“Kill” stars Lakshya, Raghav Juyal, Ashish Vidyarthi, Harsh Chhaya, and Tanya Maniktala. Released in the United States on July 4, 2024, and in India on July 5, 2024, the film has a commando rescuing passengers from a group of bandits on an express train. The film was written and directed by Nikhil Nagesh Bhat, who also directed films such as “Saluun”, “Long Live Brij Mohan”, and “Hurdang”. It seems that nowadays, we can’t enjoy a peaceful ride without getting interrupted by people killing each other. It does make for some diverting entertainment if it is fiction, but if it were real, it would definitely put a damper on our vacation plans. In traditional Hollywood fashion, we had another action-packed thrill ride on the Fourth of July holiday that’s as explosive as a fireworks show. However, this particular film isn’t like the other big-budget modern blockbusters. Instead, it’s a claustrophobic, white-knuckled thriller involving a train ride full of blood and guts. I guess Brad Pitt wasn’t the only one with train problems. This latest thriller from India hopes to please its audience with its violence and enormous brutality, but is it good enough to warrant a watch? Let’s board this train and find out. The story centers on Amrit Rathod (Lakshya), an army commando in a relationship with his girlfriend, Tulika (Maniktala). However, his life gets turned upside down when he discovers that Tulika is engaged to someone against her will. As a result, Amrit quickly boards a train bound for New Delhi to prevent the arranged marriage from occurring. His trip eventually gets derailed by the arrival of a gang of ruthless thieves led by Fani (Juyal), who begins to terrorize the train’s passengers. Using his commando skills, Amrit goes on a vengeful killing spree to save the passengers from Fani’s wrath. I first heard about “Kill” when I attended an early screening of “Boy Kills World”. It showed a red band trailer of the film before it, and I was immediately hooked. It may seem like another action thriller involving a protagonist murdering bad people on a form of transportation. However, it’s also one of those movies whose concepts made me think they have the potential to be nothing but entertaining roller coasters filled with brutalities and crowd-pleasing moments. So, when I saw that my closest cinema was showing “Kill”, I made it my mission to experience this seemingly fast-paced thrill ride on the big screen and attempt to support Indian cinema whenever possible. I’m happy to say that I accomplished that mission and had almost all of my expectations met with this miraculous and vicious display of Bollywood action cinema. What made international cinema competitive against traditional cinema is that the former doesn’t abide by its limitations, particularly the action genre. Action movies from international countries, such as “The Raid” and “The Night Comes for Us”, don’t hold themselves back on the no-holds-barred authenticity of their violence and brutalities. Along with their visionary techniques and tension-filled narratives, these films showcased that Hollywood doesn’t hold a candle to what other countries can accomplish with their own film industries. Unsurprisingly, “Kill” is another fantastic example of this theory, utilizing Bhat’s invigorating direction and gradual tension to their capabilities. It’s an intense, claustrophobic, and extremely violent roller coaster that takes no prisoners in its confined space scenario, satisfying my expectations for a fun and consistently brutal ride. However, the real shocker that helped “Kill” stand out from the action-thriller crowd was the emotional baggage it carried. From the film’s first half, “Kill” seemed like another typical thriller involving a skilled protagonist battling terrorists and rescuing the love of his life on a train. That’s not to say it’s terrible since Nikhil Nagesh Bhat handled the pacing, style, and action sequences exceptionally well, especially the latter for its gruesome imagery and realistic kills. But it is something that audiences may have seen before in other action thrillers set on a form of transportation. However, once it got to the second half, the movie took a surprising and intense turn for the better. It escalated the brutalities compared to the first half, drawing the audience deeper into the action while making them feel squirmish from its kills. Additionally, it offered a compelling emotional core in Amrit’s character arc as he protects the passengers from the bandits. The bandits were also given screen time to illuminate their psychological fear of Amrit’s relentless pursuit. Its genuine depth was also carried by Amrit’s vulnerability. Amrit may be highly skilled and ferocious due to serving in the army. However, that doesn’t mean he’s indestructible. His humanity, both on and off the battlefield, heightened the stakes of the action and the protagonist’s emotional arc, showcasing that the best kinds of action movies involve an ordinary protagonist who’s both a badass and a human being. This is mainly due to Bhat’s screenplay, which used its genre tropes to reinvigorate its simplistic narrative on a violent and sentimental level. “Kill” also benefitted from its strong cast, which elevated its exciting narrative and authentic action. Laksh Lalwani, or Lakshya, makes his feature film debut after receiving success for his role of Porus from the 2017 historical drama series, “Porus”, and many others in the television business. Fueled with an immaculate amount of viciousness and fury, Lakshya empowers his role of Amrit as India’s action hero with an immensely aggressive and rewardingly layered performance. Lakshya is easily the movie’s highlight, which is enough to make me interested in his future roles. Raghav Juyal also did a stellar job at manifesting the classic villain element regarding his performance as Fani. Fani is the type of antagonist who’s as dangerous and formidable as the hero, with their common intentions aligning with one another. He’s also someone who can intentionally make you want to jump onto the screen and punch them due to their actions, especially near the end of the first half. If you felt that way towards Fani, it means Juyal has accomplished that mission. Tanya Maniktala was also good as Tulika, and Abhishek Chauhan delivered a surprising number of decent moments as Viresh, Amrit’s commando friend. Overall, “Kill” is a relentless train ride through hell whose white-knuckled presentation and brutal kills match its genuine emotional stakes. Its familiarity in its first half can be a slight turn-off despite Bhat’s skillful vision and highly entertaining action. However, if you’re willing to endure it until the second half, you’ll be rewarded with a satisfying and brutal display of chaotic savagery bolstered by its irresistible soul. With its strong cast, particularly Lakshya, Bhat’s stellar direction and script, compelling emotion, and thrilling violence, the film is a visual and viciously bloody treat that’ll easily impress many fans of the genre, making it the best action film of the year so far. If you’re in the mood for some savagely violent mayhem this summer, you should definitely board this train. A-
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“MaXXXine” stars Mia Goth, Elizabeth Debicki, Moses Sumney, Michelle Monaghan, Bobby Cannavale, Lily Collins, Halsey, Giancarlo Esposito, and Kevin Bacon. Released on July 5, 2024, the film has Maxine Minx confronting a serial killer in 1980s Hollywood. The film was written and directed by Ti West, who also directed films such as “The Roost”, “The House of the Devil”, and “The Sacrament”. It is the third installment in West’s “X” film series. They say Hollywood can be an absolute killer, especially when people attempt to make it big in the movie business. Well, that phrase takes a more literal approach when an actual murderer seeks to spoil the fame from being on the big screen. Ti West’s “X” was an unexpected horror hit everyone didn’t see coming. What seemed like another generic horror film turned out to be a surprisingly refreshing take on the psycho-biddy subgenre that explored its commentary on beauty, aging, and self-worth in the adult film industry. More importantly, it became one of the movies responsible for pushing Mia Goth to stardom, particularly as one of this generation’s scream queens. Its success resulted in “X” spawning into a trilogy that continued with its prequel, “Pearl,” which explored the antagonist’s unhinged path of being a film star. This year, West seeks to conclude this low-budget horror trilogy with a direct sequel that continues the protagonist’s journey to fame amid the bloodshed. Does its presence shine brightly enough to conclude this trek on a bloody yet satisfying note? Let’s travel to Hollywood and find out. The story continues after the events of “X”. Maxine Minx (Goth) has recently survived a horrific massacre in Texas that took the life of her friends. Six years later, Maxine resides in Los Angeles as she continues to pursue her career as a famous actress in the adult film industry. Her quest has her landing a massive role in the modern horror sequel, The Puritan II, directed by filmmaker Elizabeth Bender (Debicki). However, Maxine’s dream of seeing her name in lights is threatened once again by a mysterious serial killer known as the Night Stalker, who goes around the city murdering young women. With the Night Stalker going after Maxine, she must survive the satanic killer’s murderous rampage, forcing her to revisit her past. As mentioned, “X” was one of the horror movies that surpassed my lowest expectations regarding the genre. It plays off like any other "cabin in the woods" movie, but the approach of its film industry commentary helped it elevate those tropes along with its talented cast and effective frights. I was also surprisingly impressed with its prequel, “Pearl”, which was bolstered by one of Mia Goth’s finest performances as the titular psychopath. So, there’s no doubt that I was ecstatic to see West’s latest chapter, which was initially planned to cap off the trilogy. However, that was before the filmmaker announced he was developing the fourth installment. So far, this film hasn’t been reaching the same heights as its predecessors in terms of critical reception, which was already challenging to begin with. Regardless, its film industry aspect and slasher vibes got me curious enough to see how this specific blood-soaked journey concludes. The previous installments stood out from other horror films due to their strong cinematic influences. Each film is set in a specific era, reflecting the societal impact of different aspects of cinema and filmmaking. This includes the influence of the horror genre and the adult film industry. “X” showcased the rise of independent and adult filmmaking in the late 1970s amid its contemporary take on the psycho-biddy subgenre. “Pearl” reflected the rise of classic Hollywood film productions during the titular villain’s psychological obsession with fame. In “MaXXXine”, the 1980s setting explores the rise of home video, rentals, and video stores while implementing elements from the slasher horror genre and the infamous Hollywood murders. However, it also doesn’t shy away from the adult stuff, similar to “X”. For anyone familiar with the film industry, the “X” trilogy consists of three unique yet enthrallingly unsettling love letters to cinema throughout the years, both big and small, and “MaXXXine” is no exception. It’s another well-crafted and engaging chapter in West’s unique cinematic trilogy, but I can also understand the mixed reception “MaXXXine” is getting. While “X” and “Pearl” met people’s expectations of being frightening and gory, both movies rely more on their character-driven themes of pursuing fame than spewing gross-out gore and exploitations. “MaXXXine” pulls off this similar feat, focusing more on Maxine’s confrontation with her mysterious past than a masked killer conducting twisted kills. Ti West is admittedly a solid filmmaker who’s no stranger to combining unsettling imagery with horror aspects and storytelling, which is one of the reasons why I enjoyed “X” and “Pearl”. His vision in “MaXXXine” undoubtedly further proves West’s expertise and love for cinema, especially in his direction and editing. The aesthetics in its production design were sublime, and its examination of Hollywood’s exploitation of women affecting society and religion was well-utilized for its plot and characters. However, the real showstopper is how Ti West utilized the editing and technical expertise to recreate the cinematography’s old-fashioned allure from the 80s. Since the movie centers on the rise of VHS, it’s unsurprising that West and cinematographer Eliot Rockett made specific scenes resemble something out of a video cassette tape. Man, I’m feeling old just talking about it. Regarding its technical aspects, “MaXXXine” emphasizes the strengths of West’s previous “X” installments, with just the right amount of tinsel and Hollywood magic to stand out from the predecessors’ tone. However, when it comes to the script, the movie didn’t match the impact it was hoping for in the horror aspect. As mentioned, most of the movie focuses on Maxine’s quest to break out of the adult film world amid the Night Stalker scenario. While the Night Stalker is involved, the kills he performed were either tame or occurred off-screen. There were a couple of acts outside the Night Stalker’s rampage that were pretty gruesome, including one conducted by Maxine. Plus, the practical effects emphasized the grossness of its gore. Unfortunately, it doesn’t hide the fact that its narrative can be misleading or disappointing for those expecting the same amount of shock and horror as the previous installments amid its character-driven structure. Therefore, “MaXXXine” works well as a standalone film that refreshes most of its generic slasher tropes in favor of a horror drama of an actress’s rise to fame. Mia Goth continues to do exceptionally well in her own quest for fame, with “X” and “Pearl” being her career breakthroughs. Goth is the trilogy’s backbone in portraying a likable protagonist and a terrifying horror villain, two distinct characters seeking to gain cinematic recognition through different methods. Unsurprisingly, Goth managed to maintain that alluring essence through her portrayal of Maxine. Maxine exudes a remarkable blend of strength and determination that sets her apart from the traditional "final girls" trope. However, she also reveals a captivating vulnerability that adds depth to her character. Mia Goth effectively established these traits as her character did in the movie’s first act. Elizabeth Debicki and Giancarlo Esposito were also terrific in their roles as Elizabeth Bender and Teddy Knight, Maxine’s agent, respectively. Kevin Bacon offered another enjoyable performance following his appearance in the latest “Beverly Hills Cop” follow-up. Bacon plays John Labat, a private investigator seeking to expose Maxine. Overall, “MaXXXine” is a well-defined movie star that properly continues Ti West’s love letter to cinema and its horror sub-genres. With a stylish flair and tinsel-like presentation, the film overcomes some of its horrific shortcomings to provide an engaging and suitably crafted outlook of 80s Hollywood and its societal influences. The hit-and-miss screenplay and tame violence make “MaXXXine” the weakest in the trilogy. However, everything else, mainly Mia Goth’s captivating performance and West’s direction, is enough to push the film to cinematic stardom. B-“Beverly Hills Cop: Axel F” stars Eddie Murphy, Joseph Gordon-Levitt, Taylour Paige, Judge Reinhold, John Ashton, Paul Reiser, Bronson Pinchot, and Kevin Bacon. Released on Netflix on July 3, 2024, the film has Axel Foley returning to Beverly Hills to uncover a conspiracy. The film featured the feature directorial debut of Mark Molloy, known for directing television commercials in the early 2000s. It is the fourth installment in the “Beverly Hills Cop” film series. Eddie Murphy is considered one of the film industry's most charismatic and humorous comedians. Whether he's playing a live-action character or voicing an iconic cartoon character, Murphy's smooth-talking and energetic vibes always bring joy to everyone, including me. He's even enjoyable in some of his lower-rated movies, but that's just my personal opinion. Before he made a big comeback in the late 2010s, Murphy saw his first career prominence through his earlier starring roles in the 1980s. One of which is a buddy cop action comedy featuring a street-smart detective solving crimes in beautiful Beverly Hills and one of the most iconic soundtracks in cinema history. “Beverly Hills Cop” elevated its genre trends with its mixture of R-rated violence and charismatic humor brought to life by Murphy’s memorable performance as Axel Foley. More importantly, it shot Murphy to international stardom, resulting in him reprising his role in two other sequels, each of which was less successful than the last. Thirty years after Foley’s third outing, the classic detective finally returns to Beverly Hills once more with a long-awaited sequel that reunites him with his old friends from another state. Does it provide a reunion worthy of standing alongside other legacy sequels, or is it time for Foley to turn in his badge for good? Let’s find out. The story occurs thirty years after “Beverly Hills Cop III”. It centers on Axel Foley (Murphy), a street-smart police lieutenant from Detroit whose bark is as dangerous as his bite. He finds himself traveling back to Beverly Hills once again when he discovers his estranged daughter, Jane Saunders (Paige), has been threatened by a conspiracy involving a killed cop. While attempting to mend his relationship with Jane, Axel joins forces with his new partner, Detective Bobby Abbott (Gordon-Levitt), Jane’s ex-boyfriend, to uncover the mastermind behind the conspiracy. Axel also finds himself searching for his old ally, Billy Rosewood (Reinhold), who disappeared while investigating the case. Even though I’m a fan of Eddie Murphy’s works, I hadn’t watched any of the “Beverly Hills Cop” movies until recently. I know. It’s pretty shocking. So, a few days before watching “Axel F”, I decided to visit the buddy cop trilogy for the first time to prepare myself for the new one. Unsurprisingly, I wound up enjoying them. The first two “Beverly Hills Cop” installments were fun, charismatic action comedies bolstered by Murphy’s magnetic performance and entertaining action. As for “Beverly Hills Cop III,”...well, the amusement park moments were enjoyable. The story? Not so much. Regarding my experience with those movies, “Axel F” had plenty of my expectations to meet to validate its existence. Like other legacy sequels to classic franchises, the fourth installment was tasked with regaining specific elements that made the original a cinematic classic and balancing the nostalgia factor with a tolerable plot. Based on what I saw from “Axel F”, I thought it did enough to warrant another trip to Beverly Hills. Admittedly, “Axel F” didn’t match the impact of the original, but I will say that it’s a solid improvement over the third film for one reason: the story. One of the reasons “Beverly Hills Cop III” failed to connect with audiences is because its plot underutilized specific elements, including Axel’s relationship with his superior, Inspector Douglas Todd, played by the late Gil Hill. Of course, the witless script and direction also factored in the franchise’s hiatus, but I think Axel’s connection to his former superior could’ve been rewritten to emphasize his character arc. Fortunately, “Axel F” corrected that mistake by humanizing its protagonist through his redemption arc, mainly by fixing his relationship with Jane. The father/daughter relationship served as the film’s heart amid Axel’s chaotic shenanigans in Beverly Hills. While it suffered from the film’s formulaic screenplay and lengthy runtime, it’s never to the point of being mind-numbingly tedious, as it benefitted from its charm and humor. Mark Molloy had a lot riding on this latest installment, considering that this is his feature directorial debut following his work on television commercials. Interesting fact: Molloy was chosen to direct “Axel F” after Adil and Bilall left the project to focus on the canceled “Batgirl” movie. Yes, I’m talking about the same Adil and Bilall who directed the recent “Bad Boys” installments, which were both expertly directed, especially with the action scenes. While it would’ve been awesome to see the duo’s take on the “Beverly Hills Cop” franchise, I thought Molloy did pretty well with what he attempted to accomplish for the action and comedy. Since “Beverly Hills Cop” isn’t known for its far-fetched action set pieces, it made sense that “Axel F” tried to match those expectations regarding the franchise's adult violence. It did have a couple of scenes that came close to being over-the-top, like the helicopter chase sequence. However, Molloy restrained those sequences to avoid being a copycat of the recent “Bad Boys” or “Fast & Furious” sequels while injecting that entertainment energy into them. The violence was far from memorable, but it also had that old-fashioned sense of fun that elevated the first two installments. The same should be said for its humor, relying heavily on its charismatic cast rather than its race-related jokes and nostalgia baiting. There were a few of those jokes regarding the latter two, but they’re never to the point of being forced or even offensive. It had a nearly consistent flow reflecting the humor of Axel being reckless amid his good-natured persona, adding to the film’s diverting allure. Eddie Murphy's enduring charisma and deep understanding of the iconic detective make him the standout in "Axel F". Through his portrayal of Axel Foley, Murphy showcased the character's loud and reckless yet good-hearted nature, especially in his fight to protect loved ones despite the challenges posed by his estranged relationship with Jane. Just like he did in the first two movies, Murphy excelled in one of the roles that defined his illustrious career. Taylour Paige and Joseph Gordon-Levitt were also pretty good in their roles as Jane and Bobby Abbott, respectively. By the way, I didn’t recognize Gordon-Levitt from all the facial hair he was wearing until a few seconds later. Kevin Bacon also delivered some delightful moments as Cade Grant, the police captain in the Beverly Hills police department, despite the twist involving him being a bit too on-the-nose for me. Of course, I couldn’t forget about Judge Reinhold and John Ashton as Billy Rosewood and John Taggart. These two actors never cease to impress me with their chemistry, especially in the third act. Overall, “Beverly Hills Cop: Axel F” is a nostalgic trip back to the iconic buddy-cop franchise that’s mildly entertaining enough to warrant our stay. Its screenplay offers plenty of familiar elements we’ve seen in previous installments and movies involving estranged parent/child relationships, and its runtime was a tad lengthy. However, it’s also one of many films that understood the goal of being a playfully entertaining diversion without any forced agendas spoiling the fun. More importantly, it’s another legacy sequel that understands all, if not most, of the elements that made the original iconic, even if the execution doesn’t match the impact of the blockbuster classics. Eddie Murphy is just as charismatic as ever regarding his performance as the titular Detroit detective, and the remaining cast did pretty well in keeping up with Murphy’s alluring charm. Mark Molloy also did well in his directorial debut regarding his approach to the film’s action and humor. “Axel F” is a welcoming return to form for the buddy cop franchise that continues Murphy’s recent comeback in the film industry. B-“Despicable Me 4” stars Steve Carell, Kristen Wiig, Miranda Cosgrove, Dana Gaier, Madison Polan, Will Ferrell, Sofia Vergara, Joey King, Stephen Colbert, Chloe Fineman, Pierre Coffin, and Steve Coogan. Released on July 3, 2024, the film has Gru and his family confronting an escaped criminal bent on revenge. The film was directed by Chris Renaud, known for directing the first two “Despicable Me” films, “The Lorax”, and the first two “Secret Life of Pets” movies. It was co-directed by Patrick Delage in his feature directorial debut. It is the sixth installment in the “Despicable Me” franchise. Most animated franchises lived long enough to surpass their “trilogy” limit, such as “Shrek”, “Hotel Transylvania”, and recently “Kung Fu Panda”. While these “fourquels” failed to live up to their solid trilogies, they showcased that families and kids are more than willing to reunite with their favorite cartoon characters, regardless of the quality. This year, we have yet another popular animated franchise that reached this milestone. One that kickstarted Illumination’s streak of success and made social media moms go ga-ga over the yellow pint-sized minions. If you don’t count the “Minions” spin-off movies, “Despicable Me” becomes the latest film series to reach lucky number four in an attempt to milk itself dry with its cartoonish humor, straightforward plots, and charming characters. If you’re wondering how we reached this point, just remember that kids are the majority of its massive success. With the latest chapter of Gru’s villainous adventures finally in theaters this holiday weekend, did it maintain or revive the success of the divisive franchise, or is it despicable enough to signify its downfall? Let’s find out. The story continues the adventures of Felonious Gru (Carell), a former villain turned father of his adopted daughters, Margo (Cosgrove), Edith (Gaier), and Agnes (Polan). He and his wife, Lucy Wilde (Wiig), recently gave birth to their youngest son, Gru Jr., who doesn’t see eye to eye with Gru. Their normal family life gets turned upside down once again when a supervillain, Maxime Le Mal (Ferrell), escapes from jail to seek revenge on Gru for his incarceration. As a result, Silas Ramsbottom (Coogan), the formally retired director of the Anti-Villain League, relocates Gru and his family to the town of Mayflower as part of Witness Protection. Under their new aliases, Gru finds himself partnering with an aspiring supervillain named Poppy Prescott (King) to even the odds against Maxime and his femme fatale girlfriend Valentina (Vergara). There’s no doubt that the first two “Despicable Me” films hold a special place in my heart. “Despicable Me” remains my favorite film in Illumination’s library for its genuine mixture of Looney Tunes-esque comedy, clever storytelling, and charismatic heart. As for “Despicable Me 2”, it’s a highly entertaining follow-up that came close to matching its predecessor’s quality. Plus, it started the trend of expanding the minions' popularity through merchandising. Unfortunately, by the time “Despicable Me 3” came out, I began to feel the downward trend of the franchise’s direction. While the third film wasn’t without its harmless moments, it was a restrained yet suitably animated installment that failed to take advantage of its ideas. The same goes for the recent “Minions” sequel, “The Rise of Gru,” which got tiring with its underdeveloped plot elements and weak slapstick. I know most people prefer that film over 2015’s “Minions”, but honestly, hearing Steve Carell voicing the young Gru throughout the runtime was as ear-grating as nails on a chalkboard. So, knowing Illumination’s schtick in providing harmless kid-friendly entertainment, I didn’t have high hopes for “Despicable Me 4” regarding its story. However, I hoped it would offer a slight improvement over the previous two installments, especially for its charm and slapstick. Unfortunately, even with my lowest expectations, the fourth installment made me want to embark on the path to villainy, but not in a fun way. Similar to the previous “Despicable Me” installments, “Despicable Me 4” is chock full of visual slapstick that’ll undoubtedly please young kids and some of its adult audiences. However, and this is just my personal opinion, it further pushes the franchise to the point where the charm and wit from the first two films are nonexistent. Even with the returning team from the previous installments, including director Chris Renaud and writer Ken Daurio, the film seemed to have forgotten why the original was special in the first place. As usual, it’s understandable that these harmless and cartoony films from Illumination are made to entertain the children and nothing else, especially when viewing them as regular viewers. It has and always will be one of Illumination’s greatest strengths in the animation department, hence the chockfull of money it’s earning. However, when viewing it as a critic, “Despicable Me 4” also proves that Illumination continues to struggle with combining its innocent nature with quality and storytelling, mainly the latter. The plot in "Despicable Me 4" has been criticized for involving too many characters and plot points, and I can see why. The introduced plot elements, such as the witness protection storyline and the "Mega Minions," seem to serve as a way to create a random and nonsensical narrative, which is typical for a "Despicable Me" or "Minions" movie. However, the issue is that randomness doesn't always equate to good storytelling. Without the cleverness and captivating charm to support its fast-paced nature, the film's random situations became more headache-inducing and less enjoyable than intended. It also doesn’t help that it suffered from the same problem as the third film regarding its ideas and character depth. Amid the witness protection situation, “Despicable Me 4” offers various character relationships that would’ve played a role in its themes and character growth, including Gru and Gru Jr. There’s also Poppy Prescott, the next-door neighbor who aspires to become a supervillain like Gru. Like “Despicable Me 3”, the film had some great ideas that could’ve equated to a fun and heartfelt experience amid its random Looney Tunes-like gags. Sadly, they lack the commitment and cleverness needed to fulfill those expectations. Regarding its underdeveloped supporting characters and the aimless direction by Chris Renaud and Patrick Delage, “Despicable Me 4” has a simple yet haphazard plot that only aims to make the kids laugh through the Minions slapping each other. I can credit the “Mega Minions” for their superhero designs, but that’s about it. There’s nothing exceptional about these powerful freaks of nature other than serving as pointless merchandising. I would also credit “Despicable Me 4” for maintaining some of the franchise’s heroic merits. One of them is the voice cast, who continued to provide nifty performances for their respective characters. Steve Carell is back to voicing the adult version of Gru, and I couldn’t be happier that he did. The distinctiveness Carell delivered in Gru’s accent further validates the art of voice acting and even the memorability of the characters. I would gladly take the adult Gru voice over the obnoxious young Gru voice any day. Kristen Wiig and Joey King were also entertaining regarding their performances as Lucy Wilde and Poppy, respectively, even though the latter could’ve been developed better. I would also admit that Agnes remains one of the cutest characters Illumination has created, mainly due to Madison Polan’s impeccable voice work. As for Will Ferrell, the actor’s performance as Maxime certainly has its moments, but the character itself was pretty lackluster, even by the franchise's standards. Finally, we have the animation. Regardless of how one feels about its storytelling, "Despicable Me 4" demonstrated that Illumination has maintained its simplistic prowess in its presentation. The movie's visual humor had a few tolerable moments regarding its cartoonish essence, but everything else was where its animation style truly stood out. The lively and vibrant sceneries and the fast-paced and immersive action scenes were serviceable enough to cater to children and adults. At a time when we yearn for more distinctive animation, Illumination proves that its straightforward CGI presentation compensates for any perceived shortcomings with its vibrant and engaging visuals. Overall, “Despicable Me 4” reaches a new low of despicableness that’s neither villainous nor heroic enough to excuse its similar narrative flaws. It’s evident that it continues Illumination’s business plan of delighting its target audience with its harmless, family-friendly content, with “Despicable Me” being its magnum opus. Unfortunately, even with those good merits, it’s not enough to hide its franchise fatigue, with the fourth installment being nothing more than a bunch of random ideas that are as mindless and underdeveloped as the Minions themselves. The voice cast continued to do solid work with their performances, and the animation shines in its action and background designs. However, its subpar storytelling, underdeveloped plot elements, weak charm, and witless humor are enough to signify that this is another animated franchise that’s falling from grace. While it isn’t without a few moments that made me smile, this is by far the weakest and most forgettable installment the despicable franchise had to offer. Kids and adults who adore the previous installments might find this movie enjoyable, but I wouldn’t say it’s the top choice for them to see this summer. D+“Horizon: An American Saga - Chapter 1” stars Kevin Costner, Sienna Miller, Sam Worthington, Giovanni Ribisi, Jena Malone, Abbey Lee, Michael Rooker, Danny Huston, Luke Wilson, Isabelle Fuhrman, Jeff Fahey, Will Patton, Tatanka Means, Owen Crow Shoe, Ella Hunt, and Jamie Campbell Bower. Released on June 28, 2024, the film follows several characters during the American Civil War. The film was directed by Kevin Costner, who also directed “Dances with Wolves”, “The Postman”, and “Open Range”. Westerns were pretty much all the rage many years ago, especially ones that appeared on our grandparents’ old-school television sets. But nowadays, they seem like throwaways that haven’t got as much love as superheroes, spies, and even fantasy heroes. This year, Hollywood decided to give the genre another shot during the summer business, with Kevin Costner helping out. While Costner is often seen in several memorable or forgettable dramas, the actor is also known as one of the filmmakers who revitalized the Wild West through their epic blockbusters in the 1990s. The most notable examples of this trend are Costner’s directorial debut, “Dances with Wolves”, and Clint Eastwood’s “Unforgiven”, both of which became two of the four Westerns that won the Oscar for Best Picture. The former, a three-hour Western epic about a lieutenant and a group of Lakota, established Costner as a passionate and ambitious filmmaker through his direction, further emphasizing his love for Westerns and epic films in general. After making his mark in the genre recently in “Yellowstone”, Costner is returning to those roots with an ambitious Western epic exploring the American frontier, but with a catch. Instead of telling this story in one film, Costner seeks to make this exploration a four-film franchise, with the first chapter out in theaters and its second chapter coming out later this summer. Usually, movie chapters like these would release years in between, but months, let alone two months? That’s quite a bold choice for the actor/filmmaker. Of course, this isn’t the only film using this strategy, as “The Strangers” seeks to make a single premise into a trilogy, with its final two chapters coming out later. So far, that new “prequel” trilogy has already gotten off to an abysmal start, so I’m hoping that this new franchise starter would have enough merits to soften that blow or, at the very least, revive my interest in the Western genre. With that said, let’s travel back to the Old West and see if this latest Western epic is worth the theatrical experience. The first chapter of “Horizon” centers on several characters during the Civil War. They reside in several settlements, including the one built by Desmarais (Angus Macfadyen), with the purpose of finding a supposed paradise known as Horizon. One of these characters includes Frances Kittredge (Miller), a widow who lost her family following an ambush by the Western Apache. She and the other survivors were offered sanctuary by The Army in Camp Gallant, led by Lt. Trent Gephardt (Worthington) and Sgt. Major Riordan (Rooker). As the survivors adjust to their new lives at Camp Gallant, they encounter several obstacles that deter their journey of hope, including the Apache led by Pionsenay (Shoe). The other is Hayes Ellison (Costner), a horse trader forced to protect the prostitute Marigold (Lee) from the Sykes brothers. Finally, Matthew Van Weyden (Wilson) leads a wagon trail through the Sante Fe Trail in pursuit of Horizon. If you can’t tell, I don’t watch as many Westerns as the next guy. My dad periodically watches them, but I couldn’t muster up the willpower to experience them with him. Unless there’s a concept within the genre that captures my interest, I’d be better off watching gunfights from science fiction and spy movies. “The Harder They Fall” was a good example of this theory, offering a refreshing direction, talented cast, and soundtrack to invest me in its Wild West setting. In the case of “Horizon”, it’s not just Kevin Costner and the stacked cast that captured my interest. It’s the ambitious strategy of making this extensive story into a four-part epic, releasing each chapter months apart from each other. The last time this happened was in 2003 when the final two “Matrix” movies were released in May and November, respectively, unless I’m mistaken. This is something you’d typically see on a streaming service, especially Netflix when it splits a narrative-driven series into several seasons. Looking at “Horizon” by its cover, it does look like it’s fitted as a streaming series, but how it was as a film is the true question worth answering. I had the opportunity to see it for myself, and it definitely has that streaming series vibe, but whether that's a positive or negative thing will depend on people's perceptions. The first chapter of “Horizon” is basically several different movies in one package. While they’re set in the same timeline, the film explores separate perspectives of its themes of hope amid the war and conflict in the late 1850s through its different characters. Of course, since this is chapter one of a much larger story, the characters’ separate adventures in the West have just begun, and they may or may not intertwine or be complete until the later installments. I’ve been hearing plenty of mixed responses about the direction given for its structure. Some didn’t mind it due to Costner’s planned strategy, while others felt it was incomplete. This is one of those moments where I can understand both fronts of the argument. As the first chapter of a larger narrative, “Chapter 1” is a well-crafted and traditional set-up for what’s to come in future installments, particularly “Chapter 2”. As its own, however, it’s a three-hour first half that lacks any reason for its prolonged introductions within its half-finished narrative. It’s far from boring since the pacing in the first and third acts kept me engaged, but the second act was when it overstayed its welcome, resulting in an experience that’s far from bland but also not exciting. Kevin Costner is a master at delivering immersive storytelling in his period films, and "Horizon" is no different. Through his direction, Costner brings to life the timeless allure of classic Western aesthetics, including thrilling shootouts, expansive plains, and representation of Indigenous culture. The film exudes a traditional cinematic charm devoid of excessive action and big-budget CGI effects, instead focusing on rich dialogue and conventional storytelling, a testament to Costner's mastery of the genre. Of course, its style wasn’t complete without J. Michael Muro’s sublime cinematography and the film's authentic production and costume designs. In terms of his screenplay, which he wrote with Jon Baird, “Horizon” offers plenty of character-driven moments that work well for its themes. The best example was the Apache raid sequence in the first act, offering sentimental dread in its engaging action. Unfortunately, the rest of the movie struggled to match the excitement and emotion of that sequence due to its exploration of the characters and pacing, which would’ve been fine if it had a structure to work with. It also doesn’t help that it had a lengthy montage for the upcoming “Chapter 2” that lasted way longer than it should have been. It’s like I’ve already seen most, if not all, of “Chapter 2” before it’s actually out. The movie is also packed with a massive lineup of actors, including those we might be familiar with in the industry. Unsurprisingly, they did pretty well in keeping my attention through their performances. Despite Costner being top-billed in the cast, his character, Hayes Ellison, doesn’t make his first appearance until one hour into the movie. So, those eager to see Costner as the main character may have to wait a bit longer to see his cowboy self on the big screen. Fortunately, audiences who are patient enough would be treated with another respectable performance from the actor/filmmaker. Sienna Miller was also great as Frances Kittredge, a widow residing in Camp Gallant with her daughter Elizabeth (Georgia MacPhail). Additionally, Sam Worthington offers another suitable presence outside his “Avatar” franchise regarding his role as Trent Gephardt. Overall, “Horizon: An American Saga - Chapter 1” is an ambitious yet flawed beginning of a Western saga that overstayed its welcome with its three-hour prologue-type structure. There’s no denying that Kevin Costner remains a passionate filmmaker who reflects the traditional scope of the genre with his vision and its technical aspects. However, his ambitious storytelling can be hit-and-miss depending on people’s expectations of his goal. Personally, I thought it was a well-made Western that’s too bloated or half-baked to be its own film. The other first-chapter films, like “Lord of the Rings”, have exciting beginnings that feel like their own movies, with a beginning, middle, and end. “Horizon” attempts to copy this formula but falls short of its emotional core. The cast was solid in their roles, and the technical aspects shone in its world-building. Sadly, its shoddy screenplay and bloated length resulted in an enjoyable but rocky start to Costner’s American saga. However, since it is a four-chapter saga, I’m willing to withhold my judgment toward this ambitious franchise until I see the remaining chapters, starting with “Chapter 2”. Hopefully, its next chapter will be when the good stuff happens. C+ |
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