​Hello, everyone. Welcome to another episode of moviemanMDG's "Movie Talk", where I talk about everything film-related. The 2020s started the new decade on the wrong foot with the COVID-19 pandemic and the despicable actions of the former president, who shall not be named. In fact, the current events made me hearken back to when the start of a new decade resulted in some fond memories, mainly in 2010. 2010 was the beginning of the decade that gave rise to new cinematic technologies, primarily 3D, due to the popularity of James Cameron's "Avatar", and gave us some of the year's most memorable movies. Not to mention the ones we love to forget about. However, the one thing that made 2010 special was the battle between two cartoon bald supervillains seeking world domination. Universal gave us Gru from "Despicable Me", which transformed Illumination into the money-making animation studio we know today, while DreamWorks Animation gave us the blue-skinned, big-brained "Megamind".  

While "Despicable Me" won the battle from the critical and financial standpoints, DreamWorks's superhero comedy won audiences's hearts despite being one of the studio's lowest-grossing films of that year. "Megamind" wasn't considered one of the studio's strongest movies, but it eventually gained a cult following as the years passed, mainly due to the power of internet memes. It was also popular enough to kickstart a franchise consisting of video games and the short film "The Button of Doom". Unfortunately, it had yet to provide an actual sequel to satisfy the blue-skinned supervillain-turned-hero's fans. That is until now. Fourteen years after the release of "Megamind", DreamWorks finally answered the fans' demands with a long-awaited continuation of Megamind's rise to heroism, but not in the way we expected. In 2022, the streaming service Peacock announced it ordered a CG animated sequel series to "Megamind" with the film's original writers, Alan Schoolcraft and Brent Simons, returning and a scheduled 2024 release. We didn't hear that much about the "Megamind" series since then until last month when its trailer revealed that we're not only getting the series on Peacock but also a sequel film titled "Megamind vs. the Doom Syndicate", which would tie directly to the show. Unfortunately, the trailer was met with a lot of disdain instead of joy for multiple reasons, including the absence of the original cast and the lackluster made-for-television quality. Considering that it's made by DreamWorks Animation Television, the expectations weren't exactly high to begin with, but then again, it's also responsible for creating a few good shows like "Trollhunters" and "She-Ra and the Princesses of Power". But, of course, that doesn't stop the fans from already claiming "Megamind vs. the Doom Syndicate" as the worst film of the year, with or without seeing the film. I'm sorry, but have they seen "The Underdoggs"?

That alone begs me to question whether this long-awaited follow-up to "Megamind" really is as bad as people said it was, or it's just another case of people being immature babies over a harmless product. Since I enjoyed the first film when it first came out, I decided to find out for myself...a few weeks after its debut. In this episode of Movie Talk, I'll be sharing my thoughts on Peacock's animated double feature that's as big as Megamind's blue cranium. I'll be reviewing not only the sequel film but also the series packaged with it titled "Megamind Rules!" meaning you'll be getting two reviews for the price of one. Plus, it'll be my first time sharing my thoughts on a television series since the "Inhumans" IMAX event.

But before I get to it, I should talk about who or what "Megamind" is as a film to refresh our memories and introduce the newcomers. "Megamind" was released in theaters on November 5, 2010, and was directed by Tom McGrath, known for directing the "Madagascar" trilogy and the "Boss Baby" films. It tells the story of Megamind, voiced by Will Ferrell, a brilliant alien supervillain who, along with his best friend, Minion (David Cross), battles his long-time nemesis Metro Man (Brad Pitt) for control over Metro City. He eventually succeeds when his latest plan results in Metro Man's defeat. However, Megamind is also left without a purpose and no superhero to fight. Hence, he decides to create a new one from Hal Stewart (Jonah Hill), the cameraman to reporter Roxanne Ritchi (Tina Fey). But when Hal becomes an even worse villain than he was, Megamind must rise to become Metro City's newest hero.

I remember when I first watched "Megamind" in the theater. My go-to cinema was in the middle of upgrading its interior design when it first came out, but it managed to stay open despite that. It further shows that cinemas always find a way to remain open despite the changes, except for COVID-19. That was one of those rare occasions when the cinemas actually shut down. Fortunately, the construction didn't get in the way of me experiencing Will Ferrell being a supervillain. It's been a while since I watched the film, but I remember liking it upon my first watch. Was it as fantastic as "How to Train Your Dragon"? No. But it's also one of the movies from DreamWorks Animation that compensates for their flawed and formulaic storytelling with a talented voice cast, solid animation, and fun humor. It made me wish I could watch it again for free on a streaming service before watching its sequels, but it looked like that wouldn't happen for a while. Now that we know who Megamind is, it's time for the moment we've all been waiting for. Let's find out if the follow-ups on Peacock deserve to be supervillains themselves for the wrong reasons.

Let's start things off with the straight-to-streaming sequel that's as long as an Illumination film: "Megamind vs. the Doom Syndicate". The movie serves as a sequel to "Megamind" and the pilot for the series "Megamind Rules!" but doesn't include the original cast. Instead, the movie has the likes of Keith Ferguson, Laura Post, Josh Brener, Scott Adsit, Tony Hale, and Adam Lambert. It was directed by Eric Fogel, who was best known for creating "Celebrity Deathmatch". He's also known for directing the direct-to-DVD movies "My Scene Goes Hollywood" and "The Barbie Diaries" and several television shows such as "The Head", "Daria", and "Starveillance". The film occurs two days after the events of the first film, which sees Megamind (Ferguson) assuming the role of Metro City's newest hero. Unfortunately, Megamind would later find his new role challenged by the sudden return of the Doom Syndicate, his former supervillain team who believes Megamind is still evil. When the Doom Syndicate plans to use one of Megamind's earlier plans to launch Metro City to the moon, the blue hero must team up with Roxanne (Post), Ol' Chum (Brener), formerly Minion, and social media influencer/super fan Keiko (Maya Aoki Tuttle) to defeat the supervillain team and put his criminal past behind for good.

The Doom Syndicate was originally formed as part of the first film's early draft, but it was scrapped and later reused for the tie-in game "Megamind: Ultimate Showdown". The sequel allowed the filmmakers the opportunity to use this concept once more, with Behemoth (Chris Sullivan) and Lady Doppler (Emily Tunon) being the only members returning from the scrapped version. So, I'm guessing that this team wasn't "doomed" after all. I haven't played "Ultimate Showdown", so the sequel is actually my first encounter with these characters. However, I did play "Megamind: Mega Team Unite" more than a decade ago, and you can find those videos on my YouTube channel…or don't. My older videos aged like expired milk.

But with these new antagonists comes the challenge of crafting a story that earns their presence and expands its predecessor's world-building. More importantly, it has to have a reason for its justified existence other than a distraction for younger viewers, similar to most animated sequels. DreamWorks Animation has succeeded with "Shrek", "How to Train Your Dragon", "Kung Fu Panda", and even "Madagascar". Unfortunately, with DreamWorks Animation Television taking over the development of a "Megamind" sequel, it's easy to admit that their objective seemed to be a lot tougher regarding the limitations of the quality and narrative. After watching the film, it's becoming evident that the concerns for it are indeed real. Regarding its story, characters, and quality, "Megamind vs. the Doom Syndicate" is nothing more than a throwaway piece of animation content designed to please the lowest demographic: kids.

The first "Megamind" movie was an amusingly entertaining parody of the superhero tropes we've been familiar with for years. Despite taking several cues from other animated movies, its greatest strength was the execution of its twists on the genre template, giving it enough of a boost to be its own hero. On the other hand, "Doom Syndicate" seemed to be more interested in covering every superhero cliche in the book instead of using them to write a better story and memorable gags. As a result, it became an inert and less-entertaining carbon copy of the genre its predecessor made fun of fourteen years ago. The movie did have a heartwarming message about teamwork, with Megamind learning to accept help from others instead of looking out for himself. However, since its script offered one-dimensional characters, mundane humor, and predictable story beats, the message felt less rewarding than being promoted to hero or even sidekick. That's not to say a story like this can't work since it has some interesting ideas like Megamind facing his villainous past. It's the execution of its narrative beats that matter, and from the looks of it, the filmmakers did seem lost in what made the first movie good in the first place, especially its writers Alan Schoolcraft and Brent Simons. 

It's also tough to say that the animation didn't fare any better. Unlike the first film, "Megamind vs. the Doom Syndicate" was animated by 88 Pictures, with production services by Doberman Pictures. You haven't heard of these animation companies? Neither have I, and it's understandable why. Despite maintaining the same designs and style as its predecessor, the movie's presentation is where it immediately soared into lackluster territory from minute one. Regarding its cheap quality and dull camera movements, the film is more equivalent to the DreamWorks television shows on Nickelodeon than the likes of "Trollhunters" and "She-Ra". It's fine if it's crafted as a 25-minute episode, but an 85-minute movie made for streaming? That's overreaching it. If there's one thing I can credit "Megamind vs. the Doom Syndicate" for, it's that the voice cast was passable for the most part. They're nowhere near as charismatic and entertaining as Will Ferrell, David Cross, and Tina Fey, but when they're not attempting to match the original actors' appeal, they are not that bad. Keith Ferguson previously voiced Megamind in the video games, so his return to the role seemed like a no-brainer given how well he worked together on the games with DreamWorks. Despite not being as flattering as Ferrell, Ferguson did all right in portraying Megamind's intelligent yet buffoonery personality, even though he's more of the latter occasionally. Laura Post and Josh Brener were also acceptable as Roxanne and Ol' Chum, respectively.

Overall, "Megamind vs. the Doom Syndicate" is admittedly a doomed piece of streaming animation that lacks the charm, wit, and heart of its heroic predecessor. While its voice cast made a tiny effort in their performances, they're sadly not enough to save the day from the clutches of its cheap television quality, poor storytelling, and lackluster animation. It doesn't take a genius to realize its expendability made by DreamWorks. I might have been more forgiving if it was framed as episodes of a television show like "Megamind Rules!". However, since it's designed as a movie for streaming, I have to acknowledge the studio's lack of passion and effort to meet its fans' demands. If I were to grade the film, I would, unfortunately, give it an F. It's an effortless cash-in, more so than the other sequels from DreamWorks Animation like "Boss Baby", but it's not something I lose sleep over.  ​

​Okay! Now that we got that piece of animation trash out of the way, it's time for me to look at its series counterpart: "Megamind Rules!" Yeah, he rules all right. He rules with a lackluster blue fist. If you're lucky enough to survive 85 minutes of charmless fluff, you'll be fortunate with a mid-credit scene that offers a few teases leading to the series. Of course, the big one is the reveal of the evilest brain in town, Machiavillain, voiced by none other than the recent lead vocalist for Queen, Adam Lambert. And I thought Tony Hale as the donut shop owner was a bizarre casting choice. This brings us to "Megamind Rules!", an eight-episode series depicting Megamind's attempt to be Metro City's new superhero and viral sensation.

If you've been spending countless hours watching television shows, mainly ones from streaming, you'll know that "Megamind Rules!" follows the formula of stitching together formulaic episodes to form a massive seasonal plot. Some episodes include Megamind competing against the new hero, Dude Monkey, for internet stardom and Ol' Chum cloning himself while caring for an insomniac Megamind. Amid these episodes, the return of the Doom Syndicate played a role in forming a regeneration machine to revive the body of their leader, Machiavillain, who was Megamind's former mentor before Megamind accidentally killed him. His plan is fully realized in the final two episodes, where Machiavillain replaces Megamind as the city's hero by framing him for his actions.

I wasn't expecting much from the series following my experience with the movie, which is typical for my experience watching shows based on DreamWorks's catalogue. Most of the time, the strategy makes my viewing pleasure more tolerable, but sometimes it doesn't. However, after watching "Megamind Rules", I realized that it winds up being the former. Does that make it a good show? Not really, but I wasn't bored out of my mind since it actually made an effort in its humor and plots, unlike its 85-minute pilot. With each episode being 23 minutes long, it makes the animation style and seasonal narrative more forgiving due to it being framed as…well, a streaming series. Unfortunately, it wasn't enough to make up for the episodes's formulaic structures we've seen in other children's shows before despite their kid-friendly messages. One such example is its fourth episode, "MegaMayor", which involves a Freaky Friday-style plot with Megamind and Roxanne switching bodies with his disguise watch.

Fortunately, I found a couple of episodes that I enjoyed a bit more than others. One of them is the second episode, "The Villainous Origin of Mr. Donut", where Megamind accidentally creates a new villain out of Mr. Donut, voiced by Hale. That episode offered an amusing jab at the "hero creating a villain" trope we've seen in countless superhero movies, hearkening back to the first film parodying the superhero genre. It may not have the strongest dialogue to provide the biggest laughs, but the second episode somehow understood the first film's parodic appeal a tad more than the remaining ones. I also liked the final two episodes, mainly because the previous episodes come full circle regarding their characters, including Keiko, who realizes that being a hero isn't as easy as it appears.

Overall, "Megamind Rules!" was tolerable enough to sit alongside DreamWorks's other movie-based shows. That doesn't make it a great show, though, as it's still beyond its reach of matching the heights of the 2010 film. Despite a few enjoyable episodes, the series lacked anything else to justify its existence regarding its formulaic plots and hit-and-miss humor. But, on the bright side, I didn't find myself bored while watching it, which is enough for me to see what direction it'll go for its future episodes. We have no idea when it'll release the next set of episodes as of this writing, but I wouldn't be surprised if they decided to cancel it altogether.

​In conclusion, the "Megamind" follow-ups on Peacock are another example of a studio providing quantity over quality regarding its televised content. This shouldn't come as a surprise to me, considering that DreamWorks Animation Television is known for delivering such content in its lifetime. I should know because I have grown up watching some of them on television. "Megamind vs. the Doom Syndicate" was admittedly a low-brow and soulless attempt at catering to those wanting a sequel to "Megamind". On the other hand, "Megamind Rules!" was a more tolerable experience to sit through since some of the episodes put a small effort at being enjoyable despite their formulaic plots and low-quality animation. It reminded me of how "Monsters vs. Aliens" went through. "Monsters vs. Aliens" was another somewhat enjoyable movie-genre parody from DreamWorks that spawned a less-than-stellar television show that only exists to cater to younger fans of the source material. I watched the show, unfortunately, and I forgot about it afterward, which explains its cancellation after just one season. The "Megamind" sequels would likely perform a similar task to some children, but I don't see them being fondly remembered after a few weeks. Despite the success of "Kung Fu Panda 4" and "Orion and the Dark" drying the studio's tears, this isn't a good start to the new year for the booming animation company. Hopefully, it can pick itself up with its next feature, "The Wild Robot", which already looks promising from the trailer and concept. Until then, this is moviemanMDG advising you to keep calm and watch "Orion and the Dark" instead.

​Hello, and welcome to another episode of moviemanMDG's "Movie Talk", where I talk about everything film-related. 2023 had plenty of moments we'd like to forget about, especially the stuff happening outside of Hollywood. By that, I mean things relating to politics, religion, and accusations that'll get you kicked out of the film business faster than you can say, "humbug." Of course, there are other moments that are as bad as that, including watching ten of the most disappointing films of the year. I capped off 2023 with the best films I've seen, so now it's time to bring out the worst. These are the ten blandest, heavily flawed, and overall forgettable movies I've watched that made me regret not watching something better. While I appreciate some of the little things from those selections, they're not enough to overshadow the stinky stinks that plagued them due to their directors' visions or studio interferences. Like my top ten favorite films list, this one is from my personal opinion, so if there's a movie on my list that you enjoyed more than I did, that's great. We all have different tastes in film, and I will always respect that. Without further ado, let's count down the biggest losers of 2023.

​Coming in at the bottom of the list is yet another Liam Neeson thriller that you'd find in a $5 bin at a video store. In all fairness, though, I still respect Neeson as an actor who wants nothing more than to please his fans, regardless of a film's quality. It's just that the movies he recently starred in hadn't been living up to the potential of his talents execution-wise and felt more like extra paychecks for the action star. "Retribution" marked another example of this troubling trend. Described as a B-movie version of "Speed", this action thriller could've been a huge comeback for Liam Neeson but wound up being another disappointing and baffling dud that wasted the actor's talents. On the one hand, it proved to be more watchable than "Memory" and "Blacklight" due to Neeson's performance and Nimród Antal's directorial style. On the other hand, the film lacks the explosive tension needed to make these intentions worthwhile. From its cliched screenplay to the questionable third act, "Retribution" fails to give Neeson any justice in the film business.  

​When you have a movie involving Adam Driver fighting dinosaurs, you'd expect it to be an action-packed thrill ride with the potential of being one of the biggest surprises of 2023. Instead, it wound up being a cinematic fossil. "65" was the first time I was let down by the efforts of its directors, Scott Beck and Bryan Woods, who wrote the fantastic "Quiet Place". Adam Driver and Ariana Greenblatt tried their best to carry the film with their performances, and the visuals were serviceable. However, its mediocre screenplay, subpar characters, and mundane thrills sabotaged a promising concept made for solid popcorn entertainment. It's a disappointing sci-fi thriller that should've gone extinct.

​I rarely placed a DreamWorks Animation film in my top ten worst list until now. "Spirit Untamed" came pretty close, as it only took a spot in my "dishonorable mentions" list in 2021. This year, we have one that actually made its way to the losers' circle, and boy, was it a big one? "Ruby Gillman, Teenage Kraken" went back to the basics of poking fun at Disney and its classic fairy tale elements, similar to "Shrek". However, unlike that animation treasure, this undersea coming-of-age fantasy comedy lacks the cleverness and boldness to swim past the sea of mediocrity. The voice cast was suitable for voicing its generic characters, and the animation was colorful and zany in its designs and locations. Besides that, it's the studio's weakest film in its animation library due to its heavily simplistic plot, dull scenarios, and a predictable villain twist we've seen multiple times in the marketing. If you like this film, then allow me to apologize for its inclusion on this list. I just didn't care for it as much as anyone else who does, but I'm also glad it was able to find its fans amid its ocean of box office competition.

​In all my years of watching (and enjoying) Disney's live-action remakes, I had never seen one that's so lifeless and uninspiring, more so than the live-action "Lion King". Even worse, it's a remake of one of my favorite animated films from Disney, "Peter Pan". "Peter Pan & Wendy" was a Disney+ blunder that stripped away the charm, fun, and fantastical nuance of the 1953 film and the source material. Despite David Lowery's intentions of combining its concept with grounded realism and themes of friendship, the film was a dull and disappointing experience that made me want to grow up faster. Jude Law as Captain Hook was the only bright spot regarding its cast, but other than that, it lacked the faith, trust, and pixie dust Disney needed to win back its non-believers.

​David Gordon Green showed plenty of promise in the horror department after delivering a riveting, back-to-basics follow-up to the 1978 classic, "Halloween", in 2018. While its sequels took a highly divisive direction that's unique yet alienating, 2018's "Halloween" proved to be a solid stepping stone for the filmmaker known for his comedies and heartwarming dramas. So, we had a reason to believe that Green's take on the "Exorcist" franchise would deliver something similar. That is until we saw the final product. "The Exorcist: Believer" took the franchise back to its original roots while adding a character-driven representation of faith amid uncertainty and despair. The result is a slow, derivative, and uninteresting revival of the iconic horror franchise that has haunted its fans for generations. While admirable in its presentation, cinematography, and themes, it fails to compel the sins of its weak cast, formulaic story, dull scares, mediocre screenplay, and uneven pacing. Let's hope God can help Green improve himself during his attempt at a planned "Exorcist" trilogy.

​Let's face it. Everyone has a phobia of watching an awful movie, including me. So, it made sense that I placed this latest January horror movie in my top five to remind us what reliving that fear is like. "Fear" saw director Deon Taylor return to the horror genre for the first time since 2010 and attempt to provide a supernatural take on phobias and its timely commentary involving COVID. Based on my experience with his other works, the result is what I expected: an interesting concept plagued by awful execution. The cast did okay with their performances, and the lighting effects helped deliver a nightmarish atmosphere. Unfortunately, they're not enough to keep itself from being infected by its low-quality appearance. From Taylor's bland direction and screenplay to its boring characters and predictable twist, this mediocre addition to the supernatural genre should be avoided like it was the coronavirus.

​I only watched and reviewed two movies on Apple TV+ this year: "Tetris" and "Ghosted". While "Tetris" was a solid depiction of the simplistic yet highly addicting video game, this action-romance-comedy was an unfortunate and irritating waste of people's time and talents. "Ghosted" boasts two attractive leads in the form of Chris Evans and Ana de Armas, but the characters they played are anything but. What seemed to be a simple and fun spy adventure turned out to be an uneven, dull, and derivative blend of tropes that's done better in other movies with similar concepts. The plot was formulaic, the jokes didn't land, and the main characters were so infuriating it'd make the viewers wish the bad guys would put a bullet in their heads already. Unfortunately, that's not possible because the villain's henchmen can't aim to save their lives. In short, it deserves to be ghosted.

​2023 saw me giving three movies the lowest grade I could imagine, showing that I can also be edgy with my critiques. One of those movies that deserved this grade was an action-comedy that lacked the strength of both genres. "Freelance" was the latest film by Pierre Morel that saw the filmmaker struggle to capture the success of his earlier projects like "Taken" and "District 13". It had the makings of a direct-to-streaming movie, and it shows with its derivatively bland plot and uncharismatic characters. Not even the presence of John Cena was enough to bypass its less-than-stellar quality, as he's put on autopilot throughout the movie. Despite Juan Pablo Raba's efforts in carrying the film and the framework for its action scenes, "Freelance" fails to protect these talented people from its one-sided tone, lackluster script, and uninteresting characters. It should've stayed in retirement with Cena's protagonist.

​There have been reboots of iconic films that wound up being tolerable, and there have been ones that we love to throw in the trash bin. Then, there's the 2023 reboot of "House Party," a shameful party killer that belongs in the cinema furnace. The film, which featured the directorial debut of music video director Calmatic, was a tedious and poorly handled attempt at reintroducing Reginald Hudlin's 1990 comedy classic to a new generation. Not even the appearance of the original's leading stars, Kid n Play, is enough to save this disastrous party from its uninspired cast, uncharismatic characters, and dull screenplay. I know that Calmatic also directed the "White Men Can't Jump" remake this year, but I skipped out on it because one lousy remake from him was enough for me to handle. If you want a real party, watch the 1990 movie.

I originally planned on naming "House Party" the biggest cinematic loser of 2023, but that all changed when I decided to watch this pathetic excuse of a manga adaptation. Ladies and gentlemen, I give you the king of 2023's cinematic misfires: "Knights of the Zodiac." I had been on and off about whether to see this one, mainly because I wasn't familiar with Saint Seiya. But I eventually caved in and gave it a shot, and I regretted it ever since. "Knights of the Zodiac" was one of the movies that left me feeling empty inside, more so than the other terrible films I've watched this year. As someone who hasn't read the source material, I can tell that many of the franchise's fans may not find something special in this lackluster and heavily generic fantasy adaptation. The fight scenes were periodically tolerable but lacked the oomph and intensity to make them memorable. Combine that with its dull cast (particularly Mackenyu), cliched script, soulless direction, and shoddy visuals, and you get another shameless live-action adaptation of a popular anime. If you thought "Dragon Ball Evolution" and "The Last Airbender" were embarrassments to their anime counterparts, then you haven't seen my pick of the biggest cinematic poop of 2023.  ​

​There you have it, folks. Those are my picks for the biggest stinkers of 2023. While some may appeal to a specific audience, they don't do much to impress me as much as everyone else. But, of course, the best thing for me to do is leave them behind and look forward to the cool stuff coming out in 2024. Hopefully, we can find more diamonds in the Hollywood rough than the ones filled with junk during that year. With that said, I hope you have an excellent start to the new year, and I'll see you in my next movie review.

​Hello, and welcome to another episode of moviemanMDG's "Movie Talk", where I talk about everything film-related. 2023 was another year full of ups and downs regarding the movie business, mainly when referring to the tail end of the year. The writer's and actors' strikes have affected their movies in more ways than one, resulting in plenty of disappointing box office runs. Let's also not forget that Disney and Warner Brothers Discovery finished their hundred-year celebrations with a whimper instead of a bang. Those studios must be wishing upon a star to make them forget about their embarrassing mistakes last year. But I won't waste your time talking about the negatives that happened this year. That's for another time. Today, let us focus on the good things that happened, including the best movies we watched in 2023. Yes, my friends, it is that time of year once again when yours truly is counting down the ten movies that accomplished every quality aspect from a cinematic and entertainment standpoint. These are the films that I think are exceptional, inspiring, and just plain awesome, especially when they make the theater-going experience more memorable. Unfortunately, we still haven't reached the same level as "Endgame" in 2019, but we're getting there. As usual, this list is from my personal opinion. Also, I have yet to watch all the movies you wanted me to see before I made this list, so don't expect some of your favorites to be on here. With that said, let's count down my top ten movies of 2023.

​Tom Cruise may not have won the summer box office, thanks to the "Barbenheimer" phenomenon, but that didn't mean he lost his touch in the blockbuster game. "Mission: Impossible — Dead Reckoning Part One" proved that the actor retains his A-game status regarding the action genre and the popular spy franchise. Granted, it didn't reach the same heights as "Fallout" and "Top Gun: Maverick" narrative and stunt-wise. However, it still packs a thrilling punch in its high-stakes story, thanks to an enjoyable cast, Christopher McQuarrie's direction, and awe-inspiring action. More importantly, it showcased the surprisingly consistent quality of the IP's recent sequels that other blockbuster franchises struggled to match. It's a shame that the "Part Two" subtitle is being scrapped, but hopefully, this doesn't mean they're leaving this plot open-ended. I want to see Tom Cruise defeat the evil AI, dang it!

​Ben Affleck made a comeback that's as successful as Nike's game-changing deal with Michael Jordan. Following his attempts at directing gritty thrillers and dramas, Affleck took a chance to provide a light-hearted and immensely charismatic approach to the workplace genre. The result was "Air", a consistently enticing and incredible reflection of greatness from a workplace perspective. Despite the 1980s songs being a bit overdone, the movie boasted a great cast, a tightly written screenplay, and a marvelous mixture of comedy and drama to make it a bonafide slam dunk.

​If I were to tell someone that there's a Godzilla movie that actually makes them give a crud about the human characters, they'd think I was crazy. Ladies and gentlemen, may I present to you Exhibit A! "Godzilla Minus One" was something I didn't expect to love this much until I saw it myself. It offered the usual elements that made the other Godzilla films entertaining but added in the human emotion that's thoughtfully compelling and immensely satisfying. Aside from my puzzling reaction to its ending, "Minus One" is blockbuster filmmaking at its finest, let alone one involving a giant mutant lizard wrecking cities. With its strong cast, great storytelling, superb direction, and fantastic visuals, "Minus One" is the best Godzilla movie I've seen in years.

​Yorgos Lanthimos returned with an oddball and sexually charged experience that's also his best one yet. Of course, that's based on the two movies I've watched from him, so that could change. "Poor Things" was a surreal and weirdly fascinating experience that's also a thoughtful depiction of humanity and liberation from the perspective of a woman with an infant's brain. Emma Stone leads a terrific cast with charisma, humor, and wackiness, and the technical aspects coincide perfectly well with its imaginative world and storytelling. Besides the graphic sexual elements that may leave specific viewers feeling uncomfortable, this movie is anything but poor.

​It is rare for an action franchise to maintain its quality, let alone surpass it with each installment. That is until "John Wick" came along in 2014, delivering each sequel that's better than the last regarding the action, world-building, and Keanu Reeves. Nine years later, the franchise continued to meet and even exceed my expectations in more ways than one, showcasing what the action genre should resemble. "John Wick: Chapter 4" was another exhilarating and brutally gorgeous action sequel that serves as a cinematic experience and a remarkable display of its stunning stunt work. More importantly, it features a satisfying closure to the protagonist's struggle that had plagued him for a decade. From its stellar cast to the incredible stunt work and action sequences, the film is another rare action sequel that never sheds a single blood of fatigue despite its lengthy runtime. 

​This was the last movie I watched before the year concluded, and based on my experience with it, I couldn't help but put it on this list at the last minute. So, if you're wondering why this list was late, there's your answer. 2023's "The Color Purple" is another movie musical that hits all the right notes in its storytelling, emotion, and the legacy of its source material. The cast is filled with incredible talent, the direction is visually appealing, and the songs deliver a joyful sense of toe-tapping goodness. It's a dazzling, music-filled treat that made me see purple. 

​The iconic master of animation, Hayao Miyazaki, never misses a step in his filmography. Regarding the presentations and stories, his movies provide a uniquely marvelous experience that animation companies in America rarely match. Miyazaki's first movie since coming out of retirement unsurprisingly continues to prove this fact, as it became one of the two fantastic movies from Japan to appear on my favorite 2023 films list, along with "Godzilla Minus One". "The Boy and the Heron", or "How Do You Live?" in Japan, was a subtly beautiful and gorgeously animated portrayal of grief, malice, and acceptance that's also Miyazaki's most personal film he created. It's far from my favorite movie from the director due to its complexity. However, "The Boy and the Heron" benefitted greatly from Miyazaki's strengths, including the fantastical worlds, engaging and poetic storytelling, and marvelous 2D animation. If this is really his last movie, then I will gladly call it one heck of a farewell to one of the most influential filmmakers in animation history.

​The "Barbenheimer" trend became a significant part of Hollywood history that we'll never forget anytime soon. However, one of those two distinct films came out on top in my eyes: the one with the nuclear bomb. If you want another reason why I admire Christopher Nolan and his love of cinema, look no further than "Oppenheimer," an explosive and sublime cinematic achievement that transcends beyond the traditional biopic formula. More importantly, it's also a crucial film to watch to understand the fear and dread caused by the chain reaction that started with the first atomic bomb. The fact that Nolan made a three-hour-long, dialogue-driven drama that grossed nearly a billion dollars worldwide and was beloved by critics and audiences shows how much of an impact the filmmaker brought with his vision. From its fantastic cast (mainly Cillian Murphy and Robert Downey Jr.) to the incredible visuals and sound mixing, Nolan's latest feature explodes with cinematic gold.

​The runner-up of this list is a film that looked like it was released in the 1970s. However, it's actually a 2023 Christmas movie that resembles it in the most nostalgic way possible. But that's not the only reason I loved Alexander Payne's "The Holdovers". With its authentic 1970s presentation, "The Holdovers" was a bittersweet and thoughtfully moving comedy-drama that hearkens back to the classic holiday movies of yesteryear. It's also a heartfelt reflection of the human soul during the holiday season, which involves overcoming the tragedies to live a brighter future. Paul Giamatti delivered one of his best performances ever, and Alexander Payne's direction offered a smart representation of its straightforward concept. Combine them with David Hemingson's refreshing and hilarious screenplay, and you get a tremendous adult-rated Christmas film that'll surely gain "holiday classic" status sooner or later.

​In 2018, I witnessed animation greatness in the form of "Into the Spider-Verse", an incredible display of visual creativity that blended incredibly well with its uniquely enthralling story and memorable characters. It proved to be groundbreaking not just for the superhero genre but also for how we see animation as a medium. It even made me forgive Sony Pictures Animation for bringing us "The Emoji Movie". Five years later, we had a sequel that accomplished this similar feat and cranked it up to an eleven. "Spider-Man: Across the Spider-Verse" was another astounding reflection of the endless possibilities animation can create regarding the visual styles, bold narratives, and emotional depth. However, it also showed that a superhero movie can be spectacular if the story is rewarding enough. Everything I loved in "Into the Spider-Verse" exists in this superhero sequel, including the lovable characters, a compelling screenplay, a fantastic soundtrack, and a brilliant display of stylized animation. It's a magnificent continuation that sets up big things to come in the upcoming third installment and is one of my favorite animated sequels ever made. More importantly, it's also my favorite film of 2023.

​That concludes my top ten favorites of 2023. Some of my picks are expected, while others might seem surprising to some of you, but isn't that the joy of reading top-ten lists? To see their surprising picks rather than seeing the same things from different people? Well, the obvious answer is yes. In the end, we all have different beliefs on what makes a movie great, and my list shows that my taste in film is quite different, but in the best way. But, of course, there's no best list without the worst list, especially in 2023. Stay tuned for my top ten least favorite films of 2023, and have a happy new year.

​Hello, and welcome to another episode of moviemanMDG's "Movie Talk", where I talk about everything film-related. 2022 has some of the best movies we can watch over and over again. However, this year also has some films that we stay far away from for the sake of our sanity. In this next episode of "Movie Talk", I will be counting down the worst movies that came out in 2022. As usual, I tend to remain optimistic about the movies I dislike. I even appreciate the silver linings the films offer amid their sea of flaws. Unfortunately, those positive remarks aren't enough to keep these ten movies from appearing on my "worst of 2022" list. This year's list is different compared to last year, as I watched only ten films that were as horrendous as the coronavirus, which is probably for the better. So don't expect a "dishonorable mentions" list to appear on this year's worst list. With that in mind, let's count down the stinkers of 2022.

​Coming in at the bottom of the list is another disappointing misfire from the folks at Happy Madison. "Home Team", which came out on Netflix in January, centers on the true story of the New Orleans Saints coach Sean Payton during his one-year suspension. What seemed to be a funny and heartwarming story about a coach's relationship with his son was actually an underwhelming, by-the-numbers underdog story that's very forgettable. Admittedly, Kevin James delivered one of the most respectable performances of his career as Sean Payton, and its messages were inspiring for young viewers. But, unfortunately, they're constantly sacked by its clichéd script, forgettable characters, and dull humor. This is another Happy Madison project that fails to capture the trophy and the hearts of Adam Sandler's followers. More importantly, it's also a bland way to conclude last year's football season. 

​Even though Liam Neeson makes for a convincing action star, it's not always enough to compensate for the poor quality of his movies. Martin Campbell's latest thriller, "Memory", is no exception. When you have a director who revived the James Bond franchise and an actor who specializes in the genre, this movie would've been something worth remembering. Instead, it was another mediocre and soulless thriller that we likely forgot about, like Neeson's character, Alex Lewis. Despite the efforts made by Campbell and the cast, the film is a forgettable low point for Neeson and the filmmaker, thanks to its weak and formulaic screenplay and a frustratingly dull finale. It's no "Green Lantern", but it did give me doubt about Campbell's future as a director.  

​If you want another reason Sony's Spider-Man-less universe struggles to survive without the web-crawler, look no further than its latest villain spin-off. "Morbius" attempts to provide the same superhero entertainment values as the "Venom" movies, with Jared Leto as the titular vampire and Daniel Espinosa in the director's chair. Instead, it delivered a shallow and inconsistent Marvel appetizer before the main course, which was "Doctor Strange". Jared Leto was serviceable as the Living Vampire, and the visual effects were okay for the most part. Unfortunately, those elements hardly matter when the execution is overly disappointing. The supporting cast felt wasted, the screenplay was full of cliches and rushed character arcs, the action scenes were underwhelming, and the direction was lackluster. "Morbius" is another misfire that puts doubt on the future of Sony's separate cinematic universe involving Spider-Man's adversaries.

​I'm definitely going to get a lot of flack from people with my number seven pick. "Honk for Jesus. Save Your Soul." is another film that's dividing critics and audiences regarding its topics and presentation. Surprisingly, I'm more in favor of the audience for this one. The movie had the potential to be good with its satirical and dramatic representation of the religious community's dark side. Unfortunately, that expectation was quickly overshadowed by its uneven tone, direction, awkward humor, and average screenplay. Luckily, Regina Hall and Sterling K. Brown provided an engaging chemistry that helped make my experience worthwhile. Other than that, Adamma Ebo's directorial debut didn't do much else to make me praise the Lord. 

​Another horror icon returned to the screen to bring the slasher franchise back from the dead. Unfortunately, the psychotic, chainsaw-wielding maniac's return was far from terrifying. Director David Blue Garcia hoped to reinvigorate my interest in the slasher franchise with a sequel that followed the same path as 2018's "Halloween". However, instead of being as great as "Halloween", "Texas Chainsaw Massacre" is a scare-free and painfully insulting slog that favors gory kills over storytelling. The actors involved were okay in their roles, and the bus massacre sequence was the best part of the movie regarding Garcia's direction. Sadly, they're not enough to slash its way out of its formulaic screenplay, unlikable characters, and a disappointing story about trauma. Like the recent installments that came before it, it's another forgettable revival of one of cinema's scariest and most iconic antagonists in history.

​We got another Liam Neeson movie on this list, proving that 2022 is not a great year for the action star. This time, we have "Blacklight", which is far more underwhelming and forgettable than "Memory". I wasn't able to watch this film in the theater, so I rented it for around 16 dollars in the comfort of my home. Honestly, it made me wish that I didn't. Like "Memory", Liam Neeson's presence is the only redeeming factor in this mediocre and irritatingly dull thriller that features similar elements done better in other films. Fans of Liam Neeson might give it a shot. As for the rest of the population, they're not missing much.

​I'm into vampire movies as much as the next guy, but my number four pick has gotten me concerned about the bloodsuckers' future on the big screen. "The Invitation" is another horror film that was dumped on the last weekend of summer vacation. Based on my experience with it, I can see why. It is a bleak and painfully mundane film that offers nothing new to the tiring genre. It tries to combine the gothic romance element with the usual scare tactics from other horror films, but sadly, it winds up becoming nothing more than a lifeless chore to sit through. Despite Nathalie Emmanuel's effort to make it watchable, the movie's predictable plot, mediocre direction, and weak scares make this invite far from welcoming. It's a shame, too, since its director Jessica M. Thompson showed promise thanks to her directorial debut in 2017, "The Light of the Moon". Maybe she should stick with directing drama films involving humans for the time being. 

​You would think that a movie about Owen Wilson being a superhero would result in a fun and action-packed treat for families. Well, surprisingly, my number three pick managed to prove me otherwise. "Secret Headquarters" was originally set to be a theatrical release before being dumped to Paramount+. From the looks of it, I can understand why, but that doesn't make it redeemable. Instead of being a charming and entertaining addition to the superhero genre, "Secret Headquarters" is an overly bland and uninspiring retread of better movies, particularly in the superhero genre. The visuals were fine for the most part, and its message about trust was sweet, but that's about it. The movie is a highly dull and bare-bones approach to an interesting concept due to its weak cast, a vague sense of direction, formulaic script, and forgettable characters. It's easy to admit that this isn't a good sign for Paramount+'s future regarding its original content.

​We all thought "Collision Course" was the final nail in the coffin for Blue Sky's popular money-making franchise. We thought wrong. "The Ice Age Adventures of Buck Wild" was the first installment of the icy animated franchise to be released after Disney acquired 20th Century Fox and the closure of Blue Sky Studios. After watching it, it made me wish that it wasn't released at all, not even on Disney+. This animated piece of frozen poop has done the impossible: being more irredeemable and less entertaining than "Collision Course". Not only did it replace the main cast from the previous films, save for Simon Pegg, but it also removed the charm and wit that made the franchise enjoyable. As a result, it became another pointless and extremely generic movie that fell prey to Disney's greedy attempt to revive the Fox properties with no effort whatsoever. Despite Simon Pegg's vocal performance as Buck Wild, the film suffers from its forgettable storyline, weak characters, bland humor, and lackluster animation. "The Ice Age Adventures of Buck Wild" is more along the lines of a dinosaur fossil that further proves that the franchise has officially gone extinct. 

​There you have it, ladies and gentlemen. My absolute worst film of 2022 is a horror remake that's more insulting and frustrating than the 1984 film adaptation. At least, in my eyes. The 2022 reimagining of "Firestarter" had plenty of changes that would've helped provide a better experience than the previous adaptation featuring the young Drew Barrymore. Sadly, those modern upgrades are immediately burned to a crisp by the movie's terrible execution. Even worse, they made it into a formulaic superhero origin story instead of a horror film about the dangers of harnessing unknown power. The cast did what they could with their performances, but they're not enough to keep this poor excuse of a remake from being burned alive. The storytelling was extremely generic, the characters were uninteresting and poorly developed, the scares were nonexistent, and the ending was disdainful for its narrative choices. As a result, 2022's "Firestarter" is not only the worst Stephen King adaptation to grace the screen, but it's also my worst theatrical experience of 2022, horror or otherwise. Let's hope the upcoming "Salem's Lot" movie will make me forget about this flaming pile of cinematic poop.

​That concludes my top ten stinkers of 2022, with no dishonorable mentions included. That's the first year this has happened since I first started my blog. Either I was getting good at avoiding most of the movies that looked bad, or I wasn't interested in talking about the ones I had already watched. Whatever the case, I'm glad I didn't have to struggle with this list compared to my previous top ten lists. Hopefully, that will continue in 2023, which looks to be another strong year for movies. With all that said, stay safe during the wintery weather, and I'll see you all next year. 

​Hello, and welcome to another episode of moviemanMDG's "Movie Talk", where I talk about everything film-related. 2023 is beyond the horizon, with more exciting movies coming out to fuel our passion for cinema and popcorn entertainment. But before we start thinking about the future, we should take the opportunity to celebrate the best ones that came out in 2022. As usual, this year had plenty of films that are intriguing, surprising, bizarre, heartwarming, thought-provoking, or all of the above. We also have adaptations, remakes, and sequels that are either surprisingly great, understandably average, or painfully mediocre. I would love to list these movies in any specific order, but today, I'll be counting down the ten films of 2022 that impressed me with their storytelling, technical aspects, and the impact that they left on me and everyone else. Also, just a reminder that I couldn't review every movie that came out in 2022, so don't expect your favorite film to be on this list. This is my list of movies that I think were outstanding in their own right. I've seen a lot of great films, but only ten are perfect enough to be included. As always, if you want in-depth reasons for my choices, look for them on the "2022 Reviews" page. With that said, let's count down my top ten favorite movies of 2022.

​Pixar may not have hit a home run with the studio's big-screen return with "Lightyear", but it did strike gold with its outstanding animated feature about puberty. "Turning Red" is another Pixar triumph that effectively combines family-friendly storytelling with a complicated and mature topic, making it accessible to audiences of all ages. Despite specific sequences that were a bit much, the film benefits greatly from its brilliant storytelling, voice cast, likable characters, clever humor, and outstanding animation. It may not top "Inside Out" regarding Pixar's presentation of adolescence, but it proves that the studio is still on top of the animation game regarding their original content. 

​Five years ago, the entire world was shaken by the horrific actions made by Harvey Weinstein toward the actresses and employees working in Hollywood. This year, The story behind the journalists responsible for revealing the shocking truth was revealed. "She Said" is a straightforward yet thought-provoking depiction of the journalists' journey to expose Weinstein's heinous crimes against women. Director Maria Schrader provides an exquisite sense of realism and heartache regarding the characters without showing any sexual abuse on screen. Additionally, it benefitted from its compelling cast, mainly Carey Mulligan and Zoe Kazan, and Rebecca Lenkiewicz's screenplay. It's a superb representation of the story that sparked the "MeToo movement" and changed how we see the industry today.

​DreamWorks Animation took notes from "Spider-Man: Into the Spider-Verse" regarding its animation style. As a result, the studio produced two great animated features that provided stiff competition for Disney. However, only one was fantastic enough to appear on my list, and it's a sequel to a decade-old spin-off. "Puss in Boots: The Last Wish" was originally seen as another cash-grab sequel for the studio, similar to "The Croods: A New Age" and "Boss Baby: Family Business". But, to our surprise, it became something much more. The movie is a vast improvement over the 2011 spin-off film regarding its mature themes, characters, storytelling, and fantastic animation. I would even say it's one of the best animated sequels I've seen from the studio, joining alongside "Shrek 2", "Kung Fu Panda 2", and "How to Train Your Dragon 2". It also marks a great starting point for DreamWorks' latest stage in its presentation that'll likely give Disney a run for its money.  

​This year, acclaimed director Guillermo del Toro took the animation format out for a spin with another adaptation of Carlo Collodi's beloved novel. The result is just as profound and grimly wondrous as you'd expect from the director. "Guillermo del Toro's Pinocchio" outshines Disney's live-action remake tremendously by offering a dazzling and highly ambitious take on the tale of a wooden boy longing to be human. The story is refreshing for its themes and characters, the voice cast is impeccable, and the stop-motion animation is incredible for its designs and backgrounds. If you want another reason why animation should be treated as an art form, look no further than this amazing piece of animated filmmaking.

​If you want to be overwhelmed by cuteness and heartfelt scenarios, my number six pick will fill your heart with joy in seconds. "Marcel the Shell with Shoes On" is a delightful and sincere adaptation that honors the title character and Dean Fleischer Camp's short films. As someone who hasn't watched the short films, I was pleasantly surprised at how adorable and well-written the film turned out. The cast, mainly Jenny Slate, was sublime in their roles, and the mixture of live-action and stop-motion was flawlessly spectacular. It may not be like the other fast-paced family films with cute animated characters, but it does offer enough heartwarming moments to put a smile on my face.  

​Let's face it. No one wants to relive the traumatic experience that was the murder of Emmett Till, especially in movie form. However, there's no denying that this film matches the shocking impact with its exceptional filmmaking aspects. "Till" is a highly compelling and bittersweet drama that successfully captures the pain and frustration of Emmett Till's murder and the black community in the 1950s. Chinonye Chukwu did an incredible job honoring this challenging topic through her direction, and Danielle Deadwyler delivered a stunning performance as a mother filled with grief. It can be tough to watch, but it is essential for us to learn, so we don't let history repeat itself.

​My number four pick is a very late addition that I had to include immediately after watching it. Not just because of how great it was but also how it got me excited for its future. "Glass Onion: A Knives Out Mystery" is the latest movie from Rian Johnson that made me realize his impressive talent as a filmmaker. It's also a delightful sequel that lives up to the expectations set up by Johnson's mystery classic "Knives Out". From its fantastic cast to Johnson's top-notch screenplay to its social commentary, the film is an entertaining, clever, and occasionally wild experience that'll satisfy fans of the original and, in general, murder mysteries. Here's hoping his upcoming third "Knives Out" film can round up the trilogy in glorious fashion.   

​The multiverse is a wild concept filled with multiple possibilities for Hollywood to play around with. This has been brought to life through recent Marvel films like "Into the Spider-Verse" and "Multiverse of Madness". However, my third favorite movie of 2022 proves that the multiverse isn't just for superheroes to encounter. "Everything Everywhere All at Once" would've been widely forgotten regarding its bizarreness. Instead, it became a unique and kooky experience that you have to see to believe. The movie is a never-ending mixture of chaos, vibrancy, and heart that's balanced very well with a thought-provoking narrative about the relationship between mother and daughter. The cast delivered great performances, including Michelle Yeoh and Ke Huy Quan, the direction and emotion were consistently admirable, and the visual effects were outstanding. It's also a great distraction for those waiting for the Flash or Spider-Man to tackle the insanity that is the multiverse next year.

​Steven Spielberg has done it again! His latest film, "The Fabelmans", took an interesting approach to reflect his childhood and filmmaking quest through his originality. The result is a beautiful and well-written coming-of-age journey that celebrates the heart of filmmaking and the passion behind it. The director effectively surrounds it with a strong sense of charm and is never afraid to showcase the drama involving the characters' waning relationships. It's also a compelling showcase for the actors involved, including Michelle Williams and the young Gabriel LaBelle as Sammy. Combine them with its strong screenplay and John Williams' score, and you get another terrific reflection of how the power of movies affects our lives. It's also another reason why Spielberg is one of the best filmmakers of all time. 

​We all knew that this was coming. We just didn't know where it would land on my list. Now we know. When we first heard about "Top Gun: Maverick", we thought it would be another sequel that carelessly cashes in on the success of its original. Tony Scott's "Top Gun" wasn't a critical hit back in 1986, so we assumed its long-awaited follow-up wouldn't fare any different. But, boy, did we shoot ourselves in the foot with our quick judgment? "Top Gun: Maverick" not only surpassed the original in more ways than one but also delivered one of the best theatrical experiences and blockbusters of the decade. Joseph Kosinski proved himself to be the underdog of the film industry by providing a legacy sequel that combines thrilling action, lovable characters, and heartwarming drama. Tom Cruise delivered one of the best performances of his career as Pete Mitchell, a role that made him a household name in the movie business. Additionally, the aerial sequences are incredible, and the direction and screenplay are superb regarding the character arcs and nostalgia. I've only seen it twice in the theater. The first time was in the regular cinema with the largest screen, and my second time was in an IMAX theater with my mother. I loved it the first time I watched it, and I loved it even more in my second viewing. Regarding the cinematic experience and storytelling quality, "Top Gun: Maverick" is the best legacy sequel I've seen and my favorite film of 2022. 

​In conclusion, 2022 marks another good year for movies. While most of them failed to meet all of our expectations or wound up being total bombs, the rest of them managed to impress or even surprise us, especially the ones on my list. Knowing me, I'm always a fan of the underdogs. Speaking of bombs, be on the lookout for the next episode of "Movie Talk", where I share my top ten least favorite movies of the year, which seems to be limited compared to my other worst film lists. Until then, have a blessed day.