​“Superman” stars David Corenswet, Rachel Brosnahan, Nicholas Hoult, Edi Gathegi, Anthony Carrigan, Nathan Fillion, and Isabela Merced.  Released on July 11, 2025, the film has Superman attempting to reconcile his Kryptonian heritage.

The film is written and directed by James Gunn, who also directed films such as “Slither”, “Super”, “Guardians of the Galaxy”, and “The Suicide Squad”.  It is the first film in the DC Universe and the second reboot of the Superman film series.  Since his emergence in the realm of pop culture, Superman has undergone numerous interpretations, fighting for truth, justice, and the American way while inspiring countless generations.  Through comic books, television series, and films, this half-human, half-alien superhero has consistently served as a beacon of hope and resilience, with each narrative reflecting his journey through heroism, humanity, and responsibility.  For many who grew up watching movies, Superman is most vividly remembered through the Christopher Reeve films in the late 70s and 80s.  However, after those classic adaptations, Hollywood has struggled to meet those expectations with recent attempts to revive the character for modern audiences.  Bryan Singer’s “Superman Returns” was well-received critically but didn’t perform at the box office as well as Warner Bros. had hoped it would.  Additionally, Zack Snyder’s take on the Man of Steel left a dissatisfied taste in people’s mouths due to its darker tone and creative choices, resulting in Henry Cavill’s run as Superman and the studio’s DC Extended Universe becoming disappointingly short-lived.  But, at the very least, Zack Snyder’s Superman lore has retained a dedicated fanbase, for better or worse…mainly the latter.

Because of this, the DC Cinematic Universe has hit the reset button under new management, aiming to restore the audience’s faith in the brand’s cinematic future.  This ambitious role of leading the newly reformed universe, now known as the “DC Universe,” now falls into the hands of filmmaker and comic book aficionado James Gunn, who previously directed “The Suicide Squad” for the DCEU.  Despite that film’s underwhelming performance, Warner Bros. seemed to be quite confident in Gunn’s vibrant, soundtrack-driven, and heartfelt vision for the studio to have him recreate the DC lore in his own image.  Alongside producer Peter Safran, James Gunn already kickstarted the DCU’s first chapter, titled “Gods and Monsters”, with the adult animated series “Creature Commandoes”, which is basically “Guardians of the Galaxy” with monsters.  Admittedly, it was another delightfully entertaining and surprisingly emotional addition to the DC animation lineup.  However, the true test of Gunn’s ability to lead the DC Universe is his big-screen interpretation of one of the brand’s iconic characters: Superman.  Was it able to inspire hope for the restructured universe as Superman traditionally does, or did it consign the Man of Steel to yet another cinematic retirement?  Let’s find out.

The story follows Clark Kent (Corenswet), a journalist at the Daily Planet in Metropolis.  He conceals his true identity as an alien who was raised by his human family in Smallville, Kansas, after escaping the destruction of his home planet, Krypton.  Under his superhero persona, Superman, Kent dedicates himself to protecting humanity while maintaining his recent relationship with his colleague, Lois Lane (Brosnahan).  As he grapples with his dual existence, Clark embarks on a personal quest to reconcile his Kryptonian heritage when the truth about his parents’ intentions comes to light.  However, his endeavor leads him to a direct clash with business CEO Lex Luthor (Hoult), whose animosity towards Superman and desire for recognition pose a significant threat to the citizens of Metropolis.  Alongside the Justice Gang, Clark must embrace his identity to subdue Luthor’s wrath and rekindle hope in a world void of kindness.

There’s no denying that the excitement for James Gunn’s “Superman” is through the roof.  When it comes to the live-action cinematic universe, the DC brand has struggled to reach the same heights as the Marvel Cinematic Universe, primarily due to the DCEU lacking a clear direction.  However, with the MCU now grappling with its own creative issues, DC had an opportunity to turn this situation to its advantage, especially with James Gunn in charge of the cinematic universe.  Personally, I was eager to watch this new interpretation, as I grew up with Superman alongside other DC heroes like Batman and Wonder Woman.  Additionally, I continue to have a fondness for James Gunn’s vibrant, offbeat style and soundtrack choices, especially regarding his takes on the Marvel and DC lore, including “Guardians of the Galaxy”.  While his work on “Suicide Squad” and “Creature Commandos” may have reminded me of “Guardians of the Galaxy” in terms of narrative choices, I found both of them enjoyable for different reasons.  Of course, “Creature Commandos” wasn’t enough for me to declare James Gunn the actual answer to DC’s cinematic problems, mainly because one project isn’t enough to receive my full judgment of its new game plan.

One thing to know about this iteration of “Superman” is that this is another superhero movie that ditches the origin story treatment, much like the MCU’s take on “Spider-Man” and the upcoming “Fantastic Four” reboot.  We’ve already got two film adaptations involving Superman’s origins, so there’s no reason to see Krypton get blown up on the big screen for the third time.  Instead, the movie immediately transports audiences into a universe where humans and metahumans have already coexisted for centuries, and Clark Kent has been Superman for three years.  Fortunately, it briefly explains the universe's origins via an opening text reminiscent of “Star Wars”, so casual viewers can easily enjoy it without much knowledge of the characters and the DC lore.  But the real test lies in the execution of this narrative strategy.  After experiencing the film and reflecting on it for a bit, I can confidently say that this “Superman” stands tall alongside the other iterations.  Following Zack Snyder’s epic yet somber portrayal of the Man of Steel, James Gunn’s interpretation brings a refreshing return to the light-hearted and unapologetically silly roots that characterized the Christopher Reeve era.  The result is an immensely satisfying and entertaining depiction of one of DC’s most iconic heroes.  Was it a flawless Superman movie?  Not really, but it succeeds admirably in restoring him as the beacon of hope audiences have longed for.

Whether you appreciate James Gunn’s vision or not, it’s hard to deny his ability to craft comic book movies that are fun, humorous, and occasionally heartwarming, especially when he’s unveiling the humanity within his seemingly unlikable characters.  “Guardians of the Galaxy”, “Suicide Squad”, and “Peacemaker” have each garnered strong followings, illustrating why Gunn is often viewed as, from my perspective, a true “comic book fan”.  His ability to connect with audiences through his colorful storytelling and likable characters has continued to solidify his status in the industry, even in the realm of comic books filled with lesser-known heroes or villains.  On the other hand, “Superman” seemed like a different beast in itself, as he’s not dealing with intergalactic crooks or D-level villains.  Instead, he’s tackling a well-known superhero who has always been beloved for his goodwill and wisdom.  Gunn was tasked with honoring Superman’s storied legacy while incorporating his signature directorial style to appeal to a broader audience.  Did he succeed?  Yes, he did.  It had a few moments in his direction that we’d expect from Gunn’s previous films, including the licensed songs and offbeat humor.  However, those elements didn’t overshadow his ability to breathe life and humanity into the film’s light-hearted, comic book aesthetic universe.  

Whenever Gunn wasn’t infusing the film with visual-heavy chaos and playful humor, he embraced the film’s emotional core, which is rooted in the hero’s uplifting moments.  Although most of the film’s emotional beats may have been drowned out by its silliness and narrative structure, Gunn succeeded in making these moments feel genuine and heartfelt, often bringing a smile to my face.  His balance of humor and emotion ensured that the essence of Superman remains intact while keeping it fun and charismatic enough to delight its broader audience, including kids.  I would also credit Gunn for making the action sequences in “Superman” engaging, visually chaotic, and immensely rewarding.  The sequences, enhanced by Henry Braham’s cinematography, employed swift panning and zoom shots that immerse the audience in the heart of the action.  Remember that dynamic “one-take” scene from “Guardians of the Galaxy 3” where the Guardians battle the High Evolutionary’s forces?  Well, “Superman” is that sequence in a nutshell.  These scenes captured the chaos, beauty, and excitement of seeing Superman and the Justice Gang battle their opponents, particularly Mister Terrific’s standout action moment.  The visual effects also contributed significantly to the film’s appeal, effectively crafting the fictional world of Metropolis and Superman’s exhilarating flight sequences.  While some CGI elements, like Krypto, appear slightly clunky at times, they’re far less distracting and ugly than the ones from “The Flash”.  In fact, Krypto’s presence, despite being entirely CGI, adds an element of charm and amusement due to his rambunctiously playful behavior.

Regarding Gunn’s screenplay, it’s basically a straightforward superhero film that isn’t afraid to embrace its own identity.  Rather than complicating its narrative with overly intricate messages, it wisely focused on delivering a good enough script that highlights the thrills and uplifting messages in a heartfelt and simplistic manner.   While it does feature Superman serving as a symbol of hope and kindness amid calamity, the movie’s overall focus is the character’s humanity.  Traditionally, Superman has embodied the ideals of fighting for justice, being a paragon of virtue, and helping those in need, as he has always done through multiple iterations.  However, this adaptation of the character was bold enough to pose the question, “What if that’s not always the case?”  This question was explored through his birth parents’ true intentions in sending him to Earth.  That angle may not go over well with everyone, but to me, it works in casting this inexperienced Superman in a new light, emphasizing his identity beyond that of a mere powerful alien.  In light of the current global landscape, “Superman” is another inspiring reminder of what humanity could’ve been if we all just spread kindness and hope to each other, regardless of our backgrounds.  The screenplay did have some issues, notably the film’s genre tropes and lack of narratively bold surprises.  Nevertheless, Gunn demonstrated a clear understanding of what makes Superman an endearing and beloved DC icon.  It’s not just his superpowers and his unwavering sense of justice, but also the human qualities and vulnerabilities that make him relatable.  James Gunn successfully captured these traits with his screenplay, reminding us why Superman continues to resonate with audiences worldwide.

This brings us to an essential question: Was David Corenswet well-suited for the role of Superman?  Throughout the years, numerous actors have successfully portrayed this iconic superhero, each bringing their unique interpretations, such as Christopher Reeve and Henry Cavill.  Now, the mantle has passed to Corenswet, an actor who first caught my attention in his supporting role in “Twisters”.  After witnessing his portrayal of the Man of Steel, I was left feeling optimistic about seeing more of him in the future.  Corenswet embodied the spirit and heart of Christopher Reeve’s Superman without actually trying to imitate him.  He’s a Superman who’s human and vulnerable due to his grappling with his challenged beliefs.  David Corenswet also deserves credit for distinguishing his vocal delivery between Clark Kent and Superman, effectively portraying two distinct identities within the same character.  His performance, much like Robert Downey Jr.’s portrayal of Iron Man, captured both the charm and humanity essential to Superman, which will undoubtedly pave the way for new opportunities within the DC Universe and beyond.

The supporting cast also had their chance to shine amid the film’s extensive lineup, with some actors standing out more prominently.  Rachel Brosnahan did such an impressive job with her portrayal of Lois Lane, highlighting her modern journalistic prowess and transforming her from a mere damsel in distress to a dynamic, supportive ally.  Of course, her scenes with Corenswet’s Superman were brimming with charisma and warmth due to their undeniable chemistry together.  It’s moments like these that make the relationship between Clark and Lois so endearing, even when Superman’s not busy punching villains in the face.  Nicholas Hoult was an interesting choice to play Lex Luthor at first, but given his recent success in films like “Renfield”, “The Order”, and “Nosferatu”, I started to come around to the casting idea.  It was a good thing I did because Hoult really made me despise the guy, but for the right reason.  Luthor in this version is a merciless CEO whose anger and reckless actions were driven by his obsession with destroying Superman, and Hoult convincingly channeled this personality almost perfectly.  Edi Gathegi and Nathan Fillion also made their appearances memorable as Mister Terrific and Guy Gardner (Green Lantern), respectively.  Mister Terrific delivered the most crowd-pleasing moments in terms of action and comedy, while Nathan Fillion’s Guy is another example of James Gunn’s talent for making a seemingly unlikable character likable.  Although Isabela Merced was also decent as Hawkgirl, her role seemed somewhat overshadowed due to the film’s large cast.

Overall, James Gunn’s “Superman” soars to cinematic heights with its entertaining, uplifting, and unapologetically light-hearted portrayal of the Man of Steel’s humanity.  Its script may not be emotionally groundbreaking with its inspiring messages and genre tropes, and the tone, while full of charm and silliness, can be a bit much for some fans of the DC character.  Fortunately, under his direction and screenplay, James Gunn managed to craft a visually captivating and well-defined tribute to the superhero’s early days, especially the Christopher Reeve films, with the inclusion of John Williams’ iconic theme from the 1978 movie.  David Corenswet is another actor worthy of stepping into Superman’s shoes through his endearing performance, and the supporting cast managed to follow suit with their own great moments.  With its thrilling and immersive action sequences, solid visuals, and a rewarding mix of quirky humor and heartfelt moments, this latest version of “Superman” is a welcoming addition to the superhero’s cinematic hall of fame.  More importantly, it serves as a solid foundation for the DC Universe, especially with two more films from this universe set for release next year.  Hopefully, they can sustain this momentum and provide a worthy challenge to the Marvel Cinematic Universe despite liking both franchises for different reasons.  If you’re a fan of Superman, particularly the Christopher Reeve films, you’re likely to enjoy this latest interpretation of the Man of Steel.

​“The Old Guard 2” stars Charlize Theron, KiKi Layne, Marwan Kenzari, Luca Marinelli, Matthias Schoenaerts, Ngô Veronica Vân, Chiwetel Ejiofor, Uma Thurman, and Henry Golding.  Released on Netflix on July 2, 2025, the film has Andy and the Old Guard battling a dangerous immortal.

The film was directed by Victoria Mahoney, who’s known for writing and directing “Yelling to the Sky”.  It is a sequel to the 2020 superhero film, “The Old Guard,” based on the comic book by Greg Rucka and Leandro Fernández.  It’s not easy living an immortal life, but the struggles of mortality are equally daunting.  Either way, life is pretty challenging, especially when you are a warrior who’s lived centuries battling nefarious forces.  Greg Rucka and Leandro Fernández’s comic book series, “The Old Guard,” which centered on a band of immortal soldiers fighting evil throughout centuries, brought back or ignited people’s attention in the source material when it was adapted into a Netflix film.  With its engaging action sequences, solid storytelling, and standout performance by Charlize Theron, the film quickly became one of Netflix’s most successful original launches.  Furthermore, it showcased director Gina Prince-Bythewood’s unexpected talent for the action genre, a departure from her usual focus on romance and dramas.  This success led her to direct similar movies outside of drama, including “The Woman King” and the forthcoming adaptation of the fantasy novel “Children of Blood and Bone.”  With this success, Netflix was quick to develop the sequel that continues the adventures of the immortal team of mercenaries, pitting them against an even greater threat.  Unfortunately, Gina Prince-Bythewood didn’t return to direct it, as Victoria Mahoney took over directing duties.  Does it help make this action-packed continuation worthwhile, or does it tarnish its predecessor’s immortal legacy?  Let’s find out.

The story unfolds six months after the events of the first film, featuring Andy (Theron), Nile Freeman (Layne), and her band of immortal soldiers, known as “The Old Guard,” as they continue their mission to safeguard humanity.  However, Andy struggles to navigate her remaining mortal life after losing her immortality.  The team is called back into action when a new threat emerges, poised to dismantle the very essence of the Old Guard.  This threat is revealed to be another immortal named Discord (Thurman), who launches a vendetta against Andy and is aided by one of Andy’s trusted comrades, Quynh (Ngô), who has been left imprisoned for centuries.  Andy must confront her own mortality and come to terms with her tragic past to fight against their formidable enemies.  However, a terrifying secret from one of their own could lead to the team’s downfall.

My first exposure to the comic book series was not through my experiences with comics.  Instead, it was the 2020 film adaptation that debuted on Netflix during the period when we were all confined to our homes like animals due to a particular virus spreading around the planet.  What an interesting time that was.  Admittedly, I was pleasantly surprised by how impressive “The Old Guard” turned out to be.  While it may not offer anything particularly groundbreaking with its superhero storyline, it packed enough punches in the action sequences and plot to leave it immortalized in Netflix’s cinematic library.  Plus, it made me appreciate Gina Prince-Bythewood as a director, even though I hadn’t previously watched her dramas beforehand.  Perhaps one day I will, but not today.  My experience with that film sparked my curiosity about the direction they would take for the sequel, especially considering how the first installment concluded regarding Andy and her “mortality”.  Since I knew what to expect thanks to my experience with the first film, it should make it easier for me to enjoy its action-packed sequel, right?  Well, not quite.

While its predecessor didn’t offer much in the superhero narrative, it embraced its familiar tropes effectively to make it an entertaining watch, especially for fans of the genre.  “The Old Guard” managed to provide audiences with its refreshing take on immortality and camaraderie among its characters.  “The Old Guard 2” aimed to replicate and build on the success of the first film, but with director Victoria Mahoney at the helm.  The solution was to expand upon key elements introduced in its predecessor, including the return of Quynh, Andy’s oldest comrade, who had suffered centuries of underwater imprisonment.  However, the reunion between old friends is far from pleasant.  Quynh, once a trusted ally to Andy, becomes consumed by the bitterness and hatred she harbors towards humans, whom she blames for her long imprisonment.  This animosity extends even towards Andy, whom she believes betrayed her.  As a result, Quynh joins forces with Discord to seek vengeance against humanity.  This shocking turn of events thrusts Andy into a personal journey that has her confronting the guilt of abandoning Quynh and wrestling with her sense of mortality.  This idea seemed to be well thought out as the storyline’s vehicle for character development.  Sadly, the execution itself seemed underwhelming and lazily constructed, overshadowing the emotional complexity and tension that should have been the heart of the sequel.

It’s not without its share of action sequences that elevate its shortcomings, but they’re not enough to prevent “The Old Guard 2” from revealing its own mortality.  Greg Rucka, one of the minds behind the source material and the first film, returned to pen the script for the sequel alongside Sarah L. Walker.  Although I did not read the source material myself, Rucka’s involvement in the writing process of the movies helps maintain the authenticity of the comic’s lore and characters.  His contribution was instrumental in helping the first film overcome its narrative shortcomings, thanks to its endearing characters and themes centered around immortality.  “The Old Guard 2” happened to retain those essential elements, particularly its exploration of immortality and forgiveness, with the latter prominently featured in Andy’s quest to mend her friendship with Quynh.  Unfortunately, the sequel’s narrative, intended to weave these themes together, turned out to be a muddled and somewhat perplexing mess, lacking the consistency and cohesiveness that could have enhanced its plot structure.  The disjointedness of its lore left the film struggling to deliver the same impact as its predecessor.  

One such case is Nile, who is revealed to be the last immortal with the unique ability to strip others of their immortality.  This revelation resulted in Nile taking on a more significant role in the storyline, becoming entangled in Discord’s sinister scheme.  This idea had the potential to create compelling tension within the team’s dynamic.  However, it rarely evoked much emotion in the film, given its stakes or lack thereof.  This was due to specific plot elements that seemed to have been left on the cutting room floor, leaving me perplexed by several scenes that weren’t fully explained or coherent, particularly those involving Discord during the third act.  The film’s surprisingly short runtime, which was less than two hours compared to its predecessor’s two hours and five minutes, also contributed to this issue.  Considering how the movie was edited between scenes, it made sense why the character moments felt underdeveloped and the pacing looked clunky.

However, upon watching the ending, I immediately realized that this sequel was nothing more than a setup for a potential third film, contingent on its success.  The plot holes in the sequel appeared to be deliberate, intended to set the stage for resolution in a future installment.  However, this strategy proved more frustrating than intriguing, as it seemed to reflect an overconfidence in the film becoming a franchise rather than focusing on delivering quality content.  If the film performs poorly and the third installment is canceled due to low viewership, that would be considered a setback, as it would leave those plot elements unresolved.  This situation is akin to a television show being canceled after introducing narrative arcs meant to be resolved in a subsequent season, particularly those from streaming services like Netflix.  It might have been more forgivable if the rest of the movie had been enjoyable or at least passably entertaining.  Unfortunately, due to the mishandling of its storytelling and uneven mythology elements, the film’s cliffhanger conclusion will leave viewers wishing they were immortal so they could repeatedly bang their heads against the wall without dying.

This leaves me with another question: how did Victoria Mahoney fare as a director when handling the messy pieces she was given?  Honestly, she did an okay job, though I can’t say it’s enough to immortalize her way towards the elite ranks of directors just yet.  Much like Gina Prince-Bythewood’s experience with “The Old Guard,” Mahoney ventured into new territory with “The Old Guard 2,” stepping away from her usual dramatic fare after her 2011 debut “Yelling to the Sky.”  I hadn’t heard of “Yelling to the Sky” nor did I watch it, so this was my first experience seeing Mahoney’s directorial vision in action.  Sadly, I can only say that she has room for improvement if she wishes to solidify her career as a director.  One area where Mahoney did excel was in crafting action scenes that were as enjoyable as those in the first film, particularly in terms of choreography.  While the editing sometimes felt disorienting with its rapid cuts, Mahoney did an all right job capturing the energy and graphic nature of the violence, even if most of those scenes were forgettable.  Despite these efforts, the film’s sluggish pacing and lack of emotional depth detracted from its ability to enrich the character dynamics and themes after the first act, making the story surprisingly less compelling than it could have been.

Much like its predecessor, “The Old Guard 2” significantly benefited from the presence of Charlize Theron herself.  Her portrayal of Andy continued to capture the nuanced and internally fractured soul burdened by the regret of a broken promise to Quynh.  Theron did a solid job balancing Andy’s vulnerability with an unyielding strength, proving she’s never afraid to embrace her character’s badass nature.  While far from groundbreaking, her performance further demonstrated the impressive star power Theron brings to any genre.  KiKi Layne was also okay as Nile Freeman, with her character’s arc showing slight improvement due to Nile’s hidden capabilities.  However, that’s not saying much regarding how the screenplay missed some elements to make her growth feel more compelling.  The movie also featured Uma Thurman, who channeled her iconic “Kill Bill” energy to play the antagonistic immortal, Discord.  Considering how undeniably talented Uma Thurman has been, Discord could’ve been much better than what the script envisioned for her.  That’s not to say Thurman did a terrible job with her performance.  It’s the fact that Discord is more of a traditionally formulaic villain who seeks dominance over mortality, a role that didn’t fully utilize Thurman’s capabilities.  Henry Golding also makes for a fitting addition to the cast as Tuah, an immortal with extensive knowledge of the immortals’ history.  Considering Golding’s previous experiences with the action genre, including “Snake Eyes”, it makes sense why Golding was chosen to take part in this immortalized action film.

Overall, “The Old Guard 2” is a sluggish and frustrating action sequel that damages itself with its mortally lackluster execution.  The action sequences are the film's only highlights, thanks to the choreography and Victoria Mahoney’s direction.  However, they are sadly overshadowed by its editing and weak narrative stakes, which fail to elevate the action to an emotional level.  Instead of delivering a cohesive and satisfying story, the film feels more like a mere setup for a potential third installment rather than a one-and-done sequel.  Charlize Theron and Uma Thurman do bring a degree of intrigue as the two clashing immortals amid its okay cast.  However, these actresses deserve a storyline that matches their talented capabilities, something this film unfortunately fails to deliver.  With its disjointed screenplay, underwhelming direction, dull pacing, and irritating ending, the film is a vastly disappointing follow-up that fails to achieve the immortality it seeks through its uneven and uninspiring quality.  For fans of the first film, there might be some enjoyment to be found in the action sequences alone.  Otherwise, it’s not the type of movie you should watch to kickstart this year’s cinematic fireworks.

“Jurassic World Rebirth” stars Scarlett Johansson, Mahershala Ali, Jonathan Bailey, Rupert Friend, Manuel Garcia-Rulfo, Luna Blaise, David Iacono, Audrina Miranda, and Ed Skrein.  Released on July 2, 2025, the film has a covert operations expert tackling a mission to secure DNA from dinosaurs.
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The film is directed by Gareth Edwards, who also directed “End Day”, “Monsters”, “Godzilla”, “Rogue One”, and “The Creator”.  It is the seventh film in the Jurassic Park franchise.  If there’s one thing the “Jurassic Park” films have taught us, it’s that life always finds a way.  This was demonstrated in the “Jurassic World” series, where life found a way out of the island parks and onto the mainland, resulting in the ferocious dinosaurs forming an uneasy coexistence with humankind.  However, it’s also evident in the franchise’s journey itself.  “Jurassic World Dominion” was perceived as the conclusion not only to the “World” era but also to the entire “Jurassic Park” saga, which began with John Hammond’s remarkable yet dangerous idea.  However, much like other blockbuster franchises, Hollywood has found a way to bring Steven Spielberg’s iconic dinosaur film series back from extinction once more, reminding audiences of the horror and wonder of seeing the prehistoric creatures appear before their eyes.  The result is the latest installment in the “Jurassic World” series, which focuses on a new group of characters navigating a world filled with prehistoric beasts while visiting a new, dinosaur-filled island.  Does this approach help reinvigorate the iconic franchise or prove that it should have remained extinct after “Dominion”?  Let’s find out.

The story takes place five years after the events of “Dominion”, where humanity now coexists with dinosaurs and other de-extinct prehistoric creatures.  However, Earth’s environment has become highly inhospitable to the dinosaurs, leading to dire consequences for both species.  Fortunately, a pharmaceutical company known as ParkerGenix has discovered that the surviving creatures are residing on a reclusive island.  The dinosaurs living there include three of the largest remaining species containing the DNA necessary to develop a cure.  The company enlists covert operative Zora Bennett (Johansson) to collaborate with paleontologist Dr. Henry Loomis (Bailey) on a dangerous mission.  Accompanied by Zora’s undercover team, including team leader Duncan Kincaid (Ali), Zora and Henry journey to a forbidden island called Ile Saint-Hubert to locate and extract the DNA from the three largest prehistoric species, aiming to create a cure that could save countless lives.  Along the way, they encounter a shipwrecked civilian family and uncover a shocking secret that proves to be even more horrifying than the dinosaurs they confront.

It’s no surprise that we have another entry in the “Jurassic Park” franchise, especially since Universal seems unable to let the money-making dinosaurs go extinct.  However, it’s also quite unexpected that the franchise decided to continue after “Jurassic World Dominion” was promoted as the “end of an era”.  With the dinosaurs now cohabiting with humans on the mainland rather than the islands, I feel like there may not be much else to explore.  That was until the franchise decided to return to the roots that originally propelled the “Jurassic Park” trilogy to success.  Granted, I have enjoyed every “Jurassic Park” installment that’s been thrown on screen, even the “Jurassic World” films, despite their flaws being as big as a T-Rex.  “Dominion” had its fair share of enjoyable moments, thanks to its dinosaur action and a respectable cast, but its lackluster approach to the plot and fan service made for a somewhat underwhelming conclusion to the saga.  Regardless, my fondness for the movies was enough to get me eager for “Rebirth,” which takes audiences back to the dinosaur-infested islands rather than focusing on the creatures on the mainland.

Additionally, the film introduces a brand-new ensemble of characters for audiences to engage with as “Dominion” closes the book on Owen Grady and Claire Dearing’s journey that began in “Jurassic World”.  This time around, we follow a group of covert operatives led by another Marvel Cinematic Universe star, Scarlett Johansson, along with a paleontologist, who continues the franchise’s approach of having scientists as primary protagonists.  It’s no “Jurassic Park” without a healthy dose of scientific foundation.  These elements, combined with the visionary direction of Gareth Edwards, equate to an entry that aims to harken back to the original “Jurassic Park” trilogy and correct the mistakes made by the previous two installments.  Thankfully, I didn’t have to wait until the official release to see whether it succeeded or not.  I was among the fortunate attendees who saw the surprise early screening of the film more than a week prior, but I had to wait until the review embargo was lifted for me to discuss it.  As an unpaid film critic, I must adhere to the code of conduct.

So, now that the embargo has lifted, I can finally answer the burning question: was this dinosaur-sized installment worthwhile or at least entertaining?  Yes.  Yes, it was.  Rather than attempting to escalate the scale of the “dinosaurs in the mainland” concept, “Rebirth” presented a more restrained blockbuster that pays homage to the original “Jurassic Park” trilogy, especially its sequels, “The Lost World” and “Jurassic Park III”.  Although it has connections to its predecessors in some way, the film’s storyline stands on its own, so don’t expect a cameo appearance from Chris Pratt’s Owen popping up during the movie.  The result is a solid step in the right direction that, for the most part, solidifies the audience’s love for the franchise, particularly the original trilogy.  It’s awe-inspiring on a visual scale, but it’s also a fun and engaging dino-sized adventure that captures the horror of those prehistoric creatures and the science behind their creation and recreation.

The decision to revisit familiar territory was primarily influenced by its screenplay.  David Koepp returned to the franchise for the first time since writing “The Lost World: Jurassic Park” in 1997.  Notably, Koepp was also responsible for co-writing the 1993 classic alongside the novel’s author, Michael Crichton.  Considering his significant contributions to the first two “Jurassic Park” installments, it was a wise decision to bring Koepp back.  Before the dinosaurs took to the streets and a theme park, David Koepp possessed an acute understanding of how audiences connect with a dinosaur-inhabited island.  While it keeps civilization far away from the creatures, that doesn’t make it less dangerous, especially when you are on the island yourself.  Koepp’s screenplays captured the sense of isolation and the lurking danger inherent in being surrounded by dense forests or vast fields, with the anxiety of one of them appearing out of nowhere to eat or stomp on you.  It’s not without its moments of awestruck involving seeing the gentle giants up close and personal, but the frightening, carnivorous dinosaurs?  Good luck trying not to be an all-you-can-eat buffet.

Koepp’s screenplay for “Rebirth” successfully evoked a similar feeling from the first two films, presenting likable characters for me to follow and a straightforward yet flawed plot that fits the grandeur of its cinematic scale.  However, it also didn’t quite reach the iconic status of the original film.  “Rebirth” continues to explore the franchise’s central theme: the perils of playing god, particularly through the lens of dinosaur recreation.  This theme is demonstrated by the film’s introduction of the island’s failed genetic dinosaur experiments, including a grotesquely modified T-Rex with multiple limbs known as the “Distortus rex”.  The film also explored ethical questions about the accessibility of scientific advancements, such as medical resources, sparking a broader debate about equity in the distribution of these benefits.  While these scientific topics are deeply rooted in the franchise’s history, the screenplay didn’t hit all of the impactful narrative beats in emphasizing the horror and gravity of these existential questions.  

This is more of an undemanding yet suitably watchable sequel that isn’t without its faults.  The first act takes a while to gain momentum regarding its pacing, and the character arcs, though familiar, struggle to evoke much emotion in their development or narrative stakes.  One example of the latter is Martin Krebs (Friend), a pharmaceutical representative who accompanies Zora and her team, exuding an overtly selfish yet somewhat uninteresting personality.  The other example is Xavier Dobbs (Iacono), the boyfriend of one of the shipwrecked family members, Teresa Delgado (Blaise), who appears to be somewhat lost in impressing Teresa’s father, Reuben (Garcia-Rulfo).  Most of these story elements were a mashup of scenarios that tread familiar ground in the film’s narrative.  However, that doesn’t make it any less entertaining.

Upon watching the trailer for “Rebirth”, I immediately knew that Gareth Edwards would be the right director to helm the franchise’s continuation.  Through his previous films, such as “Godzilla” and “The Creator”, Edwards excels in crafting a visual splendor that combines grand cinematography with meticulously rendered visuals that blend seamlessly with the set pieces.  I would even say that he’s in the same realm as when Steven Spielberg directed “Jurassic Park”.  It’s that same mix of wonder and danger that emphasizes the DNA of a visually rich blockbuster spectacle without being too overblown with the “spectacle” element.  After watching the film, it's easy to say that Gareth Edwards managed to continue his winning streak in “Rebirth”.  Edwards expertly utilized John Mathieson’s cinematography, which was beautifully shot on 35mm film, to capture the stunning traditional vistas that form the backdrop of the movie’s settings, particularly the gorgeous landscapes of Ile Saint-Hubert.  One standout scene features the largest land dinosaurs, evoking a subtle spectacle that, when paired with John Williams’ iconic theme music, beautifully sets the mood that made “Jurassic Park” a beloved cinematic masterpiece.  That exact moment was a testament to Gareth Edwards’ ability to balance grandeur with subtlety, creating a perspective that’s both epic in scale and intimate in the characters’ reactions to the dinosaurs.  

Edwards also did a good job of balancing the horror elements of people being attacked by dinosaurs with some humorous moments that didn’t feel forced or out of place.  Some of the horror moments didn’t quite reach the memorable heights of previous installments, including a few tame kills it provided.  However, those moments still packed plenty of tension, ensuring I was just as terrified as the movie’s characters.  Admittedly, the “Jurassic World” trilogy also dabbled in suspenseful dinosaur sequences, but “Dominion” leaned more toward a typical action blockbuster than a genuine dinosaur horror movie.  “Rebirth” is simply the latter, with some action elements that complement rather than overshadow the grounded horror themes tied to scientific breakthroughs.  As for the visual effects, they once again provided a remarkable blend of CGI and animatronics to bring these dinosaurs to life, both the ferocious ones and even the adorable types.  The notable standout was the Distortus rex, which resembled a giant rancor from “Star Wars” that accidentally wandered onto the wrong set and was hired to play the role because of it.  It’s unique in its design but also terrifyingly fitting to the film’s themes.

As previously mentioned, “Rebirth” introduced a fresh ensemble of characters to follow, along with a new set of actors portraying them.  Truth be told, they didn’t do too bad.  Scarlett Johansson takes on the role of Zora, a covert operations expert who struggles with her past.  After her journey in the Marvel Cinematic Universe came to a rough conclusion, it’s understandable she wanted to jump onto another franchise to find success outside her role as Black Widow.  Fortunately, Johansson was decent enough to carry the torch in leading this prehistoric adventure, with her performance capturing Zora’s charismatic yet tough persona, even if her character’s arc felt occasionally underwhelming.  Jonathan Bailey, who recently garnered attention for his role in “Wicked,” was also entertaining in his role of Henry Loomis, a paleontologist whose likable personality shines as much as his intellect on dinosaurs.  The charm and intellect Bailey conveyed in Henry make him a memorable addition to the ensemble cast as well as another actor worth keeping my eye on.  

I’m also happy to see Mahershala Ali back on the big screen again with his role as Duncan Kincaid.  While not as groundbreaking as his previous roles, it made me even more eager to see his take on “Blade”, whenever that would be.  It also served as another reminder of Ali’s acting capabilities carrying a project to success.  The most surprising performance I wound up enjoying more than I thought I would was David Iacono as Xavier.  Initially, Xavier’s carefree demeanor seems poised to be the film’s most irritating aspect, as he winds up stranded on the island with the Delgado family.  However, as the story unfolded, Iacono’s portrayal became more endearing, with his comedic timing unexpectedly adding a layer of humor that’s more charming than frustrating.  Iacono’s ability to turn what could have been an annoying one-dimensional character into a source of genuine laughter was certainly something I didn’t expect to enjoy from a “Jurassic Park” movie, but I did anyway.
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Overall, “Jurassic World Rebirth” is an entertaining and visually awe-inspiring return to form that keeps the blockbuster franchise from going extinct.  After my experience with “Dominion,” I was uncertain about how “Rebirth” would meet my middling expectations, particularly as the franchise ventured into “dinosaurs invading cities” territory.  However, thanks to its idea of returning to the basics of the earlier installments, the movie managed to surprise me with a 90s blockbuster throwback vibe that’s thrilling, fun, and visually immaculate.  However, it falls short of the lofty standards set by the original film, with Koepp’s screenplay lacking in specific narrative areas, including character arcs, thematic depth, and kills.  Nevertheless, it provides a much-needed boost for the dinosaur-sized franchise, thanks to its commendable cast, Gareth Edwards’ solid balance of horror, entertainment, and wonder, and its remarkable visual effects.  In a sense, the film’s subtitle pretty much encapsulates its essence perfectly.  It signifies a rebirth of the “Jurassic World” era that had fallen from grace after the release of the last two sequels.  It may not be a perfect movie to celebrate this occasion, but it is a worthwhile entry that warrants the dinosaur-sized franchise’s return. 

​“F1” stars Brad Pitt, Damson Idris, Kerry Condon, Tobias Menzies, Javier Bardem, and Sarah Niles.  Released on June 27, 2025, the film has a Formula One driver mentoring a rookie prodigy.

The film was directed by Joseph Kosinski, who also directed films such as “Tron: Legacy”, “Only the Brave”, “Top Gun: Maverick”, and “Spiderhead”.  Racing competitions may seem boring to watch, considering it’s just a bunch of people driving around the track multiple times.  However, they’re actually quite exhilarating when viewers grasp the perilous risks that drivers face in their quest for victory.  I’m not just talking about the hazards on the tracks but also the racers’ mental challenges outside of them.  The world of Formula Racing exemplifies this, as drivers navigate a high-speed roller coaster where one tiny misstep could result in a loss or much worse.  What better way to immerse yourself in this thrilling pinnacle of motorsport racing than by watching it on the largest screen with impeccable sound quality?  This brings us to the latest sports drama that aims to revive the traditional cinematic experience through its authentic storytelling and stunt work, a strategy that previously benefitted “Top Gun: Maverick” and “Mission: Impossible.”  Of course, the movies I mentioned starred Tom Cruise, whereas this film showcases Brad Pitt in the driver’s seat, aspiring to replicate Cruise’s success with practical summer blockbusters.  Does this theatrical experience have the skills to place itself in the winner’s circle, or does it crash and burn with its overly bloated plot and budget?  Let’s find out.

The story follows Sonny Hayes (Pitt), a renowned Formula One driver who was at the height of his career in the 1990s.  However, his glory days abruptly concluded when a devastating crash forced him to retire from Formula One due to his severe injuries.  Consequently, he now leads a nomadic lifestyle in his minivan, racing in various disciplines as a hired racer.  One day, Sonny is reunited with his closest friend and teammate, Ruben (Bardem), a Formula One team owner, to come out of retirement to race for his Apex Grand Prix team.  In addition to this, Sonny is assigned the role of mentor to a rookie sensation named Joshua Pearce (Idris).  However, tensions between the two gradually rise when Joshua’s arrogance and Sonny’s personal issues begin to affect them, as well as the team.  This escalating conflict threatens both of their careers, which could lead to their downfall or even worse consequences.

I’m not much of a fan of Formula One, nor am I particularly eager to watch its Grand Prix events.  However, I occasionally dabble in racing video games, so I guess that counts for something.  Despite that, “F1” became one of my most anticipated films of the summer, mainly due to the talented crew involved, including director Joseph Kosinski.  Aside from “Spiderhead” and “Oblivion,” Kosinski has consistently delivered incredible cinematic experiences that warrant the big screen treatment, especially with his winning combination of storytelling, authentic visuals, and realistic sound mixing.  One standout example was “Top Gun: Maverick,” which significantly outshone its predecessor, not only through its well-written narrative and characters but also by capturing the genuine magic of a movie-going experience.  Joseph Kosinski, recognized for his expertise in computer graphics and CGI effects, certainly has the right mindset for creating an authentically stunning cinematic experience that can’t be replicated at home.  Trust me, I tried.  This time, Kosinski aimed to replicate that success within the realm of Formula One, a strategy that helped similar racing dramas, notably “Ford v Ferrari”, speed their way to victory.

Regarding the trailers, “F1”, or “F1 the Movie” as the marketing promotes it, certainly appeared that it had a shot at racing towards the forefront of cinematic experiences.  It has the usual authentic sound mixing that puts audiences right into the driver’s seat, paired with a grounded drama narrative that puts the characters front and center amidst the sports action.  Do these elements blend seamlessly enough to form a cinematic race worth competing in?  Absolutely!  Though it may not evoke much emotional resonance, “F1” stands out as a conventional sports blockbuster that adeptly captures the riveting and realistic spectacle of Formula One racing, with its entertaining yet formulaic story trailing closely behind.  More importantly, it’s also another remarkable theatrical experience that justifies the hefty ticket prices, especially when enjoyed on a premium screen such as IMAX.

This was highly evident by the returning duo who made “Top Gun: Maverick” a genuine blockbuster masterpiece: director Joseph Kosinski and writer Ehren Kruger.  For the latter, Kruger had his share of misses in his filmography, particularly his involvement in writing three of the five “Transformers” films for Michael Bay.  However, his work as a co-writer on “Top Gun: Maverick,” which earned him an Oscar nomination for Best Adapted Screenplay, appeared to have turned his career around.  As a result, Kruger was once again tasked with providing Kosinski with a script capable of competing with the big leagues in the sports genre.  What we got was a narrative that skids through familiar territories seen in other inspirational sports movies, particularly ones involving racing, but offered enough flair to warrant these tropes.  One of them is the rivalry between Sonny and Joshua, both of whom possess contrasting perspectives of Formula One racing and their hotshot egos.  Sonny’s passion for driving often leads him to take perilous risks that could endanger the team and even himself.  On the other hand, Joshua’s arrogance leads him to believe that he can perform better than everyone else to save his team, particularly his own teammates.  This student/mentor dynamic was particularly compelling as it explored how these differing attitudes place their entire team in jeopardy.  While Sonny’s bravado is tempered by an underlying charm, Joshua’s naivety reveals his struggle to grasp the importance of working together as a team. 

The protagonists, mainly Joshua, represented the film’s examination of what might be termed “sports ego,” in which a specific player, or in this case, racer, gets caught up in being the best or something more personal, losing sight of the broader goals of teamwork and sportsmanship.  Regarding the screenplay, the movie didn’t exactly delve into these themes on an emotional level, occasionally letting its fundamentally formulaic plot elements take the lead.  It’s pretty predictable from a storytelling perspective, but it’s also quite lengthy in its runtime, clocking in at over two and a half hours.  While the pacing managed to grab my full attention, mainly due to the racing sequences and cast, a plot like this would be more comfortable if it were twenty to thirty minutes shorter.  The story also had a romance subplot between Sonny and technical director Kate McKenna, portrayed by Kerry Condom.  Unfortunately, this aspect of the story failed to ignite a spark in their relationship, making it unconvincing, with McKenna’s character feeling somewhat underdeveloped due to the clichéd writing.  Fortunately, Kruger was able to maintain a steady pace through the script's fitting perspective on F1 racing and charismatic character traits.  Not only that, but it’s also effective in its themes of egotism and teamwork, even with its familiar narrative structure, showcasing Kruger’s growth as a screenwriter.

Joseph Kosinski further solidifies his reputation as one of the masters of a “blockbuster experience.”  His directorial approach, characterized by wide-angle cinematography, authentic visuals, and a thrilling atmosphere, immerses viewers with an adrenaline-pumping, up-close-and-personal spectacle that makes audiences feel like they’re part of the action themselves.  This immersive quality was most evident in the film’s racing sequences, which stand as a testament to Kosinski’s preference for practical effects and authentic production design over CGI.  This ensured that each scene maintains the realism of watching F1 competitions from a cinematic viewpoint.  More importantly, they’re highly entertaining in the film's tension-filled suspense, especially when Sonny and Joshua are at each other’s throats.  These scenes benefited greatly from Claudio Miranda’s masterful cinematography, capturing every angle with a smooth, immaculate precision, whether from inside the driver’s seat or the racing tracks themselves.

Sound mixing typically plays a pivotal role in making a racing movie more realistic, making it essential to watch on the largest screen with the best surround sound available.  The auditory experience contributed significantly to the film’s impact of the F1 sequences, capturing the roar of the car’s engines and the thrill of the races with impeccable clarity.  With these expertly integrated elements, “F1” emerges as another cinematic tour de force, combining vintage blockbuster appeal with a grounded sense of realism.  Kosinski ensured that a balance between spectacle and substance didn’t go unchecked before sending it off to race with the big leagues.  Because of this, he crafted another blockbuster that’s grand in its execution, as it is fascinating in its portrayal of the Formula One racing world.

Of course, amid the technical aspects, the film is no cinematic experience without its cast following suit.  Even with the script’s mild shortcomings inside the movie’s engine, the actors carried the momentum through their charisma and dramatic heft to achieve the pole position.  Brad Pitt, in particular, delivered a standout performance, embodying Sonny with a blend of charm and sincerity that transformed the character from merely nomadic and seemingly arrogant to genuinely endearing.  Whenever Pitt pulls out the big guns in his conversations, he never fails to draw up a crowd with his charismatic vibe, but he’s also never afraid to express the nuance of Sonny’s subtlety regarding the character’s background.  The movie also saw Damson Idris returning to the cinematic spotlight, four years after his role in Netflix’s “Outside the Wire” alongside Anthony Mackie.  While that particular movie had some entertaining moments, Idris’s performance left much to be desired.  Thankfully, Idris’s performance in “F1” turned out to be a solid improvement over his previous movie role, reflecting the growth in his acting prowess.  Idris effectively captured the essence of Joshua Pearce’s “hotshot rookie” persona, striking a balance between approachability and an underlying arrogance that created tension and complexity in Pearce’s career trajectory.  This role truly showcased Idris’s development as an actor, likely honed through his varied television works in recent years.  Kerry Condon also did a decent job with her role as Kate.  Although her character’s arc was somewhat underdeveloped, Condon’s talent ensured that her performance was impactful enough to warrant Kate’s existence, even amid the film’s romance subplot.  Similarly, Javier Bardem was consistently engaging as Ruben.  With his blend of charm and gravitas, Bardem once again demonstrated his worth as an actor in the industry, delivering a performance that was both entertaining and nuanced.

Overall, “F1” races to the finish line with its cinematic flair, delivering an exhilarating dose of racing action alongside its entertaining, albeit formulaic, narrative.  Regarding Ehren Kruger’s screenplay and its lengthy runtime, it falls a tad short of the impactful storytelling seen in Kosinski’s “Top Gun: Maverick.”  It was a feat that’s understandably challenging to accomplish, especially given the movie's mixed reactions from motorsport media.  I can mostly understand those concerns, particularly with how Kate McKenna was written to make way for its male leads.  Nevertheless, I still appreciate “F1” from both a cinematic and entertainment perspective, as it provides a conventional yet highly invigorating experience that showcases Kosinski’s authentic blockbuster vision.  With its charismatic cast, masterful direction of the racing sequences, solid script, and exceptional sound mixing, “F1” emerges as another grounded blockbuster that races toward the podium with cinematic precision and high-octane finesse.  If you’re looking for an additional reason to pay a hefty price for a trip to the cinema, this film certainly deserves to be that reason.

​“KPop Demon Hunters” stars Arden Cho, Ahn Hyo-seop, May Hong, Ji-young Yoo, Yunjin Kim, Daniel Dae Kim, Ken Jeong, and Lee Byung-hun.  Released on Netflix on June 20, 2025, the film has a K-pop superstar group battling nefarious demons.

The film was directed by Maggie Kang and Chris Appelhans.  Appelhans is a designer and artist known for working on projects such as “Monster House”, “Coraline”, “Fantastic Mr. Fox”, and “Rise of the Guardians”.  He also worked on “Wonder Park” as a storyboard artist and wrote and directed “Wish Dragon”.  There’s a growing appreciation for music beyond America’s borders, especially for Korean pop music, or “K-pop” for short.  Its catchy, electronic-style melodies are quite bangers for those eager to get up and move their bodies, but it’s the artists themselves that truly draw in a massive crowd.  Regardless of gender, the K-pop stars’ striking appearances and lively dance moves are enough to make every single fan swoon, particularly when they’re in groups.  However, this unique K-pop group offers more than just their looks and music.  They also deliver the skills to combat the forces of evil.  This emphasizes the latest animated feature from Netflix and Sony Pictures Animation, aiming to attract families and animation enthusiasts with its distinctive concept and presentation.  The concept, in particular, is a K-pop superstar group battling demons with songs, weapons, and a whole lot of attitude.  Does it provide a harmonious balance between fun and style or an overly chaotic experience that’s out of tune?  Let’s find out.

The story follows the members of a renowned K-pop group: Rumi (Cho), Mira (Hong), and Zoey (Yoo).  This superstar group, known as HUNTR/X, is celebrated for their unbreakable bond and infectious music that captivated the entire nation.  However, they also lead secret double lives as demon hunters, dedicated to protecting humanity from monstrous demons looking to bring havoc across the globe.  HUNTR/X’s soaring success hits a snag when they encounter a rival boy band, the Saja Boys, who aim to steal their spotlight.  Unfortunately, they also discover that the Saja Boys, led by Jinu (Hyo-seop), are actually demons in disguise, plotting to weaken the girls’ spirits by feeding their fans’ souls to the demons’ leader, Gwi-Ma (Byung-hun).  As Rumi and the others find their friendship and popularity tested, they strive to use their skills and music to outshine the Saja Boys and save the world from Gwi-Ma’s wrath.    

I’m not typically someone who listens to K-pop music on a regular basis.  However, I can admit there were a couple of K-pop songs that I genuinely liked.  I can’t recall the ones at the top of my head, but I know that they’re delightful to listen to.  At the very least, my minuscule experience with this music genre was enough to fuel my curiosity toward “KPop Demon Hunters”.  The other reason, of course, was its concept, which merges Korean culture, including K-pop, with demonology, showcasing the potential of another exciting, action-packed experience from Sony Pictures Animation.  There’s usually a time when Sony Pictures Animation releases a mix of good and bad animated movies, with neither of them standing out as masterpieces except “Cloudy with a Chance of Meatballs”.  However, after introducing a sophisticated and distinctive animation style through “Into the Spider-Verse”, the studio’s reputation seemed to have gradually improved, with the fantastic “Mitchells vs. the Machines” continuing this trend of stylized animation.  Therefore, it was nice to see the studio continue to experiment with its artistic direction in this film outside the conventional 3D style we often encounter.

This was evident in the film’s marketing, as the animation echoes the style of “Spider-Verse," featuring an anime-inspired aesthetic and a vibrantly striking aura.  However, the visual style shouldn’t be the sole factor in carrying the film, as the execution of its unique plot ultimately determines whether this experience is worth recommending.  After finally finding the time to watch it, I can officially declare myself a fan of this fictional K-pop group.  Of course, it’s not just because they deliver some incredibly catchy songs amid their badass fighting skills.  Bursting with concert-inspired visual energy and a narrative that combines action, comedy, and even heart, “KPop Demon Hunters” is a whirlwind of colorful and electrifying fun that highlights Sony Pictures Animation’s daring and stylized presentation.  From the very first minute, I found myself immediately captivated by the film’s premise, straightforward world-building, and the highly entertaining chemistry between the three famous yet relatable singers/demon-fighting heroes.  However, even with these high regards, I wouldn’t say it surpasses the “Spider-Verse” films as my top favorites from Sony Pictures Animation.

The premise is pretty straightforward: a trio of singers carrying the tradition of protecting humanity from the demon realm by using their singing to maintain a mystical barrier.  This concept was brought to life by Kang and Appelhans, who fully embraced the sheer absurdity and exaggerated nature inherent in the storyline.  They understood that K-pop singers fighting demons is an outlandish idea, and they just…went along with it.  When specific directors and writers have a good time with a film’s delightfully silly plot, it often translates to a similarly enjoyable experience for their audience.  Such risks can sometimes work, but other times, they could leave viewers questioning what they’ve been smoking while working on their project.  “KPop Demon Hunters” is undoubtedly one of those ridiculous ideas that really work, as it delivered a vibrant, stylish, and exhilarating action comedy that embraced its ridiculousness well enough to captivate audiences much like a live K-pop concert.  

The movie’s humor draws heavily from its Korean cultural influences, skillfully incorporating well-known tropes from K-pop music videos, anime, and Korean dramas.  These constant series of influences shaped the film’s creatively surreal and awe-inspiring world, which is sure to appeal to fans of anime and Korean pop culture alike.  By weaving these cultural elements into its narrative, the film celebrates its cultural roots, offering a fresh and genuinely hilarious take that avoids veering into the territory of being either cheesy or tiresome.  Instead, it pays homage to the rich cultural heritage, from its mythologies to the vibrant world of Korean music.  One of the film’s greatest strengths lies in its ability to seamlessly blend cultural humor with thrilling demon-slaying action.  Kang and Appelhans had captured the essence of this surreal amalgamation, resulting in a narrative that’s both entertaining and culturally resonant.  “KPop Demon Hunters” navigated the challenge of balancing character-based humor and action, ensuring that viewers are not only entertained but also left with a deeper appreciation for the cultural nuances it celebrates.  As a result, it became a testament to the power of embracing creative absurdity while honoring the Korean cultural heritage through its references. 

However, there’s actually more to this simplistic story that elevates the experience.  While the concert sequences and the action add a vibrant layer of stylization, the heart of the story lies in its exploration of identity, acceptance, forgiveness, and the power of music.  For the former two, the film explores Rumi, the leader of HUNTR/X, whose struggle with her identity as a half-demon could put the world, as well as her bond with Mira and Zoey, at risk.  As a result, Rumi finds herself on a personal journey that has her confronting her insecurity amid the girls' differing viewpoints on the demonic forces.  The story also highlights the Saja Boys’ leader, Jinu, who is battling his own personal demons due to his actions in his past life as a human.  These two characters, though from different worlds, showcase the universal struggles of facing one’s inner demons, such as shame, fear, pain, and insecurities, which prevent them from achieving true freedom.  Of course, given that music serves as a medium to express people’s deep emotions, its themes should easily resonate with audiences, thanks to its strong screenplay and easygoing pacing.  However, its character moments and ending did feel a bit too conventional and rushed, especially considering some of the bold narrative choices it introduced, such as the portrayal of demons with emotions.  Fortunately, the script still packs plenty of charm, heart, and clever references to Korean culture to overshadow those shortcomings and deliver a healthy blend of stylized quirkiness and dynamic soul.

Another standout highlight was undoubtedly the bond shared among the HUNTR/X members.  These three women were seemingly another group of badass heroines who weren’t afraid to get down and dirty with their fighting techniques.  However, they also possess their normal and wild sides, which express themselves not just as friends but also as sisters.  Yes, they’re celebrated icons in the music business, but when they’re not performing in front of the crowd, they embrace their true selves, imperfections and all.  This authenticity, however, is something that Rumi struggles with due to her identity as a half-demon.  This dynamic injected a refreshing energy into the typical portrayal of “music sensation” personalities, thanks to the protagonists’ hysterical chemistry and the genuine warmth of their sisterly bond.  It’s further elevated by the exceptional vocal performances of Arden Cho, May Hong, and Ji-young Yoo.  Arden Cho adeptly emphasized Rumi’s complexity and phobia of becoming the very thing she vowed to protect the world from.  Cho’s nuanced portrayal made Rumi an approachable and relatable protagonist while also showcasing her remarkable talents as a voice actor.  May Hong and Ji-young Yoo also delivered an impressive array of comedic moments in their roles as Mira and Zoey, respectively.  Even though their characters might initially seem like mere comic relief amidst the focus on Rumi, they infused the group with heart and soul through their unique personalities, ensuring that each member of the music group was memorable in their own right.

The three leading voice actors are part of the film’s wise decision to cast actors of Korean heritage, enhancing the authenticity of the cultural narrative.  Unsurprisingly, the rest of the cast brought their A-game to their performances, underlining their characters’ likability and charismatic energy.  Ahn Hyo-seop, renowned for his work in Korean shows like “Dr. Romantic,” did an impressive job embodying the mischievous yet charming Jinu whose heart-wrenching past fueled the humanity of this seemingly demonic creature.  I would also say that his chemistry with Arden Cho’s Rumi made for a compelling match that pretty much every fan would love to ship.  Daniel Dae Kim was also one of the voice cast’s highlights, despite his relatively brief appearance, thanks to his highly amusing performance as a doctor who can “see” his patients’ problems.  Ken Jeong and Lee Byung-hun also did very well in their respective roles.  Jeong voiced Bobby, the manager of HUNTR/X, who acts as the girls’ supportive father figure, while Byung-hun took on the role of the film’s antagonist, Gwi-Ma.  Fans of the actor may recognize Byung-hun from his role in Netflix’s acclaimed Korean series, “Squid Game,” which, despite its somber tone and violence, is worth watching if you haven’t yet.

The animation style clearly draws inspiration from the “Spider-Verse” movies, minus the comic book aesthetics.  Heck, I would even say that these movies could reside in the same universe, but regarding their distinct art styles, that won’t likely happen unless the studio and filmmakers say otherwise.  Nevertheless, this distinction did not detract from the sense of creativity that permeates “KPop Demon Hunters.”  The movie is a vibrant homage to Korean culture, drawing heavily on various traditional and contemporary elements.  The animation draws on the dynamic energy of concert lighting and photography, as well as the visual storytelling found in anime, K-dramas, and even music videos.  Essentially, it serves as a love letter to the cultural heritage that has inspired and captivated audiences both within Korea and globally, and one that is visually striking.  The film’s hyperactive color palette, anime-influenced style, and boldly graphic appeal combine to create an outlandish yet soulful narrative that reflects the lively world of pop stars intertwined with elements of demonology.  There were a few instances of hyperactive energy that could have risked bringing the experience to the brink of exhaustion.  Fortunately, the animators managed to adeptly balance this energetic drive with its dramatic reflections on the film’s metaphorical themes.  This ensured that the narrative was given enough time to breathe through its character moments before propelling the viewers back into the action.

But what about the music, the film’s most significant selling point that’s been topping the music charts in real life, as well as in its fictional world?  For a movie that’s only been out for more than a week, it’s quite an impressive feat to provide music that’s instantly popular enough to gain this following.  I mean, it makes sense, considering the movie’s tribute to K-pop music and its influences.  Before watching the film, I had the chance to listen to one of its tracks, “How It’s Done,” and I actually found myself enjoying it due to its infectious K-pop melody and catchy verses.  Of course, I couldn’t listen to the rest of the soundtrack until I watched the actual movie to see if the other ones were just as toe-tapping and catchy as “How It’s Done.”  As it turns out, all of the songs were really catchy, emphasizing the dance-filled, lively melodies of K-pop music.  From HUNTR/X’s grand debut in “How It’s Done” to the Saja Boys’s bubble-gum pop appeal of “Soda Pop,” the soundtrack offered an impressive collection of K-pop harmonies that highlight the film’s music-video-esque presentations as well as the emotions that thrive from the lyrics.  If someone were to tell me what my favorite song was, I would be drawing a blank in a heartbeat.  I enjoyed all of them for different reasons, which were well complemented by Marcelo Zarvos’s Asian-inspired score, which provided a cohesive backdrop that enriched the film’s cultural atmosphere. 

Overall, “KPop Demon Hunters” is a remarkable showcase of style, color, and musical finesse that packs enough story, entertainment, and heart to slay the animation competition.  Some of its bold narrative choices were undermined by its rushed character moments and ending, leaving a melody that fell just short of reaching that perfect cinematic pitch.  Regardless, this is another testament to Sony Pictures Animation’s capabilities of providing unique animation styles that emphasize their influential production designs and storytelling qualities, aligning seamlessly with the “Spider-Verse” installments.  It not only embraces the quirky premise of pop singers battling demons through dynamic action and laugh-a-minute humor but also resonates with a spirit as harmonious as the characters’ music.  Arden Cho, May Hong, and Ji-young Yoo are among the cast members who provided excellent chemistry through their vocal performances, and the animation effectively showcased a vibrant blend of stylization and visual richness.  Along with its near-perfect screenplay, endearing characters, and toe-tapping soundtrack, the film marks another successful cinematic concert worth attending, courtesy of the collaboration between Netflix and Sony Pictures Animation.