It Chapter Two Ends The Pennywise Saga On An Underwhelming Note

It's been thirty years since the events of the first It movie. All the members of the Loser's Club have grown up and gone their separate ways outside of their hometown of Derry, Maine. Well, all of them except for Mike Hanlon (Isaiah Mustafa), who stayed behind to do research on how to definitively kill Pennywise the Dancing Clown (Bill Skarsgard). When it becomes clear that Pennywise has risen from his slumber and devour people once again, it's time for Mike to turn on the Loser's-Signal and call the other members of the Loser's Club home. Soon, Beverly (Jessica Chastain), Bill (James McAvoy), Ben (Jay Ryan), Richie (Bill Hader) and Eddie (James Ransone) have all reunited with Mike in Derry to figure out how to defeat Pennywise., though this clown isn't going down without a fight.

The X-Men Movies Comes To A Close With The Grim Snooze Dark Phoenix

"Make way for the X-Men, an outdated metaphor for racism from the 1960s!" - Deadpool (Ryan Reynolds) in Deadpool 2

The X-Men movies have had an erratic track record in their nineteen years of existence but their highest points showed an admirable level of ambition that fit these audacious comic-book characters. Creatively gusto spin-off's like Logan or Deadpool took the American superhero movie into unique terrain while X-Men: First Class used a period era setting and a zippy tone to breathe vibrant life into a tired franchise. In that context, the already disspiriting low-quality of Dark Phoenix becomes extra sad to see, it's such an all-around lackluster production that's as groggy and lifeless as a hungover college student. All of the ambition that marked the best entries in this series is gone, replaced with all the enthusiasm of a new kid forced to publically introduced themselves to all the students in the class.

Glass Is An Ambitious Follow-Up To Unbreakable And Split, For Better And For Worse

Just like most items that get sold on TV infomercials, Glass offers viewers the chance to get two things for the price of one. In this case, you get both an Unbreakable sequel and a Split sequel in one movie! This means M. Night Shyamalan's long in development follow-up to his 2000 motion picture Unbreakable has finally come to fruition, an exciting proposition for many including myself given that I consider Unbreakable to be Shyamalan's best work as a filmmaker. Glass does not reach the heights of either the excellent Unbreakable or the pretty good Split, but it does work as a solid film on its own merits, though it is one that can't help but feel messy in some key respects that keep it from being truly superheroic.

Atomic Blonde Is Frequently Entertaining But It Gets Too Bogged Down In Its Own Plot

In order to make the new action/thriller Atomic Blonde as awesome as potentially possible, it looks like the producers of this project swung for the fences and got two of the most influential figures of the mid-2010's American cinema action scene. David Leitch, one of the two directors of John Wick and one of the fight choreographers for the Captain America sequels (Chad Stahleski joined him on both of those duties), whose helped create a fresh modern-day style of cogently filmed and intense hand-to-hand combat, is helming this motion picture while his leading actor of the piece is Charlize Theron, star of one of the most iconic films of this decade in any genre, Mad Max: Fury Road. Alas, them working together doesn't result in a movie anywhere near as good as their best movies, though that doesn't mean Atomic Blonde doesn't have its own action-packed pleasures.

Split Is The Biggest Sign Yet That M. Night Shyamalan's Creative Resurgence Is Happening

For those concerned that M. Night Shyamalan's 2015 film The Visit was some kind of fluke, that he would be returning to the level of quality found in The Last Airbender and After Earth in future works, put those anxieties to rest. It turns out we may be in the midst of, at the very least, a nice uptick in the career of M. Night Shyamalan, as his newest film, Split, is a thrilling little romp that's equal parts nonsensical and thrilling. It's basically a B-movie plot superimposed onto higher quality filmmaking and acting, and if that sounds like a complaint, it really isn't at all. Actually, the film's willingness to embrace the nonsensical and absurd is very much part of its own charm.

Victor Frankenstein Review

What a waste. That's pretty much the most sufficient way to describe Victor Frankenstein, which wastes some solid production design, costumes, actors and even a decent enough story conceit on...derivative claptrap that only sporadically manages to have its faults become entertaining. Otherwise, this is a by-the-numbers misfire that goes for the most predictable story beats possible despite the central concept of the feature being, like I said, not a bad idea to base a motion picture on.

X-Men: Days Of Future Past Review

Welcome to The Future

The X-Men face their most terrifying threat yet; Sentinels...and bad photoshop

The future is very rarely an idyllic place in the world of movies. Even family movies like WALL-E make sure it looks terrible, while R-rated movies go to the most extreme ways possible to prove just how deplorable the future is. The X-Men likely think everybody from Max Mad to Robert Neville got it easy though, as their future consists of giant adaptive robots killing every mutant in sight.

The opening scene of X-Men: Days of Future Past, which introduces us to those robots (called Sentinels), is a thing of beauty, as it beautifully sets up how miserable this future really is, as mutants are killed off in a casual manner that makes one sick. Besides setting up an impressive action and tone-defining sequence, the opening also shows off one of the movie’s greatest assets; it’s ability to make any character that pops up immediately memorable. The unique powers that comes with each of the many mutants we meet in the film are so darn cool that it’s hard not to root for them (my personal favorite is featured in that opening; Bishop, played by Omar Sy).

Soon though, Wolverine (still played terrifically by Hugh Jackman) is off to 1973, where he hopes to get younger versions of Xavier (James McAvoy) and Magneto (Michael Fassbender) to help prevent the creation of those pesky Sentinels. The arc Wolverine’s undergone in six of these seven movies has had it’s ups and downs, but it all culminates nicely here, as he has to take responsibility and be more of a helpful presence to the younger versions of Xavier and Magneto. Jackman handles this thoughtful side of the character in fine fashion, while also delivering an immensely quotable one-liner and awesome fight scene in similarly successful style.

The 1973 seen in this movie is a dazzling place that sucks one in due to the insane amount of detail here. That year really wasn’t that long ago, yet it feels like an entirely different world compared to the one we have today. Thankfully, they play up these differences to their maximum potential, as everything from Pong to Richard Nixon is given time to shine.This era also gets us to McAvoy who absolutely brings it as young Xavier, a tortured soul who’s now a drug addict and a recluse. McAvoy does do an excellent job making sure his character comes off across as damaged, but not unlikable, a tough balance that he pulls off nicely.

McAvoy and Fassbender had some terrific chemistry in X-Men: First Class (for me, still the best X-Men movie) and perhaps the film’s only disappointment is the lack of time the two spend together. The one major scene they do get is gripping, but soon Fassbender does some things that feel abrupt and unwarranted; I get why they did him, but they could have been executed better, especially since they come at the cost of Fassbender interacting with the spectacular ensemble cast. It doesn’t help that Fassbender does some stuff in the finale that feels….weird and a little over the top considering the circumstances he’s acting in. Add in some questionable actions involving Beast and Wolverine, and some of the climax of this feature does slightly underwhelm, though it’s saved by some final few set pieces that being the film back to glory.

Oh, and lest I forget, the rest of the ensemble cast, by the way, is thankfully well balanced, with Halle Berry and Ellen Page getting nice cameos while (contrary to the public consensus) Jennifer Lawrence does a superb job handling all the complexities Mystique has to endure in this film. By the way, you’ve likely heard by now about Evan Peters landmark action sequence as Quicksilver. Spoiler Alert: it more than lives up to the hype.

Really, some underwhelming aspects of the finale notwithstanding (which still pale to The Wolverine, which I was overly generous with last summer) X-Men: Days of Future Past is still excellent moviemaking that shows how good storytelling mixed with superb action is an extremely potent mix.