“Rebel Moon — Part Two: The Scargiver” stars Sofia Boutella, Djimon Hounsou, Ed Skrein, Michiel Huisman, Doona Bae, Ray Fisher, Staz Nair, Fra Fee, Elise Duffy, and Anthony Hopkins. Released on Netflix on April 19, 2024, the film has Kora and her crew defending their home from the Motherworld. The film was directed by Zack Snyder, who also directed films such as “300”, “Watchmen”, “Man of Steel”, and “Army of the Dead”. It is the second part of Snyder’s “Rebel Moon” two-part saga. It wasn’t that long ago when visual maestro Zack Snyder introduced us to his own take on “Star Wars” on Netflix, hoping to establish a new IP franchise for the streaming service. While it provided exactly what we expected from its presentation and visuals, the first part of the space opera saga didn’t land with critics and audiences regarding its familiar story beats and characters. It didn’t even come close to reaching the level of hype and quality as the iconic sci-fi franchise that inspired the film. However, that didn’t stop Snyder from continuing the story of Kora and her battle against the Motherworld. It doesn’t excuse the filmmaker for making us wait for his extended cuts to see how much good material was cut out, but again, there’s no winning in Snyder’s universe. With that said, let’s return to this galactic universe and see if the second part could steer this ship in the right direction. The movie picks up where “A Child of Fire” left off. The former Imperium soldier turned rebel Kora (Boutella) and her surviving warriors returned home to Veldt after their victory over the Imperium admiral Atticus Noble (Skrein). However, their celebration is short-lived when they find that Atticus has been revived by the Imperium, who now seeks revenge against Kora. With the dreadnought ship arriving in Veldt in five days, Kora and her team must train the entire village to defend and fight for their home before the Motherworld bombs it out of orbit. As their latest fight approaches, more secrets slowly come to light, mainly Kora and her past as an Imperium soldier. You know that feeling when even though your interest in a franchise waned after watching an installment, you still want to see what happens next based on its cliffhanger ending? That’s my feeling toward Zack Snyder’s “Rebel Moon”. For those who haven’t read my review of “A Child of Fire”, I thought the film was simply okay. From a visual perspective, it’s a remarkably stylish portrait of a corrupted galaxy packed with gorgeous set pieces and impressive CGI. Unfortunately, the same can’t be said for its narrative, a derivative and incomplete galactic journey devoid of memorable characters and emotional depth. Because of this, I became one of the people who weren’t as excited about “The Scargiver” as we were for the upcoming summer blockbusters. Despite that, I watched it anyway because I was fascinated with the world Snyder introduced in “A Child of Fire” and the director’s stylistic vision. So, how does this epic battle compare to the first chapter of Snyder's space opera? Honestly, it's pretty inferior to what we were introduced months ago. Like its predecessor, “The Scargiver” delivered what we expected from its concept: Zack Snyder’s version of “Star Wars”. Unfortunately, it also provided the same issues that plagued the galactic odyssey, including its cliche-filled plot and mundane characters. While it slightly improved some character moments via flashbacks, the movie struggled to inject genuine emotion into its stakes, action, and dynamics. It also didn’t help that the movie felt more contained with its world-building than “A Child of Fire”, with most of the plot and action taking place on Veldt. With “A Child of Fire” being a galactic road trip across the universe, “The Scargiver” is a fantasy war film set on one planet that’s akin to “The Return of the King”, but without the satisfaction and tension of its scope and grandeur artistry. I somehow enjoyed its predecessor a bit more because of the planets it introduced and their inhabitants, which were done exceptionally well through the movie’s visual effects and production designs. One example is the moon of Veldt, which is surrounded by the vastly gorgeous landscapes around its village. While this location still looked stunning in “The Scargiver”, its appeal sadly didn’t last very long due to this limitation. Sure, they showed some parts of the different planets in flashbacks, but neither captured the same interest as the ones from “A Child of Fire”. As a result, “The Scargiver” is another unfortunate example of style over substance that attempted to copy the other cinematic epics like “Star Wars” without knowing why they worked in the first place. However, I will give the movie this: it retains the visually pleasing atmosphere that Snyder has been known for. Similar to Snyder's other works, "The Scargiver" is a stunning visual feast that is surrounded by slow-motion sequences and artistic shots that are worthy of being displayed in a museum. Although it doesn't quite measure up to Snyder's previous films, its presentation still managed to captivate me more than the characters it portrays. I would also point out that the CGI still looked stellar for its seamless interactions with the environments, mainly for the props, action scenes, and Jimmy (voiced by Anthony Hopkins). This, along with its final battle sequence, is enough to admire the cinematic craftsmanship that Snyder has delivered for years, for better or worse. It’s too bad that the immersion in this world is still overshadowed by its inferior narrative. Much of the cast reprised their roles from its predecessor, including Boutella as Kora and Skrein as Atticus Noble. As usual, their performances ranged from okay to “could’ve been better”. There were a few moments where the actors tried to inject a soul into their performances, but there were also some instances where their acting was almost as dull as the characters they were portraying. Djimon Hounsou and Anthony Hopkins were the only good actors in the film due to their performances as Titus and Jimmy, respectively. Doona Bae also provided another decent moment as Nemesis regarding her small bond with one of the village children. Also, her skills with the laser sword were enough to salvage the film’s mediocrity. It's a shame she wasn’t born in the Star Wars universe. Overall, “Rebel Moon — Part Two: The Scargiver” is another intergalactic slog whose stunning presentation struggled to heal most of its cinematic scars. Regarding the gritty visuals, action, and darkly-colored environments, Zack Snyder can do no wrong in providing galactic eye candy to his fans. However, it also further showcases the director’s frustrating attempts at matching them with an immersive story and exciting characters. Some of its character moments were slightly improved in “The Scargiver”, but the satisfaction of those scenes winds up being equivalent to space itself: vastly empty and dull. With its so-so cast, subpar direction and script, underwhelming characters, and weak emotion, the film is a disappointing continuation of Snyder’s space opera saga that’s more upsetting than promising. If Snyder and the crew are actually planning on making more “Rebel Moon” installments, then they should really start taking those criticisms to heart and consider releasing their original cuts instead of the heavily edited ones. Man, the R-rated cuts of “Rebel Moon” couldn’t come fast enough… D+
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“Challengers” stars Zendaya, Josh O’Connor, Mike Faist, Darnell Appling, AJ Lister, Nada Despotovich, Naheem Garcia, Hailey Gates, and Jake Jensen. Released on April 26, 2024, the film has the wife of a tennis champion competing against her former lover. The film was directed by Luca Guadagnino, who also directed films such as “The Protagonists”, “I Am Love”, “Call Me by Your Name”, and “Bones and All”. When you’re a professional sports player, you always have to find ways to stay on top of your game. These struggles usually happen on the court, but on some occasions, the biggest ones can occur outside of it, especially on a personal level. The last weekend of April hopes to get the summer party train going early with a couple of selections eager to get adults back into the cinema. One of these is the latest sports drama that shows that events outside the court can be just as intense as the sport itself. Tennis could be seen as a boring sport where two players hit the ball back and forth for minutes, but the power of film usually strives to make it more exciting, with this film by acclaimed director Luca Guadagnino seeking to be another example. Was it able to score some aces in the quality department? Let’s find out. The story follows Tashi Duncan (Zendaya), a tennis prodigy dominating the court through her skills. During a tournament, Tashi meets and seduces two other tennis players: Art Donaldson (Faist) and his best friend Patrick Zweig (O’Connor). After a career-ending injury that forced her to retire, Tashi marries Art, now on a losing streak. As Art’s wife and coach, Tashi attempts to help her husband redeem his status by participating in a Challenger tournament in New York. However, her strategy takes a surprising turn when they encounter Patrick at the event, pitting the two former friends against each other. Tennis isn’t usually my cup of tea, but it has maintained my interest thanks to the movies surrounding it, including “King Richard”. Of course, that’s not the only reason I looked forward to “Challengers”. One of those reasons is Zendaya, who continues to dominate the industry with her star-powered roles, including the “Dune” adaptations. Her presence usually prevails in making her movies watchable, and based on the early reviews it’s getting, the film is succeeding in maintaining her booming trend. The other is Luca Guadagnino, the director behind the movie. While I admired his unique vision, the only film I watched from Guadagnino was 2017’s “Call Me by Your Name”, which I thought was good enough to keep a close eye on his career. I also planned on seeing his previous film, “Bones and All”, but my scheduling kept me from doing so. Maybe someday I’ll check it out. So, this makes “Challengers” my second exposure to Guadagnino’s directorial vision, which promises sexual desire and drama amid the sports action. With “Call Me By Your Name” being a warm-up to my experience with Guadagnino’s vision, “Challengers” has the filmmaker go all in with a combination of sports action and romance drama and expressing the kinetic tension of both aspects. The result is a near-perfect depiction of an unhealthy romance driven by the sport that also serves as an acting tour de force for the main leads. While the direction may depend on people’s expectations from the posters and marketing, the movie has plenty to offer, ranging from its steamy sex to the engaging tennis matches, both of which serve a story’s purpose instead of being excuses for its two-hour-plus runtime. For the sex scenes, it’s easy to argue its necessity to slow a film down to showcase characters making love for all you naughty folks. Some cases prove their importance and others…well, they’re just there to grab people’s attention. “Challengers” is an example of the former, in which they drive a complex love triangle affecting the characters’ mentality in their tennis careers and friendship through its nonlinear narrative. Having a story depicted in nonlinear flashbacks helps the film maintain the consistency of the drama between the three tennis players and its pacing. The movie's primary focus is the final match between Art and Patrick, but it also depicts how they got to this position through flashbacks from their college days to the 2019 Challenger event in New Rochelle. Through Guadagnino’s vision and Justin Kuritzkes’s screenplay, “Challengers” provides a captivating and stylishly grounded outlook of a romantic relationship turned sour and a desire to be on top, affecting the friendship between Art and Patrick and their careers. Some people may point out that it’s another scenario where those desires get physical or worse. However, that isn’t the case. Writer Justin Kuritzkes bypassed those traditional elements in favor of a realistic and dramatic approach to the topics. It might not be as exciting as the other romance thrillers it’s seemingly copying, but the film compensates with a gripping and often refreshing narrative that refuses to throw in the towel. As for Guadagnino, I was impressed with his approach to its storytelling and technical aspects. The cinematography from Sayombhu Mukdeeprom was a brilliant display of immersion and visual finesse, and the editing was packed with energy without being an eyesore. The director also had a specific balance of suspense and drama that was neither overpowering nor dull. He keeps the melodrama at a minimum while ensuring the down-to-earth conversations and emotions remain interesting. It’s pretty challenging to accomplish without putting the audience to sleep, but Guadagnino found a way to make it work, and I must say, it was a satisfying treat to endure. Another example I’d point out is the score by Trent Reznor and Atticus Ross, who previously worked with Guadagnino on “Bones and All”. Reznor and Ross have crafted another fascinating piece of cinematic music that heightens the drama and tennis sequences through its techno-esque tunes. While there are a couple of moments where the score was unwarranted, it’s still a splendid piece to listen to if you’re in the mood to get yourself excited for a sporting event. As mentioned earlier, “Challengers” is a spectacular display of the talent involved, with the three main leads being the driving force of the experience. With this film and “Dune Part Two”, I will be the next person to say this might be another successful year for Zendaya. Her portrayal of Tashi has the actress volleying between feistiness and intricacy throughout her performance, with neither one fumbling once throughout its runtime. It’s uncertain whether it’s my favorite performance from Zendaya, but I will say that she remains on top of her acting game regarding her filmography. Josh O’Connor was also great as Patrick, a former friend willing to turn his tennis career around, similar to Art. I would also credit Mike Faist for keeping his career alive following his first major role in Steven Spielberg’s “West Side Story”, thanks to his magnetic portrayal of Art. It would be interesting to see if he’ll keep the streak going with the upcoming “Bikeriders”. Overall, “Challengers” is a near-perfect match that volleys between captivating romance and thrilling sports action with style and momentum. It might not please everyone with its approach to the narrative. However, it’s still a well-made and cleverly engrossing sports movie that shows that even the intense matches lie beyond the court. The main leads were terrific in their roles, Guadagnino provided a stylistic flair to the drama and tennis sequences, and the screenplay succeeded in balancing its conventional beats with complexity and realism. I also really enjoyed Reznor and Ross’s score, even though some scenes could’ve been better without it. It’s far from my favorite film of the year, but it’s another cinematic piece that made me rethink my perspective on tennis. A-“Boy Kills World” stars Bill Skarsgård, Jessica Rothe, Michelle Dockery, Famke Janssen, Sharlto Copley, Brett Gelman, Isaiah Mustafa, Andrew Koji, Yayan Ruhian, and H. Jon Benjamin. Releasing on April 26, 2024, the film has a deaf man enacting vengeance on the people who murdered his family. The film features the feature directorial debut of Moritz Mohr, who directed the short films “Akumi”, “Vidiots”, and “Hurensohn”. Mohr also directed the 2011 television series “Viva Berlin!”. It is based on a short film by Mohr and Armend Remmers. There’s no denying that if you take away those someone holds dear to their hearts, you better be prepared to face the consequences. If that someone happens to be a silent man with his inner voice sounding like Bob Belcher, you should also be ready to lose a lot of blood. Many revenge-driven movies have taught us this for years, and thanks to this latest action thriller from producer Sam Raimi, it surely won’t be the last. This film sees Raimi bringing the ultra-violent short film from Mohr and Remmers to the big screen, which promises plenty of jaw-dropping action, pulpy stylish flairs, and remarkably entertaining stunt work, more so than Dev Patel’s “Monkey Man”. Was it fun and bloody enough to exact its vengeance? Let’s find out. The story follows Boy (Skarsgård), a young man whose family was brutally murdered by Hilda van der Koy (Janssen), the monarch of a corrupted royal family ruling over a post-apocalyptic world. The attack resulted in Boy being deaf and mute, with his thoughts now being expressed by his inner voice (Benjamin) derived from his childhood video game. After learning martial arts from a mysterious shaman (Ruhian), Boy sets out on a blood-soaked journey to seek revenge against the entire Koy family. With the help of a resistance team consisting of Benny (Mustafa) and Basho (Koji), Boy must survive every dangerous obstacle, including a televised execution called “The Culling”, to complete his mission and free himself from the pains of his past. While my intrigue was set on Zendaya playing tennis, “Boy Kills World” was actually something I was looking forward to the most this weekend. Obviously, it’s because I couldn’t get enough of action movies, especially ones that are original, and the cast is quite stacked with some familiar names, including Bill Skarsgård. But more importantly, the concept behind it looked pretty darn bonkers. Yes, it’s another revenge movie we’ve seen many times before, but the way it’s reflected regarding its kinetic presentation and post-apocalyptic setting is enough to get me ecstatic about it. Fortunately, I didn’t have to wait until this weekend to see if it lives up to its potential. I attended a mystery movie event at my favorite cinema, which happens to be “Boy Kills World”, much to my delight. It would be even better if it were “Furiosa”. Hopefully, they're saving that as next month's mystery movie. Until I know for sure, I want to talk about the boy who murdered the corrupted world. “Boy Kills World” is more along the lines of “Kill Bill” on drugs than an R-rated sequel to “Boy Meets World”. The movie depicts the unnamed man infiltrating an empire and beating the crud out of people responsible for murdering his family, all while bickering with the spirit of his younger sister, Mina (Quinn Copeland). Did I mention that he was also deaf and mute? Yeah, that’s how crazy this film seemed. It delivers exactly what the premise promised, so if you expect it to surprise you with its themes and world-building, you might be disappointed by the outcome. However, if you only need a simple escape from reality, you'll easily have a great time with this high-octane, action-packed ride. Loaded with stylized energy and pulpy action, "Boy Kills World" is a refreshing and kinetic take on the revenge action formula that hits the mark with its tone. With Moritz Mohr’s experience being from the short film of the same name, he was tasked with expanding his concept into a 110-minute-long roller coaster consisting of brutalities, energetic flairs, and Bob Belcher providing color commentary. While Arend Remmers co-wrote the screenplay with Tyler Burton Smith, Mohr takes control as a solo director. Filmmakers who return to expand their short films can often succeed in honoring the source material they created. However, it also comes with the challenge of capturing the interest of those unfamiliar with their works. Based on what I’ve seen, I thought Mohr handled this challenge very well, especially regarding his vision. Its presentation exuded an intense and surreal vibe that transcended beyond its visuals. It imbued its sceneries and action sequences with a sense of frenetic energy that captivated me thoroughly. The editing and cinematography further enhanced this hallucinatory feel, resulting in an experience that was nothing short of mesmerizing. It’s as if Mohr puts John Wick, graphic novels, and video game influences into a blender and mixes them to create a blood-soaked smoothie with a lime on top of it. It should’ve tasted foul based on the description alone, but instead, it wound up being a sublime treat full of flavor and radiant pizazz. What makes it even better is how the movie balances the thriller aspect with its corny comedy vibes, mainly from Boy’s chemistry with the supporting characters like Mina. The film succeeds in providing slickness and guts to its insane yet well-choreographed action scenes, but its main success was not taking itself too seriously. Sure, the story doesn’t delve deep into its themes amid its formula, although the third act’s twist did save it from being too derivative. Nevertheless, it more than compensates with its delightful gags that seem parodic and charismatic characters powered by its impeccable cast. Despite Boy’s lack of speech, Bill Skarsgård is another actor who proves you don’t need words to put on an astounding show through your performance. His range of emotions was effectively portrayed by Skarsgård, even when his inner voice does the talking. By the way, H. Jon Benjamin, known for voicing Bob Belcher in “Bob’s Burgers”, was a perfect fit for Boy’s inner voice, and you can’t make me change my mind. Jessica Rothe and Brett Gelman were also decent as June 27 and Gideon van der Koy, respectively, which makes me glad they’re continuing to find work outside their well-known properties. Sharlto Copley also appeared as Glen van der Koy and was just as entertaining as usual. It’s pretty funny that Copley has started and ended the month of April with an action movie. The stars have perfectly aligned for the actor. Overall, “Boy Kills World” is a gloriously entertaining and delightfully bonkers roller coaster that favors murderous style over substance in the best way possible. It may not impress everyone looking for deep real-world themes amid its chaotic bloodshed and familiar narrative beats. However, the film shows that a satisfying execution of a bizarre idea and the will to just have fun with it are the things needed to make astounding popcorn entertainment. Bill Skarsgård leads an entertaining cast with his non-verbal performance, and Moritz Mohr’s direction effectively enraptures its balance of gory action and pulpy, stylized comedy. It’s the most fun I had from an action movie this year, and it’s definitely worth your time if you enjoy bizarre films like this. B+“Abigail” stars Melissa Barrera, Dan Stevens, Alisha Weir, Kathryn Newton, Will Catlett, Kevin Durand, Angus Cloud, and Giancarlo Esposito. Released on April 19, 2024, the film has a group of kidnappers discovering a young girl’s deadly secret. The film was directed by Matt Bettinelli-Olpin and Tyler Gillett (Radio Silence), who also directed films such as “Devil’s Due”, “Ready or Not”, and “Scream VI”. It is loosely inspired by the 1936 film “Dracula’s Daughter”. They say that children can be quite monsters because of their unruly behavior. But for this unique child, “monster” isn’t enough to describe her abnormality. It’s too bad the poor souls who dare to kidnap this ballet-loving girl didn’t think of that before it’s too late. Don’t you love it when kidnappers get a lovely dose of karma? This weekend brings us yet another R-rated horror film seeking to satisfy audiences with its blood-soaked carnage and monstrous chaos. This time, we have a loosely unique take on the classic tale of Dracula, in which a young girl takes on the role of a vampire feasting upon its prey. Man, Universal’s Classic Monsters Universe is really starting to go in different directions. It’s also the latest feature from the surprisingly talented Radio Silence, who’s looking to extend their winning streak in horror after they departed from the “Scream” franchise. Does the film have enough bite in its concept to deliver another frighteningly fun experience? Let’s find out. The story centers on a group of criminals formed by their informant Lambert (Esposito). The group consists of recovering drug addict Joey (Barrera), former detective Frank (Stevens), hacker Sammy (Newton), sociopathic driver Dean (Cloud), Marine sniper Rickles (Catlett), and mob enforcer Peter (Durand). Lambert tasked the team to kidnap a young ballet dancer named Abigail (Weir), who’s also the daughter of a powerful underworld figure, and bring her to a secluded mansion. There, they’re assigned to ensure Abigail’s safety for 24 hours to receive a $7 million check for each member. Unfortunately, they eventually discover that their “simple” assignment is easier said than done when they find that their seemingly innocent target is actually a vampire. This discovery forces Joey and the others to survive Abigail’s deadly wrath before they become her all-you-can-eat buffet. Movies involving vampires or any other classic monster can be hit and miss depending on the execution, especially Universal’s recent attempt to revive its iconic monsters like Dracula and the Mummy. However, “Abigail” looked like it could be something unique based on its marketing. Along with a concept that takes an intriguing spin on the classic monster movie formula, the film also features the latest collaboration between Radio Silence and Melissa Barrera following their recent “Scream” sequels. While it’s still a shame they won’t be back for the seventh installment due to circumstances, I was happy that they’re able to find more projects to work on together, especially “Abigail”. So far, the Radio Silence directors have been dominating the industry regarding their takes on the horror genre, which is still an impressive accomplishment considering their first solo feature was “Devil’s Due”. Much to my satisfaction, “Abigail” manages to keep their booming trend going with another bonkers roller coaster that’s bloody, humorous, and fun. Does it reinvent the horror formula in any shape or form? Not exactly. It’s a straightforward and mildly predictable story about a group of people getting more than they bargained for, leaving them to fight or flee from a vampiric ballerina. It offers what you expect from a movie like this, plus a few exploding bodies and brutal moments that’ll make you squirm, laugh, or even both. Yes, I did say “laugh”. While it is described as a horror thriller, “Abigail” has plenty of humor sprinkling around its dialogue and violence to ensure it doesn’t take itself too seriously, which I think is for the better. What I enjoyed the most from Matt and Tyler’s direction is that they find specific ways to balance the comedy with the horror elements without making the former forced or awkward. Not every horror movie needs to be all dark and gloomy. They let this mixture prance around gracefully like a ballerina, resulting in genuine amusement amid its scares.…or lack thereof. This direction helped the recent “Scream” sequels honor the meta-slasher franchise Wes Craven created, which still bums me out that they’re not returning to direct “Scream 7”. But I am happy that it also helped “Abigail” dance around its familiarity to provide a blood-soaking good time at the movies. Matt and Tyler also did a stellar job delivering atmospheric terror through the film's lighting and cinematography. However, the film may disappoint those seeking intense scares as it is light on them. Nevertheless, the technical aspects and visuals of the movie are enough to capture the fear of being trapped in a mysterious mansion with a vampire girl. This showcases Matt and Tyler’s expertise in the horror genre, not only in their vision but also in their ability to make scary movies enjoyable again. The screenplay by Stephen Shields and Guy Busick may not be groundbreaking regarding its formulaic traits and hit-and-miss twists, but it compensates with the surprising amount of effort it puts into its execution and characters. The gang of criminals is practically despicable, but that doesn’t make them unlikable from a narrative perspective. Each of them has a different kind of charisma and soul in their personalities, making them stand out from the other one-dimensional horror victims, even though the emotional depth is more sour than sweet. The primary example of this is Joey, whose drug addiction separated her from her son, which is all I can say about her without spoiling anything else. This is due to its invigorating cast, who all did very well in elevating the film’s terror and humor, especially Melissa Barrera, who remains a captivating presence in the film industry regarding her engaging performance as Joey. Dan Stevens was also a treat to witness as the snarky Frank, continuing his successful year following his appearance in “Godzilla x Kong”. Kathryn Newton was fine as Sammy despite her delivery being periodically bland, and Angus Cloud made a suitable final appearance as Dean before his tragic death last year. However, the two actors who stole most of the show were Alisha Weir and Kevin Durand. Weir, best known for portraying Matilda Wormwood in Netflix’s “Matilda the Musical”, was tasked to deliver a delightfully creepy vampire with a thirst for blood and ballet. The result is a remarkable turning point for the young actress that’s both charming and disturbing. I thought Weir did very well in “Matilda the Musical”, but her role in “Abigail” could be the one to put her on the Hollywood map. I also didn’t expect to enjoy Kevin Durand as Peter that much until I watched him myself. Peter's gullible yet sincere personality should’ve wrecked the movie’s tone, but instead, it adds more amusement to the characters’ chemistry. It’s enough to make me interested in Durand’s next film, in which he plays a tyrannical ape. I’ll let you guess what that movie is. Overall, “Abigail” has enough blood in its narrative veins to provide a delightfully gory and humorous ballet flourishing with style and talent. Regarding the formulaic elements in its screenplay and hit-and-miss twists, this is far from Radio Silence’s best work, with the crown still belonging to “Ready or Not”. However, I still enjoyed watching the vampiric girl play with her food. It’s simplistic to a fault, but the efforts in making the cruel characters likable and the concept entertaining and bloody are able to pirouette over its familiarity with ease. Thanks to its diverting cast, direction, tolerable characters, and atmospheric presentation, the film is another bonafide horror hit worth sinking your teeth into. If you’re a fan of Radio Silence’s other works, this film is worth checking out. B“Spy x Family Code: White” stars Takuya Eguchi, Atsumi Tanezaki, Saori Hayami, and Kenichirō Matsuda. Released in Japan on December 22, 2023, the film has the Forgers unexpectedly finding adventure during a winter getaway. The film was directed by Takashi Katagiri, and it is based on the manga series by Tatsuya Endo. Families are anything but ordinary, but we love them regardless of their dysfunctional personalities, whether they’re by blood or not. However, this family takes “abnormality” to another level…by pretending to be one. Tatsuya Endo’s manga series about a spy forming a “normal” family to prevent a war between rival nations was a bonafide hit when released in 2019, selling over 34 million copies as of this writing. It even received critical acclaim for its comedy, story, characters, and action. In response to the massive success, the manga spawned an anime television series in 2022, which gained the same amount of praise for translating the manga to the screen. Currently, the series only consists of two seasons, and its third season has yet to be announced. While the show’s future hasn’t been written yet, that doesn’t mean we’ve seen the last of the Forgers. Following the release of the first season of “Spy x Family”, a feature film was announced at the Jump Festa 2023 event, taking the characters on an unforgettable winter vacation. Although, this vacation is far from relaxing, especially with the Forgers around. After having a successful box office run in Japan around the holidays, the film finally reached the United States this weekend for American fans to join the spy-centric party. Considering my immense enjoyment of the series, this was something that I shouldn’t save for last. Does it deliver a continuation as fun and hilarious as the series, or is this family vacation a bust? Let’s find out. The story centers on the Forgers, a seemingly regular family that isn’t without their secrets. Loid (Eguchi) is the father who’s secretly Agent Twilight, a spy sent on a mission known as Operation Strix to form a pretend family and maintain world peace between the East and the West. Yor Forger (Hayami) is a kind-hearted yet sensitive mother who’s also a skilled assassin called the Thorn Princess. Anya (Tanezaki) is their adopted daughter with telepathic abilities. Neither know each other’s true identities, and they strive to keep their secrets hidden. Loid finds himself in hot water when he receives an order from her handler, Sylvia Sherwood (Yūko Kaida), to be replaced in the operation. To maintain his position, Loid must help Anya pass a cooking class at Eden Academy by making the school principal, Henry Henderson (Kazuhiro Yamaji), his favorite dessert. However, the dessert originated in a snowy region, resulting in Loid and the Forgers traveling there via a “family vacation”. His mission quickly turns south when Anya sets off a chain reaction that puts the world and her family at risk of destruction. As a result, Loid must protect his family from the country’s military squad led by Snidel (Banjō Ginga). “Spy x Family” was one of the shows I didn’t expect to love that much until I started watching it. What seemed like another goofy anime comedy was actually a spectacular mixture of spy action, slice-of-life comedy, and heart. Packed with vibrant animation, memorable characters, and boatloads of charm and laughs, the series is one of my favorite shows in the anime department, sitting comfortably alongside “Demon Slayer” and “My Hero Academia”. Plus, Anya is exceptionally adorable in the series, and Yor’s badass persona was just as satisfying as her motherly side. Yor can kick my butt anytime she wants, and I won’t bat an eye. When I heard about the film, I immediately became excited to see how the franchise would translate as a feature-length movie, let alone one made for theaters. The only anime films I thought were great as theatrical experiences are the ones based on “Demon Slayer” and “My Hero Academia” regarding the animation styles and scopes. Of course, there are also the “One Piece” movies, but I’ve only seen “Red” in the theater, so it’s not enough to compare. So, where does “Spy x Family Code: White” lie regarding the trend of anime theatrical experiences? I would say it’s similar to “One Piece” and the recent “My Hero Academia” movie regarding the canonical universe. It may be inconsequential to the series's overall arc, but the film is a bundle of fun regardless, with just enough stylish action and charm to craft a delectable dessert for anime fans to consume easily. For fans of the show and manga, “Spy x Family Code: White” is a highly fulfilling and comically entertaining expansion to the “Spy x Family” lore whose world-saving plot and scale are worthy enough to receive the big-screen treatment. But that’s not the only reason for the film’s success. It is also a fantastic starting point for newcomers and a fun, witty action comedy for casual moviegoers. The film periodically explores the manga’s concept amid its original narrative, especially regarding its characters and world-building, which should help ease people’s concerns about going into it blind. This direction assists the audience in immediately growing attached to the main characters and their attempts at keeping the faux family together. Unfortunately, this approach also includes squeezing every supporting character from the show into its 110-minute runtime, along with new characters made exclusively for the movie. It can often come across as stuffed or unnecessary, with the prime offender being Yor’s brother, Yuri Briar (Kensho Ono). If you remove him from the film, the story will remain the same. Despite its overabundance of characters, “Code: White” offers exactly what you’d expect from the series: amusing misunderstandings and comical scenarios that balance exceptionally well with its action-packed set pieces and irresistible charm. The difference is that the film is longer and more cinematic. Does it provide quality storytelling on the same levels as Pixar or Studio Ghibli? No, but it doesn’t need to. It’s straightforward but also packs enough heart and humor in its scenarios and characters to compensate for its simplicity. Part of that is due to its stellar voice cast, who reprised their roles from the anime, including Eguchi and Hayami as Loid and Yor, respectively. They delivered the charismatic and infectious flair in their chemistry as they have been in the show, especially Atsumi Tanezaki, who continues to remind me why Anya is one of the best characters in anime history. Anya is undoubtedly adorable, and Tanezaki nails that personality as always. Banjō Ginga was also decent as the film’s antagonist, Snidel, who plans to use a microfilm chip to ignite a war between the East and West. That is, until Anya unintentionally got in the way. Like the show, “Code: White” is produced by Wit Studio and CloverWorks. "Spy x Family" boasts an exemplary animation style that seamlessly integrates satire and action, making it one of the most outstanding elements of the show. The animation's cartoonish expressions and vivid backgrounds capture the essence of this genre-defying series, providing the best of both worlds that left me either laughing my butt off or amazed by its set pieces. Unsurprisingly, “Code: White” shows that the animation companies haven’t lost their groove, especially regarding its exciting action sequences. It also provides a combination of traditional animation and CGI for specific scenes. A few of them may look rough at times, but they’re hardly an issue when this blend is used to the best of its capabilities. Overall, “Spy x Family Code: White” is an immensely entertaining and wholesome addition to the franchise that easily accomplishes its cinematic mission. It’s no secret that the film doesn’t reach the high standards of animation quality regarding its inconsequential plot and abundance of characters. However, it’s still the most fun I had from an anime movie this year, let alone one based on one of the best anime shows in recent memory. Not only does it cater to fans of the manga and series, but it also works for casual moviegoers as a hilarious and suitably simplistic spy adventure that benefits from its lively humor and heart. With its stellar voice cast, great animation, delightful characters, and diverting story, the movie shows that there’s no family vacation without “family”. If you’re eager for more lighthearted adventures with the Forgers or are in the mood for teen-rated anime goodness, you should definitely accept this mission. A- |
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