BrightBurn Is An Effective Yet Severely Restrained Horror Flick That Makes Audiences Wonder What If Superman Was Evil.

       If Superman was reimagined as a horror movie, it would look similar to BrightBurn mixed with a teaspoon of The Omen in terms of parents getting an adopted child mysteriously, that turns out to possess a dark and unnatural force to them. BrightBurn was a horror film that was greenlighted with the intention of showing that concept with James Gunn as producer. The script was written by his cousin and brother Mark and James Gunn, with the film originally being announced as an Untitled James Gunn Horror Project. As a setup, the concept is brilliant on paper as it provides an unusual twist to the superhero genre as well as a detour from the current trend of feel good comic book movies that has become a recurring trend in today's Hollywood. What makes this one unique is not just that the film has horror elements to it, but it also begs the question of what would Clark Kent's story arc look like if he was evil, sinister, cold-hearted, and power-hungry with a motive that essentially was about taking over the world through the use of his powers. If Man Of Steel was made as a comic book with a horror movie twist, this would be it. BrightBurn is an interesting concept that's dark, creepy, effective, and ultimately entertaining though it doesn't fully reach its potential, but the end result is also not a total failure.

      The story for BrightBurn centers around a young farm couple discovering a small child in a crashed alien vessel near their barn. They end up taking him in and raising him as their own child. When the young kid Brandon reaches the age of 12, they begin to question their decision once they notice abnormal patterns about his behavior with unexpectedly violent acts occurring which inflicts harm upon others mysteriously. What keeps this one afloat is its unique concept which manages to blend the superhero and horror genre together even if the end result doesn't reach its full potential. James Gunn positioned this movie as being the answer to the question of what would Superman or Clark Kent look like if they turned evil or if the story itself was dark. This movie essentially delivers that answer to the audience though it clearly could've and should've been deeper. The idea itself is genius and allows for a lot of opportunity involving free reign with the story to emerge. A Superman style character turning evil would be legitimately frightening and creepy with Gunn and the writers making sure that concept is explored in depth here. The film is smaller in scale than the comic book movies it draws parallel to with the horror elements being the movies strong aspect, particularly the jump scares and creepy moments where Brandon uses his powers in a sinister style. The films narrative is straight-forward while carrying with it healthy doses of blood and gore with a climax that reminds viewers of the 2012 film Chronicle. Being darker than the superhero films surrounding it is the best decision the filmmakers took in their approach to this story as the movie succeeds in its horror aspect, but also feels like it could've done more with its plot had the budget been larger and the running time over two hours instead of just an hour and a half to give both the plot and its characters maximum development. While it can be a negative thing that the movie doesn't allow for the plot to fully explain where Brandon came from and where he got his powers, it also benefits the character as the audience doesn't know much about his backstory making the whole situation intriguing, mysterious, and creepy.

      The acting from the main cast is strong with Jackson A. Dunn turning in a strong and effective performance as Brandon. He conveys all the right emotions with the part being emotionless, creepy, and aware of everything going on around him. In terms of his performance, Dunn is near perfect in the role and hits all the right notes making him a Clark Kent/Superman one does not want to mess with nor see in real life. He also feels like a young Damien from The Omen series giving off a dark and possessed presence with the parents realizing their perfect child is really a force of evil. Elizabeth Banks does a fine job playing Brandon's adoptive mother Tori Breyer, she too hits all the right notes being the caring, worrisome, and protective mother of Brandon refusing to see the red flags and warnings her husband tries to inform her about Brandon until things truly get out of hand. David Denman does a fine job playing Brandon adoptive father Kyle Breyer. At first he tries to be an honorable father figure to Brandon, but soon discovers that something is not right with their kid and tries to warn Tori about it once he slowly puts the pieces together. The actors as a trio do an excellent of selling this twisted Clark Kent style horror story to the audience with the older actors making for convincing adoptive parents who just wanted the opportunity to raise their child, though they didn't fully realize what they were getting themselves into when they discovered Brandon's spaceship. Despite the strong performances from Banks and Denman, it is Dunn who makes the film ultimately work despite its flaws as he delivers an enigmatic performance.

      As far as directing and writing goes, David Yarovesky does a solid job creating a dark and mysterious tale, that has the right atmosphere and tone in regards to showing a twisted version of the Clark Kent story. One can feel the enthusiasm that Yarovesky has in regards to putting this story on the big screen with the strong yet flawed screenplay by Brian and Mark Gunn. The films best card that it uses is the "What if Superman was bad?" scenario and plays it out effectively though not as far as it could've gone. Instead of showing Brandon taking over a small town ultimately with his powers, why not go full on with the Clark Kent story and show him taking over the world Superman ll style like with General Zod and his Krypton accomplices. Outside of Brandon and his parents, the rest of the characters in the story are flat and cardboard cutout characters from a typical horror movie leaving little to not impact on the audience when they become terrorized by Brandon. The film only works because of its concept of a kid desiring to be evil and one day rule the world with him beginning to do so by killing people. While the concept provides a brilliant marketing strategy to get the project made as well as bring audiences to the theater, it doesn't go as far as it could've went with the story. The character development also isn't done to its fullest potential with Brandon's parents shown never trying to correct Brandon when he does something that's cruel or vile. For someone who is trying hard to not reveal his evil deeds to his parents in hopes they don't figure out what he's done, he shows little or no emotion towards them (That's not a criticizing of the main actor, that's an issue with the films writing relying too much on its concept to do the work). The sheriff in the film is poorly developed and useless essentially along with Brandon's uncle and wife, the audience just doesn't care about them on the level they should when bad things happen. If one removes the Superman aspect from the story, it ends up looking like another generic low-budget horror movie that's entertaining but ultimately forgettable.

      On a technical note, the films pacing moves the film too fast for the type of story it carries. This is one instance where the story could've benefitted from having 30 extra minutes of story and character development. The end result feels rushed and less effective with its 90 minute running time making the editing the films biggest issue, as it feels like large portions of the film were left on the cutting room floor making the transition of the film feel uneven and messy at times rather than flowing naturally. The moments where the film introduces subplots that are interesting aren't given enough time to fully develop as the film moves to the next scene. In terms of the films level of blood and gore, the horror elements are where the movie shines with Dunn's performance accompanying it. The film has some truly brutal scenes that horror fans will take delight in once Dunn goes on his killing spree. Despite its promising and powerful concept, one can't help but feel the story is ultimately held back by its small budget as opportunities were missed here to explore why Brandon chose such a dark path and preferred to harm others.

      BrightBurn is not a bad movie by any means but its also not a great one, it falls into the category of a film that feels rather unfinished. This movie needed more of everything essentially from more character and plot development to a bigger budget to allow its true potential to shine. The "evil Superman" concept here is what carries the movie but without the proper development it just feels like a cheap wallpaper tactic to sell tickets. As a horror flick, its mildly entertaining and overall passable as it works on that level. However, given that the film was meant to present audiences the what if scenario of could Superman actually be evil and show the consequences of such a  revelation, the film needed more for it to really leave an impact with audiences. Instead they'll just have to settle for an entertaining yet forgettable horror flick, with a dose of a comic book origin story to it. It has been stated by James Gunn that the hope is to make a sequel to this story and expand on the concept introduced here. Hopefully that film has a bigger budget as well as a longer running time to really get the story off the ground. BrightBurn has moments where it actually works and can be truly intense enough to make it worth watching overall, but one can't help but feel let down by it given the massive potential it had. Turning the concept into a horror/thriller was a noble approach but it didn't have the right impact needed for it to truly make a splash with audiences.

Final Verdict: Worth a Redbox rental but that's all.

Netflix's When They See Us Is A Powerful, Gut-Wrenching, and Eye-Opening Experience That Shows Audiences The Horrors Of Injustice

      Few movies or television miniseries will hit you in the heart and stay with you long after they are finished but Netflix's When They See Us proves to be one of those cases. The overall experience is one that is nothing short of being powerful, depressing, life-changing, and informative as this miniseries will not only hit audiences hard but make them question what it means to find justice in America. Helmed by Selma director Ava Duvernay, she brings another true story to life on film and manages to strike an emotional chord with audiences that not only makes them think about the scenario being presented, but brings a shocking truth with the narrative she's trying to show. Netflix's When They See Us is a miniseries that needs to be both experienced as well as seen and discussed by family and friends in order to fully grasp the scope of the story it depicts so well and does so in a way which is unforgettable, disturbing, and ultimately inspirational. Unlike many Netflix shows and specials, this one strikes a chord and stays with you long after its over even going as far as questioning ones own freedom while realizing it should never be taken for granted. Although When They See Us doesn't quality for the list of the years best movies, it certainly deserves to go down as one of the best TV shows or miniseries this year as its not just a presentation, its an experience that should be viewed by the widest audience. If this was an actual film, it would already be a lock for numerous Golden Globe and Oscar nominations as the end result is a triumph in great filmmaking as well as a dramatic portrait of human nature.

       The plot for When They See Us centers around five teens from Harlem being falsely accused of a brutal rape of a female jogger in Central Park, branding them the Central Park Five. The miniseries covers their arrest, their interrogation and forceful confessions, their court trails and sentencing, the aftermath of their time in prison, and ultimately their vindication when the actual rapist of the female jogger comes forward with his own recollection of the infamous attack with DNA testing proving to be an exact match. With the miniseries, director Duvernay chooses not to hold back and presents both the facts as well as the drama with her strong directing skills as well as the films brilliant screenplay and an extremely talented ensemble cast of actors that accompany her. Whereas Selma showed huge potential with Duvernay as a filmmaker, its this miniseries that showcases not just the scope of her talents but her depth and determination to deliver a story that's both disturbing, powerful, and ultimately hard-hitting with its end message. She makes you care about the Central Park Five showing both their duress as well as capturing their innocence as they're being forced to confess to a crime which they had no connection with. She manages to capture the humanity of the kids during their trial and aftermath while effectively handling the scope of the story. The miniseries as a whole is heartbreaking and tough to watch at times (Particularly the prison scenes involving Jharrel Jerome's character), but also serves as a powerful experience as it shows people who suffered under an imperfect and deeply flawed justice system. In an era where police misconduct is at an all time high as well as the debate over criminal justice reform, the timing was perfect for Duvernay to enter the picture with her extremely powerful and unforgettable miniseries that rightfully earns its impressive 16 Emmy award nominations.

     As far as acting performances go, the cast is amazing here with the child actors delivering totally believable and stunning performances with the adult cast serving as strong parallels with an equally powerful supporting cast. Asante Blackk, Caleel Harris, Ethan Herisse, Marquis Rodriguez, and Jharrel Jerome all deliver strong to amazing performances with Jerome stealing the show from everyone as well as carrying the strongest character arc as he went from being the one person who wasn't even involved to suffering the worst out of everyone during his time in prison. Coming off a strong breakthrough performance in the Oscar winning film Moonlight, Jerome earns his first Emmy award nomination for a performance that's both brilliant, heartbreaking, inspirational, and ultimately unforgettable. The fact that he is able to play the young and older versions of himself both in and out of prison is unbelievably impressive and shows pure dedication and devotion to the story and character. In terms of the performances of the older versions of the young actors, Gotham's Chris Chalk shines in his role along with Freddy Miyares in what's arguably the second strongest arc of the young Central Park Five followed by Justin Cunningham, Jovan Adepo, and Jerome. The casting of the young and older versions of the Central Park Five is believable and comes off as being totally convincing. As for the films supporting cast, the list is strong and highly effective with Kylie Bunbury turning in a strong performance as Kevins sister, Felicity Huffman in a strong performance as the infamous Linda Fairstein who later received backlash for her part in prosecuting the young boys, Bate's Motels Vera Farmiga once again shining through as prosecutor Elizabeth Lederer. Unlike Fairstein she has an idea that the kids are innocent but is forced to carry out her job though is shown to be uncomfortable with it, John Lequizamo and Michael Kenneth Williams deliver both strong and haunting performances as Raymond Santana and Bobby McCray's loving yet flawed fathers, the film shows both their imperfections as well as their love for their children as they didn't know what to do with the situation that emerged. The audience clearly gets to see with these two main characters the toll that the case took not just on their sons lives but the lives of their families both before and after. Other strong supporting roles come from Dawson's Creek's Joshua Jackson as the Central Park Five's lawyer, who believes in their innocence from the start and genuinely tries his best to secure their freedom, X-men's Famke Janssen does well as Manhatten prosecutor Nancy Ryan, who discovers the Five's innocence when another suspect comes forward with a full confession and offers a DNA test. Blair Underwood as one of the kids attorney, and Die Hard 2's William Sadler playing one of the crooked cops in the investigation. One can go on with the impressive casting displayed within the miniseries, but the point is made that both the casting and performances are impeccable and worthy of total celebration. Everyone appears to be absorbing the source material and bring their A game to their roles, ultimately creating an experience that often feels special and informative for large portions of its audience.

      In terms of directing and writing, Ava DuVernay delivers what can most arguably be described as her masterpiece as a filmmaker. With this miniseries, Ava doesn't hold back nor shy away from the harsh realities of the story such as the experiences the Central Park Five endured both during and after prison as they attempted to pick up the pieces of the broken puzzle which tragically was their own lives they were putting back together. DuVernay made you peek into the soul of these men with the characters Raymond Santana and Korey Wise having the strongest character arcs with both being acted out brilliantly by both the young and older actors. DuVerney films this one in a way which places the boys in a nightmarish hell in which there is little to no escape with her incorporating a blue filter to enhance the intense mood. Her direction remains focused with her capturing the full emotions of the Central Park Five characters as well as the families experience in coping with the reality of the situation. Despite the overall scope of the story, she keeps the story focused on the boys and what them and their families lost over a decades long ordeal. Her directing also shines in regards to creativity during the courtroom scenes where she places emphasis on the different styles of language the lawyers use with intense focus on the rhetoric that's shown by both the prosecutors (Fairstein's character for example) and the reporters to describe the Central Park Five as animals basically who committed a heinous crime. If this film was a wide theatrical release as a shorter Hollywood film, DuVerney would easily be up for an Oscar nomination for Best Director for her phenomenal work here. This is her finest hour in terms of directing and one looks to the future with great anticipation to see what else she does as she crafted a story that's both powerful, and informative. The screenplay by DuVerney, Julian Breece, Robin Swicord, Attica Locke, and Michael Starrbury feels complete with the story feeling like it was fully covered while giving humanity to the main characters while giving notable light to the supporting cast. Given that the miniseries was broken up into four total parts, the writing as a whole was very strong and allowed for both the story and characters to progress with each of the four episodes getting more dramatic and intense in scope. In terms of overall impact, the last episode probably was the one that hit home the hardest once audiences see what happens to Jharrel Jerome's character.

     Overall the miniseries as a whole is an unbelievably powerful experience that needs to be seen by everyone willing to watch to understand the significance of it. Out of the four episodes the ones that are the most powerful are probably the first and the fourth episodes with the latter being absolutely chilling. When They See Us genuinely feels like a case of lightning in a bottle as the acting, the writing, and directing all seem to combine together beautifully to create an experience that will both enlighten and haunt its audience. The miniseries as a whole showcases the injustice that both black and brown people experience at the hand of law enforcement while carrying within it a desire for justice as well as the truth. In the end, When They See Us until surpassed should rightfully go down as Ava DuVerney's best as well as most personal work as she clearly gives her all as a filmmaker into telling such a beautiful and haunting story, The acting here is amazing with the writing, directing, and cinematography being top notch. In terms of pacing, the miniseries is a slow burner but an experience that should be endured for those who want to see what the hype is about. Netflix's When They See Us delivers an empathetic yet harrowing glimpse into a landmark case that involved five young men who committed no crime yet ended up enduring a decade of suffering both inside and out of prison for a crime they never committed. DuVarney delivers a miniseries to audiences that challenges them to watch, to reflect, to think, and ask themselves what it means to seek justice and whether everyone will receive fair treatment at the end of the day, or them for that matter. If this was a film, it would hands down end up on the list of best movies of 2019 but instead it will have to do for best miniseries of the year. Reported to be one of the most watched Netflix specials so far this year with a total of 23 million views, When They See Us is not just a powerful viewing experience but a vital one in terms of showing how young teens can be exploited and framed for both political and career gain.

Final Verdict: A MUST SEE

     

Shaft 2019 Is A Mildly Fun Sequel/Reboot That's Watchable Due To The Performances Of Samuel L. Jackson and Jessie Usher

       The Shaft franchise has been one that's been present in film history since 1971 with the release of the first film which starred Richard Roundtree in the title role. What originally was conceived as a blackploitation film went onto become a cult classic spawning two other sequels prior as well as a 2000 sequel starring Samuel L. Jackson directed by John Singleton. While the 2000 film was fairly successful, it took 19 years for the franchise to take off again with another sequel. The new Shaft film which also stars Samuel L. Jackson with Richard Roundtree appearing once again in this film as the older Shaft, attempts to bridge three generations of Shaft characters as well as films together to celebrate the history of the franchise while extending it to a new generation. While that concept in itself isn't a bad idea, the end result with the films script leaves much to be desired with the film lacking the strong antagonists the 2000 sequel carried along with a more relevant plot. Despite the films rather disappointing script, the film is saved largely thanks to the performances and chemistry between Samuel L. Jackson and Jessie Usher in the leads along with a hilarious supporting role from Richard Roundtree. Shaft 2019 is a flawed but fun entry in the series, that ultimately entertains despite a weaker script than its predecessors.

      The plot for the new Shaft centers around the return of the no-nonsense private investigator wearing a leather-clad jacket named Shaft as he attempts to connect with his estranged son JJ, whom he neglected most of his life. His son JJ Shaft, a cyber security expert with a MIT degree, enlists the help of his father whom he hasn't met before prior to uncover the truth behind his best friends questionable death. The plot for the new Shaft is one that's primary focus is on the relationship between Shaft and his son leaving the rest of the plot with much to be desired. Gone from the previous film is the strong villains that the audience despised in the previous one played brilliantly by both Christian Bale and Jeffrey Wright. Also gone is Shaft's work in the police force as well as the commercial plot that the previous film had that made it appeal to a wide audience. While the 2000 film wasn't perfect, it did a fairly solid job of bringing the character of Shaft into modern times with a plot that was relevant and hit home regarding Shaft solving a race-related murder. The new Shaft film lacks those core elements that would've really made it stand out and potentially be better than the film before it, but instead it feels like a step down and not worth the 19-year wait for fans of the franchise in some aspects. It can be argued that the new Shaft film is a more personal portrait of the character rather than having him perform his detective work but even so, it doesn't help that outside of him trying to reconnect with his son, the story isn't very interesting and the humor which can often be hilarious for the most part can also come across as being rather homophobic, misogynistic, and politically incorrect at times (Though that might've been intentional to show the generational distinction between Jackson's Shaft and Ushers with Jackson's Shaft being out of touch with today's world which ushers Shaft resembles). Comparing the plot structure, character development, and villains from this movie to the 2000 one, Singletons movie for the most part did it better although Samuel L. Jackson's Shaft in this movie feels more like the traditional Shaft from the 1970's rather than the commercial one in Singleton's film.

      The films greatest strength lies within its acting performances. Samuel L. Jackson and Jessie Usher steal the show with Jackson proving once again that he was born to play the role of John Shaft and nails it. Whereas his character was cool and collective in the 2000 movie yet felt restrained due to the aim to make the film appeal to a wider commercial audience, 2019 Shaft is more goofier, blunt with his commentary and thirst for women, and chooses to do whatever he wants without little to no limitations. Jackson gets free reign here as Shaft and delivers once again showing audiences that he's the perfect successor to Richard Roundtree in terms of playing the part. Jessie Usher does a very good job playing the nerdy son of Shaft, who holds a grudge against his father for neglecting him all those years while pretending not to care when seeking his help in solving his friends murder. It proved to be an interesting dynamic to see Shaft Jr. be much different than his father as the generational gap between the two characters clearly shows with the twist being Jr. slowly falling into his fathers footsteps. Regina Hall shines as Shaft's former love interest, who also pretends to not care about John Shaft but secretly still is very much in love with him. Richard Roundtree returns as the uncle to Samuel L. Jackson's Shaft with an interesting plot twist being that he's actually Jackson's Shaft's father but pretends to be his uncle (A clever way to bring all three generations of Shaft together and connect the films as sequels to each other). Alexandra Shipp does a nice job playing JJ's love interest Sasha with Titus Welliver being effective as an aggressive yet cliched chief Special Agent Vietti. Despite a messy script that feels seriously uneven at times and pasted together, the actors all bring their A game and make the experience a fun one to sit through.

      In terms of the films directing and writing, Tim Story proves that he can work with an ensemble cast of actors though he's no John Singleton when it comes to crafting a story that's both entertaining but carries a weight of relevance to it. Story's primary focus here seems to be the relationship between Shaft and JJ as he centers the film around those two characters and builds off the stars chemistry. Unlike Singleton who brought a more serious tone to the plot with his film, Story chooses to embrace the wild nature of Shafts character and emphasize the generational gap between him and JJ. The moments where both main characters correct each other in terms of their attitudes and actions are moments the audience get their moneys worth but everything else leaves much to be desired. The screenplay by Kenya Barris and Alex Barnow is the films biggest downfall as it feels all over the place and not as straight-forward and consistent as Singletons movie. Whereas that film dealt with themes pertaining to hate crimes and the lack of justice when it comes to a murder of a person of color, Shaft 2019 has none of those serious messages and instead focuses on primary troubled family themes such as abandonment, estranged fathers, parenting, PTSD, drug traffiking, veteran issues, Islamophobia, and drug addiction. Whereas the new Shaft has important themes that are relevant to today's culture and political climate, the film makes little attempts to expand on those issues with the plot and instead focus on Shaft trying to be somewhat of a caring father even if he appears to be a bit clueless on how to achieve that.

     Shaft 2019 wants and desires to be the sequel that reboots the Shaft franchise for today's audiences compared to the 2000 film except John Singletons movie for the most part appears to be the better film in nearly every aspect other than giving audiences the proper version of John Shaft that this film delivered ironically. It also goes to show that Singleton is a stronger filmmaker than Story is and can blend popcorn entertainment with socially relevant themes. Shaft 2019 doesn't suck, its just disappointing given it could've been a much better film than what it turned out to be and probably would've done much better with both audience reception and box office if it had a stronger script. Given how intriguing and innovative the character of Shaft was for his time in the 70's as well as being effective in the early 2000's, perhaps his character is a bit outdated now as his views on women and bluntness to say the most obscure things feels out of touch and awkward with his style of humor given today's climate. Perhaps that was an intentional move to showcase the distinction between John Shaft and J.J as the latter is more proper and respectful towards women as Shaft's character views them essentially as either trophies or meat. Despite how messy the script is, the overall film isn't terrible and is worth watching by fans of the series. However they shouldn't expect more than just mild fun with the main actors and not go in with much enthusiasm aimed at the plot as they will be severely disappointed. If one goes for the chemistry between Jackson and Usher with a strong supporting performance from Regina Hall and some reasonably good laughs depending on ones taste, the film will suffice as decent popcorn entertainment but won't be much more than that. It certainly doesn't have the stamp that other filmmakers placed on the franchise, it just serves as being passable with a noble attempt to bring three generations of a badass family tree together despite the overall outcome being a bit lackluster. Though seeing all three Shaft characters in action alone is worth the watch.

Final Verdict: Worth a Redbox to complete the Shaft trilogy but that's about it.

Detective Pikachu Manages To Be A Surprisingly Fun Ride For Both Fans And Non-Fans Of The Franchise

      The Pokemon franchise is one in which you have to be an absolute fan to fully enjoy and understand the scope of the story and characters. This movie was aimed directly for them as its story and characters cater to the fan base that's stuck with it for multiple decades. Growing up in the late 90's and early 00's era in school, one would be hard pressed not to know the name Pikachu or have the image of what he looks like burned in your mind because chances are, you had friends or family members that were fans This movie was made for them as its going to win over most if not all of the fan base. For the rest of us casual moviegoers and audiences, it helps that the team behind Detective Pikachu did a very good job of attempting to open the story up to a wider audience by commercializing its characters and plot. Hiring Ryan Reynolds to perform the voice of Pikachu was also a plus as it appealed to a wider base of fans outside of the Pokemon circle. The only reservation that a non-fan would have about seeing this movie, is whether they'd be able to understand the characters and plot. Thankfully they will be able to as the story is surprisingly straight-forward while adding both heart and charm to the film. Based off a 2016 video game of the same name, Detective Pikachu is a surprisingly fun and heartfelt movie that honors its source material while bringing its unique world to the big screen with great care taken in an effort to appease the fans while hoping to entice new ones.

      The plot for Detective Pikachu centers around a world where Pokemon and humans live together and collaborate as partners to do battle. In this story a young man played by Justice Smith discovers that his father has been killed in a car accident. Convinced that his father is still alive and raising doubt to the official report, he decides to seek the truth and partners with his father's Pokemon Pikachu (Voiced by Ryan Reynolds) in order to solve the mystery of his fathers disappearance. Detective Pikachu tackles themes including the death of a parent, science being used for evil, experiencing grief, getting second chances, trust, parenting, estranged families, forgiveness, coping with loss, and regaining ones memory. The films ultimate message within all the fun, humor, and charm says that its indeed possible to have a second chance and that not everyone is a terrible person. The plot for the film is not just a joy for Pokemon fans, it also entertains those who are less familiar with the universe because the film is full of laughs, full of charm, full of excitement and most importantly its full of heart. The film does a great job with making you care about the main characters particularly Justice Smith's character, Kathryn Newtons, and Ryan Reynold's Pikachu. The story almost feels like a kids version of Lethal Weapon as it incorporates all the familiar elements of a buddy cop movie such as the two misfit characters being forcibly paired together to solve a case with them not getting along at first but end up becoming the ideal pair to solve a pivotal case. Add to that a generic murder mystery and the key moments where the main detectives grow not just as partners but also as friends and one has the DNA of a classic detective story disguised as a Pokemon movie. The story never feels boring nor tired, it retains its level of fun and excitement throughout while carrying with it a nice message regarding redemption and forming unlikely friendships.

      In terms of acting performances, Justice Smith impresses as the main character Tim Goodman. Smith is appealing as a lead showing both emotion and demonstrating strong chemistry with his co-star Ryan Reynolds as Pikachu. As good as Smith is in his human role, it is Reynolds who steals the show and makes for a terrific Pikachu. Reynolds is brilliant here as he is both funny, charming, and heartfelt while helping to broaden the character as well as the plot to audiences not familiar with the universe. Kathryn Newton delivers a likable performance as Lucy Stevens, an aspiring young reporter and love interest to Smith's character. Newton shares strong chemistry with both Smith and Reynolds making for an effective trio. Ken Watanabe and Bill Nighy deliver strong supporting roles bringing nothing but class to their minimal yet pivotal roles. Suki Waterhouse shines at playing a shape-shifting hench woman. It helps that the film has human characters that are strong and likable to compliment their Pokemon counterparts especially when taken into account that audiences are going in for the latter characters and not so much the human ones. Despite the strong performances from the main cast, it is Reynolds work that's the films main selling point as he brings much laughs to the audience when allowed to be goofy. If anyone ever wondered what Reynolds come across like performing a PG style Deadpool. look no further.

      As far as directing and writing goes. Rob Letterman is no stranger to helming family-oriented movies as he's delivered strong work in the past ranging from Monsters Vs. Aliens to 2015's Goosebumps with Gulliver's Travels with Jack Black being his only true misfire. One thing that can be said about Letterman is his ability to remain faithful to previously established source material while modernizing it. Goosebumps 2015 is a prime example with that film not only providing nostalgia for fans of the book series and TV show, but also providing a breath of fresh air for the stories. Letterman creates a family film that's visually appealing while knowing how to entertain and move its audience with the friendship between Tim and Pikachu as well as the films surprise end twist that's both heartwarming and bittersweet. In addition to the Lethal Weapon style story, the film feels like a futuristic version of Who Framed Roger Rabbit with Roger being switched out with Reynold's Pikachu. Like previously stated, if Deadpool was reduced to a PG version style of character, it probably would end up something similar to this. The screenplay by Dan Hernandez, Benji Samit, Rob Letterman, and Derek Connolly is strong and meshes all the detective and family friendly elements together very well. The only criticisms that can be directed at the script is the revealing of the films main villain, which can be argued as feeling a bit predictable before the ultimate reveal as well as the lack of memories Tim has of his father which makes the end reveal an effective yet awkward twist. Besides those flaws, the screenplay is smoothly written allowing for character development as well as relentless jokes and twists. The writers succeed in making the audience care about both the human and non human ones while presenting the use of Pokemon's being forced to fight each other by humans as a form of dog fighting essentially. The concept of Reynolds Pokemon being able to talk to humans with Tim's character being the only one who can hear him feels like a twist inspired by Doctor Doolittle.

      Unlike the plot for most video game movies, the one here isn't just a serviceable plot to carry the setting, it has a life of its own and is meaningful underneath the thrills and laughs. Whereas most video game movies drown in trying to adapt their own storylines to the big screen, Detective Pikachu excels and manages to be a Pokemon fans dream come true. This movie has it all, action, humor, thrills, drama, excitement, twists and turns, and excitement. Setting the Pokemon in a universe where they can actually exist is a brilliant twist as it presents them as being larger than life to the fans as well as the general movie going audience. Reynolds Pikachu character is appealing both on a visual note as well as a character one because he manages to not only feel real to the audience but relatable. The emotion conveyed on Pikachu's face is captured beautifully with the films stunning CGI showing it on his arms, his ears, his eyes, his face, and ultimately his whole body language. The audience would be hard-pressed not to feel something when they see Pikachu harmed or sad in the film. Reynolds testament as an actor is when you hear his voice as Pikachu, the audience isn't thinking of Deadpool nor Ryan Reynolds, they see and hear Pikachu. He has a great knack for making audiences laugh while grabbing them emotionally with the next scene, showcasing his brilliance as a performer. The films visual effects and art-set decoration are top notch with the films editing being very good with the movie moving fairly quick for its 105 minute running time.

      Ultimately Detective Pikachu is the Pokemon movie fans have been waiting for as well as being a genuinely nice surprise for regular audiences. It can be said however that fans of the source material will enjoy it more than anybody else but there's more than enough charm, thrills, excitement, and laughter to intrigue and hold their interest. Seeing the real Pokemon's brought to life will mean a great deal to the fans and even send chills down their stomachs at certain points. This movie feels like one big giant love letter to the Pokemon franchise as well as everyone who grew up enjoying it, For video game fans, Detective Pikachu may very well be the movie to break the film curse in terms of making a genuinely solid video game movie. It not only is highly enjoyable but is meaningful in what it tries to say with its ultimate message. The film carries a lot of energy with it from its story to its main cast, who seem to be having a ball with the material. Its a much better film than it has any right to be given its a video game film and looking at the previous Pokemon movie attempts but Detective Pikachu manages to be a solid movie that's especially worth watching if you're a fan. Even if you aren't a Pokemon fan but like Ryan Reynolds, you will find enjoyment with this film largely due to its charm and desire to entertain by taking you on a ride through a bizarre yet iconic world. For those who are hesitant on seeing it but are interested, take the leap as its totally worth it.

Final Verdict: See it especially if you're a fan of the universe.

   

The Lion King Live-Action Remake Is Breathtaking In Visuals But Lacks The Heart Of The Original

     

      The second most anticipated movie of 2019 has arrived after Avengers: Endgame with the release of Disney's live-action remake of the 1994 animated classic The Lion King. The 2019 movie season thus far has brought us three main live-action remakes of Disney classics with the first major release thus far being Tim Burton's Dumbo. Despite the films disappointing box office intake, the film stands as being Burton's best film in years. The second major Disney remake of 2019 was Guy Ritchie's Aladdin. While that film was far more controversial with its journey to the big screen in live-action form such as the casting of Will Smith in the role of the Genie while continuing the work laid out by Robin Williams as well as the painting of caucasian extras to look more middle eastern, the movie turned out to be a solid remake despite its flaws and became a huge box office success grossing over a billion dollars worldwide thus far. Now 2019 brings us to the release of Jon Favreau's live-action remake of The Lion King. Bringing his same style of directing from The Jungle Book over to this film, the new Lion King is visually stunning and breathtaking to watch on the big screen much like that film. However, the film despite being a visual delight on the big screen, lacks the heart and energy of the original film to truly make it a classic nor stand on its own feet.

      The plot for The Lion King remains virtually the same as the original with a young Lion prince named Simba idolizing his father King Mufasa (Voiced once again by James Earl Jones). When his father is murdered by his jealous brother Scar ( Voiced by Chiwetel Ejiofor) and set up to make it appear as if its Simba's fault, Simba (Voiced by Donald Glover ) flees his kingdom to discover what the true meaning of responsibility and bravery is. Most of if not all of the original movies themes remain intact with the remake including family, respect, death of loved ones, embracing one's destiny, grief, guilt, putting the past behind you, gender roles, and power. What made the original The Lion King such an iconic animated film, was not just the state of the art animation nor the hit soundtrack from Elton John, it was the films powerful and mature themes that spoke to its audience and taught young generations the importance of embracing ones role in life along with letting go of painful pasts. With the live-action remake, Disney had the opportunity to do the same again here and really expand on that message but instead the film feels like a by-the-numbers live action remake that takes little risks in expanding on such a groundbreaking and beautiful story.

       Some of the most powerful moments from the original film such as Scar's signature Be Prepared song to appeal to the Hyenas, Mufasa chastising Simba for nearly getting him and Nala killed by the Hyenas, Mufasa's death, and Simba beginning his journey back to Pride Rock to challenge Scar for the throne are handled here with less enthusiasm and it shows as the impact of those scenes are less powerful and inspired. With the new film, the message of one not being able to deny their destiny nor change the past but should embrace their role in the future doesn't hit home like it did in the original. Instead important moments such as Simba being hit over the head with a stick by Rafiki in a demonstration to show that the past is the past and what matters is now is traded out in exchange for pointless moments such as the mouse being nearly eating by Scar traveling for a full minute before nearly being targeted. The Hyenas character development in this film was flat with their character trio arc being ruined in this film. The twist of the original movie was the audience discovered that the Hyenas were employed by Scar to kill both baby Simba and Nala. The remake has Scar not knowing the Hyenas prior and convinces them to join him in overthrowing Mufasa on the spot. If it weren't for the fact that the subplot involving the Hyenas and Scar felt rushed and the iconic Be Prepared song feeling uninspired and anti-climatic, the new approach to the story might've worked. The Hyenas in this film are largely devoid of the distinct personalities each one had previously with the audience wondering why they didn't bother to bring back the same actors to play their performances again particularly Whoopi Goldberg and Cheech Marin. The one change to the story that worked in terms of building upon what's been established previously is the revealing of Scar's past romantic relationship with Sarabi, giving the audience a deeper clue of why the relationship between Mufasa and Scar is so icy and full of tension. That's one moment in the remake that truly works with one wishing there was more expansion to the story that walked those lines rather than just copying and pasting most of the first movie.

      In terms of the cast and performances, the ensemble Favreau and the team behind the remake put together is a very strong and beautiful diverse cast though one wishes more actors from the original returned besides James Earl Jones as Mufasa. The latter was irreplaceable and was a smart move on the filmmakers part to bring him back once again. Hearing him voice the role of Mufasa once again is a treasure for Disney fans and serves as a great torch passing moment from one generation to another. The first major change in the casting call for the remake is replacing Matthew Broderick as Simba with Donald Glover. The latter proves to be a worthy replacement as Glover puts his own stamp on the role and makes you believe he's a kid trying to find his footing in the world while coming to terms with his past family tragedy. Glover is charming, funny, and brilliant in how he handles the role with no complaints aimed at him. Beyonce does a fine job playing adult Nala with her and Glover sharing strong chemistry together. Alfre Woodard does a good job playing Sarabi with her character being more complexed and fleshed out this time, one of the remakes nice added touches. John Oliver is really good as Zazu with John Kani turning in a strong supporting role as Rafiki, the latter is a worthy replacement to Robert Guillaume as the original Rafiki and Rowan Atkinson as the former Zazu. Billy Eichner and Seth Rogen deserve points for taking on the iconic roles of Timon and Pumbaa although they still don't hold a candle to Nathan Lane and Ernie Sabella's performances. Florence Kasumba does a noteworthy job playing a more serious version of Shenzi despite minimal development. One doesn't understand why Whoopi Goldberg could've reprised her role along with Lane, Sabella, and Atkinson. The films most controversial casting choice and one that still doesn't feel like it comes anywhere close to the performance from the original is Chiwetel Ejiofor as Scar. Replacing Jeremy Irons in the iconic role, Ejiofor himself does a reasonable job playing the role though he doesn't carry the same kind of intimidating presence and coldness that Irons brought to the part. The big scene where his character was meant to sing the classic song from the original is a huge letdown as it seemed like it had a strong start. Much like Jafar in the live-action Aladdin, it feels as if Disney is messing up its villains by having the wrong actors placed in these roles as they should've either gone to stronger actors or the same ones from the previous films which is true in the case of Irons. Out of the entire cast, Billy Eichner and Seth Rogen deserve the most praise for trying to add their own flavor to the characters and not try and copy Nathan Lane and Ernie Sabella entirely. They do the best with the direction their given and run their own show (That Be Our Guest reference to Beauty And The Beast however was lame).

      In terms of directing and writing, Jon Favreau can take pride in the films visual achievements. One can clearly tell that he's a kid at heart and is a fan of the original as there is a passion present in bringing the story to real life form (At least visually). The films visual effects are amazing as the animals and cinematography are simply stunning. Despite the lack of heart, Favreau manages to put the audience in the moment with the photo realistic effects accompanied by the much appreciated return of Hans Zimmer as the films main composer from the original. The movie as a whole looks like an episode out of National Geographic except the animals here can talk. Despite an impressive job that Favreau did on a technical note, one wishes he brought the same kind of heart and inspiration to the project that the older one had. The lack of enthusiasm becomes more evident the more the story goes with the main difference being when Simba runs away after Mufasas death. The latter which was originally one of animated Cinemas most powerful death scenes is treated in the remake like an afterthought which is a shame because the beginning of that scene starts out very well. Written by Jeff Nathanson, there's not much that's different from the screenplay for the original which is disappointing given Nathanson really had the opportunity to expand on certain elements in the plot such as Mufasa and Scars troubled relationship, giving the Hyenas more of a personality in comparison to what's shown in the film, expanding on the older Simba and Nala's relationship rather than throwing the Can You Feel The Love Tonight song at the audience rather quick after their brief reunion, and more of Rifiki teaching Simba about putting the past behind him. Nathanson and Favreau played it safe here which is a shame cause they had an opportunity to expand on such a rich storyline, Perhaps it was fear of angering fans that they didn't try to elaborate further on certain plot elements though looking at the final product, one wishes they took the risk and seized the opportunity.

      On a technical level, the film truly comes alive as the cinematography and visual effects are stunning accompanied by the welcomed return of Hans Zimmer as the films composer. Zimmer's music really helps elevate the movie and save certain scenes from running the danger of being emotionally dry. The films songs however are hit and miss with prime examples being Scars Be Prepared, which just sounded like him speaking fast rather than actually singing. Beyonce's main song with Simba running back to Pride rock felt out of place, coming across as being rather bland and didn't match with the tone of the scene. One doesn't understand why they didn't just reuse the same music from the original in that scene as it was more inspiring and powerful as it conveyed to the audience that Simba finally embraced his destiny. Its also a shame that Elton John's presence is nowhere to be heard in the soundtrack as his work left a powerful stamp on the original film. The films pacing is steady though strange how the new film is a full half hour longer than the original with both movies being nearly 90 percent identical. The art-set decoration much like the cinematography is phenomenal with the opening sequence feeling like a piece of everyone's childhood coming to life regardless of the rest of the movies faults. The design of the animals for the most part is incredible with the looks of the characters being spot on for the most part with the exception of Scar looking rather disappointing. He doesn't look terrible but one wishes they made him appear more closer to the look in the animated film. The films visual effects are the true standout here as The Lion King gives audiences a photo realistic experience that's in a similar vein to The Jungle Book and even James Cameron's Avatar. For that reason alone, the movie is worth seeing on the highest quality theater format which would be IMAX. One forsees several Oscar nominations in the technical category for Best Visual Effects, Art-Set Decoration, and Cinematography (Best Score doesn't apply here as Zimmer just reused most of his old music which goes against the Academy's standards of nominating him again).

      It's not that the live-action The Lion King is a bad movie (its an honorable remake at best), its just disappointing that Favreau and the team behind the new film were more focused on the films visual experience rather than bringing the rest of the movie up to those standards. The end result is worth a watch if you're a fan of the animated film but it lacks the heart, the soul, and the energy of that film. The end message about letting the past go and moving forward doesn't have the same kind of impact the first one had which is strange because both movies essentially mirror each other. The attempts to make the remake different than the original film are few and far between what's familiar. In terms of the films technological achievement, Favreau and Disney deserve applauds for creating a film that's beautiful to watch with the animals. the grass, the trees, and Pride Rock in general coming to life. There's no complaints there as audiences wanted to see this world brought to life and they achieved just that. However, that's just about the only huge praise that can be delivered to the film as the rest of it lacks the wow factor that the technical aspects evoked. The remake is almost the same film practically as the original, its just weaker in quality and lacks a soul of its own to stand on its own feet as a great film like its predecessor stands at. The moments where it did try to be a different movie such as the relationship between Sarabi and Scar or Nala's escape from Pride Rock to find Simba were nice additions but the problem is there's only a few moments of those that try to add to the story. When one thinks of a live-action Disney film that honored the first movie while giving the audience more in terms of story and character development, 2017's Beauty And The Beast comes to mind with that film having the perfect balance of both. Its strange how Jon Favreau can go from creating an awesome Disney remake with The Jungle Book to making a passable yet disappointing remake of The Lion King. At least with Guy Ritchie's Aladdin, they took risks and did their own thing while honoring the original whether audiences liked the final film or not. The same can't be said here, the end result is underwhelming and could've been so much more.

Final Verdict: If you want a visual experience, this is worth a watch on the big screen preferably I-Max. If you want story and character development, you're better off staying at home and re-watching the original as it will hit you more emotionally than this will.