​“The Crow” stars Bill Skarsgård, FKA Twigs, Isabella Wei, Danny Huston, Laura Birn, Sami Bouajila, and Jordan Bolger.  Released on August 23, 2024, the film has a resurrected musician avenging the deaths of himself and his fiancee.

The film is directed by Rupert Sanders, who also directed "Snow White and the Huntsman" and 2017's "Ghost in the Shell".  It is the reboot of "The Crow" film series, which is based on the 1989 limited comic book series by James O'Barr.  Whenever people survive a tragic death, I would assume they'd take this opportunity to reinvent themselves for the better.  But for that particular person, vengeance is the only path to improve their life.  Before Marvel took the cinematic world by storm, another hero evaluated the idea of superhero movies being the norm.  One who's more vengeful and violent than heroic and inspiring…and is named after a bird.  That may seem silly to some, but for fans of this supernatural superhero, "The Crow" is seen as one of the most badass and gothic heroes around.  However, most people recognized this character through the 1994 film adaptation, which was known for the tragic death of its lead, Brandon Lee, during filming.  Outside of that, it was highly regarded by critics and audiences as one of the best superhero films that aren't from Marvel and DC, mainly due to its style and Lee's iconic performance.  Thirty years after its release, Hollywood decided to resurrect the hero for another round of gothic, gory mayhem, with Bill Skarsgård filling in the titular character's shoes.  Does it provide the same love and effort as the 1994 film, or should it remain buried?  Let's find out.

The story centers on Eric (Skarsgård), a musician who meets and falls in love with a young woman named Shelly (Twigs) in prison.  As they're about to start a new life together, Eric is struck by the sins of Shelly's dark past, as a group of men comes in and murders them.  However, Eric winds himself up at the crossroads between the worlds of the living and the dead.  He's then given the chance to save Shelly from an undeserved fate by a spirit named Kronos (Bouajila), resulting in him sacrificing his life to gain supernatural abilities.  Now resurrected, Eric embarks on a ruthless rampage to find and kill those responsible for their deaths, leading him to confront the men's leader, a demonic crime lord named Vincent Roeg (Huston).

I might be among the few people who don't remember "The Crow" as much as others.  I've periodically heard what happened behind the scenes of the 1994 film.  However, I hadn't gotten the time to watch the movie nor its unrelated sequels in their entirety due to reasons…at least until recently.  I watched the 1994 adaptation the day before seeing the reboot, and I thought it was pretty darn good.  Was it straightforward?  Yes.  But it was also visually grim in the best way, benefiting from its gothic presentation and Brandon Lee's final yet show-stopping performance as Eric.  It turned the source material about an invulnerable superhero into a compelling and violent cinematic tale of revenge and true love.  However, it also makes me question whether the reboot would copy that similar level of success.  The filmmakers were able to finish making it without any trouble, so now it's just a matter of quality to revive this piece of IP.

The story in the 2024 adaptation offers the same premise as the 1994 film: a revived musician using his supernatural abilities to avenge his loved one's death.  However, it also provides several elements that distinguish it from the Brandon Lee version.  One of them is that this version emphasizes the supernatural elements, with the titular character battling a human with demonic abilities who's upsetting the balance between the living and the dead.  The other is that the film focuses more on the relationship between Eric and Shelly before Eric's transformation.  The 1994 adaptation went straight to the point of killing off the characters, initiating Eric's path of revenge, but the 2024 version took its time to allow audiences to embrace the protagonists' love before tragedy struck.  On the one hand, it offered a commendable approach in providing character-driven moments amid the bloodshed and gore, mainly in the first act.  On the other hand, it'll also likely annoy specific audiences eager for some action-packed thrills with its pacing and runtime.  It also doesn't help that the overall experience was surprisingly underwhelming and mediocre.

"The Crow" is basically another superhero movie in a sea of cinematic super-powered people dominating cinemas, which is all you need to know about this reinvention.  But, as long as it had enough merits to make it enjoyable or, at the very least, watchable, it shouldn't matter as much.  Throughout the movie, I only found a couple, which is better than nothing.  Sadly, even with those good intentions, they're not enough to prevent "The Crow" from being damned for its mediocrity and soullessness.  One of those merits is former art director turned filmmaker Rupert Sanders.  While his storytelling is far from remarkable, I give Sanders credit for his approach to creating grim and hard-edged atmospheres.  "The Crow" is known for having a gothic, hard-rock edge to its production designs, and the 2024 version is no different, although the latter took a more modern and realistic approach to its bleak aesthetics.  Some of those darkly violent sequences fit suitably with the source material's nature, but regarding everything else, Saunders heavily faltered in maintaining its compelling style, or lack thereof.

The film's action sequences also failed to deliver the excitement and thrills that audiences crave.  Despite featuring intense violence, most of these scenes had already been revealed in the trailers, resulting in a diminished impact in the final cut.  Thankfully, the Opera House sequence in the final act became my highlight of the film due to some of its kills and Sanders' approach to the editing and visuals.  What can I say?  I'm a sucker for some hard-R violence.  It's far from a groundbreaking cinematic achievement in the action genre, but in terms of adult-rated enjoyability, it gets a pass in my eyes.  Sadly, that's the only good part of the movie's violence, as everything else struggled to provide much else with its gothic style to elevate its dull tone.

The movie's screenplay didn't help much, relying heavily on its superhero and revenge tropes instead of elevating them with an engaging plot and world-building.  It's a shame because one of the writers was Zach Baylin, the Oscar-nominated writer behind "King Richard" and "Creed III", two outstanding movies with compelling stories.  With this, along with "Gran Turismo" and "Bob Marley", I'm starting to think that Baylin may have lost his narrative edge.  While Shelly has a more prominent role here than in the 1994 movie, the same can't be said for Eric, whose backstory failed to inject emotion into the protagonist's journey of grief and love.  It did show some of Eric's childhood occasionally, but it didn't strike the right chord in its emotional depth due to its minimal exploration of its themes.   

At least the cast was a bit tolerable with what they're given, even if they're not outstanding.  Bill Skarsgård provided a darker and more serious take on the revenge-seeking hero instead of copying the late Brandon Lee's iteration, and the result was…okay-ish.  While I can understand what Skarsgård was attempting to accomplish, his overall performance didn't quite scream "perfect casting" when it comes to the acting.  Singer/songwriter FKA Twigs made her second film debut following 2019's "Honey Boy", taking on the role of Shelly, and she was pretty subpar.  Not terrible, but not great either.  Danny Huston was also okay as Vincent Roeg, but not enough to boost the antagonist's run-of-the-mill nature.  

Overall, "The Crow" is a tedious and trope-heavy approach to the source material that's damned to hell by its excessive genericness.  The 2024 iteration deserves credit for maintaining the gothic nature of the comic and the 1994 film while adding a modern supernatural twist thanks to Sanders' vision.  However, despite its strong presentation, everything else falls short of being as diverting and compellingly stylized as it aspires to be.  Although the Opera House sequence was tolerable, it's not enough to save the film's soul from damnation due to its weak cast, subpar screenplay, forgettable action, runtime, and uninspired characters.  It not only reminds audiences how good the 1994 film is, but it also counts as another colossal misfire for Lionsgate this month following the "Borderlands" film.  Hopefully, its upcoming movies in September will help turn the studio's unfortunate streak around regarding their quality.  Until then, you're better off watching the 1994 version.  However, if you're actually interested in seeing the reboot, I recommend waiting until it's free to stream.

“My Penguin Friend” stars Jean Reno, Adriana Barraza, Rocío Hernández, Nicolás Francella, Alexia Moyano, and Thalma de Freitas.  Released on August 16, 2024, the film has a fisherman befriending an injured penguin.
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The film was directed by David Schurmann, who also directed films such as "Missing", "Little Secret", and "The World Twice Round".  There's no denying that nothing is more heartwarming than the friendship between a human and a cute animal. Whether it's a dog, cat, or even a harmless bear, these friendships never fail to teach us that animals are more human than we believe.  Why else would Hollywood make several movies about this specific relationship besides money?  This latest drama is unsurprisingly no different, which features another lesser-known true story about a fisherman and a uniquely friendly penguin that touches the hearts of those around them.  Was it another film that swims its way into our hearts?  Let's find out.
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The movie centers on João Perei de Souza (Reno), a heartbroken fisherman living in Brazil with his wife Maria (Barraza) following the tragic death of their son.  One day, he comes across an injured penguin drifting in the ocean, covered in oil from a spill.  João rescues the penguin and rehabilitates it, naming it Dindim.  As the unlikely friendship between João and Dindim grows, João learns to open his heart toward others as his miraculous efforts to rehabilitate the penguin catch the attention of those around him.

The first time I heard about "My Penguin Friend" was from the trailer I watched while viewing "Summer Camp".  I will never forget the experience I had from watching that slog of a film.  That trailer was enough to invigorate my interest more than my sluggish trip to that summer camp for one reason: its concept.  This is one of the plots that never fails to put a smile on my face, regardless of the quality.  Seeing a human regaining their perspective of life through their friendship with an animal always makes me appreciate life's greatest treasures besides watching movies.  Since there aren't many big films coming out at the tail end of summer vacation, I figured I'd give this movie a shot just to escape from all the drama happening in the real world.  Luckily, as usual, I managed to view it early due to the mystery movie event.

Regarding these types of movies, "My Penguin Friend" delivers pretty much what people would expect regarding its formula.  You have the protagonist whose life is changed by the unlikely appearance of a unique animal, and everyone becomes inspired by their incredible relationship.  As a result, everyone, including the protagonist, regains their hope for others and even themselves.  These stories have resonated with audiences because they remind us that even the smallest things in life can make a difference in the community, especially a penguin that can swim thousands of miles to visit its friend.  Even I must admit that after reading its fact-based concept, I was impressed by this accomplishment for such a small, cuddly animal.  But, of course, even with its good intentions, it always comes down to the execution of its quality and storytelling.  Some movies turn out to be as good as audiences suggested, while others fail to take advantage of specific plot elements and are too sentimentally manipulative for their own good.  Sadly, "My Penguin Friend" happens to land in the latter category.

That's not to say that the movie disappointed me, as it was able to provide what it intended to deliver due to David Schurmann's direction.  While his take on the subject wasn't anything too special, Schurmann mostly succeeds in delivering a heartfelt, family-friendly drama depicting its themes of grief and friendship that'll make everyone's hearts flutter like a penguin.  Its charm is partly due to its delightful cast, who did their best to elevate the film's enjoyability through their performances.  I hadn't seen much of Jean Reno aside from his last appearance in Kevin Hart's Netflix film, "Lift", but I'm also glad he's continuing to find more work, especially this one.  "My Penguin Friend" sees Reno take on the leading role of a grieving fisherman regaining his love from a small penguin, and the result is unsurprisingly charming.  His performance evoked genuine sorrow and kind-heartedness in João, compensating for some of the film's narrative shortcomings.  Adriana Barraza also did pretty well with her performance as Maria, João's supportive wife.  But, of course, I can't forget about Dindim the penguin, who's remarkably adorable.  I can't help it.  I'm just a sucker for small cute animals.

Unfortunately, despite its heartwarming vibes and charm, "My Penguin Friend" still felt lost in finding the right emotional beats to earn its inspiration.  Screenwriters Paulina Lagudi and Kristen Lazarian had the potential to deliver a thought-provoking and charmingly fun film, even though their script borrowed elements from other human/animal friendship movies. However, they didn't explore specific plot elements that could have enhanced its dramatic moments.  The worst offender of the script is João's son, whose death caused João to feel guilty for his actions.  This would've made for an emotionally compelling arc for João as he attempts to let go of the pain of his past and reopen his heart after encountering Dindim.  Sadly, that's not the case.  After the film's beginning, his son was never mentioned again until close to the third act.  It's almost like people forgot the son existed, or he was added in at the last minute for the sake of manipulating the audience with its sentimentality.  If they want us to sympathize with a grieving protagonist, they must either commit to the idea or not use it. The movie was also hurt by its pacing, which can be a chore for younger audiences eager for fast-paced action.  At some points, it can jump from one thing to another in a flash, and other times, it crawls on the sand like a crab walking on…well, the sand.

Overall, "My Penguin Friend" is as cute and cuddly as a penguin but lacks the thematic depth needed to elevate its heartwarming fact-based tale.  There's no doubt that its target audience will be delighted with the film's adorable appeal, but when compared to the other ones with similar concepts, it's sadly on the short end of a penguin's tail feather.  Jean Reno delivered an appealing presence in his role, and its heart was in the right place.  But they couldn't swim away from the waves of middling sentimentality due to its formulaically tame screenplay, Schurmann's hit-and-miss direction, and pacing.  If you like these types of movies and you want to watch this one for yourself, I'd say go for it.  It's a fine yet tame piece of escapism that we all need now and then, even if the story sank instead of swam.

​"Alien: Romulus" stars Cailee Spaeny, David Jonsson, Archie Renaux, Isabela Merced, Spike Fearn, and Aileen Wu.  Released on August 16, 2024, the film has a group of colonists surviving against ferocious alien creatures.

The film is directed by Fede Álvarez, who also directed 2013's "Evil Dead", "Don't Breathe", and "The Girl in the Spider's Web".  It is the seventh film in the "Alien" franchise.  We've been saying that no one can hear you scream in space.  But, by Hollywood standards, no one has been heeding that warning, leading to them becoming prey for some terrifying galactic species.  Much to their misfortune, the trend continues with the latest entry in the classic sci-fi franchise that's been terrorizing audiences for decades.  However, it's also another installment that doesn't have Ripley joining the fight against the dreaded Xenomorphs.  Instead, it features a group of younger space travelers surviving against the aliens' wrath.  They will definitely need adult supervision after this experience…that is, if they survive, of course.  Additionally, the film seemed to be returning to the original's roots after Ridley Scott attempted to expand his franchise with middling results seven years ago.  But is it enough to rejuvenate audiences' love (or fear) of the IP, or are we better off staying on Earth?  Let's travel into space and find out.

The story is set between the events of "Alien" and "Aliens".  It centers on a team of young space colonists from a mining colony planet consisting of Rain (Spaeny), Andy (Jonsson), Tyler (Renaux), Kay (Merced), Bjorn (Fearn), and Navarro (Wu).  While trekking through the outer reaches of space, the group discovers an isolated space station left abandoned and damaged.  They decided to investigate the ship and scavenge some of the resources they could find to live a better life.  However, what they don't realize is that the space station houses a terrifying xenomorph hellbent on killing anyone and anything in its path.  This shocking discovery pits Rain and the others in a dangerous cat-and-mouse game as they attempt to survive the alien's wrath.

For those who aren't aware, I hadn't gotten into the "Alien" franchise until I watched "Prometheus" back in 2012.  I remember liking that film for its visual atmosphere and Scott's direction, so much so that I saw it twice in the theater.  However, it was the twist involving its connection to "Alien" that made me interested in visiting the 1979 horror classic a while later, which I thought was very good.  It was a bit slow, but it's also enticing and creepy nonetheless.  That alone is enough to get me eager for its latest installment, which promises to revive the first film's survival horror vibes.  But, it was also the involvement of Fede Álvarez that got me excited for the franchise's comeback.  Not counting "The Girl in the Spider's Web", Álvarez has gone two for two in the horror genre, impressing me with his take on "Evil Dead" and his career-best "Don't Breathe".  His refreshing approach to the horror aspects, grim atmosphere, and practical effects made him a great candidate to take over Ridley Scott's iconic piece of sci-fi horror gold.  But the true test is whether he can save it from drifting further into space.

This scenario is quite similar to what "Predator" faced with its recent prequel, "Prey".  That film featured a different set of characters and a new setting but also recaptured the original's roots of relying on instincts and minimal resources to survive against an unfamiliar presence.  These elements resulted in it being hailed as the best installment in the "Predator" franchise since the first film.  This made me assume that "Alien: Romulus" would accomplish this similar feat regarding its direction and a freshly talented director's involvement.  After watching "Romulus", I'm happy to say my assumption is correct.  While it may not be my favorite installment in the franchise, this film is a much-needed course correction that might as well be Álvarez's answer to "Prey".

One reason is the story.  Following Ridley Scott's middling attempts to expand his "Alien" lore with "Prometheus" and "Covenant", "Romulus" decided to ease off on its world-building by returning to the fundamental roots of the 1979 classic.  While I did like the previous two installments from Scott, I can also admit they weren't something I'd go back to regarding their plots and pacing.  So, seeing that "Romulus" went back to the original's simplistic storytelling gave me a glimmer of hope that it'll give the franchise a step in the right direction.  "Alien" was well known for its miraculous mixture of science fiction and horror, with just enough nightmarish suspense and claustrophobic terror to make audiences feel like they're in the spaceship with its characters.  "Romulus" attempted to replicate this combination while making its younger characters likable through their development, mainly the relationship between Rain and Andy, a "synthetic" programmed as Rain's surrogate brother.  The result is a terrifying and gorgeously bleak installment that honors Scott's iconic IP and showcases Álvarez's skillful approach to horror.

Of course, due to the film returning to the franchise's basics, it can have the disadvantage of not offering anything refreshing to its formula.  Besides the surprisingly insane third act, "Romulus" delivers everything you'd anticipate from an "Alien" movie - characters attempting to survive against the xenomorphs and blood being spilled during the process.  Sometimes, a simple story can be a good thing, but for a franchise like "Alien", it can easily lead to a make-it-or-break-it scenario depending on people's expectations.  Its narrative beats would likely make people reminisce about the first two installments through its easter eggs and tone.  But to give the film credit, it focuses more on creating a separate story within the universe instead of the usual trend of uniting the original's characters with the new like the other legacy sequels.  It's also not without its tolerable characters and depiction of scientific dangers that make "Romulus" a solid improvement over the franchise's previous follow-ups, except "Aliens".

As mentioned, Fede Álvarez is another talented director with an enticing and visually unnerving approach to horror.  Along with his impressive uses of suspense and scares, Álvarez ensured that his presentation and production designs were just as terrifying as the frights.  Unsurprisingly, his direction in "Romulus" met those expectations without him breaking a sweat.  Álvarez's masterful approach to building suspense in the film more than makes up for any pacing issues, while the well-executed jump scares deliver genuine frights.  But, the biggest selling point is the technical aspects.  The "Alien" films are famous for being some of the most authentic and beautifully creepy movies in cinema history.  This is mainly due to their practical effects, cinematography, and art direction elevating their narratives and terror.  Undoubtedly, "Romulus" continues this terrifying tradition with ease, with enough atmospheric dread and dim lighting to accompany its isolated yet haunting retro-galactic backgrounds and Galo Olivares' breathtaking cinematography.  I would also give props to Álvarez and his crew for using practical effects for the aliens and the sound mixing, adding to the film's authenticity of its scares and surroundings.

The young actors also did a decent job with their performances, even though there were some moments where their acting fell a bit flat.  Cailee Spaeny continues her impressive run this year with another diverting performance as Rain.  While I still prefer her role in "Civil War", Spaeny is another young actress whose talents should not be ignored, whether in drama or horror.  If lucky, she could become another recent "scream queen" sooner or later, depending on how well "Romulus" does at the box office.  David Jonsson also made a good impression with his role of Andy.  Despite Andy being an android, Jonsson ensures his character is full of heart through his acting, showcasing that robots can feel beyond their programming.  Archie Renaux and Isabela Merced were also decent as Tyler and Kay, respectively.

Overall, "Alien: Romulus" is a nightmarishly engaging space ride of terror that serves as a much-needed reinvigoration of Ridley Scott's sci-fi horror franchise.  It admittedly plays off some familiar beats of the original regarding its story, but in all fairness, that's what made "Alien" a memorable piece of horror cinema.  It's simple yet highly effective and frightening enough to leave an everlasting impact on genre fans and moviegoers alike.  While "Romulus" may not have reached those similar heights set by "Alien" and even "Aliens", it's still a worthy entry that offers enough merits to stand alongside the first two installments.  The cast was solid in their roles, the creepy aesthetics and scares were handled superbly well by Fede Álvarez, and the technical aspects were unsurprisingly incredible.  It showcased Álvarez's directorial talents further and proved that the franchise still has enough acid blood in its veins to keep itself going, hopefully with a better direction this time.  If you're a fan of the "Alien" movies, "Romulus" is definitely worth screaming for, especially in space.

​“Cuckoo” stars Hunter Schafer, Dan Stevens, Jessica Henwick, Jan Bluthardt, and Marton Csokas.  Released on August 9, 2024, the film has a teenager confronting strange occurrences involving her father's boss.

The film was written and directed by Tilman Singer, who also directed "Luz" and the short films "The Events at Mr. Yamamoto's Alpine Residence" and "El Fin Del Mundo".  The summer of horrors has plenty of bright spots worth remembering, mainly the ones from smaller distributors like IFC Films and Neon.  In the latter's case, its recent horror thriller, "Longlegs", was its greatest success this year as it continues to dominate the box office amid the much bigger summer blockbusters.  Considering its uniquely compelling approach to the concept compared to other modern horror movies, I would consider it a win in my book.  This weekend, Neon hoped to go two for two regarding the genre with another bonkers thriller featuring a lesser-known actor as the main lead.  From the looks of this movie, the marketing made it seem like it might have more to do with its freaky concept, but does it result in a fun and scary experience?  Let's find out.

The story centers on Gretchen (Schafer), a teenager grieving over the death of her mother.  She moves to a resort town in the Bavarian Alps with her father, Luis (Csokas), stepmother Beth (Henwick), and mute half-sister Alma (Mila Lieu) to start their new lives.  Gretchen and her family are also tasked by Luis's enigmatic boss, Herr König (Stevens), with getting the new hotel built.  Soon after their arrival, Gretchen begins to experience unusual circumstances surrounding the hotel, including a mysterious hooded woman (Kalin Morrow) and Alma's random seizures.  With the help of a detective named Henry (Bluthardt), Gretchen attempts to solve this estranged phenomenon, leading her to discover a sinister secret from König.  

Like my experience with "Longlegs", the marketing for "Cuckoo" left me with discomfort in the best way, hence my interest in it.  Both of these movies have plenty in common, in which they're distributed by Neon and provided several instances of "WTF" moments in their trailers.  "Longlegs" didn't quite terrify me, but I would consider it one of the most unsettling and well-made horror thrillers I've seen this year.  From the marketing alone, "Cuckoo" seemed to have the opportunity to copy that movie's success regarding its nightmarish aesthetics and messed-up characters.  Plus, I watched a few enjoyable movies from Neon, so I was expecting good things from the distribution underdog's latest outing.  After experiencing this deranged experience, I would say it's certainly an experience, albeit one that won't stick with me compared to "Longlegs".

"Cuckoo" is another horror movie that captures the audience's interest with its marketing, showcasing its wildly bizarre frights through its editing, but its final cut may leave them divided.  That's not to say it usually winds up being terrible, as there have been other examples that wind up being decent or even exceptional compared to the marketing.  It's a matter of people's expectations of a film delivering what the marketing suggested.  The trailer for "Cuckoo" promised a twisted and bizarrely horrific experience that'll frighten us with excitement.  While the "twisted" and "bizarre" parts were present, the rest of the film didn't quite have the lasting impact it was intended to achieve regarding its concept and scares.  However, it's hard to ignore the craft in its tension and creepiness that rewards people who are patient enough to continue watching.

Tilman Singer is another filmmaker who understands the elements of horror.  It's not just about the cheap jump scares, violence, and low-key CGI monsters or ghouls.  In my eyes, the true key to horror is the atmospheric dread and psychological terror accompanying the fear of the unusual.  Singer provided a presentation packed with an old-school, atmospheric pulp that shines in its B-movie-like cinematography, even though it's far too serious to earn that title.  However, what Singer accomplished the most was how he envisioned sound mixing, editing, and deranged nature to deliver the discomfort and terror of the scenario.  The result was a pleasantly warped treat carried by its unnerving and serenely grim aesthetics.  Unfortunately, as the film progressed, it struggled to maintain that chaotic momentum in its insane concept due to Singer's hit-and-miss screenplay.

"Cuckoo" had a screenplay that doesn't neglect its characters like they're one-dimensional victims, unlike most modern horror movies.  Instead, it attempted to make the audiences care about them amid its unearthly situation with suitable results.  Along with its horrific reflection of the reproductive system, the film also explored its theme of grief, with Gretchen reeling over her mother's death while bonding with her half-sister.  It certainly had enough interest in these elements to make the protagonist worth caring for, but regarding the emotional impact and haunting storytelling, it's nothing worth getting too crazy for.  I thought the relationship between Gretchen and Alma could've been explored more, and a few deranged moments were a bit tame.  Other than that, the script was fine enough to forgive its faulty execution.

The reason for the characters being engaging is the cast themselves.  They provided enough surrealism and nuance in their performances to enhance the film's discomforting atmosphere.  Before "Cuckoo", my only exposure to Hunter Schafer was from the "Hunger Games" prequel last year, where she played Tigris Snow.  From what I could remember, I thought Schafer was good enough for me to see where her career goes outside her role in "Euphoria".  This leads me to "Cuckoo", where Schafer takes on the main lead instead of her supporting roles.  The result is another impressive showcase for the young actress, giving her the push she needs to achieve cinematic stardom.  Schafer's performance aptly captured the depth of Gretchen's grieving yet strong-willed personality.  She also skillfully portrayed some emotional moments, highlighting her exceptional talents.  I was also really impressed with Dan Stevens, who's now three for three in providing charming and twisted performances this year.  Stevens' portrayal of König is another delightfully strange treat that catapulted the film's sadistic concept.  Marton Csokas and Jan Bluthardt were also decent in their performances as Luis and Henry, respectively.

Overall, "Cuckoo" is surreally odd enough to earn its title but lacks the oomph in its insanity to push the boundaries of its unhinged nature.  Undoubtedly, it's another horror movie whose old-school presentation, tension, and atmospheric style trumps the cheap jump scares or lack thereof, resulting in a well-crafted nightmare straight out of a "Twilight Zone" episode.  However, when it comes to the lasting impact of its scares and outlandish concept, "Cuckoo" is a surprisingly tame experience that falters in committing to more to its madcap horror vibes.  Schafer and Stevens were top-notch in their performances, and Tilman Singer's direction effectively displays its pulpy and nightmarish atmosphere through its tension and cinematography.  Those elements were enough to overshadow some of its shortcomings, like its hit-and-miss screenplay and tame horror sequences.  If you like indie horror, including those distributed by Neon, you'll likely enjoy this bizarrely horrific treat.

​"Borderlands" stars Cate Blanchett, Kevin Hart, Jack Black, Bobby Lee, Édgar Ramírez, Ariana Greenblatt, Florian Munteanu, Gina Gershon, and Jamie Lee Curtis.  Released on August 9, 2024, the film has an outlaw teaming up with a band of misfits to find a missing girl.

The film is directed by Eli Roth, who also directed films such as "Cabin Fever", "Hostel", "Knock Knock", and "Thanksgiving".  It is based on the video game series developed by Gearbox Software and published by 2K.  Whenever you go on a trip to an unknown planet, it's a good idea to have some traveling buddies to keep you company.  But if your comrades are just as chaotic as you are, surviving the planet would be the least of your concerns.  Hollywood is keeping the video game movie trend going this year by adapting another game whose popularity has come and gone.  The video game I'm referring to was "Borderlands", a space Western first-person shooter franchise involving several distinct characters surviving estranged planets and collecting loot.  The franchise has been praised for its toon-shading art styles, gameplay, and deranged humor, lasting from 2009 to 2022, with "New Tales from the Borderlands" being its recent installment.  To keep the hype going, Hollywood decided to bring the chaotic world of "Borderlands" to the big screen, with Eli Roth heading back to the non-adult territory following his theatrical take on his short film "Thanksgiving".  Was this space trip chaotic enough to extend the video game movie trend's winning streak, or was it too deranged for its own good?  Let's find out.

The story follows Lilith (Blanchett), an infamous outlaw with a mysterious past.  Lilith is assigned by a powerful businessman, Atlas (Ramírez), to return to her home planet of Pandora to find his missing daughter, Tiny Tina (Greenblatt), a deranged teen who's said to hold the key to unimaginable power.  While searching for Tina, Lilith finds herself joining forces with an unlikely team of misfits.  The team consists of Roland (Hart), a former mercenary seeking redemption; Krieg (Munteanu), Tina's musclebound protector; Dr. Patricia Tannis (Curtis), a scientist; and Claptrap (Black), a small wiseass robot.  Despite their differences, Lilith and the others must band together against alien monsters and dangerous bandits to complete her mission.

"Borderlands" is another video game franchise I wasn't interested in playing.  Its presentation was undeniably impressive, but I don't have much experience with first-person shooters to give it a try.  Regardless, I was interested in watching the film adaptation, similar to my previous experiences with video game-based movies.  One reason was its all-star cast, including Blanchett, Black, and Curtis.  When you have a star-studded cast like that, there's no doubt there will be some enjoyment regardless of the quality.  The other reason was that the marketing made it seem like Eli Roth's answer to Marvel's "Guardians of the Galaxy".  Both share a similar concept and tone: a band of unlikely misfits join forces on an action-packed, comical galactic adventure for all ages.  The question is: which one did it best?  After watching the film, I would say that "Guardians of the Galaxy" did it better.

This may seem like an unfair comparison since "Guardians of the Galaxy" is a Marvel superhero movie, and "Borderlands" is a deranged sci-fi shoot-em-up adventure.  However, their characters, setting, and presentation have a similar vibe that's impossible to ignore.  James Gunn's "Guardians of the Galaxy" offers characters deemed misfits or criminals, but it's backed up by its emotional core and genuine charm to make them lovable amid its thrillingly fun and heartfelt space adventure.  Eli Roth, known for his adult-rated horror films, attempted to deliver this similar feat in "Borderlands", which is quite tricky considering these directors are in different leagues of their own.  Since Roth impressed me with his previous movie, "Thanksgiving", I assumed he was starting to make a comeback.  Well, I assumed wrong.  "Borderlands" can be classified as a "Guardians of a Galaxy" rip-off that lacked any emotional weight to carry its visually chaotic wasteland and cast, but is it really as terrible as many people make it out to be?  Not really.

The marketing for "Borderlands" promised a flawed yet fun and chaotic roller coaster filled with indifferent characters attempting to survive Pandora and each other.  No, I'm not talking about the Pandora where the tall blue aliens reside.  So, it's safe to say that I believed it was exactly what it was going for.  I went to see it, and guess what?  I had an okay time watching it.  Understandably, it's a generic and tame space adventure that failed to take advantage of its source material's mature rating and ideas.  But as its own movie, it's a tolerable and periodically amusing experience with a better script hidden inside the Vault.    

Part of the reason is the cast, with some being obvious choices due to their popularity, such as Kevin Hart and Jamie Lee Curtis.  However, as long as they can provide some solid moments in their performances, which they did, the casting choices hardly matter.  Cate Blanchett as Lilith is no Chris Pratt's Star-Lord, but she made a good enough effort to make the film's protagonist a fierce, take-no-prisoners badass with a haunting past.  As for Kevin Hart, I admired his determination to broaden his career outside of comedies with his action-packed role of Roland, but I think that role should've gone to someone else.  He was okay with what he's given, but I wouldn't say it's his most memorable role yet.  Ariana Greenblatt appeared to have the most fun out of the entire cast.  Her portrayal of Tiny Tina captured the character's deranged and chirpy persona, although her moments outside her crazed personality weren't too special.  Jack Black as Claptrap was mainly the reason for the movie's hit-and-miss humor.  His vocal performance as the talkative small robot was distinctive in making him sound more robotic than his usual voice.  Additionally, Black's comedic moments were amusing enough to elevate the film's entertainment value, even if most of them weren't as clever as others.  Florian Munteanu and Jamie Lee Curtis were also tolerable in their performances as Krieg and Patricia Tannis, respectively.  

Another element I partially enjoyed was the action sequences.  "Borderlands" would've had the opportunity to use the source material's mature rating to go all out with its violence and psychotic lunacy.  But that didn't happen because Hollywood wanted to attract the younger audience who played the games themselves, hence its PG-13 rating.  However, that doesn't mean it's less entertaining.  The violence in "Borderlands" wasn't as memorable as Roth's gore-filled outings.  Nonetheless, the director fueled some energy and delight into the characters shooting down space bandits and hostile aliens, even though the style lacked the finesse it aimed for.  Even if everything else wasn't in top form, if the action scenes keep me entertained with its violence and direction, then I'm willing to forgive most, if not some, of its shortcomings.

So, what do I mean by "everything else wasn't in top form"?  I'm glad you asked.  "Borderlands" is another movie with the makings of another solid late-summer blockbuster treat, but it lacked the commitment to accomplish most of them.  One reason was its screenplay, which was initially written by Craig Mazin, known for his involvement in the HBO shows "Chernobyl" and "The Last of Us".  Unfortunately, Mazin was removed from the project, leaving Roth and Joe Crombie to handle the movie's script.  It had some intriguing ideas in developing its characters and world-building, especially Lilith, who shares a traumatic connection to her home world of Pandora.  However, its constrained plot and rushed pacing sabotaged this opportunity to expand these characters further, resulting in a lack of compelling stakes for its tamed group of insane misfits.  There's also the matter of its visual effects.  While some effects were decent enough to display Pandora's wastelands and vivid aesthetics, the rest fell short of achieving the same impact.  There were a few sequences where I could tell they were filming them in front of the green screen.  Fortunately, it's not as overbearing and excruciating as the green screen effects in the fourth "Expendables" movie, so that's a plus.

Overall, "Borderlands" is a tame yet mildly amusing space adventure that doesn't reach the level of chaos and heart I was hoping for.  I can admit that the film is flawed, but not to the point of being the "worst video game ever" or even the "worst film of the year".  It delivered some of the fun aspects it promised from the marketing, including its action and tolerable cast, which were enough to prevent it from being mauled by bandits.  Regarding everything else, it's also a generic sci-fi blockbuster that failed to strike an intriguing chord with its thin characters and constrained script.  The humor and visuals were also hit-and-miss, but not to the point of being excruciatingly barbaric, making the film a slightly watchable addition to the video game movie collection.  Fans of the video game series may not be satisfied with the final result, but those willing to see it for the cast and action may find a couple of loot within its lackluster product.