**Overall : an unparalleled bizarre cinema masterpiece that approaches the multiverse in a fresh, new, ingenious way.**
I have no idea what I just witnessed. Everything Everywhere All at Once is unlike anything anyone has ever seen before. This brilliant goofy, zany, ridiculous genius movie will fry your brain cells. This film instantly establishes itself as a necessity for any true cinema lover. Ground-breaking writing that feels like a Christopher Nolan script with no limits and some eccentricity mixed in. I’m not sure if I fully enjoyed the movie, but I also can’t say I fully understand everything Everything Everywhere All at Once is. Not a film for everyone but an absolute must for movie fans or sci-fi enthusiasts.

Full Analysis at Spotamovie.com - **Intro** - Everything Everywhere All at Once is one of the best movies of 2022 and it can easily target some Oscars. It’s an incredible journey through multiverses to discover something mind-blowing that may change your existence. - **The Story** - The Wang are an, apparently, happy family. But when we begin to observe them, we discover fascinating characters with their needs, dreams and frustrations. Evelyn, in the middle of a midlife crisis, needs to learn how to cope with her anxieties, fears and family. On the other hand, her loved ones must understand how to deal with Evelyn, with their needs and how to re-think a life together. All of these crushes with the ongoing crisis of their business. An IRS auditor is making their lives challenging between invoices, debts and the risk of shutting down their business. What are Evelyn’s fears?
How is her relationship with herself, with his daughter, husband and father? And what is the multi-verse? - **Enjoy the film and our full analysis at https://www.spotamovie.com/everything-everywhere-all-at-once-review-and-explanation-movie-2022/**

Very imaginative movie. I will give it that much.
However, in my opinion this movie is not as good as all the hype. The title made this seem to me like a multi dimensional sci-fi film but the sci-fi elements are just dressing to a core plot that's quite bland. Maybe that's what the film makers were going for. To me though it was just a good movie 7/10.

I loved both Michelle Yeoh ("Evelyn") and Jamie Lee Curtis ("Deirdre") in this entertainingly surreal take on the latest multi-verse theme to hit the cinemas. The former is a lady trying to balance the books at her failing laundry who must face the wrath of the latter - an imposing IRS investigator. Add to her woes, she has her hapless husband "Waymond" (Ke Huy Quan); her recently out lesbian daughter "Joy" (Stephanie Hsu) and her imperious and disapproving father "Gong Gong" (James Hong). Frankly, this poor woman does not have her troubles to seek. Then, all of a sudden, there is a rift - and in best Lewis Carroll tradition, "Evelyn" finds herself in not just one, but in multiple realities where she has everything from superpowers to a need to save the world from beings that would permanently unravel all the layers of existence on planet Earth. It's frankly impossible to adequately evaluate the plot - it lurches, veers, wobbles and meanders all over the shop with precious little linear to guide the viewer. It is a tour de force from Yeoh, well directed and scripted - frequently amusingly - that asks just as many questions as it strenuously attempts to avoid answering. It is aptly titled - and you need to have your eyes (and your brain) on wide beam to get the most from this feast of ostensibly nonsensical, but often poignant, series of escapades that search for what could constitute any degree of life-satisfaction for "Evelyn". A second viewing is highly recommended - it has plenty more to give once you've calibrated your senses after the first time, and big screen shows off some great VFX that do not impose themselves on this character-driven movie.

A truly sensational film! The utter definition of a must-watch.
'Everything Everywhere All at Once' is impressive from every single viewpoint. I had heard murmurs of it being a great film, yet it still managed to completely smash my expectations. This 2022 release features a superb cast, a fascinating story and some top notch visuals. The editing and pacing, in particular, are brilliant.
The onscreen talent are all fantastic, but Michelle Yeoh is still the absolute standout from this. What a performance! I could watch her in this role over and over and over. With that said, Ke Huy Quan (welcome back!) is awesome as well, as are Stephanie Hsu, James Hong and Jamie Lee Curtis. Everyone plays their part very, very well.
All of the humour lands, with some parts being truly funny. It also manages to show supremely enjoyable action alongside a highly meaningful side too. In short: EEAAO is outstanding - you must see it if you get the opportunity!
Raccacoonie 👀

FULL SPOILER-FREE REVIEW @ https://www.msbreviews.com/movie-reviews/everything-everywhere-all-at-once-spoiler-free-review
"Everything Everywhere All at Once is undoubtedly one of the best movies of the year, finally putting Daniels on the mainstream radar.
With such a low budget, it's almost humiliating that so many expensive Hollywood blockbusters can't even reach the heels of so much originality, imagination, excitement, and emotion. Michelle Yeoh leads the troops in a film that also pays homage to the iconic career of the actress who, at 59 years old, accompanies the fantastic stunt team in truly outlandish fights.
The mother-daughter relationship as the emotional core of the story follows a surprisingly predictable path and needs a few more dialogues to deliver an even more powerful climax, but it still induces tears and a genuine sense of concern for the characters.
Technically, all the elements are so creatively unique that it warrants the clickbait "you've never seen anything like this".
See it in theaters!"
Rating: A

**Surviving isn't just a good education, but needs the physical training.**
This is from a supporting actor turned a director who is just one film old before this. So he wrote and directed this beautiful film. One of the best films of the years that should be in must see list. It was just like the film 'Alabama Moon', only the initial plot that extended for over the hundred minutes. The first thing is the cast, it was the best combination. Lots of future stars are here. It was more like a road movie, except in the opening few minutes.
I did not like the entire film, I found a couple of things uncomfortable. Like the killing a deer in the opening scene and the end part. The conclusion was good, I thought it was the best solution for such a story, not for the theme. But then the final shot gave me an impression that they had got compromised. After all these years hard work, I felt they had given up. That did not stop me from enjoying it and recommending it to the others. Still, it is a very unique film that tried its best to avoid the usual cliché.
This is the story of a father of six kids, raising them by his own outside the society in the wilderness. But the children are not left behind on the knowledge of the world, especially the philosophies theirs favourite topic. They are bright, as well as tough and can survive in any condition. One day when they get a message that their mother died, the journey begins to attend the funeral and during their way all the adventures are what we're going to witness.
Due to the copyright issue the birthday song was altered. Surprisingly, the film was not based on any book. So my utmost appreciation goes to the creator of this wonderful product. Surely it will be a cult classic. It has lots of great dialogue, and bold revelations in a simple way about the facts of the world. Especially like related to the sex and other grown up stuffs clarifying the little kids' doubts.
At some point I thought it was okay for the kids to watch with their parents, but it did not get better on that perspective. I mean having lots of main characters as children, the film is not good for their watch. Though the adults should not miss it, even though you are a religious person or any other kind. So highly recommended by me.
_8/10_

While Viggo's character is most certainly the protagonist, he's also not portrayed as being 100% in the right. Which really is the best way to tackle the subject matter at hand.
_Final rating:★★★½ - I strongly recommend you make the time._

It all starts with a mysterious character setting what looks like a timer, only for something quite unexpected to happen and for that perpetrator to disappear. What's going on? Well, we meet the "Barkeep" (Ethan Hawke) who is the ultimate in crime prevention agents. He uses the temporal vortex to travel back and forth through time trying to identify those who commit heinous crimes and either talk them out of it, or just plan thwart their plans. He's been doing this for quite a while thus far, but his final mission might prove to be his most difficult. There's just one criminal who has continually eluded him and it's the "Unmarried Mother" (Sarah Snook) that he has to ensnare. Now it does take it's time to get going, but it resists the temptation to use it's time travelling theme to bombard us with different scenarios and timelines and gradually focuses us on quite a characterful study of hunter and quarry with lots of probing dialogue. The effectively intimate location provided by his bar - a sort of "in vino veritas" state of affairs works well, too. What's equally clear around half way in that, well, nothing is at all clear. The characterisations blur, the events blur - and that's not the whisky. The plot interweaves their respective chronologies in such a deliberately confusing fashion as to make it impossible to readily discern just who is who or what is what, though at least that does explain why this individual has proven to difficult for "Barkeep" to apprehend over the aeons. It has a very simple, industrial, feel to it and though the visuals are quite potent they don't overwhelm the personalities and both Hawke and an impressive Snook deliver a story that I found myself caring about. If you need your cinema to be structured with beginning, middle and end then this probably isn't for you, but if you can let it wash over you then it's quite an intriguing watch.

This movie is quite beautiful to look at, especially the opening sequence, with a very noir aesthetic which really grabbed my attention. The huge exposition dump in the bar early on utterly kills the pace the beginning sets you up to expect. But by the end of the movie, it's obvious that couldn't be avoided. A bit of a mind-bender, and although a little predictable very imaginative and absorbing.

Predestination foreordained its paradoxical nature and exploited it with individuality. “Which came first: the chicken or the egg?”. An evolutionary question, now the setup for many punchlines, that has transcended time itself. The causality dilemma that considers both cause and effect. Infinite regression. Unsolvable. What really shapes a person’s biological anatomy or their metaphorical soul? Evolutionary diversity at birth or the nurturing of our surrounding environment? The aforementioned philosophical paradox is one which The Spierig Brothers held closely to the central plot that, on the surface may befuddle even the most avid sci-fi viewers, but dig somewhat deeper and find that the temporal trajectory is bursting with thematic representation. A time traveller is sent back to 1970s New York to prevent a terrorist, known only as the “Fizzle Bomber”, from murdering thousands.
To mention certain plot strands, even touching upon their delicate coating, would be to spoil this ingeniously creative film. Therefore, as a precaution, I will not discuss the second half. Including the paradoxical plot twists of conception and death. This is a mind-bending sci-fi tale that purely excels when focussing on the human elements of its characters. Forget about the jarring tonal shift from exquisitely detailed flashback narration to sudden sci-fi extravaganza. Put aside the occasional heavy hand-holding (although justified for the dense concept) that unimaginatively explains the limitations of temporal shifting. Exclude the multitude of entrancing twists that seemingly allow the narrative to crumble towards its inevitable conclusion.
Predestination works best when it’s exploring the human condition. The drive that constitutes our soul. And a central focal point, but not the sole purpose, of the story is Jane’s gender reassignment into becoming John. A “woman” valued as intersex. Internalised male organs as well as female. Despite raising transgender issues and justifiably exploring the emotional conflict of such a scenario, it’s never treated as unfamiliar territory. Much like the film in its entirety, it garners an identity. Enhancing accessibility by turning an irrelevant piece of fiction into a relevant transcendental concept. Snook gave an arousing performance of someone undergoing such a procedure. Harnessing female and male acting qualities and nudging them subtly through her performance.
Returning to the preliminary question though, the eternally talented Hawke offers this dilemma to the prognosticating Snook, who simply replies “The Rooster”. And yet whilst it was a humorous retort, it maps out the ingenious narrative cohesion that The Spierig Brothers moulded. That intimidating evolutionary deliverance, providing a cathartic allure of inevitability. They masqueraded causality through a simple life story told vividly within the confinements of a cigarette infused bar. Strangely, much like with other labyrinthine features, the second viewing allowed me to sniff out breadcrumbs more clearly. The hidden clues that the Brothers had deliberately positioned to reach the predetermined final destination. Extraordinarily clever.
The minuscule runtime should’ve been extended to better build the narrative foundations from the weight of all the mind-blowing twists, but The Spierig Brothers defied genre expectations by pushing a time-orientated story to its limits. The conventional boundaries of storytelling now extended indefinitely, addressing common time travel related issues and exploiting them ingeniously. Intelligence prevails once again.

This is a film based on the short story by Robert A Heinlein called All You Zombies. It's a fantastic film with a portrayal of paradoxes and the extent to which they can become convoluted if Time Travel was possible. And when I say Time Travel, I mean with the ability to interfere with the past and future, and not just witness. It's a tough movie to get your head around so be prepared to go back and watch it again. The cast is fantastic. _Ethan Hawke_ delivers as always. But we need to talk about _Sarah Snook_ - man she can act! She's the heart of the film and brings together the first half of the film so convincingly. It's rare that a film based on Time Travel is made without ugly holes in the plot. Predestination is one of those rare ones which is complete in its beginning and end.

Never forget that time travel is real.
_Final rating:★★★½ - I really liked it. Would strongly recommend you give it your time._

**Rare excellent story - you cannot predict whatsoever**
When's the last time you saw a film and could not even come close to predicting the ending.
When's the last time after you saw a film you had to call up your best friends and tell them they have to see this.
When's the last time you had a guest over and asked if they wanted to see a seriously twisted film - you couldn't resist that a near stranger would miss the chance to see this.
If you're in the mood for a mind luck (ie. if fish = lish ^_^) you will not want to pass this up.
Way way fun.
Can be watched - and seriously enjoyed - multiple times --> no small feat these days.

The one thing that this job has taught me is that truth is stranger than fiction.
Out of Australia, Predestination is directed by Michael Spierig and Peter Spierig (who also scores the music). The Spierig's also adapt the screenplay from Robert A. Heinlein's story "All You Zombies". It stars Ethan Hawke, Sarah Snook, Noah Taylor, Christopher Kirby and Madeleine West. Ben Nott is the cinematographer.
If we throw up a simple synopsis for this pic, it's about a time travelling agent who goes back in time to stop a killer known as "The Fizzle Bomber" - whilst helping a trans-gender man who has just told him a fascinating and emotionally wrought story. But simple is not a word readily associated with the Spierig's deliriously complicated mind meld of a movie.
The first half of film is the story being relayed by Snook to Hawke, and then the film spirals into a world of temporal loops and frazzled paradoxes. This demands the utmost attention from the viewer, a piece guaranteed to have you asking tricky questions, and also likely to have you rewinding some scenes for clarity - like I did!
This is not an actioner, this is very cerebral and sedate in tone, adult science fiction that's as audacious as it is clever. Snook is quite simply outstanding, the various layers she gives to her characterisations grip with intensity and emotional heart tugs. Hawke once again is reassuringly great - in that how he doesn't need to overact, he recognises the tone needed here, whilst knowing it's wise to let his co-star take the main stage.
Thematically the story blends its dizzying thoughts about time and its impact on the human race, with that of our basic human condition, that of identity. This is a very rewarding production for those who wont be popping off to make a cup of coffee during the viewing, it's hoped that in time this will garner more fans and be seen as something of a sci-fi gem. 8/10

Robert Heinlein’s classic short story ‘All You Zombies’ gets the big screen treatment as the basis for the Science Fiction time travel thriller ‘Predestination’, a notably imaginative film noir that craftily elevates the genre into an alluring confection. Australian cinematic siblings the Spierig Brothers (as in Michael and Peter) dutifully direct and adapt Heinlein’s Science Fiction material into a twisty tale of search and suspense. It was reported that Heinlein wrote his intriguing narrative in one single day back in the late 1950s. Well, whatever the case is behind such speculation, it is clear that ‘Predestination’ is a competent and compelling time travel vehicle that deserves its inevitable comparison to the likes of Rian Johnon’s solid and involving 2012 inventive spectacle ‘Looper’.
The Spierig Brothers and ‘Predestination’ lead Ethan Hawke (Oscar-nominated for ‘Training Day’ and ‘Boyhood’) collaborate once again as they bring together a surreal movie experience detailing with the agenda of a Temporal Agent going undercover as a barkeep known as The Bartender (Hawke) in an attempt to thwart criminal activities before they turn into actual crimes. It is worth noting that the Spierigs have coveted the zombies/vampires sensationalism in their earlier films (‘Undead’ and ‘Daybreakers’) but curiously side-swipe any references to these creatures in ‘Predestination’ despite the aforementioned ‘All You Zombies’ blueprint for inspiration. Perhaps this is a wise revelation as the Spierigs are allowed to concentrate on the ponderous SF aspects of human adventure within the varied dimensions of time, place and space.
The daring exposition gels both creatively and caustically because of the macabre mission being undertaken by the Bartender and feminine targeted scriber ‘The Unmarried Mother’ (as portrayed by Aussie actress Sarah Snook, ‘Jessabelle’). The agent Bartender is represented by a shadowy and roguish governmental outfit blessed with the ability to fight crime through time-traveling tactics. Unfortunately, the rough edges in preventing crime-ridden hedonism through time travel accessibility has not always been a smooth transition for the Agency. Also, it does not help that the constant policing corruption has spiraled out of control thus adding more pressure to the Agency to perform its watchdog duties tackling sinister plots.
There are revolving elements that shape ‘Predestination’ to become this enigmatic, head-scratching puzzle where the sense of encountering warped worlds are wondrous yet unsettling and weird. The Bartender (already a victimized and distressed pawn in the nefarious dealings of the id-70s New York City’s elusive and crazed Fizzle Bomber) soon encounters a stranger betting him that he (or ‘she’ in certain cases) can provide the most outlandish story that he has ever heard to date. Soon the boastful stranger (Snook), a ‘True Confessions’ columnist for the written piece ‘The Unmarried Mother’, will figure into the Bartender’s predestined existence in more ways than one.
‘Predestination’ is a complicated SF sideshow that touched upon some unconventional fodder that range from timely commentary pertaining to violence to topical issues of sexuality. The film skillfully presents the frailties of suspicion, apprehension and uncertainty within the tangled and playful web of time travel management. With all the nifty under-sized flashy special effects and Science Fiction trickery aside, ‘Predestination’ sparkles in large part to its committed and calculating performances by Hawke and Snook as the psychological bait that guides the audience into the transfixing insanity that persists within the confines of the storylines. In particular, Snook’s ‘Mother’ is called upon to offer a complex characterization of an individual (both female and male genders) and take us into the nostalgic timelines of the past and present while conveying shades of toughness, vulnerability and mystique. She has a sordid backstory that unfolds and adds to the tormented trials and tribulations with the obsession of catching the scheming Fizzle Bomber. In a convincing supporting role, Noah Taylor’s Mr. Robertson is instrumental in the development of Snook’s triple identity crisis as Jane/John/’Mother’.
There certainly is an old-fashioned, spellbinding vibe about ‘Predestination’ that propels the Spierigs’ trippy time-traveling spectacle to its climatic ambitions. The low-key production values are surprisingly engaging but overall the telling proof of acting, directing, writing and imagination seems to be a winning formula in conception. Of course, the other filmmaking strokes involving the crisp cinematography, soothing score and vibrant set designs further compliments this punchy actioner.
Dark, moody and visibly challenging, 'Predestination’ gleefully plots and twists its way into a hearty submission of inspired Science Fiction contemplation. After all, time does not stand still for anybody especially in the realm of Australian noir SF sensibilities.
Predestination (2014)
Sony Pictures Worldwide Acquisitions
1 hr. 37 mins.
Starring: Ethan Hawke, Sarah Snook and Noah Taylor
Directed by: Michael and Peter Spierig
Rated: R
Genre: Science Fiction/Time Travel thriller/Sci-Fi crime caper
Critic’s rating: *** stars (out of four stars)

A total mess of a film. It clearly tries to expand on the bigger picture that we missed out on last time - but the fact is that past the initial frightening idea, _The Purge: Anarchy_ is an exercise in mindless bloodshed (as is the eponymous Purge itself), and lacks emotional depth or a coherent story.

Inevitable sequel. Good idea though. It was interesting to see the poor deal with the night of terror this time. The acting wasn't great nor was it great the first time though. The first film did have a few good actors though. And the jump scares failed most of the time.
The last thirty minutes reminded me of the satirical class dividing futures of 'Black Mirror', ' Hostel' and 'The Hunger Games' but it lacked the interesting writing.
★★½

When _The Purge_ was announced, it was a hugely promising premise, that ended up being wasted in nothing more than an answer to the horror movie question of "why don't they just call the cops?".
_Anarchy_, however, delivers on that promise.
_Final rating:★★★½ - I strongly recommend you make the time._

Black Panther: Wakanda Forever was a good Marvel movie. I liked the movie so much more than the others. For me, Wakanda Forever is an enjoyable movie that I would watch again. Angela Bassett’s performance as Queen Ramonda was amazing. Letitia Wright, Winston Duke, Lupita Nyong'o, and Danai Gurira were also good as their respective characters. Namor was amazing as the antagonist of the film. Tenoch Huerta plays the character amazingly. The cinematography of this movie was amazing. I liked the underwater world of Talokan and the back story of Namor and Talokan. Dominique Thorne did an amazing performance bringing Riri Williams to on screen. I liked her first suit in the film. The second suit was good in action sequences but when the suit is still, the face of the suit looks animated. First Black Panther is my second favourite MCU film. I did not like this movie as much as the first one but overall as a film, this is a good film.

It's getting harder and harder to support these movies with the constant racist tones. How many digs/jokes against white people do you need? Even that wasn't enough for this movie they also had to get digs in against latinos as well.
How does anyone think that this is the way to equality? "If I berate you enough you'll see my point of view!" Race relations were SO much better 20 years ago...

So many things wrong with this movie. Wanna be iron man chick. The movie was better without the black panther. Could have took the black panther out the name. Just made it about them as a nation instead. She makes a horrible black panther. She looks like captain america before he became him when he was skinny. Lol! They should have just made Michael B. Jordan be Black Panther.

I have to admit that I was quite a bit hesitant about this movie. I feared this was one movie where the woke intellectual midgets of Hollywood would go overboard with their nonsense.
Luckily, the movie was more or less free of such rubbish except for maybe the lame “joke” at the end of the movie. If you are one of the woke intellectual midgets watching the movie I am sure you could find some contrived way of construing some message out of it but normal people will probably find it rather woke free.
Overall it was a pretty decent movie actually. Lot and lots of special effects and action of course and, as with Black Adams that I just reviewed, that is the main reason to watch this movie.
Unlike Black Adams, the story as a hole has more Hollywood nonsense in it though. It is good enough to propel the movie from start to finish but that is all.
The main plot of the movie is unfortunately one of those nonsensical bits. Not even a kid (actually she is not really a kid but an adult) having the misfortune of attending one of those depraved grooming and indoctrination institutes they call schools today would be stupid enough to hand over a detector that would put their African home nation in such grave danger.
Then there was that illogical rant from the Queen where she, in a emotional fit, fired her best (only) General. The cognitively impaired sock puppet might do a thing like that but not a real regent.
The part with the French in the UN was also utter rubbish. That was to please the Chinese, who are the ones that would actually do what the movie claimed the French were doing, and nothing else.
Anyway, it is still a decent movie. Certainly a lot better than quite a few Marvel/DC movies that Hollywood has produced over the last couple of years. The special effects are very nice and most of the action is quite cool.
I am somewhat concerned that they picked that rather non-charismatic and overly emotional woman to become the next Black Panther though. After all, she could have re-created the magic flower a lot earlier but instead she let her stubbornness and emotions stand in the way. Not exactly qualities you would want in the Black Panther.

I want to first state that I am absolutely thrilled about how Wokely pro-racism this, I mean it's 2022, the worst year in cinematic history, but I didn't think the Woke corporate overlords would go to this racist extreme. This is some repugnant crap and if I didn't know better, I would think that they were trying to go full Blazing Saddles and spoof racism.... but alas, it is Disney, and Disney is woke, the racism here isn't satirizing the subject, it's embracing it in all it's evil glory.
Let's start with how they castrated Namor and then move on to utterly and completely they stereotyped Latinos, right down to focusing on how wet his back is and beating him by drying off his wet back.
As if that wasn't racist enough it goes on to make it's prideful support of Black Nationalism clearly stated, the opposite of which we call White Nationalism, which is very much the purview of groups like the Neo-Nazis, KKK, and other hate groups. Wakanda Forever has done an excellent job of embracing that same ideology for the Black people of the world... and claiming it as a sort of pride.
And that, of course, is exemplified by their virtuous victory over the forces of... Latino, who are so overtly masculine, right down to their shameful gendered language (like about 90% of the other languages on the globe) that they had to edit out Namor's bulge in order to... what... show more African Racial Superiority over the Latino population, or maybe just to add corporate feminism to the Black Nationalist message.
Either way, the statement they made here was clear, Latinos bad, Black Nationalism good...
... God I can't wait until racism is something that is shunned across the board again, because the people who like this crap deserve all the respect we give to the people that loved the original Birth of a Nation and rode around the south wearing sheets on their heads.
I expected a healthy dose of Black Nationalism when I walked in, I even expected the in your face male-hating... but I thought the racism was going to be directed at people like me, you know, white people. Instead the racism was directed at Latinos and, for some reason, that seems even more repugnant given the hypocrisy that comes with it.

I just saw this great Marvelesque fresco. Very great show, special effects to cut the breath.
But where are the bits of humor that make the Marvels sympathetic, and especially, where is the peaceful spirit of Wakanda?
The writers and directors have really lost their way. We feel so strongly the American messages behind this long adventure: the importance of technology, to be a good ally you must submit.
It's such a narrow view that it diminishes the pleasure of watching it!
Come on, guys from Marvel: you got us used to better than this. Special effects and big budgets are not enough!
-------------

Chadwick Boseman is undeniably missed, but 'Black Panther: Wakanda Forever' still manages to produce an entertaining and even touching final chapter of the MCU's Phase Four.
I had a positive time with this, one good thing about watching it almost two months after release is that I got to watch this in an empty cinema - absolute bliss. Thankfully I managed to avoid all spoilers, though had heard the name Namor bandied about online so that's all I knew coming into it.
Speaking of Namor, I'm a fan. He makes for a cool new character to the universe, as does Talokan as a whole, with Tenoch Huerta a welcomed addition to the cast - first time I recall seeing him in something, and I'm impressed. The star of this 2022 flick, however, is Letitia Wright. I don't really remember her standing out in the original much, at least to me, but here Wright is excellent.
Angela Bassett is very good also, there's one emotion-filled speech scene in particular that stands out in my memory. Danai Gurira is always a joy to watch, while Winston Duke and Lupita Nyong'o are the best of the rest - though, the whole cast are good; even Martin Freeman, who I'm not always convinced by.
The film handles Boseman's absence nicely, there are some very touching moments in there. I'd say they went the correct way with the character of T'Challa, no-one would've been able to even closely replicate Boseman. The music, meanwhile, is pleasant.
I do think this has some relatively minor pacing issues, mainly around the midway point, but other than that I felt more than satisified with what I had just watched when leaving the cinema. Phase Five, see you soon!

This was such a fun movie to watch. It was long but didn't feel longer than a regular movie. There was a lot of action, but also excellent character exposition. I don't want to give anything away, but I loved the novel perspective on leadership this one evolved to. Also the contrast between how different Black Panthers inhabit that role and the implications of that.
I loved the new world discovered, with its own mythology, and the way those two worlds can come together, for good or ill. I can't wait to see where the story goes next.
Beautiful scenes and a fun story with great characters. And the tribute to Chadwick Boseman, his character, and the actor, were deeply moving and tastefully done. Great soundtrack too. strong text

_Black Panther: Wakanda Forever_ had an impossible task in the wake of the tragic passing of lead Chadwick Boseman, and for the most part Ryan Coggler does a great job at picking up the pieces and creating a heartfelt story.
I feel as though this movie is attempting to do too much though. There are so many side plots and new characters being introduced that the film has a hard time finding its footing. For as much as I enjoyed Riri Williams and here banter with Wakadans, her arch was not necessary. By omitting this character, the story could have been more focused and streamlined creating an easier viewing experience and deflating the runtime.
The writing was decent, but it was pretty exposition heavy. There were countless number of lines that were strictly feeding information to the audience, and they felt inorganic and awkward in the moment. These writing mishaps really hurt my enjoyment and constantly pulled me out of the film.
After those main criticisms, I think this movie overall does a great job in all other departments. The action is surprisingly light, but when it does come it is intense and well-choreographed. There are some really unique fight sequences and weapons introduced with the "Atlanteans" that allowed for some really cool scenes and visuals that were done with some stellar CGI. I specifically like how the final battle had some letterboxing that was not present in the rest of the film. It gave it a grand scale that I thought was excellent touch.
The performances were fantastic all around. Angela Bassett was mesmerizing and really captivated me with her emotion and distress with the passing of her son. There is a scene in here that gave me literal goosebumps. Dominique Thorne was a great addition as Iron-Heart and Lupita Nyong'o was amazing in her limited screen time. I loved Winston Duke and desperately wanted more screentime from him. He was sidelined for the majority of the film, and I think that was the wrong decision. Letitia Wright is the real highlight here. She stepped into a very difficult situation and acted her ass off. I never envisioned her as a lead actress, but she proved me wrong.
Something I want to note that I do not normally include in my reviews in the music choice. The score to this movie was crafted brilliantly and really elevate so many scenes. I enjoyed every song and feel as though it blended with the movie brilliantly.
Overall, this movie has its drawbacks but is still an enjoyable watch and one of the better movies in Marvel Phase IV.
**Score:** _75%_ |
**Verdict:** _Good_

Mourning the unexplained death of King "T'Challa", the tech-rich African nation of "Wakanda" returns Queen "Ramonda" (Angela Bassett) to the throne and she must stabilise the kingdom and try to help her daughter "Shuri" (Letitia Wright) deal with the loss of her much-loved brother. A fireside chat late one night doesn't quite go to plan though, when they are introduced to an interloper. "Namor" (Tenoch Huerta) arrives to ask their help to thwart the Americans who nave managed to design a machine that can trace vibranium, and this has put his hitherto unknown population of underwater, Mesoamerican, people at risk. Either they help him to track down the scientist who created this or there could be war. The Princess and her general head to Massachusetts where they track down a college student who is almost as much of a whizz-kid as "Shuri". The FBI are on soon their trail and skedaddle they must, straight into the arms of the waiting "Talokan" who take them to their beautiful watery homeland where we learn just how they evolved. Somewhat narked, the Queen wants her daughter back and that action sows the seeds for a conflict between the two nations that, well, you can guess the rest. Sadly, that's the problem here. Despite a really strong and vibrant performance from Wright and some very fine production values, there is precious little story here. It is far, far, too long to sustain the thin plot and the conflict engineered between the two races is flawed in more ways than an US Congressional election. The pace is really slow, the combat scenes could have been choreographed by Sir Matthew Bourne - or by a Wakandan cheerleader at their equivalent of the "Superbowl" - and the supporting characters aren't on screen long enough to give Miss Wright enough help to wade through the frequent tedium. I wasn't helped by Huerta's very thick accent which made his dialogue nigh-on impossible to comprehend at times and the denouement screamed sequel so loudly that I forgot that I'd long given up on any jeopardy at the end two hours ago. There is a bit of character tragedy, character loyalty and thankfully Martin Freeman's ("Ross" - why does he need an American accent?) appears but sparingly as we go along but Marvel must stop taking the audience for granted. They have to realise that their gorgeous Avatar-esque visual effects and technical wizardry are not going to entertain us indefinitely if the stories continue to deliver so weakly. Great to look at, a few power-ballads from the soundtrack and Wright is certainly a stylish and classy star - otherwise, this is a film nobody will remember in two years time, I'll bet!

FULL SPOILER-FREE REVIEW @ https://www.msbreviews.com/movie-reviews/black-panther-wakanda-forever-spoiler-free-review
"Black Panther: Wakanda Forever may not quite measure up to its predecessor, but it leaves a proud, beautiful, silent tribute to the legacy of Chadwick Boseman, telling an emotionally powerful, resonant story about how grief can truly be love persevering.
The screenplay runs into problems when it deviates from the central theme and tries to mix in other MCU stories/characters, with Namor and Riri suffering collateral damage. Technically, the action set pieces are mostly riveting, despite some inconsistent VFX and lighting. Score and sound production stand out in a remarkably memorable manner.
Brutally passionate, moving performances, especially from Letitia Wright, Angela Bassett, and Danai Gurira. Exquisite pacing reduces the weight of the long runtime.
Totally worth the emotional investment."
Rating: B+