’s charm too. It's fun to laugh at and make fun of, but that doesn't mean it's any good.

If you feel so inclined, stick around for a mid-credits scene that teases events from game 3 pretty accurately.

1.5 STARS

2025 CATCH-UP: WAKE UP DEAD MAN: A KNIVES OUT MYSTERY

 Now that’s what I’m talking about! Finally, a superior Benoit Blanc mystery! Like every other Benoit Blanc film, our beloved detective is not the lead. Struggling priest Jud Duplenticy (Josh O’Connor) finds himself thrust into an impossible murder when the Trump-esque Monsignor of his church, Jefferson Wicks (Josh Brolin), is found stabbed to death shortly after giving a fiery sermon. All leads point to Jud as the culprit. Lucky for him, Benoit Blanc (Daniel Craig) is on the case! 

Writer/director Rian Johnson delivers what is his best work in years. Not only is this a delicious, twisty who-dun-it (and how), Wake Up Dead Man also doubles as a musing on faith, religion, and their corruption in the modern day. The cast (consisting of Glenn Close, Andrew Scott, Thomas Hayden Church, Jeffrey Wright, Cailee Spaeny, Daryl McCormack, Ed Harris, Kerry Washington, and Jeremy Renner) is phenomenal, with the only weak link being Mila Kunis as Police Chief Geraldine Scott. Luckily, not much is asked of her and she isn’t in the proceedings much. She manages to perform her role well enough.

Glenn Close as Martha Delacroix, Monsignor Wick’s right hand and most faithful disciple, is the most impressive out of the supporting cast. She crafts a character that isn’t the easiest to like with how devoutly religious and judgmental she is. That said, it’s always a joy to watch Ms. Close do her thing. She continues to be one of the most under-rated actresses of all time. 

Daniel Craig as Benoit Blanc steps back into his fan favorite role with ease. He is still one of the coolest and suavest detectives around. It’s easy to forget this man was James Bond, as between this and 2024’s Queer he continues to prove he is capable of so much more. He remains as delightful as ever. All that being said, this film belongs to Josh O’Connor.

Josh O’Connor as Jud Duplenticy performs his multi-layered role with intense passion and dedication. His numerous monologues/musings on faith and religion are compelling and have a tendency to hit home in a meaningful way. Josh O’Connor easily dominates the entire film. He makes it all look easy. O’Connor continues to be a true diamond-in-the-rough and he delivers one of the best performances of 2025. Make no mistake, he is not a supporting character. He’s the lead/star of this mystery.

Steve Yellon is in charge of cinematography, and he does a fantastic job. There are some impressive dolly shots and fast zoom-ins that feel like camera tricks of old. Possibly the most impressive technical aspect of this film is the lighting, which is the best and most effective I’ve seen this year. The way rooms or windows light up behind characters during certain scenes is very cool and incredibly effective, just as effective is when that lighting fades into an icy cold blue blackness just as suddenly as the light appeared (or the reverse, how an icy cold blue blackness is slowly illumined by the light from outside).

I’ve been waiting for an incredible and gripping Benoit Blanc mystery since 2019. The first entry flipped the detective genre on its ear to delightful and fun effect. Its sequel used that genre to point an accusatory finger at the corrupt wealthy and powerful elites. This third installment easily satisfies the most with an intriguing and timely blend of murder, religion, and faith with plenty of tasty twists and turns thrown in for good measure. Escapism works best when it can relate back to our real world in meaningful ways and leave us with themes to ponder upon and contemplate once the end credits roll. Wake Up Dead Man is very fun and very meaningful. It’s another one of the best films of 2025!

5 STARS

2025 CATCH-UP: AVATAR: FIRE AND ASH

 The best Avatar film, though it’s far from perfect. With a name like Fire and Ash, you expect more war and destruction. The first act has a good deal of bloat to it, there’s about as much action as was found in the first Avatar, and the wrap-up is fast and sloppy. The good news is there is more originality to the plot here, the entire third act is essentially nothing but action (and it might be the best action out of all three films). There’s the most character development in the trilogy here, and what was already established in the prior two movies is expanded upon and deepened. 

I saw this at a 60ft tall x 80ft wide IMAX screen in IMAX 3D. The visuals and 3-D remain stunning. This is the Avatar movie that most takes full advantage of the potential for psychedelic visuals, especially during a very cool scene where Col. Quaritch is drugged and has an intense acid trip. The depth is ok, and there is plenty of screen penetration (though most is subtly done). The 3-D makes this a very immersive experience.

As far as villains go, Brendan Cowell’s Scoresby returns and is the best out of the two here. While he is a secondary antagonist, he's the easiest to despise out of the entire cast. The new villain, Varang, is pretty cool and very evil. She’s the leader of an ultra-violent Na’vi tribe whom Quaritch and crew strike up an alliance with. You expect more with this new tribe, but they mostly just act as another antagonistic force. Speaking of Quaritch, a lot of time is spent with him and he gets a bit more depth added to his character. 

Giovanni Ribisi returns as Selfridge, head of the RDA. He’s still fairly entertaining. Indeed, we spend more time with the RDA this go-round, though the anti-aging liquid harvested from the whales is barely focused on. Jemaine Clement’s Dr. Garvin returns. His arc is continued and completed nicely this time. Sigourney Wraver’s Kiri remains the bright spot as far as acting goes. The weak link this time around is Jack Champion’s Spider, who has the weakest lines of the bunch and is overall a bit embarrassing. 

This third outing isn’t quite as hollow or archetypal as previous entries, though there isn't much new here. The biggest downside is, while Fire and Ash doesn’t end on a cliffhanger this time and tries to find ways to feel complete and satisfying, it still leaves room for more films in the future. If you are a fan of the Avatar films, you’ll find much to love here. If you aren’t, this one still might end up being your favorite out of the three (though a viewing of Way of Water is required. Fire and Ash is definitely a part two to that movie).

4 STARS

OUR SPECIAL PLACE ISN'T SPECIAL ANYMORE: RETURN TO SILENT HILL

 A film that, for the first act at least, tricks you into thinking it’s going to be a faithful adaptation of the game. Instead, Gans uses the Silent Hill 2 remake game as a basis for his own, weird, warped story that combines elements from the second game and his first film. Some of the environments are faithful to the game, but there are plenty that just aren’t. The screenplay by Christophe Gans (who also returns to direct after his 2006 Silent Hill film adaptation), William Josef Schneider (The Crow 2024), and Sandra Vo-Anh is scattershot and weak. Most of the side characters (Maria, Laura, Eddie, Angela) serve zero purpose and are here only because they were in the game. It’s nice that Evie Templeton reprises her role of Laura from the game, but Laura in the film is very different. 

The CGI and visual effects are ugly. Every creature is fully CGI except for the nurses. Pyramid Head acts much like he does in the game, but there’s a reveal involving him that is stupid and insulting. The cinematography by Pablo Rosso and editing by Sébastien Prangère are bad (so many baffling first person pov shots). Whereas the game was unafraid to leave things unexplained and allow players to come up with interpretations on their own, this film explains most things (except the cult), spelling it all out in blunt and uninteresting ways. At least Jeremy Irvine as James turns in a good, compelling performance.

Unfortunately, there is very little to recommend here for both fans of the games and newcomers. Gans doesn’t appear to have much of a vision for the film. If you’re morbidly curious, wait for VoD. If you want my honest advice: Just play the game instead.

2 STARS

GET BONED WITH 28 YEARS LATER: THE BONE TEMPLE

Enter the Bone zone.

In 28 Years Later: The Bone Temple, we pick up minutes after the end of 28 Years Later with poor Spike (Alfie Williams) undergoing a cruel and barbaric initiation into a bloodthirsty gang called The Jimmys, led by the evil Jimmy Crystal (Jack O’Connell). While The Jimmys terrorize the countryside, Dr. Ian Kelson (Ralph Fiennes) subdues Alpha zombie Samson (Chi Lewis-Perry), befriending him and turning him into a bit of a morphine addict. As they spend more time together, Kelson begins to see human characteristics in the drugged Samson and realizes all hope might not be lost for the infected. Unfortunately, the Jimmys and Kelson are headed for a collision course which is guaranteed to explode minds and change lives. 

Nia DaCosta does it again. She dusts herself off after the travesty that was The Marvels and ascends into the heavens. There is no simpler way to put it: The Bone Temple kicks ass. It’s religious-action-horror done oh-so right. DaCosta’s direction is sharp and self-assured. She lets loose and has fun with the proceedings. There’s one scene in the third act that feels like George Miller of Mad Max: Fury Road fame took over. You’ve seen said scene in the trailers, but it’s even more glorious on the big screen. It will melt your face off and is easily one of the greatest, coolest scenes in horror film history. 

The screenplay is penned by Alex Garland, and it’s superb. This go-round he plays with themes involving religious perversion and finding humanity in the damned (even Jimmy Crystal has some humanity behind his madness). Alex Garland and Nia DaCosta do a deft job at balancing the depravity of the Jimmys with the humanity of Kelsor and Samson. Both stories are equally interesting, and they mix surprisingly well together.

The Bone Temple also has some very choice needle-drops throughout and its score by Hildur Guðnadóttir is quite good. The sonic landscape of this film is very appealing. The cinematography by Sean Bobbitt and editing by Jake Roberts are expertly done, although more traditional than the previous entry. The Bone Temple consistently looks cool and doesn’t feel like it runs at close to two hours. The proceedings fly by.

It’s rare to get a certified new icon in a film. The Bone Temple gifts us with three: Jimmy Crystal, Samson, and Dr. Ian Kelson. Jack O’Connell knocks it out of the park as Jimmy Crystal, an insane religious zealot and true believer who has created his own perverse religion and sees himself as a Christ-like figure. Jack O’Connell is quickly turning into a horror darling. He previously played the head vampire in Sinners, and with Jimmy Crystal he crafts another unforgettable character. Jimmy’s last scene is an all-timer.

Chi Lewis-Parry reprises his role of Samson, the main infected antagonist of 28 Years Later. He’s still fully nude with an impressively intimidating dong. Samson is the coolest and most interesting zombie we’ve gotten in a film in a long time. He reminds of Bob from Day of the Dead, but Lewis-Parry’s performance is more nuanced, subtle, and quiet. Samson is guaranteed to be a fan favorite. I can’t wait to see where he goes in the inevitable third outing.

Ralph Fiennes blazes brightest out of the entire cast as Dr. Ian Kelson. Between Voldemort and his performance in this film, Fiennes has cemented himself as a legend. Kelson has a lot of pathos, humanity, and heart which perfectly offsets the depravity of O’Connell’s Jimmy Crystal. The two do share some screen time and play off of each other perfectly. Fiennes’ fiery scene in the third act is all-kinds of awesome. It’s what solidifies Kelson as yet another icon The Bone Temple has to offer.

Alfie Williams returns as Spike, and remains a lead character. That said he’s not THE lead like he was in the previous film, those honors go to Ralph Fiennes and Jack O’Connell. Williams continues to provide an emotional, vulnerable and touching performance as a young boy who has found himself in way over his head and is desperate for a way out. Kelson and him share some history which The Bone Temple touches upon in a beautiful way during the last act.

Erin Kelleyman plays Jimmy Ink, and is a memorable supporting character and a possible lead in the third film. Kelleyman could previously be seen as one of the main antagonists in Falcon and the Winter Soldier and Winifred in The Green Knight. She does a great job as the Judas in the Jimmy gang. She winds up befriending Spike despite her own trepidations and assists him throughout the run time. 

The ending of 28 Years Later had me worried for the second installment. Luckily, there was no need to fear. The Bone Temple has a lot more going for it than its predecessor did. For one, it’s better directed and paced than 28 Years Later was. There are no real dull moments here (although some of the technical elements impressed more in the prior production). There are some incredibly memorable scenes here, and three iconic and unforgettable characters. Not to mention this second outing does things and goes places most zombie films don’t. This is the rare superior sequel. Get ready to have your temple boned (no lube required).

4.5 STARS

GO BEN-ANAS WITH PRIMATE

 “There’s something wrong with Ben.”

Bad monke! Lucy (Johnny Sequoyah)travels to Hawaii with her bff Kate (Victoria Wyatt) and Kate’s friend/third wheel Hannah (Jess Alexander) to visit her estranged family. Lucy’s mom, a brilliant linguist, died around a year prior and her leaving Hawaii was seen as an abandonment by her deaf and mute father Adam (Troy Kotsur) and little sister Erin (Gia Hunter). Adam is leaving for three days to promote his book, and Lucy’s childhood crush Nick (Benjamin Cheng) is invited over to help housesit and possibly party. 

The festivities come to an abrupt halt when Ben, the family’s pet Chimpanzee and Lucy’s mom’s project, starts to act strangely. A night prior, a wild mongoose broke into Ben’s enclosure, biting him and infecting the chimp with rabies. The once friendly and sweet chimp quickly turns homicidal, going BEN-Ana’s and  trapping the friend group in the pool and slowly picking them off one-by-one.

Primate is directed by Johannes Roberts (Resident Evil: Welcome to Raccoon City, 47 Meters Down, The Strangers: Prey at Night) and written by Ernest Riera and him. The screenplay isn’t anything to go ape over, but is still acceptable for what this film is. There’s only around 20-25 minutes before Ben goes feral, meaning we don’t have to wait very long to get to the good stuff.  The direction by Roberts is competent, and the cinematography by Stephen Murphy is effective at times. The score by Adrian Johnston is quite good as well. 

The best actors here are Troy Kotsur and Johnny Sequoyah. Both are compelling and likable, and having Kotsur as one of the leads adds much humanity to the proceedings. Most of the friend group are likable enough, with the exception of Hannah who immediately reveals herself to be a bitch. That said, she unexpectedly proves to come in handy when the bananas hit the fan. 

Ben is the reason most are going to see Primate, and he is a threatening, savage, and terrifying presence. He seems to mostly be brought to life by an actor in a chimp suit, with minimal CGI utilized. While going the full CGI/mo-cap route might have worked best (you can definitely tell it’s a chimp suit), props should still be given for the choice to go old-school with the effects. Primate treats Ben like a slasher killer as he stalks, torments, and even teases our leads. He still mostly acts like an animal, but he can seem almost too human or intelligent at times (a forgivable sin, if you ask me. Chimps are the 2nd closest living relative to man, after all).

Primate doesn’t have much fluff, depth, or intelligence to it. It doesn’t waste time with deeper themes or character development, instead choosing to focus fully on Ben wrecking holy hell on our group. The carnage Ben doles out is bloody, gory, brutal, savage, and intense. The kills are satisfying and gnarly.

Primate is clearly heavily influenced by Cujo, except instead of a rabid dog, we’re dealing with a rabid chimp and instead of our crew being confined to a car, they’re trapped in a pool (though there is a great scene set within a car later on). If you’ve come to Primate looking for something beyond a chimpanzee going on a murder spree, you’re going to be sorely disappointed. Nope this is not. However, if all you want is a fun, intense, and gory time starring an out-of-his-mind chimpanzee murdering his human owners, you could certainly do worse than Primate.

4 STARS