Is Madame Web the worst superhero movie ever made? Not by a longshot as Superman IV, Batman & Robin and Supergirl would take a front seat in that department. Now the argument can be made it's the worst in the modern era of superhero movies, though personally it's "better" than Suicide Squad but even that one had costumed heroes in it versus MW which only had maybe a few minutes of the ladies in their costumes and even then, it's via future visions.
Beyond that, nothing really works. The direction, even with the twisty-turny camera movements felt familiar as I'm pretty sure I've seen it done before but minimally. The performances from everyone was either bland, Dakota Johnson especially, or downright awful (Tahar Rahim), not helped by the stilted and oft atrocious dialogue from no less than four writers, two of which were responsible for Morbius.
I didn't hate Madame Web more so that I found it downright dull and boring. There's no reason to watch this and with the terrible box office, the last line of "And you know the best thing about the future? It hasn't happened yet" is pretty poignant. **2.0/5**

Perhaps it was the perceived and preconceived notion that I had of this film being really bad as shown by its ratings scores from various sites, but I found this film actually really funny in a campy sort of way and better than decent in terms of not-big-budget superhero-film sort of way. In short, I came away enjoying it and unhappy with how this movie was portrayed in the movie-review media. I think it was just a piling on of the mob-mentality reviewers who tried to kick somebody who was already down, but anyway, I do hope this gets a sequel and I do hope the filmmakers continue with the campy, unintentionally funny, very quiet scenes with no theme music whatsoever style, low-budget-but-still-decent CGI, and over-all enjoyable moviemaking which can be watched and enjoyed for an hour and a half. A huge departure from those 3-hour self-important cinematic "spectacles" of today.

Wooooow. Worse than the Marvels. Why did they dance on the table for like 20 guys? Who chose those glasses? But I sure do want a crisp, refreshing Pepsi Cola. Deadly good taste.

Ouch, that average rating! I'm not going to lie though, I genuinely had a fun time watching 'Madame Web'... perhaps I should be keeping that fact quiet?
I don't know what to say, I found it to be suitably entertaining. I'm sure there are plot holes aplenty (I noticed a few) and it probably makes zero sense/isn't a good adaptation compared to its source material or whatever but honesty... I don't care, it gave me enough enjoyment that I wasn't questioning anything about what I was watching.
The cast are probably the key factors as to why I did enjoy this. I previously knew of Dakota Johnson but hadn't actually seen her in anything properly, I found her performance to be more than noteworthy and she spearheads the film strongly. The trio of Sydney Sweeney, Isabela Merced and Celeste O'Connor are positives too.
Tahar Rahim's antagonist, meanwhile, is poorly written and portrayed, though I personally thought the actor did a good job. I have no complaints with anyone who appears onscreen to be honest. Away from them, the pacing and score are also standouts.
In my recollection of viewing this, I truthfully haven't got any issues with it. If it wasn't for the slight bad murmurs that I did hear about pre-watch (though not much of it as I avoid as much as I can with movies) and the reaction on sites like this post-watch, I'd not be questioning my thoughts about this whatsoever.
As I always say, to each their own. For me, gimme a sequel (as long as the cast remain, mind). Not even sorry.

We start off with an heavily pregnant woman deep in the Peruvian jungle looking for a very rare spider with her pal "Ezekiel" (Tahar Rahim). Guess what? Yep - she finds it, and almost immediately too! Anyway, it turns out that her pal isn't so friendly after all and pretty sharpish she is shot and face up in a pool of healing waters where her baby is being delivered by a jungle people with spidey-skills. Advance twenty-odd years and we meet paramedic "Cassie" (Dakota Johnson) who drives around with her partner "Ben" (Adam Scott), indifferently saving folks from disaster. It's one such disaster, though, that sees her tumbled deep into the river and having to be rescued by her buddy. This trauma appears to trigger something weird. She is getting flash-fronts. She can see the tiniest snippets of the future - and that doesn't usually bode well for anyone, including her! A trip on a train to a funeral proves decisive as three of the other passengers also feature in her dreams - all being the targets of a mysterious lycra-clad tunnel-climber bent on slaughter. Can she rescue them and find out just what's going on? Well possibly, but the story is just thin and the characters so undercooked that I didn't really care. The whole arachnid story line is under-developed to the point that I couldn't see what her skills really had to do with a spider at all. Tahar Rahim seemed uncertain if he was supposed to be "Deadpool" and/or Antonio Banderas and hats have to come off to Celeste O'Connor for playing the entirely obnoxious and attitudinal "Mattie" with quite such aplomb. The denouement is straight out of "Highlander" (1986) and I'm afraid that rather summed this up. Not an original bone in it's small and squidgy body, over-scripted and made for the sake of it. Sure, it's all about team bonding, trust and finding yourself (quite literally), but the readiness with which all concerned buy into this increasingly repetitive and whacky scenario is just daft. Like the whole multi-verse concept, the studios have decided to take super-hero films and flog them to death without worrying about concept, character or a decent story, and though Johnson does try to lift this where she can, it's ends up being something akin to one of those "Superman" television episodes we used to watch with Dean Cain - only with monotonous time-shifting!

I will not deny that I found this movie somewhat entertaining. Maybe even fairly entertaining.
This mostly comes from the action and a few entertaining humorous scenes splattered across the movie.
However, it could have been so much better if the script had not been written by the usual bunch of low IQ Hollywood hacks.
Most of the humor is just unintelligent and cringeworthy. Marcus Burnett is simply nonsensically silly most of the time. His feeding nonsense followed by this ridiculous “I am immortal” crap and rubbish dream scenes were not funny at all but rather dragged down the movie.
The attempt to create drama by making Lowrey have psychotic episodes which ruined the mission and action on several occasions was also totally unnecessary in my opinion.
The bad guy started off really good with the first scenes where the entire plot is set up. Then however, he just became your average Hollywood villain. The initial badass bad guy vibe was never developed.
The script itself is a classical Hollywood action script. That is, it is simple, very predictable, unrealistic with lots of plot holes and really just a rehash of something done a million times.
However, in this context, it was not bad. It was certainly good enough for this type of movie.
This could have been a really good movie if the task of coming up with a script had just been given to someone with some actual talent.
As it stands this is just a somewhat (maybe even fairly) entertaining Hollywood action movie.

Good job, Bad Boys. You're gonna make a satisfying film when I come for you.
I kind of ignored the first hour and a half but definitely the first hour. It might be for the best but Lawrence is good. Will is good. But they're also bad.
I like the spiritual overtones and comedy. Satisfying buddy comedy. The drones are sweet. I liked the AI camera effects. The psycho killer younger guys are good. Insane violence at the end. Seemed so PG until you hit the violence and there is so much celebration of violence. Maybe I missed some previous violence but it seemed quite intense and sudden.
I hope they make a sequel with the psychos. Grandpas can Denzel some guys. Hopefully they'll match their speech with the rest of the graphic content. All the humour is so tame. I hear you get to say more shit when you get old. BBCU4L

I had an absolute blast watching “Bad Boys: Ride or Die,” the fourth installment in the popular buddy comedy / action franchise that started off with a bang way back in 1995. Co-directors Adil El Arbi and Bilall Fallah, back at the helm after 2020’s “Bad Boys for Life,” pay homage to the “Bad Boys” legacy while injecting new life into it. As a longtime fan, this film actually over delivers. It is everything I wanted and more. I feel like the word-of-mouth on this movie is going to be electric and if audiences decide to show up, it very well could be the movie that saves the summer box office.
When their former Captain and friend Conrad Howard (Joe Pantoliano) is implicated in a corruption scandal involving a dangerous cartel, Miami police officers Marcus (Martin Lawrence) and Mike (Will Smith) have to work to clear his name. After a series of unexpected events, the partners find themselves on the other end of the law. Now on the run as wanted criminals (and on a hit list of local gangs), Mike and Marcus must stay ahead of the cops and the cartel while rushing to solve the mystery of who wants to frame the late Captain Howard. With danger closing in and not knowing who to trust, the men must rely on their wits, their friendship, and their street-smart instincts to survive.
There is a lot that works well here, starting with a strong story where the stakes are high, the danger feels real, and the villain is formidable. The plot, which isn’t loaded with silly twists and turns, is actually plausible. It’s a rare combination in what could’ve been just another mindless summer blockbuster, and there’s a lot more meat on the bones, narrative-wise. The film also rekindles a love for what I now consider modern iconic characters. Marcus and Mike may be older, but their banter, camaraderie, and comedic timing all still feel relevant. Most of this is due to Smith and Lawrence being a terrific pair, bickering with a natural chemistry that comes across as effortless. You believe these two guys would give their lives for each other, which makes the story even stronger. It is such a pleasure to see these two back together again.
The R-rated action is among the best of the franchise, too, from high-speed chases to intense, bloody shootouts. There are a series of inventive scenes that are expertly choreographed and storyboarded, and it’s been a while since I’ve seen such fresh and original action sequences like the ones here. The creativity sets (and hits) a higher bar, and El Arbi and Fallah’s contemporary directorial approach is stylish, energetic, and results in adrenaline-fueled action scenes that are so well done that the film is a literal heart pounder. This is one of those stand up and cheer type of films that’s best experienced with an audience that’s also fired up to be there.
I absolutely loved everything about “Bad Boys: Ride or Die.” It’s the type of action film that’s done so well, you’ll leave the theater feeling that overwhelming sense of exhilaration that can only be described as a Hollywood high. If you love the genre, make it a priority to go see this one.
By: Louisa Moore / SCREEN ZEALOTS

Not awful but hardly remarkable either, Bad Boys, Ride or Die is a passable shake and bake, crime action flick.
The downsides, in short order, include a rapper gangsta vibe, that's overcooked to the point of cultural cremation. Its no helped by humour, that's, for most of this film, rarely even remotely funny.
The upside is what you would expect, polished and unrelentingly, over the top action, which, taken on its own, is entertaining. Backed by a serviceable, if basic, story.
In summary, if you can look past the gangster, rapper bombast, Bad Boys, Ride or Die, is an enjoyable, synapse neutral, action flick, for a slow day or evening.Worth a look.

We liked Bad Boys because it was Lethal Weapon in Miami, and we like Lethal Weapon because it was just like the other 356 buddy cop movies we saw before it. It's a timeless LCD flick that you're going to go and see because you know it delivers....
... the thing is, it didn't. This one took itself a bit too seriously. It had to, the actors are a bit too old to be on the money like with were in the first two...
... well Martin is, Will I think can still pull off the action bit. He's clearly still in good shape.
But a lot of the comedy is absent, a lot of the bickering is gone, and we like buddy cop movies because we like the humor and we like seeing two hard men bickering like an old married couple...
... because men who have known one another forever tend to bicker like that and it's always fun to watch and listen to even when it's not in an action movie setting.
And frankly, they lost sight of that too.
So what is left is a buddy cop movie that forgot a lot of the tropes of the buddy cop movies... and that just doesn't work. We watched Bad Boys because it was Lethal Weapon, and we watched Lethal Weapon because we liked the other 789 buddy cop flicks we saw before it.
But... again, it's 2024, our expectations are so low that we will let this slide and think it's great because, honestly, modern movies suck and this one didn't suck as hard.
So back to 1995 when they remade Lethal Weapon and brought in elements from Miami Vice and... yeah, the movie still wasn't great, but it was really fun and entertaining and that is what counted.

I didn’t know what to expect going into the fourth installment of one of my favorite buddy cop franchises. Having seen the first movie in theaters at age 13, I grew up with this series and had my doubts about its ability to evolve. Fortunately, I was pleasantly surprised.
This film was a joy to watch, even though it was missing Theresa Randle, whose absence was felt. Despite this, the filmmakers managed to capture the heart and spirit that fans have come to love. The narrative remains engaging, and seeing these characters return was a real treat.
The film experimented a lot with camera techniques and visual effects. While some of these choices didn’t resonate with me, they reflect a bold attempt to refresh the series. For instance, there are several action sequences that use innovative camera angles and CGI that might feel overdone, but they also add a new layer of excitement. This experimentation is evident in a particularly intense chase scene where the dynamic camera work heightens the tension, even if it occasionally feels a bit disorienting. Definitely A LOT of Neon.
One concern I had from the trailer was the Reba McEntire joke, which seemed lame out of context. However, within the film, it actually pays off in a funny and unexpected way. This moment exemplifies how the film often exceeds expectations, taking seemingly minor elements and turning them into memorable highlights.
The heart of the film and its story align well with what fans love about the franchise. The camaraderie and banter between the leads are as sharp as ever, providing both laughs and heartfelt moments. For example, a scene where the partners reminisce about their first case together brings a touch of nostalgia while reinforcing their enduring bond.
Overall, this fourth installment is a pretty good sequel that honors the legacy of its predecessors while introducing fresh elements. Despite some reservations about the new visual styles, the film’s core strengths—its characters and story—remain intact. If you are a fan of the genre and especially this franchise, you’ll likely find much to enjoy here. The film strikes a balance between innovation and familiarity, ensuring that both longtime fans and new viewers can appreciate its charms.

For a fourth outing, 'Bad Boys: Ride or Die' still finds a way to produce the goods.
I enjoyed what I watched. The previous installment remains the clear standout of the series comparatively speaking, though I was pleased to see this one still deliver the nessacary entertainment; it's perhaps my second favourite from the franchise. It does have flaws of course, like I'd say it's more serious than humourous and the more sincere stuff doesn't always hit as intended; especially the bits about Howard.
Still, there's enough positive humour in there. Will Smith and Martin Lawrence continue to please in the lead roles, they are a great match. The rest of the cast are all decent enough, Ioan Gruffudd plays what feels like a typical Ioan Gruffudd character well. Jacob Scipio, meanwhile, is pretty solid.
I will say, though, that Rhea Seehorn is underused - she's way too good for these sorta bit part roles! There are also cameo-esque appearances from Tiffany Haddish and DJ Khaled, which sounds bad on paper but, actually, both of their scenes are actually quite amusing! Away from those onscreen, camera work and editing are both pluses.
Do we need a fifth 'Bad Boys' film? No. Would I watch a fifth 'Bad Boys' film? Yes. Yes I would.

I'd completely forgotten about "Bad Boys for Life" (2020) but luckily there are were few flashbacks to remind me that "Mike" (Will Smith) had been the target of a son he didn't know about - "Armando" (Jacob Scipio) - and that both he and partner "Marcus" (Martin Lawrence) risked life and limb to get him behind bars. Well now, a few years later, "Mike" has just got married; "Marcus" has had a revelatory out-of-body experience and their beloved "Capt. Howard" (Joe Pantoliano) has been killed. The authorities become increasingly convinced that he was on the take from the drugs cartels. $20m in your bank account can arouse some suspicions - though the Porsche and beautiful waterside home of "Mike" might have too! Anyway, our duo are having none of these scurrilous allegations and decide to investigate. "Howard" expected some sort of disaster, so has left the pair some breadcrumbs that lead them to suspect that there is someone close to them who is corrupt. With the body count piling up, they turn to the incarcerated "Armando" who thinks he may be able to identify the ringleader. That just makes him a target too - so pretty soon it's a nimble, deadly and quite grumpy triumvirate who are on the trail of the murderers. From now on we have a standard and predicable action adventure with loads of lively pyrotechnics, car stunts and an hungry albino crocodile to accompany some quite witty repartee between the two men who are clearly very much at ease in each other's company. There's a bit of eye candy from Alexander Ludwig and the underused Vanessa Hudgens and the pace of the drama builds to a denouement that works well enough whilst screaming sequel at us loudly. It's nothing at all new, but is an engaging exercise in on-screen charisma and I did quite enjoy it.

I found myself cleaning my glasses multiple times throughout the movie—not because they were dirty, but because of the overwhelming emotional impact. Truly, this film brought tears to my eyes.
Without a doubt, this is one of the finest animated movies in years. DreamWorks has delivered a masterpiece that resonates deeply. It's impossible not to empathize with the story and characters as they unfold so brilliantly on screen. Prepare yourself for an emotional journey that hits like a ton of bricks.
The attention to detail is remarkable. I was particularly impressed by the animation style, especially the distinct visual approach tailored to some characters. This creative choice truly makes them shine and adds depth to the storytelling.
That said, not every scene felt essential. A few moments seemed like unnecessary attempts to inject action into a narrative that didn't need it. These segments, while visually engaging, slightly detracted from the overall flow of an otherwise exceptional film.

Dreamworks at its best!!!! 😍😭❤️

FULL SPOILER-FREE REVIEW @ https://movieswetextedabout.com/the-wild-robot-review-balancing-technology-and-nature-in-a-powerful-story-of-emotional-growth/
"The Wild Robot offers much more than just immersive visuals, inspirational music, and diverse moments of pure entertainment - it's a deeply reflective story that tackles complex, relevant themes with a delicate balance of heart and humor. Through the robotic protagonist's journey of self-discovery, Chris Sanders explores the intersection of technology and nature, touching on topics like identity, empathy, and community, among others.
This thematic depth, combined with astonishing animation and an exceptional voice cast, makes Roz's adventure not only one of the most remarkable movies of the year but also an impactful study of coexistence, adaptation, and what it truly means to live in harmony with the world around us."
Rating: A

"Roz" is pre-programmed to help. Whatever it is that needs doing, it is there to make it happen - even when it is wrecked on an island populated by animals whose main desire in life is to eat each other. At least the arrival of the "monster" manages to galvanise them into one brief moment of hostile unanimity and so when they are not trying to cannibalise it, they are shunning it's efforts to be friends. After spending a year learning their various languages, there follows a calamitous escapade with a nest, a chase with an hungry fox ("Fink") and the creation of the most unlikely of family units charged with rearing a particularly timid little gosling whom they name "Brightbill". The scene is now set for some entertaining adventures as "Roz" has to teach her new-found charge how to eat, to swim and then ultimately to fly away so as to avoid the harsh winter. Each of those tasks comes with it's own hazards but maybe, just maybe, our little team can manage to get project "Brightbill" off the ground? No, of course there's no jeopardy here at all, and at times it's comes across as an amalgam of "Wall:E" (2008) with some Hans Christian Anderson thrown in for good measure. That's no bad thing, though, as the characterisation of the android is personable and develops amiably as his programming starts to evolve into something far more akin to a soul than a brain. It does tackle some more serious subjects - loneliness, rejection, isolation and issues with self-esteem to name a few, but always in fashion that illustrates a point then offers some sort of optimism that a solution can be found for even the most difficult challenges. The standard of animation is engagingly natural and it's genuinely quite funny with some of the observations, especially from the fox, working well within the framework of a touching story that extols the values of caring, teamwork and even a little forgiveness, without becoming gloopy or dialogue-heavy. It looks great on a big screen and is well worth a gander...!

Brimming with thoughtful themes and stunning artwork, The Wild Robot is a deeply meaningful new touchstone in animated film.
Of course, animation has “heroed” nature before – see The Lion King, WALL-E and basically the entire output of Studio Ghibli. But there’s two core elements to The Wild Robot that set this film apart from the rest. The first is its gorgeous, painterly style.
The second? The film’s deeply human themes, encompassing everything from the meaning of motherhood and the lasting legacy of adoption, to our worship of technological advancement and our fraught relationship with the natural world. Like we said – The Wild Robot is nothing if not surprising.
Read our full take on THE WILD ROBOT at good.film: good.film/guide/if-you-dont-love-the-wild-robot-check-your-pulse

There are times in our lives when nearly all of us exceed the limits of our capabilities (and often quite unexpectedly at that). But that can be a tremendous blessing, especially when we’re confronted by circumstances where such aptitudes are called for. So it is for Roz (Lupita Nyong’o), a robot who inadvertently ends up stranded on a remote island when the vessel transporting her crashes without warning. Roz isn’t alone, though; she finds herself surrounded by a diverse array of forest animals who, curious though they might be, don’t quite know what to make of the mysterious metallic stranger. Meanwhile, the somewhat bewildered new arrival is out of her anticipated element, too, expecting to be in the company of humans for whom she’s been programmed to function as a domestic servant. However, the fundamental disconnect between these parties gradually dissipates as they each get to know one another, particularly when Roz needs to grow beyond her innate programming to overcome a series of challenges and bond with her new organic familiars, most notably a young goose (Kit Connor) whom she’s charged with raising when the gosling’s parents are accidently killed. Before long, Roz develops a sentience that helps her evolve beyond a collection of circuits and microchips, a development that proves valuable in a world beset by even bigger issues. In his latest animated feature outing, writer-director Chris Sanders has created a thoughtful, entertaining tale with an uplifting message we can all draw upon when life ups the ante on us. The picture’s stunningly gorgeous animation, solid writing, and delightfully amusing voiceover performances by the likes of Nyong’o and co-stars Pedro Pascal, Bill Nighy, Mark Hamill, Catherine O’Hara, Ving Rhames and Stephanie Hsu collectively deliver a fine mix of hearty laughs, inspiring insights and touching moments, all without becoming silly or saccharine. Admittedly, the film has a little trouble finding its footing at the outset, and a few story threads feel a little underdeveloped, such as subplots related to important but underexplained environmental themes. What’s more, it can be somewhat mystifying at times trying to figure out exactly who this offering was made for, as the material often comes across as a little more mature and decidedly more intense than what one might expect for younger viewers (despite its adorable depictions of its funny, furry forest creatures). However, these modest shortcomings are more than made up for the further one gets into the story, growing progressively stronger as the narrative unfolds. Most importantly, though, it’s gratifying to see a production that genuinely rises above the low bar that has been set for many releases in this genre these days. “The Wild Robot” is one of those films that’s sure to please a wide range of moviegoers, including those who generally aren’t particularly enamored with animation. It’s a feel-good movie that doesn’t resort to wearing that trait on its sleeve – but that nevertheless achieves such an admirably heartwarming effect anyways.

I'm disappointed. I was a huge fan of the series back in the day. But the movie didn't really try to capture the spirit of the show. It leans much more heavily towards being a generic romance movie. Although, to its credit, it does subvert quite a few of the romance tropes.
For an action movie that's supposed to be an homage to the unsung heroes of cinema, the stuntmen, it falls flat. I streamed the extended version, maybe the cinematic version was better. But the extended version was edited with the standard choppy style that didn't allow for the stunts to really shine. You're left with the impression that they cut to a different angle to hide something.
It wasn't all bad. It did have its moments. It was overall an enjoyable ride. And I'm pretty sure it's the first time in cinema history that a sound effect has had a cameo. No, I don't mean the Wilhelm scream. It was one of the best Easter eggs I've seen. But when that's the highlight of the film... well.

This is way more romcom than action. It's so full of weakness; Awful 4th wall humor and hyper-clever relationship dialogue.
I hate this movie. But may enjoy ignoring it with a partner.

It bothers me that this film didn't perform better at the box office. This movie is an incredibly fun ride with a stellar cast and some of the best action sequences I've seen on the big screen in years. The chemistry among the cast members is truly fantastic, elevating the film's enjoyment factor.
The cast is a significant highlight, with each actor bringing their A-game. The interactions between characters feel genuine, adding a layer of authenticity to the high-octane action. The camaraderie between the lead and his team is palpable, making their collective journey more engaging. This dynamic is particularly evident in scenes where quick banter and teamwork are essential, showcasing their rapport and adding to the film's overall appeal.
I can attest that there isn't much that a crew of professional filmmakers can't do together in a short amount time with a good plan. The stunt team most of all!
The action sequences are top-notch, meticulously choreographed, and thrilling to watch. The film excels in creating high-energy moments that are both visually spectacular and narratively compelling.
I find myself torn about the film's release platform. On one hand, I wish it had been released on streaming so more people could have easily accessed and enjoyed it. On the other hand, this is precisely the kind of movie that benefits from the immersive experience of a theater. The grandiose action sequences and stunning visuals are best appreciated on the big screen, where their impact is maximized.
The movie fits into the current trend of "hero" films that blend traditional tough-guy action with emotional depth and vulnerability. Unlike older action heroes who often suppressed their emotions, the protagonists in this film openly confront their mental health issues and emotional struggles. This approach adds a refreshing twist to the genre, making the characters more relatable and human. For example, the lead character's journey includes moments of introspection and personal growth, highlighting his inner battles alongside the external conflicts.
Overall, this movie is a fantastic blend of action, heart, and camaraderie. It's a film that deserves to be seen and appreciated by a wider audience. Whether you're a fan of high-stakes action or character-driven narratives, this movie offers something for everyone. I highly recommend checking it out, especially on the big screen, to fully experience its exhilarating and emotional ride.

The Fall Guy indeed.
Its unfortunate to see reasonable acting talent, fall victim to this genuinely unfunny, inarticulate mess of a film. A film that meanders pointlessly from place to place, with no real purpose.
The only true upside is a sprinkling of decent musical tracks by hit groups like ACDC and KISS, that work in almost any context.
In summary, Thunderstuck (sorry ACDC) by how bad this film is. If someone had constructed a coherent story, with decent narrative, wit and humour, it could have worked.Yet another missed opportunity.

Colt Seavers is a stuntman, like everyone else in his profession. Like every stuntman, he gets blown up, shot, crashed, thrown through windows, and dropped from heights for the sake of our entertainment. Now, after a near career-ending accident, he must find a missing movie star, unravel a conspiracy, and win back his love while still juggling his regular job. What could possibly go well?
Read full article at hotplix.com

This does suffer a bit from having been trailed to death in the cinema, and the story is really pretty thin - but there's some engaging chemistry on display between the two stars as their adventures hot up. "Colt" (Ryan Gosling) is the stunt double for the all action hero "Tom Ryder" (Aaron Taylor-Johnson) whilst sort of dating aspiring director "Jody" (Emily Blunt). An accident on set drives "Colt" away from the business altogether until a random call from producer "Gail" (Hannah Waddingham) informs him that "Jody" is to direct her first film in Australia and he has been especially requested! Of course he hadn't, and when he turns up - much to the surprise of the production, they sort of settle for a truce as he gets back into the swing of rolling cars and jumping from burning wreckage. Where's the star though? Well it transpires that's what "Gail" has really brought him to establish. He's gone AWOL. Not for the first time, "Ryder" is a bit flaky - but all "Colt" need do is track down their wayward pretty boy and then he can escape this embarrassing scenario and go back home. Needless to say, his investigations soon immerse him in a dangerous world of drugs, unicorns and even more car chasing and pyrotechnics. Can he find his charge and maybe even restore his romance? There's precisely no jeopardy with any of that, even if there is quite a daft twist in the tale at the end, but that doesn't matter. This is an excuse for some good looking people to have fun celebrating the life of the movie stuntman. It's good fun to watch with Gosling oozing charisma as we go along on a trip that reveals just a little of the smoke and mirrors that is routinely used to convince us that what we see on screen is real - and that nobody usually dies! Sydney harbour is used to good effect, though I maybe wouldn't have wanted to be the general manager of the opera house when their film crew turned up, and the dialogue is quite a witty mix of hackneyed metaphor, old lines from famous movies and plenty of corn and cheese. ATJ doesn't really feature so much, but when he does he's clearly taking a pop at all things vain and superficial about the cult of image, and Blunt looks like she is enjoying herself as she tries to get her film in the can despite her missing frontman, the wrong kind of sand on the beach and her clearly having the hots for her ex. A good soundtrack helps it all along and though I doubt I'll recall much about this in three months, it's a lively poke at the characters that make movies and I quite enjoyed it.

Undoubtedly fun, even if I did want a touch more from 'The Fall Guy'.
The cast are great, definitely the film's strongest part in my opinion. Ryan Gosling and Emily Blunt are an all-star pair and I enjoyed them both, they worked well together. Hannah Waddingham and Aaron Taylor-Johnson add good showings too. Stephanie Hsu and Winston Duke are involved as well.
The story produces entertainment, even if it could've had more flavour added to it. I felt watching that in a few parts it does overstay its welcome ever so slightly, not for a negative impact but enough that I couldn't rate it any higher. All the stunt stuff is fantastic though, as it ought to be given the subject matter. It's solid humour-wise, my favourite bits were actually the background actor interactions; s/o wife's sister guy.
Overall, I liked this one. Improvements were possible, though what's there is good enough - an easy watch, to be honest.

FULL SPOILER-FREE REVIEW @ https://talkingfilms.net/the-fall-guy-review-a-thrilling-tribute-to-the-unsung-heroes-of-cinema/
"The Fall Guy emerges as a passionate ode to the brave, audacious stunt doubles, neglected by the film industry for so many decades. David Leitch offers an experience full of action, comedy, romance, and mystery, highlighted by the impressive physical feats performed by the stunt department, mostly without the aid of visual effects.
It’s a necessary tribute to those who risk their lives daily to elevate the entertainment power of cinema. Although it occasionally loses focus due to multiple storylines, the movie conveys a clear message about the importance of creative freedom and respect for all involved in filmmaking.
With charismatic performances by Ryan Gosling and Emily Blunt, as well as an energetic score by Dominic Lewis, this celebration of cinema and the hard work behind the scenes is one of this year’s must-see IMAX screenings."
Rating: A-

'Kung Fu Panda 4' is much like its predecessors for me, I'm cool with them but they don't hit any deeper than being just solid movies. I had to watch a recap of the previous entries, naturally, and didn't remember much, aside from the cast and main characters.
I reckon I'll be saying the exact same thing in X amount of months about this one, that doesn't necessarily mean a film is bad though - because this release isn't. The voices we hear are perfectly satisfactory, from Jack Black to Awkwafina, Viola Davis (the best, away from lead) and the rest.
The music here is good. There is one piece of the score, which is heard a couple of times and during the end credits, that must be a homage of sorts to television show 'Dexter' - weird connection granted, but it sounds practically exactly the same to me.
On the note of the sound, I enjoyed Tenacious D's rock cover of "...Baby One More Time". I listened to it an embarrassing amount when it first released alongside this movie, the video was admittedly part of the reason why - I'm always a fan of seeing film casts in music videos.
There's a decent story told, alongside nice animation. It'll no doubt be forgettable to me personally, but I can still acknowledge it as something that I deem passable.

Out of nowhere, this fox character manifests! Out of nowhere, this panda character manifests! Out of nowhere, these villain characters manifest! We have got some top notch reviewers on this website, Souljaboytellem!
Dialog writers need to remove certain words from their joke book, like "method", as in method acting. When I hear method acting, I think Jared Leto. Associating Jared Leto's "method acting" with your movie probably isn't a good thing. Method acting and Jared Leto occupied real estate rent free for the entirety of this movie. It didn't help that they couldn't stop themselves from thinking "it's so nice, we'll say it twice".
The story is predictable, made worse by the spoon feeding. To add insult to injury, the back and forth between Po and Zhen up until the "big stink" is good enough to maybe throw you off if you haven't seen it a dozen times already or if they hadn't spelled it out.
Po's dads are fine. He has a biological widowed father and an adopted father. We know these characters. Their subplot is kinda unnecessary but the "two dad's" thing isn't rocket science.

I'm into movies that simulate the 'watching a video game' experience. Classic Shang Tsung end boss. Shadow of the Colossus gameplay. Maybe a diss to Dune? It's predictable and full of dumb shit but I found myself enjoying it. Jables does good. I found abrasion to be front-loaded and maybe he mellows out but... a muted, yet powerful performance. I did smoke weed during the first few minutes.
I love Awkwafina.