​"Den of Thieves 2: Pantera" stars Gerard Butler, O'Shea Jackson Jr., Evin Ahmad, Salvatore Esposito, Meadow Williams, and Swen Temmel.  Released on January 10, 2025, the film has Nick O'Brien tracking down Donnie Wilson in Europe.

The film is written and directed by Christian Gudegast, who wrote screenplays for "A Man Apart" and "London Has Fallen".  It is a sequel to Gudegast's 2018 film, "Den of Thieves".  Usually, I'd start the new year off by reviewing a new horror movie that may be surprisingly good or disposable trash, mainly the latter.  However, since I didn't feel like repeating the same mistake, I decided to switch things up by checking out the new movies unrelated to supernatural demons or whatnot.  One of them is yet another crime thriller that sees Gerard Butler returning to kick criminal butt and charm audiences with his endearing accent.  However, this isn't just another action film I'm looking at this weekend.  Instead, it is another follow-up to a movie that didn't need one but got anyway because of money.  That movie was "Den of Thieves", a surprisingly lengthy heist drama that featured Butler hunting down a team of robbers and paid homage to classic heist thrillers like "Heat".  Regardless of the quality, audiences enjoyed it, and Hollywood took it as a sign that they wanted more heist shenanigans with Butler and O'Shea Jackson Jr.  But is this latest heist worthy of its unnecessary existence?  Let's find out.

The story occurs immediately after the events of "Den of Thieves".  Sheriff Nick "Big Nick" O'Brien (Butler) is recently down on his luck after getting divorced from his wife.  Meanwhile, Donnie Wilson (Jackson Jr.), a former marine-turned-criminal mastermind, has relocated himself and his accomplices, led by Jovanna (Ahmad), to Nice, France, where they formulate a plan for their next heist.  Their latest strategy has Donnie embroiled in the world of diamond thieves and the infamous Panther mafia as they attempt to rob the world's largest diamond exchange.  Big Nick managed to track down Donnie, but in a surprising turn of events, Big Nick proposed an alliance with Donnie to accomplish the heist.

While I respect Gerard Butler for his attempts at drawing in his audience, some of his recent action endeavors didn't impress me as much as others.  Of course, they weren't without their merits involving the entertaining thrills that kept them above mediocrity.  2018's "Den of Thieves" was no exception, as Christian Gudegast made a solid directorial debut after writing screenplays for other action movies like "London Has Fallen", another Gerard Butler-led sequel.  It was unnecessarily long, and the character-driven moments lacked much depth in its average shoot-em-up narrative.  However, Gudegast did a decent job of envisioning the gritty violence through the presentation and suspense, especially during the film's second half.  Even though I wasn't generally excited about its sequel, I was hoping for another watchable experience involving Butler shooting his way out of trouble, similar to its predecessor.  

With the first film set in Los Angeles, "Pantera" took an extra step by moving the heist overseas but retains the harsh outlook of the criminal underworld.  It's also said to be based on the 2003 Antwerp diamond heist, according to Gudegast, which was dubbed one of the largest heists in history, so you could say that the film is sort of inspired by true events.  While it's not anything we haven't seen before, the international setting in the sequel helped provide some interesting stakes in the scenario rather than have a different heist in the same city.  Additionally, the film has the two characters from different sides of the law, Big Nick and Donnie, joining forces to steal diamonds instead of being enemies.  But, even with these changes, "Pantera" still had the task of delivering the entertaining thrills and manly grittiness that made its predecessor a hit for audiences, which it did for the most part.

"Den of Thieves 2" retains the familiar merits from its predecessor to provide another watchable and well-made outing for Butler fans.  Unfortunately, it also didn't learn from the mistakes it made from its first heist, including its runtime.  What kept me from enjoying "Den of Thieves" more than I should have was the length, which was about as long as a Marvel Cinematic Universe movie.  "Den of Thieves" took a straightforward plot about a group of thieves robbing the Federal Reserve and added some extra baggage in its dialogue-driven expositions, leaving only the intense and thrilling moments for the second half.  It wasn't dull, but it did have several moments that could've been trimmed down to make it 20-30 minutes shorter.  "Den of Thieves 2" failed to correct this mistake by making it four minutes longer than its predecessor while maintaining its familiar pattern: Plenty of expositions in the first half, followed by the heist and an action scene in the second half.  The first film's runtime was forgivable because of its enjoyable, masculine-focused plot and direction, but when the sequel committed this similar crime, it started to become challenging for me to give this duology a third chance.

It also didn't help that "Den of Thieves 2" delivered an underwhelming and barebones narrative that failed to pack as many surprises and intrigue as its predecessor.  In addition to returning to the director's chair, Christian Gudegast was back to write the screenplay for the sequel.  Despite a few changes in the location and character dynamics, Gudegast struggled to make them worthwhile amid its lengthy expositions and uninteresting side characters.  Luckily, the scenes involving Nick and Donnie were enjoyable enough to endure through its fundamental storyline, especially the one involving Donnie telling his backstory.  It also provided a few suitable jokes to make the sequel a bit more lighthearted than its gritty predecessor, and yes, I did chuckle at most of them.  Other than that, there's not much else in the script that stuck out as much as the first film regarding its genre formula.

But, at the very least, the movie was entertaining and well-crafted enough to put it above the law.  Despite the screenplay having too many issues in its plot elements, Christian Gudegast has proven once again to be a surprisingly solid mastermind regarding his direction.  Like its predecessor, "Den of Thieves 2" had Gudegast relying on wide-angle shots over close-ups, shaky cam, and frenetic cuts to provide some of the most gorgeous and immersive imageries in the action genre.  Of course, he didn't forget that they're also crucial for capturing the movie's action up close, mainly the car chase in the second half, assisting the audience in keeping up with the violence.  The car chase scene was engaging, but it didn't reach the same level of intensity as the third-act showdown in the first film.  Terry Stacey, who returned from its predecessor to provide the cinematography for "Pantera", deserved plenty of credit for making these shots look stunning, even if the narrative failed to reach this similar height.  Gudegast also delivered the riveting suspense of the diamond heist sequence, which was enough to forgive the first half's sluggish preparation.  Regardless of the quality, I could definitely see Gudegast directing more movies in the future, especially ones from the action genre.

As for the cast, they made a serviceable effort in carrying the film's stretched-out narrative, especially Gerard Butler.  It bears repeating that Butler is one of the actors who can deliver enough charisma in his acting to make his mid-tier movies watchable.  Whether playing a rough yet humane character or a tough sheriff seeking justice, Butler has the necessities to elevate a project from its doomed fate.  His diverting performance as Big Nick was no exception, combining his character's rugged and reckless personality with a bit of softness to make him less intolerable.  O'Shea Jackson Jr. was also pretty good as Donnie Wilson, continuing the star's recent comeback to acting following his four-year absence.  While not as memorable as his earlier roles like "Straight Outta Compton", I still admit that Jackson Jr. has a brighter future ahead of him that his father would be proud of.  Evin Ahmad also did a suitable job as Jovanna, the co-leader of Donnie's new team of criminals.

Overall, "Den of Thieves 2: Pantera" offers plenty of entertainment in its international heist but doesn't offer much else to make it shine as bright as diamonds.  This is another sequel that didn't have a reason to exist other than to capitalize on Butler's stardom and earn more money but delivers enough respectable merits to compensate.  Regarding its decent cast and Christian Gudegast's direction, "Den of Thieves 2" is an enjoyable ride that benefits from its gorgeously shot cinematography.  Unfortunately, it's also a mildly uninspired action crime drama that's too lengthy for its own good due to its runtime and average screenplay.  If you liked the first film, then you'll probably enjoy the sequel, though how much you'd like it would depend on your expectations.

​"Wallace & Gromit: Vengeance Most Fowl" stars Ben Whitehead, Peter Kay, Lauren Patel, and Reece Shearsmith.  Released on BBC One on December 25, 2024, followed by a Netflix release on January 3, 2025, the film has Wallace and Gromit confronting the return of Feathers McGraw.

The film was directed by Nick Park and Merlin Crossingham.  Park is known for directing the previous "Wallace & Gromit" films, "Chicken Run", and "Early Man".  It is the sixth film in the Wallace & Gromit franchise.  Well, everyone, another new year is upon us, which means it's time for something completely different.  Usually, I would start the year with a new horror movie during the first weekend of January, but I think we all know how that turned out almost every year.  So, instead, I would like to start 2025 with a good old helping of cheese and crackers.  That's right, folks.  Your favorite inventor/dog duo from the United Kingdom has returned for another delightful yet crazy misadventure that'll make fans go crackers for Wallace's favorite snack.  Considering the popularity of Wallace and Gromit on their home turf and in the United States, it was only a matter of time before they grace our screens again.  Fortunately, despite the closure of the factory that made Aardman's modeling clay last year, the creators managed to have just enough clay to make this new film a reality.  Unsurprisingly, the result is what you'd expect from a Wallace & Gromit project regarding critical reception.  After delivering Christmas cheer on public television in the United Kingdom, Wallace and Gromit has now invaded our Netflix servers in America just in time for awards season.  Was the duo's long-awaited return as charming and lighthearted as their previous endeavors?  Let's find out.

The story once again centers on Wallace (Whitehead), an eccentric inventor, and his reliable canine companion, Gromit, as they face financial troubles.  In order to pay their bills, Wallace invented a robotic garden gnome named Norbot (Shearsmith) and created a business involving it working in people's gardens.  This resulted in Gromit feeling concerned about Wallace's reliance on technology to accomplish easy tasks.  However, Wallace's new business tactic takes a drastic turn when the criminal penguin, Feathers McGraw, reprograms Norbot to frame Wallace for the garden robberies.  This sends Gromit on a wild goose chase to clear Wallace's name and bring Feathers McGraw to justice once more.

"Wallace & Gromit" has played a small part in my childhood, thanks to my early experiences with one of its short films and even "Chicken Run".  The latter was also one of the reasons I started getting into stop-motion animation, especially ones involving clay.  This led to me watching "The Curse of the Were-Rabbit" in theaters, which happens to be the first and so far only "Wallace & Gromit" movie to receive the theatrical treatment.  By the way, that film is celebrating its 20th anniversary this year.  Long story short, I enjoyed every minute of that film, and I still love it now as an adult.  Regarding its effortful animation and everlasting endearment in its humor and characters, "The Curse of the Were-Rabbit" was one of the family movies that favored heartfelt charm and comforting innocence over cheap kid-friendly jokes we have nowadays to great effect.  So, I had no doubt that I was highly intrigued by the duo's latest outing.  Unfortunately, it didn't get the theatrical treatment like "Curse of the Were-Rabbit", as it only received a Netflix release outside the United Kingdom.  But, on the bright side, it garnered plenty of awards recognition as "Best Animated Feature", especially from the Golden Globes and Critics' Choice.

Upon watching the film, I immediately understood why.  Regarding its innocent tone, charming aesthetics, and animation craft, it's undoubtedly "Wallace & Gromit" at its finest.  But more importantly, it's a straightforward yet incredibly fun and hilarious reunion that retains the heart and charismatic appeal of the duo's previous adventures.  It may not have anything special in its plot to be as groundbreaking as the other animated features we got, but it hardly needs to when you have the creative minds of Nick Park and screenwriter Mark Burton on board.  Park has worked on the "Wallace & Gromit" series since "A Grand Day Out" in 1989, along with a couple of strong original entries, so it's unsurprising that he had a massive appreciation toward these characters, and it shows in "Vengeance Most Fowl".  What's also impressive is that Park doesn't attempt to reinvent the wheel to appeal to American audiences, leaving it unrecognizable.  Instead, he stuck with the usual basics that worked in the short films and "Curse of the Were-Rabbit" while finding ways to maintain the franchise's relevancy for both sides of its audience.  

A clear example is Wallace's reliance on his inventions.  We usually see Wallace make inventions that tend to help people, but they always come to bite him and Gromit in their clay butts.  "Vengeance Most Fowl" further emphasizes this element with Wallace becoming too reliant on modern tech to get the simplistic tasks done, including petting his own dog, while also serving as a sequel to "The Wrong Trousers".  This message hits closer to home because we, too, have become so used to technology assisting us that we tend to lose sight of the human connection.  Despite its familiar plot points relating to vengeance, "Vengeance Most Fowl" is another fantastic example of the phrase "if it ain't broke, don't fix it" that delivers a handful of British wit, charm, and heart in its relatable themes and simple storytelling.  Admittedly, most of the film's humor may not connect well with American audiences, including the one joke relating to the popular British television duo.  Regardless, they gave me plenty of laughs, so, at the very least, the film succeeded in making the humor delightful for both types of audiences, even if they don't understand some of them.

"Vengeance Most Fowl" is also Ben Whitehead's first film performance as Wallace following Peter Sallis' retirement and subsequent death in 2017.  Whitehead has previously voiced the character in several video games and commercials, so this task was far from challenging for him to carry Sallis' legacy forward in a feature film.  Unsurprisingly, the replacement was worth it.  Whitehead did an incredible job matching Wallace's eccentric and jolly personality, which Peter Sallis provided in the short films.  I can barely tell the two apart because of how he and Sallis sounded alike in their distinctive voices, showcasing that Whitehead has a bright future ahead of him regarding his role in the franchise.  Peter Kay reprised his role as Chief Inspector Albert Mackintosh from "Curse of the Were-Rabbit", and he once again showed that the supporting characters were just as fun and humorous as the protagonists.  Another example of this theory was PC Mukherjee, Mackintosh's plucky young protege who learns to trust her instincts in solving the robberies.  Mukherjee's generous and perky persona helped carry the film outside the "Wallace and Gromit" scenes, largely due to Lauren Patel's charismatic vocal performance.

Finally, we have the movie's animation.  As mentioned earlier, this film would've never existed without the proper amount of clay needed because the factory that made it closed down.  Whether it'll affect Aardman's future in clay-based animation hasn't been determined based on my research, but I'm hoping it doesn't force the studio to shut its doors for good.  I learned to appreciate stop-motion animation because I acknowledge the time-consuming effort in providing one frame per second without making the slightest mistake compared to traditional or CGI animation.  Fortunately, thanks to "Vengeance Most Fowl", my thoughts still haven't changed.  One of the things I respect about Aardman is its ability to retain the old-school feel of making a stop-motion project with clay.  While some stop-motion films rely on intricate details in the designs, especially ones from Laika, Aardman's style has a more traditional and simplistic approach regarding its clay supply.  However, it retains the creative and appealing spark of the characters and environments that come from clay.  Like its plot, the film's animation proves that, in most cases, simplicity can be just as effective as complexity.

Overall, "Wallace & Gromit: Vengeance Most Fowl" is a straightforward yet exceptionally delightful return of Aardman's iconic duo that's more charming than fowl.  It's hard to compare this with the previous installments since I haven't watched the short films as much as "Curse of the Were-Rabbit".  However, I will say that I have a softer spot toward Wallace and Gromit's big-screen adventure 20 years ago due to its humor and parody of classic monster movies and Hammer Horror films.  Thankfully, I can also say that "Vengeance Most Fowl" came pretty close regarding the duo's cinematic outings.  Regarding its voice cast, witty British humor, well-paced storyline, and superb animation, the film shows that some things never change for the inventor/dog pair, and it's all the better for it.  If you're a fan of "Wallace & Gromit", you'll easily love this latest installment as much as I did.

​"Better Man" stars Robbie Williams, Jonno Davies, Steve Pemberton, Damon Herriman, Raechelle Banno, Alison Steadman, and Kate Mulvany.  Released on December 25, 2024, the film chronicles the life story of pop singer Robbie Williams.

The film was directed by Michael Gracey, a visual effects artist best known for directing "The Greatest Showman" and "Pink: All I Know So Far".  When you're a singer, actor, or even an online influencer, you might run into specific days when you feel less evolved.  I'm talking about the days when you have the urge to go crazy regardless of the consequences you might receive, so much so that you'll be making a monkey out of yourself.  In this case, one artist has taken that whole "monkey" phrase a little too literally.  The Christmas season saw the release of Bob Dylan's fact-based tale, which involved his defying the odds of musical tradition, and it was a decent one at best.  However, most people didn't realize that another musical biopic was released during the season, which focused on a singer who may not be as well-known in America as Bob Dylan.  I'm referring to British pop singer Robbie Williams, who found immediate fame through his career as a member of the pop group Take That and a solo artist in the 1990s.  You haven't heard of him?  Neither have I, which is why this film exists.  However, this movie features a unique approach to the traditional formula: transforming Robbie Williams into a literal monkey.  I suppose that's one way to make another "Planet of the Apes" prequel.  But does it work in creating another worthy biopic worth going bananas for?  Let's find out.

The movie follows the life story of Robbie Williams (Williams/Davies), but he is portrayed as a CGI chimpanzee because he feels "less evolved" than other people.  As he finds solace in his grandmother Betty's (Steadman) support, Robbie eventually finds success through his talents and ambition to be a singer.  As a result, Robbie becomes a member of a boy band known as Take That, propelling him to stardom.  Amid his fame, Robbie is surrounded by life's biggest challenges that could affect his career, including his less-evolved behavior and self-doubt.

As I mentioned earlier, I hadn't heard of Robbie Williams until the film's teaser was released, and it's understandable why.  While he was iconic in his hometown, Williams didn't make much of an impact in America regarding the fanbase.  So, it's easy to see why "Better Man" is struggling to make enough money at the U.S. box office.  Regardless, I couldn't resist learning more about Williams and his career, especially since the film is doing something different to the biopic formula.  I don't mind watching biopics as long as the quality and storytelling carry them, especially ones involving music.  But sometimes, I prefer them to deliver something fresh and exciting in how people's life stories are told to maintain the audience's interest in the genre.  Pharrell Williams told his life story through the art of LEGO pieces in "Piece by Piece", and look how that turned out, although not many people went to see that either, much to my disappointment.  "Better Man" sought to try this strategy again, with Robbie Williams being portrayed as a computer-animated anthropomorphic chimpanzee to emphasize his erratic personality and self-perception.  The result is just as wild and ludicrous as the artist himself.

"Better Man" was absurd, mean-spirited, and even uncivilized, but it was also immensely entertaining, incredibly surreal, and thoughtfully emotional.  Having the pop singer portrayed as an animal would've been something that's too out there to carry a seemingly typical biographical musical, but through some miracle, Michael Gracey and his team managed to pull it off with style.  Does it follow the play-by-play formula we've seen in other biopics?  Of course, it does because we've seen celebrities confront their high and low points themselves every time, especially singers.  However, that doesn't mean it's not worth telling since it usually reminds us of the dangers of fame, especially when it leads to negative outcomes like addiction, depression, and suicidal thoughts.  Robbie Williams' life story is unsurprisingly no different, as it depicts his rise to fame as a member of Take That, his solo career, his fall from grace, and his redemption.  During his career, Robbie also confronts his self-doubt via hallucinations of his past self as he struggles to rediscover his true purpose.  It plays through similar motions regarding its narrative, often leading to some predictable moments.  However, "Better Man" is another example of a musical biopic done right, with just enough pizazz, energy, and heart to reinvigorate its traditional beats, and yes, its third act made me cry.

Michael Gracey had surprisingly made a name for himself as a director, thanks to his directorial debut "The Greatest Showman".  While that film wasn't the best depiction of its topic, it highlighted Gracey as a filmmaker who can make every scene pop and sizzle with its visuals, choreography, and cinematography, especially the musical numbers.  Considering that Gracey also worked as a visual effects artist, it made sense why everyone was head over heels for Hugh Jackman and his unique performers.  So, I was very curious to see if he could repeat that success with this distinct take on the biopic formula.  After watching it unfold, I can easily say this is a massive improvement over "The Greatest Showman".  

Obviously, it was because "Better Man" doesn't shy away from its mature themes and Robbie's immaturity, hence the R-rating.  But more importantly, Gracey was allowed to embrace the dynamic chaos and fever dream aesthetics found in its metaphorical and musical sequences, which benefited from Erik A. Wilson's 90s-esque cinematography and the film's impressive editing.  The result is a bold, frenetic, and visually dazzling experience that may seem hard to believe, but I couldn't help but go along with it anyway.  However, its two-hour-plus runtime can be a bit too much for specific people regarding its presentation and content, mainly due to its mean-spirited tone and British slang.  Regardless, it showed strong signs of Michael Gracey's potential future as a visionary filmmaker, especially in the musical genre.

Robbie Williams only provided the narration for the film, with his chimpanzee form being portrayed by Jonno Davies via voice and motion capture.  Davies, known for his roles in projects like the Amazon Prime series "Hunters", was tasked with capturing the mannerisms and wildness of Robbie's young self through his performance.  It seemed like a challenge since he was performing alongside actors in a mo-cap suit, but Davies was able to accomplish it wonderfully.  Like what Andy Serkis accomplished for Caesar in "Planet of the Apes", Jonno Davies provided humanity and emotional heft into a CGI monkey that felt more genuine than out-of-place.  I would even say that the visual effects of Williams' monkey form were pretty remarkable in how he blends in with the environments, real-life or surreal.  Steve Pemberton and Alison Steadman were also stellar in their roles as Peter Williams, Robbie's father, and Betty Williams, respectively.

Overall, "Better Man" makes a monkey out of its conventional biopic formula with a zestful, untamed, and refreshing musical experience that'll make genre fans go bananas.  Like what "Piece by Piece" did for Pharrell Williams, the film successfully takes advantage of and reinvents its traditional narrative notes to provide a unique and faithful depiction of a singer's career and its relatable themes.  More importantly, it's a consistently entertaining and visually hectic roller coaster that doesn't lose its heart within the lyrics.  While it can be a bit too much for specific audiences regarding its runtime, the film is another musical biopic done right, thanks to its diverting cast (mainly Jonno Davies), Michael Gracey's outstanding direction, refreshing screenplay, and stellar visuals.  If you're in the mood for something crazy and different in the musical biopic genre, you should definitely give this film a shot.

​Hello, everyone!  Welcome to another episode of moviemanMDG’s “Movie Talk”, where I talk about everything film-related.  It’s no secret that 2024 is another year full of surprises and inspiring feats in the film industry.  However, it’s also not without plenty of misfortunes and atrocities that we had to endure, whether on the big screen or on a streaming service.  With every cinematic masterpiece that invaded ours screens with awe-inspiring quality, there’s always a massive pile of hot garbage that stimulates our senses in the worst way possible.  That’s how I would describe my experience toward this year’s films that failed to reach their potentials with their cheapness and second-rate executions.  While my intention is to always look for a silver lining in these mediocre attempts at filmmaking, there are occasions where their positive aspects just aren’t enough to excuse their massive flaws.  The movies I got listed below are some of those moments.  We already got through with the best of the best of 2024 in my previous Movie Talk episode, so now it’s time for me to announce the films that I deemed unworthy of my cinematic needs.  Just like before, this is my personal picks of the films I disliked the most this year.  Even though there are certain popular ones that everyone loves to deem “the worst movie ever made”, especially ones based on an existing IP, there are actually those that truly deserve the rotten tomato treatment.  At least, that’s how I view them because again, everyone has their own distinct taste in movies, and that’s okay.  As usual, don’t be surprised if any of your picks for the worst movie of the year didn’t make it on my list or if the ones you actually liked more than I did are on it.  These are my personal picks, and if you enjoyed any of them, that’s great.  More power to you.  Now that that’s out of the way, let’s count down the biggest losers of 2024.  But before I do that, allow me to share with you the “dishonorable mentions” that were lucky enough to escape their unwanted achievements.

​Coming in at the bottom of the trash can is M. Night Shyamalan's daughter's attempt at making a horror movie.  All I can say is that she has a lot of work to do to make it big as a director.  "The Watchers" was just as lost as the characters in the woods, with a story that struggled to balance its slow-burn suspense with supernatural horror elements.  There was some potential hidden within Ishana Night Shyamalan's vision, especially when the cinematography captures the eeriness and dread of the isolated forest.  Sadly, that hardly matters when a film lacks effort in its unbalanced screenplay, so-so cast, and soulless scares.  You're better off watching something that's more worth your time.

​Camp is supposed to be a place where you experience the great outdoors and make new friends and memories.  But if it's anything like my number nine pick, I'd rather just stay home and play video games all summer long.  "Summer Camp" was another addition to a long line of comedies involving seniors acting like they're thirty years younger.  While familiar by design, I admire only a couple of them for being mildly endearing for their target audience, mainly "Book Club" and "80 for Brady".  Sadly, "Summer Camp" became a blueprint for following the same formulaic pattern without the charm and fun to accompany it.  Despite the efforts made by the main leads, the film's inept direction, generic screenplay, and lackluster characters were enough to give me the summertime blues.  Regarding this catalog of senior-focused comedies, this is by far the most boring and biggest waste of effort from all those involved.  These actresses deserved a much better camp to attend than what they got.

​There's no studio that suffered the worst luck in the superhero genre this year than Sony, especially its Spider-Man-less cinematic universe.  Except for the "Venom" trilogy, the studio's attempts at making Spider-Man's enemies anti-heroes to maintain its rights lack the cheesy fun, charm, and quality to warrant their existence.  The universe's final film, "Kraven the Hunter", is no different, as it is yet another failed attempt at superhero filmmaking that's more prey than predator.  Admittedly, it's mildly watchable regarding Aaron Taylor-Johnson's portrayal of the Spider-Man villain and the film's brutal violence.  Sadly, they're not enough to make this thrill of the hunt…well, thrilling.  Due to its bland supporting cast, incoherent editing, tedious direction, and rough visual effects, this supervillain origin film lacks the storytelling expertise to hunt alongside the big cinematic hunters.

​It's no surprise that everyone was crying foul at Hollywood for reviving "The Crow" when the 1994 adaptation was fine the way it was.  But, as usual, the folks at Hollywood didn't listen, and they paid the price for it, both critically and financially.  The 2024 reboot of "The Crow" puts a more supernatural and modern edge to the source material, and the result is a dull and bleak mess that's neither as compelling nor as entertaining as it should have been.  Its production design was serviceable for maintaining the gothic nature of the comic and the 1994 film, and the Opera House sequence was pretty enjoyable.  However, when it comes to everything else, the 2024 iteration of "The Crow" is a failed attempt at reviving the franchise due to its dull cast, generic script, forgettable action, and uninspired characters.  But, at the very least, Bill Skarsgård was able to redeem his soul with his take on Nosferatu, so there's that.

​2024 has been a pretty good year for horror, especially when we have plenty of surprises like "Late Night with the Devil" and "Nosferatu".  However, that doesn't mean it's safe from some of the bad ones we got amid its gems.  One of them is a supernatural horror film about tarot cards whose fate was already sealed before it even came out.  Regarding its plot and genre elements, "Tarot" was as generic and subpar as the title suggested, even failing to meet the lowest of my expectations.  While the young cast did all right with their performances, and the atmospheric dread was serviceable, the film failed to escape its destined fate due to its cliched and one-dimensional screenplay, bland direction, and uninspiring scares.  You're better off playing with real Tarot cards instead of watching the film's characters do it.

​Most people assume that "Kraven the Hunter" is the worst installment in Sony's Spider-Man Universe.  As much as I respect their opinions, I have to say that that isn't the case, as my number five pick exists.  S. J. Clarkson's feature directorial debut, "Madame Web", has been consistently deemed "the worst superhero film ever" by critics and audiences when it was first released.  At first, I thought this was another occasion when their reactions toward a movie were unfairly over-the-top.  However, after experiencing the film, I started to believe they were actually justified.  Its focus on the Spider-women and suspense thriller approach was quite welcoming for the short-lived franchise filled with villains-turned-heroes, and Dakota Johnson did an okay job as the titular character.  Unfortunately, they're not enough to untangle its messy and bland web of mediocrity and laziness.  Its subpar direction, mediocre dialogue, and weak supporting cast make this one of the nails in the coffin for Sony's attempt at making its own Marvel Cinematic Universe.  Maybe Sony can make another deal with Disney to incorporate these Spider-Man characters into the MCU?

​Zachary Levi may have taken the loss of his "Shazam" franchise a bit too personally, so much so that he starred in an underwhelming kids movie as revenge against us for not supporting his superhero sequel.  The movie I'm referring to was my number four pick, "Harold and the Purple Crayon", the long-awaited adaptation of the popular children's book that wasn't as creative and fun as the protagonist's imagination.  The idea of making Harold a fish-out-of-water adult was questionable, but that's not the main reason why the movie didn't work for me.  It's the fact that it focused so much on appealing to the younger demographic that it wound up pleasing no one, not even the young at heart.  The visuals were serviceable for Harold's drawings, and the cast, including Levi, was fine in their roles.  However, they're not enough to draw its way out of its formulaic script, mundane direction, inconsistent pacing, and unfunny plot.  It's another example of how not to make a family film and another unfortunate misfire for Levi's troubling reputation.  He's definitely in dire need of a purple crayon of his own so he can draw himself out of this predicament.

​2008's "The Strangers" revitalized the fear of being stalked or attacked by random people whose motives were unexplainable.  Their excuse: they just wanted to.  Sixteen years later, the masked murderers returned to evoke that feeling again via a reboot that's also the start of a narrative-driven trilogy.  The result is a heaping pile of nothing that lacked its predecessor's frights and authentic terror.  "The Strangers: Chapter 1" is a highly lackluster reboot that follows the same path as the 2008 film but with a dose of dumb characters and unintentional humor.  It's not funny in a scary way, mind you.  It's just hilariously bad, especially regarding Scarecrow's actions.  The film's isolated atmosphere was overshadowed by its dull approach to its dumb characters, cliched script, and weak thrills.  This latest visit from the "Strangers" is just unpleasant in the worst way possible, and I'm already praying that its upcoming continuations won't be as agonizing as this.

​I like watching inspiring, feel-good sports movies as much as the next guy.  While they're flawed in their formulaic narratives, they usually succeed in making me believe in miracles and the power of sportsmanship.  Charles Stone III's latest foray into the sports genre, which showcases Snoop Dogg's appreciation of football, should've been another touchdown for the everlasting catalog of sports cinema.  Instead, it wound up being an incomplete pass, followed by a massive loss in yards.  The Prime Video original, "The Underdoggs", featured Snoop Dogg performing as his usual self while representing his love of the game.  Unfortunately, it lacks the charm and humor of other feel-good sports movies to make it more than a lackluster and redundant commercial for the singer/actor's "Snoop Youth Football League".  Its script was immensely formulaic, the adult humor and language were annoyingly repetitive, and the characters, especially its protagonist, were unlikable enough to get sacked multiple times.  In short, this R-rated comedy is far from the underdog we usually see in sports, whether in real life or on the screen.

​Many fans of "Megamind" had been clamoring for another adventure with the blue-skinned, big-headed villain-turned-hero for years, and I don't blame them.  It was a fun and clever take on the superhero genre filled with big stars and memorable meme-worthy moments.  It may not be a masterpiece by DreamWorks standards, but it was one of the more entertaining films that the studio had produced.  This year, our prayers were answered, but in the form of a television movie made for Peacock to coincide with the series, and we have regretted it ever since.  Not many people have mentioned this anymore, and it's understandable why.  "Megamind vs. the Doom Syndicate" provided a massive stain on its predecessor by having the audacity to call itself a "film".  Admittedly, it's supposed to serve as a pilot for the "Megamind Rules" series, but even so, it failed to capture the essence and witty appeal that made "Megamind" popular.  The story was bland and idiotic, the direction was void of charm and wit, and the animation was cheaply crafted, even by television standards.  I could see a few kids enjoying it, but I highly doubt they'll remember it weeks later.  That's how disappointing this movie was, not just for kids but also for those who grew up watching "Megamind", including me.  Most people would go with something like "Joker" or "Borderlands" as their ideal worst movie of 2024, but in my eyes, it's actually the big-headed blue man that deserves this title.  If you want more insight regarding my thoughts about the pilot film and its series, check out my Movie Talk episode, "The Doomed Return of Megamind".

​It still wasn't easy making this list compared to my best film list, mainly due to my attempt at being more positive toward these second-rate movies, but it had to be done.  As mentioned before, if you like any or all of the films I listed above, I can only say that you have my respect for tolerating them more than I did.  I may not be comfortable with those opinions, but I respect them regardless.  That said, this concludes another year filled with cinematic gold and cinematic slop.  Once again, I want to thank you all for following me and my website as we head into 2025.  Until my next review, have a happy new year.

​Hello, everyone!  Welcome to another episode of moviemanMDG's "Movie Talk", where I talk about everything film-related.  Another year is drawing to a close, which means it's time for one of my favorite things of the year. That's right, folks. It's time for another end-of-the-year list courtesy of yours truly.  I know I'm supposed to come up with something exciting to start this episode, but trust me.  When you've been writing top ten lists for almost ten years, you're bound to not worry about it and wing it anyway.  2024 offered many movies that attempted to revive the cinematic experience or divert audiences with their entertainment values.  Some films succeed in being overall great movies, while others fail to deliver more than what's on the covers.  There were also some surprises we didn't expect to be good but proved us otherwise, and some that failed to meet our high expectations because we kept setting ourselves up for disappointment.  For this episode, we're going to be focusing on the positives as I list the top ten movies that impressed me the most, whether they're for entertainment purposes, cinematic quality, thematic storytelling, or all of the above.  This year, I've seen plenty of movies I loved more than I thought I would, but this list is for the ten best films that remained in my head more than others.  As usual, I didn't have time to see all the movies I wanted to see before making this list, so don't be surprised if some of your personal favorites aren't included.  Sadly, that includes "The Brutalist", which is still playing in a few theaters.  But don't worry.  I'll get to that film soon enough.  Until then, we're sticking with the ones I already watched, with only ten of them worthy of being on my list.  That said, let's count down the best of the best as I present to you my top ten favorite films of 2024.

However, before I start the countdown, I want to do something different for my structure regarding this year's lists.  Throughout the past few years, I usually list the honorable mentions before announcing my number one pick.  This year, I decided to share them before I list off the top ten films instead.  It's not a permanent change but an experiment to see which structure suits me best.  Feel free to comment on which structure you prefer; I'll gladly take those to heart.  With that in mind, here's my pretty long list of honorable mentions that didn't make the cut.

​I was initially hesitant about adding this film to my top ten list or having it as an honorable mention.  But after thinking it over as I formed my list, I figured it was just too good to be an honorable mention.  The film I'm referring to was "My Old Ass", Megan Park's second directorial effort that sounded like the title of a Seth Rogen-produced raunchy comedy at first.  While there was some profanity and sex involved, they're balanced perfectly well with a thoughtful and witty portrayal of self-identity and coming of age.  Maisy Stella and Aubrey Plaza were both terrific regarding their charismatic performances, and Park's direction and screenplay were excellent in revitalizing its familiar genre tropes.  It further showcased Megan Park as another new voice for teenage coming-of-age filmmaking, and I'm very curious to see what she's planning next.

​If you want another reason to keep holding on to hope, look no further than my number nine pick of the year.  With the world being surrounded by hate, pain, and despair, "Sing Sing" could not have come at a better time.  More importantly, it was an expertly directed and genuinely heartfelt tribute to the Rehabilitation Through the Arts program that helped incarcerated men heal their souls through theatre arts.  I watched the film during one of the mystery movie events this year, and I was pretty disappointed it didn't gather as much attention as I thought it would.  Then again, it didn't expand to many theaters during its run, so that might've been the case.  Regardless, it was an incredible reflection of humanity and redemption powered by Colman Domingo's excellent performance and Greg Kwedar's sublime direction and screenplay.  I wasn't expecting to talk about this film, but after watching it, I'm glad I did.

​Whenever I don't have the time or money to attend a Broadway production, I usually wait until I see its film adaptation for a lower price.  Some succeeded in capturing the production's magic, while others didn't.  But in the end, it's the experience of witnessing these stories from Broadway for the first time that's truly magical, whether they're from the stage or on the big screen.  That's how I would describe my time watching my number eight pick: "Wicked".  Jon M. Chu returned to the musical genre with a visually breathtaking and narratively grand adaptation that paints a bigger picture of the two distinct witches from "The Wizard of Oz".  As someone who had only seen it for the first time, I was worried I wouldn't understand the prequel musical's appeal.  However, these worries disappeared like magic once I saw the craft, effort, and passion Jon M. Chu and the others put into the adaptation's first half.  Regarding its talented cast, Chu's direction, faithful screenplay, and beautiful production designs, "Wicked" defies its cinematic gravity in more ways than one and continues to prove Chu's impeccable ability to turn musical adaptations into cinematic gems.  

​Pixar struck animation gold with its original film that literally hit us with the feels almost a decade ago, a much-needed victory for the animation studio after a few years of middling content.  "Inside Out" was not only my favorite film of 2015 but also one of my favorites of all time, animated or otherwise, due to its clever storytelling and thematic depth.  Nine years later, Pixar repeated history with its follow-up after suffering from Disney's direct-to-streaming strategy due to the COVID-19 pandemic.  "Inside Out 2" is another fantastic animated sequel that honors its predecessor's emotional core while expanding its world in an imaginative and thought-provoking way.  It fell a bit short of matching the emotional grandeur of the first film due to it following a few similar footsteps from that movie.  However, it's still a worthy continuation that I can relate to, mainly because of Anxiety, brilliantly voiced by Maya Hawke.  Regarding its terrific voice cast, well-balanced story, and incredible animation, "Inside Out 2" is another showcase of Pixar putting in as much effort in their sequels as they do with their original films.  I will gladly be seated for "Inside Out 3" if that happens.

​Love can be pretty complicated, especially when working as a stripper.  One of them found that out the hard way, resulting in my number six pick, "Anora".  Writer/director Sean Baker brought audiences back into the marginalized world of immigrants and sex workers with a consistently alluring and smartly written anti-romance comedy packed with seductive lovemaking and infectious humor.  It can be pretty spicy with its sex scenes, but underneath its soft porn shenanigans lies a humane and tragic reflection of a doomed love caused by the characters' actions.  Mikey Madison delivered a terrific performance that combines seduction with humanity, and Sean Baker's vision offered a sense of pizzazz and zestfulness in his old-fashioned direction and screenplay.  It's another example of "don't judge a book by its provocative cover", in which it provides more than just two-and-a-half hours of characters "making love".

​Denis Villeneuve has repeatedly proven that he's the perfect filmmaker capable of balancing the sci-fi blockbuster aspect with cinematic quality filmmaking.  After all, his films like "Arrival" and "Blade Runner 2049" have appeared in almost every top ten list I made since I created my blog.  Unsurprisingly, 2024 is no different, thanks to my number five pick.  Denis Villeneuve's "Dune" was a grand cinematic experience that combined its epic scale with invigorating storytelling and incredible visuals.  "Dune: Part Two" upped the ante with all those elements, including the world-building.  The result is a massive improvement over its predecessor that brilliantly continues Paul Atreides's journey through its faithful screenplay.  The cast was stellar, especially Timothée Chalamet and Zendaya. Villeneuve's direction was immersive and awe-inspiring, and the visual effects impeccably captured the expansive world of Frank Herbert's novel.  It was simply an incredible experience that reminded me of the joy and magic of going to the cinema.  Bring on "Dune: Messiah"!   

​If there's one thing I admire about Robert Eggers, it's that he can make historical time periods seem more frightening compared to what you read in school books.  Of course, it's not without his unique filmmaking craft that makes the unnerving sequences hauntingly beautiful.  This was proven further in my number four pick, depicting the Dracula knock-off as a petrifying force capable of delighting and scaring new generations of vampire fans.  Robert Eggers's take on "Nosferatu" is another terrific display of the filmmaker's combination of discomforting aura and authentically gothic atmosphere.  Combine them with its compelling screenplay, creepily gorgeous cinematography, haunting score, and authentic production design, and you get the best horror film of 2024 in my eyes.  It may not be for everyone due to its runtime and disturbing imagery, but it was a magnificent portrayal of unspeakable terror that establishes Robert Eggers as one of the best directors working in Hollywood today. 

​When I watched "The Lighthouse", I didn't think I would ever recapture the same feeling I had after the movie ended.  The sense of unease and speechlessness from riding the roller coaster of terror and shock hadn't left my body for at least a few hours afterward.  A few movies attempted to match the impact of "The Lighthouse", but they didn't quite reach that level of discomfort I was hoping for.  That all changed when I saw "The Substance", and in seconds, that particular feeling came back.  "The Substance" is a miraculously energetic and terrifyingly beautiful experience that lives up to the gross and gonzo hype it promised from the marketing.  It's also balanced well with its cautionary tale of addiction and the temptation of regaining one's youth, led by career-best performances from Demi Moore and Margaret Qualley.  Its two-hour-plus runtime and body horror elements can be a bit much for some people, especially those with sensitive stomachs.  Regardless, it is one of the trippiest and wildly satisfying movies I've seen this decade due to Coralie Fargeat's sickly compelling presentation and screenplay, amazing practical effects, and Benjamin Stefanski's kinetic score.  Unless you're concerned about its side effects, this is one cinematic drug that you should experience once. 

​Coming in at number two is a film that's surprisingly less painful than the title suggests.  "A Real Pain" further displayed Jesse Eisenberg's talents as an actor and filmmaker with a relatable voice for his Jewish community.  After making a solid debut with "When You Finish Saving the World", Eisenberg returned to the director's chair stronger than ever with an incredibly moving and layered comedy-drama depicting the pain and sadness within the human connection.  Eisenberg did incredibly well in all three aspects: acting, directing, and writing.  However, Kieran Culkin was the clear winner, as his career-best performance as Benji made me hope he'll make it to the Oscars.  Combine them with its cinematography and engaging chemistry between the leads, and you get a family vacation that's worth taking.

​Everyone has their preference regarding their favorite animated film of the year, and 2024 is no different.  Some would pick "Inside Out 2", others would choose "Flow", and there were even those who'd pick "Transformers One" as the best of the year.  I'm among the few who picked the latest feature from DreamWorks Animation, which provided the perfect programming to deliver something special for kids and adults.  In fact, I would even go as far as to pick it as my favorite film of the year, and that movie is "The Wild Robot".  DreamWorks Animation may have had an inconsistent filmography regarding the quality, but it's hard to ignore the ones that showcased the studio's commitment to delivering something extraordinary, like "Shrek", "How to Train Your Dragon", and even "Puss in Boots: The Last Wish".  "The Wild Robot" is another excellent example of this, delivering a remarkable blend of humor, heart, and visual majesty to depict a fun and emotional tale of motherhood, nature, and acceptance.  Writer/director Chris Sanders has truly created something that reminisces the good old days of animation, particularly ones from Disney and Studio Ghibli, where simplicity and beauty can go hand in hand with thematic layers and storytelling, delighting children and adults alike.  It had all the tools to survive the sea of animated content, such as the voice cast, uniquely stellar animation, Sanders' sublime direction and screenplay, and Kris Bowers' musical score.  As a result, "The Wild Robot" is not only the best animated film of 2024 but also my pick of the best film of the year.

​There you have it, folks.  These are my top ten favorite movies of 2024.  Again, I haven't seen all of the films that came out before I made this list, including the ones slated for a wide expansion next year, but don't you worry.  I'll get to them when that time comes…hopefully.  Until then, I want to thank you all for joining me for another year of cinematic goodness and let's hope 2025 is just as good, if not better.  Let me know what your favorite movies are in the comments, and I'll see you all in the next "Movie Talk" episode, where I discuss my picks for the biggest losers of 2024.