Shang-Chi and the Legend of the Ten Rings review

Director: Destin Daniel Cretton
Cast : Simu Liu, Awkwafina, Meng’er Zhang, Tony Leung, Fala Chen, Florian Munteanu, Michelle Yeoh, Benedict Wong, Ronny Chieng
Genre: Action/Adventure
Run Time : 132 min
Opens : 1 September
Rating : PG13

We are now into Phase 4 of the Marvel Cinematic Universe. Post-Avengers: Endgame, it seemed like audiences would lose interest in the sprawling franchise, but while some have, there is still a lot to keep others invested. With TV series on Disney+ and many movies on the slate, the MCU is moving in various directions, one of those directions being the wuxia-inspired realm of Shang-Chi.

Shaun (Simu Liu) lives in San Francisco, working as a hotel valet alongside his best friend Katy (Awkwafina). Shaun hides a secret: he is actually Shang-Chi, the son of ruthless warlord Wenwu (Tony Leung). Armed with ancient artifacts called the Ten Rings, Wenwu has moved in the shadows for centuries. He had thought his endless need for conquest would come to an end after meeting Ying Li (Fala Chen) in the magical land of Ta Lo. Wenwu and Ying Li had two children, Shang-Chi and Xialing (Meng’er Zhang). However, tragedy brought Wenwu back to the violence of his past. Now, Shang-Chi must confront what he has spent half his life running away from, as he and Katy get drawn into an epic battle involving criminal empires, magical creatures and lots and lots of martial arts.

It is perfectly understandable that many audiences were apprehensive of Shang-Chi and the Legend of the Ten Rings. After all, it’s very easy to cynically view this as solely a bid for Asian moviegoers’ money and nothing more. Also, there have been many films aimed at appealing to both Asian and American audiences that have faceplanted embarrassingly, including The Mummy: Tomb of the Dragon Emperor, Dragon Blade and The Great Wall.

Shang-Chi avoids practically all of those pitfalls.

This is an immersive, entertaining adventure that is largely bereft of the samey-samey feel which MCU movies can carry, and which plagued this year’s Black Widow to a certain extent. While there still is a reliance on the ‘chosen one’ origin story formula, Shang-Chi introduces myriad elements to the mix which we haven’t seen done quite like this before. Director Destin Daniel Cretton displays a healthy amount of reverence for classic wuxia movies. While purists will nitpick the action in this film, most of it is truly spectacular, choreographed beautifully and not shot with shaky-cam or hyper-edited to death. The late Brad Allan, who is the second unit director and supervising stunt coordinator on this film, was one of Australia’s top wushu athletes and a long-time member of Jackie Chan’s stunt team. There is every effort made to deliver beautiful action, and unlike in some MCU movies where it can feel like the action scenes are disjointed from the rest of the movie, everything flows well here. In addition to the martial arts-centric sequences, there’s an entertaining runaway bus setpiece that nods to 90s action films like Speed and The Rock.

While Simu Liu has a background as a stuntman and has trained in Taekwondo and Wing Chun, he sometimes feels like the least convincing fighter in the film. He has clearly worked very hard to learn and execute the choreography, but especially when compared to Arnold Sun, who plays Shang-Chi as a 14-year-old, it doesn’t fully feel like Shang-Chi has been training his entire life. Perhaps that can be explained away by how he has spent ten years in hiding.

A problem with many Marvel films and indeed many present-day action blockbusters is that the final action sequence is very heavily reliant upon CGI, and goes on for a bit too long, such that one is wont to tune out. Amusingly, the climactic battle revolves around closing a portal, something which the earlier Marvel movies have often been mocked for, but there is a bit of a twist put on it. Some may also roll their eyes at the “dead wife” motivation, but this reviewer feels it is a justified plot point here.

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Marvel Studios have typically been great at casting, and Shang-Chi is no exception. Simu Liu and Awkwafina are actors who might typically be relegated to playing sidekicks, and both step up to the leading roles very well. Liu has an earnestness to him and the early scenes of Shang-Chi and Katy hanging out make them seem like people whom we would want to be friends with.

Relative newcomer Meng’er Zhang displays excellent physicality and a convincing woundedness behind exterior strength as Xialing, who was always relegated to the sidelines while Wenwu focused on Shang-Chi. Zhang met her husband, action designer Yung Lee, on the set of the film. Florian Munteanu, who played Viktor Drago in Creed II, makes for an adequately intimidating henchman as Razorfist. Michelle Yeoh is elegant and has gravitas to spare, making a meal of some potentially unwieldy exposition. There’s also an appearance from an MCU character which is a great surprise if one doesn’t know they’re going to be in Shang-Chi.


Tony Leung is truly incredible. It was a valid concern that he would just be there for the sake of saying “we’ve got Tony Leung,” but the Wenwu part is a substantial one and is easily one of the greatest MCU villains yet, even though that is a low bar to clear. One of the big selling points of the film is that this is the venerable Hong Kong actor’s long-awaited Hollywood debut. Wenwu reminded this reviewer of Vincent D’onofrio’s Wilson Fisk in the Daredevil series: he does monstrous things, but we come to understand what made him this way. In his earliest comics appearances Shang-Chi was literally the son of Fu Manchu, and the movie addresses the outmoded orientalism inherent in the source material. The name “Wenwu” comes from the Chinese idiom 文武双全 (wén wǔ shuāng quán), roughly meaning “master of pen and sword,” reflecting how Wenwu is both an intellectual and physical force. Wenwu is a modified take on the Iron Man villain the Mandarin. The portrayal of the Mandarin in Iron Man 3 proved to be controversial, and that is acknowledged here in a clever way.

Representation is a tricky thing, because no one piece of media can speak for a multitude of communities. There are many East Asian communities and indeed many Chinese communities around the world, and Shang-Chi can’t be expected to tell everyone’s story. However, there is an effort made here to infuse a certain amount of authenticity into the story and especially the dialogue. When the characters speak in Mandarin Chinese, which they do roughly 40% of the time, it doesn’t feel like it’s been fed into Google Translate. It’s fun hearing someone say “I’ve eaten more salt than you have rice,” an expression commonly used by the older Chinese people to admonish the younger generation, in a Hollywood movie.

This is a story about identity and belonging. Shang-Chi has always been Asian-American: in the earliest comics, his mother was a blonde American woman. Shang-Chi’s hero’s journey centres on finding out who he really is and reckoning with his father, who put him through arduous training and moulded him into an assassin, but who ostensibly loves him. The relationships in the film are very well defined, and the audience quickly understands the underlying nature of each of the relationships: the friendship between Shang-Chi and Katy, the estranged sibling relationship between Shang-Chi and Xialing, the parental relationship between Wenwu and Shang-Chi and so on.

Summary: Shang-Chi and the Legend of the Ten Rings is a spectacular adventure. Never feeling like it’s too tied down to the now-labyrinthian MCU mythology, there is something refreshing to this even as it evokes the feeling of classic wuxia films. Simu Liu proves himself to be a worthy superhero, Awkwafina is more than just the funny sidekick, and Tony Leung is just magnificent as one of the best Marvel villains yet. Far more than just token representation for the sake of it, Shang-Chi is one of the most successful instances of a big-budget movie designed to appeal to international audiences without feeling like mere hollow pandering. Stay behind for one mid-credits scene and one post-credits scene, but you should know this by now.  

RATING: 4.5 out of 5 Stars

Jedd Jong

Reminiscence review

Director: Lisa Joy
Cast : Hugh Jackman, Rebecca Ferguson, Thandiwe Newton, Cliff Curtis, Daniel Wu, Marina de Tavira, Brett Cullen, Mojean Aria, Angela Sarafyan, Natalie Martinez
Genre: Sci-fi/Thriller
Run Time : 116 min
Opens : 18 August
Rating : NC16

Writer-director Lisa Joy goes from Westworld to Waterworld with this sci-fi noir set in a partially submerged city. Joy, who co-created the HBO series with her husband Jonathan Nolan, makes her feature directorial debut here.

It is the near future and most of Miami is underwater. Military veteran Nick Bannister (Hugh Jackman) runs a business offering “reminiscences” – clients undergo a procedure that helps them relive memories of their choice. Nick operates the business with fellow veteran Watts (Thandiwe Newton) and is sometimes called upon by the District Attorney’s office to use the reminiscence device for depositions. The technology was originally developed as an interrogation implement, but now, people use it to find solace in the happiness of their past. A mysterious nightclub singer named Mae (Rebecca Ferguson) visits Nick and Watts, ostensibly wanting to find her missing keys. This upends Nick’s existence, sparking an obsession with Mae that finds him embroiled in a far-reaching conspiracy involving such unsavoury characters as crime lord Saint Joe (Daniel Wu), Joe’s hired muscle Cyrus Boothe (Cliff Curtis) and land baron Walter Sylvan (Brett Cullen).

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Reminiscence marries its noir influences with a sci-fi aesthetic and central plot device to create a moody, atmospheric film. While it is hampered by certain elements, which we will get to in a bit, it’s often interesting to look at and is generally cast very well. The Greatest Showman co-stars Hugh Jackman and Rebecca Ferguson are called upon to play noir archetypes – he the trench coat-clad haunted private detective, she the sultry femme fatale chanteuse. Both actors fit these types perfectly, and convincingly inhabit the world that Joy has created. Joy brings many key crew members from Westworld along, including cinematographer Paul Cameron, production designer Howard Cummings and composer Ramin Djawadi. The world that Reminiscence takes place in feels expansive and well-realised. The result of climate disasters and rife with inequality and unrest, it is not as dramatic as other sci-fi dystopias, but feels quite plausible.  

Also from Westworld are actors Thandiwe Newton and Angela Sarafyan. Newton provides an excellent foil to Jackman, playing a survivor who is sardonic as a defence mechanism. Cliff Curtis turns in a supremely scuzzy performance, playing a crooked cop-turned mob enforcer.

A big problem with many neo-noir films is that they are too self-conscious about their influences, which is eminently evident here. You may have heard the phrase “this movie has watched a lot of movies” – Reminiscence is one of those. A lot of the dialogue is arch and unnatural, with the actors trying their best to make lines like “memories are like perfume. They work best in small doses.”

In trying to evoke the noir genre, Reminiscence can sometimes hold the audience at arm’s length. Joy is very conscientious about the world-building, but that means it’s not just the flooded Miami streets but also exposition that the characters must wade through. The first half of the film is sometimes slow, such that when there are two action sequences later, they almost feel as if they belong in a different film.  

The performance that sticks out as being particularly bad is Daniel Wu’s. His character is meant to be a dangerous, sexy crime boss, but his swagger feels affected and the character’s code-switching between English and Mandarin Chinese is sometimes stilted.

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The central device of accessing one’s memories via technology isn’t a new thing in sci-fi, but the way it is realised in Reminiscence is visually compelling. Subjects are partially submerged before the process can begin, further reinforcing the film’s water motif – perhaps a metaphor for how remembering past events is like looking at something through water. The memories are then projected onto a circular platform, like theatre in the round, which creates 3D holographic images via crystalline strings of bulbs. The resulting image feels slightly intangible – it’s right in front of the characters, but they can’t quite touch it. It’s the most elegant visual in the film.

Summary: Drawing on the expertise she gained as the co-showrunner of Westworld, Lisa Joy makes her feature film directorial debut with a movie that is ambitious if rough around the edges. Reminiscence is sometimes murky and, like its futuristic setting, can feel waterlogged. However, Hugh Jackman and Rebecca Ferguson’s bona fide movie star performances make the film more convincing than it would be otherwise. The sci-fi trappings are visually captivating and the world that the movie takes place in is well constructed.

RATING: 3 out of 5 Stars

Jedd Jong

Free Guy review

For F*** Magazine

Director: Shawn Levy
Cast : Ryan Reynolds, Jodie Comer, Taika Waititi, Utkarsh Ambudkar, Lil Rel Howery, Joe Keery, Camille Kostek
Genre: Action/Comedy/Sci-fi
Run Time : 115 min
Opens : 12 August (Sneaks 11 August)
Rating : PG13

As a hero’s journey begins, they have that moment when they realise they’re meant for more than their existence, whether it’s Luke Skywalker gazing at the twin sunset over Tatooine, or Belle singing “I want adventure in the great wide somewhere”. In this sci-fi action comedy, an NPC (non-player character) in a video game realises he’s meant for more than being shot at by gamers.

Guy (Ryan Reynolds) is a bank teller in Free City, an open-world multiplayer online video game that’s something of a cross between Grand Theft Auto and Fortnite. NPCs follow scripts and routines, but Guy is different – he’s capable of making decisions he shouldn’t be. Guy falls hard for Molotov Girl/Millie (Jodie Comer), a player in Free City with a specific agenda. Years ago, Millie and Keys (Joe Keery) developed an indie video game that was bought out by gaming giant Soonami, the publishers of Free City. Millie must prove that Antwan (Taika Waititi), the megalomaniacal Soonami boss, stole the build that she and Keys originally developed. Guy holds the key to this, as he grapples with the reality of his existence and it becomes a race against time to save him, his best friend Buddy (Lil Rel Howery) and the other denizens of Free City who are threatened by Antwan’s never-ending quest for profit.

Free Guy is entertaining and energetic, a studio blockbuster refreshingly devoid of many of the pitfalls associated with present-day studio blockbuster filmmaking. This is a good-hearted escapist adventure that is about an idealistic character making his way in a cynical world. There are many parallels to The LEGO Movie and The Truman Show, with the film also capturing the sense of ‘happy chaos’ that fuelled The LEGO Movie. Shawn Levy, who directed the Night at the Museum Trilogy, Real Steel and multiple episodes of Stranger Things, confidently handles the visual effects-heavy component of the movie while bringing humanity to the material. Best of all, it largely doesn’t feel like the product of studio execs wringing their hands, wondering “do the kids like this?”

The movie is an excellent showcase for Ryan Reynolds, who has crafted his movie star persona around being something of a wiseass. He knows he can be annoying, but here, Reynolds’ Guy is always endearing, an innocent who’s very easy to root for.

Jodie Comer, whom audiences might know from Killing Eve, acquits herself admirably in the dual roles of Millie and her avatar Molotov Girl. Comer is convincing as both a withdrawn video game developer and a badass, confident action heroine, and shares great chemistry with both Reynolds and Keery. This reviewer did not expect Free Guy to be a genuinely moving romance, but it is.

It’s inherent in the style of video game that Free Guy is referencing, but the movie is sometimes too frenetic and in-your-face. There are moments when it seems like it wants to have a bit of a harder edge, and while it’s all in the context of a video game, the violence can come off as quite excessive for what is ostens ibly a family film. The cameos from real life streamers Jacksepticeye, Ninja, Pokimane, DanTDM and LazarBeam did pull this reviewer out of it, and it’s elements like this and the specific Fortnite-like stylisation of the game that will almost immediately date Free Guy. It’s also just a matter of time before one of the afore-mentioned streamers gets “cancelled” (one might argue one or more already have been), and the filmmakers might regret their movie being associated with them. Perhaps feeling dated is just unavoidable with any movie related to video games, seeing how quickly games progress.

Taika Waititi’s performance is initially amusing, but quickly becomes grating. He’s doing way too much, turning it up to eleven and hamming it up as Antwan. Yes, tech moguls often have an inflated perception of themselves, but even considering this, Waititi’s portrayal feels too cartoonish for Antwan to be truly threatening.

Much as this reviewer enjoyed the romance, there are audiences who might feel that it is tacked on. One of the NPCs realises that she can be her own woman and doesn’t need to be in a relationship, so it might seem contradictory that the film itself ignores this.

Free Guy is cleverly constructed, and one big thing working for it is that the filmmakers understand the world of videogames. They understand that online gaming can be an incredibly toxic space where people feel free to be their worst selves. They also understand that game studios can be awful workplaces and that the people who run such studios can be abusive; especially timely considering the horrifying revelations coming out about Activision/Blizzard. However, the makers of Free Guy also clearly love video games and understand their appeal and have built a truly engrossing world. There is a heartfelt message about how online spaces do not have to reward our worst instincts, and that there are people who create and play video games who desire an oasis away from the typical behaviour associated with gamers. There’s an unexpected level of nuance which elevates Free Guy above just being a good sci-fi action-comedy, which it already is.

Summary: The best studio blockbuster this summer arrives better late than never. An inventive, dynamic and even moving sci-fi action comedy, Free Guy is a delight. Beyond making canny use of stars Ryan Reynolds and Jodie Comer, the movie displays an understanding of the world of videogames, from the perspective of both gamers and developers. It tackles the often-toxic elements of video game culture while staying a safe distance from sanctimony, and while the world of Free City is chaotic, it is also genuinely exciting to spend time in. Free Guy is satisfying entertainment in a way most blockbusters burdened with setting up the next entry in a franchise rarely are.

RATING: 4 out of 5 Stars

Jedd Jong

The Suicide Squad review

For F*** Magazine

Director: James Gunn
Cast : Margot Robbie, Idris Elba, John Cena, Joel Kinnaman, Sylvester Stallone, Viola Davis, Jai Courtney, Peter Capaldi, David Dastmalchian, Daniela Melchior, Sean Gunn
Genre: Action/Adventure
Run Time : 132 min
Opens : 5 August 2021
Rating : M18

In 2016, Warner Bros. released the third entry in the DC Extended Universe (DCEU): Suicide Squad. While that film was a commercial success, it did not fare too well with critics and many fans. Five years later, we get a standalone sequel that reuses certain actors/characters from the first film, but otherwise has nothing to do with it, with the hope that second time’s the charm. 

A military coup has occurred on the island nation of Corto Maltese, off the coast of South America. Corto Maltese is home to the Jotunheim research facility, which houses something known only as “Project Starfish”. Fearing that the military regime could unleash Project Starfish against Americans, intelligence agency director Amanda Waller (Viola Davis) assembles Task Force X to infiltrate Corto Maltese. Led by Colonel Rick Flag (Joel Kinnaman), the squad comprises Harleen Quinzel/Harley Quinn (Margot Robbie), Bloodsport/Robert Du Bois (Idris Elba), Christopher Smith/Peacemaker (John Cena), Nanaue/King Shark (Sylvester Stallone), Cleo Cazo/Ratcatcher II (Daniela Melchior) and Abner Krill/Polka Dot Man (David Dastmalchian). Their mission is to track down Gaius Grieves/The Thinker (Peter Capaldi), an evil geneticist who oversees Project Starfish. With their idiosyncratic personalities and unorthodox abilities, the team must work together and stay on mission, lest Waller detonate the bomb implanted in each of their necks.

At its best, The Suicide Squad captures the tone of its source material, bringing it to big screen life. Writer-director James Gunn understands the assignment perfectly, crafting something chaotic, violent, funny, entertaining, and even a little heart-warming. Drawing inspiration from 80s military action films like Predator and Commando, The Suicide Squad’s central mission is well defined, which is more than can be said of its predecessor’s plot. The film is cast well, and the characters are all used in interesting ways. While the Marvel Cinematic Universe is much more internally consistent and better managed than the DCEU, it is highly unlikely that a big-budget R-rated movie would be released as part of that franchise – at least until they figure out how to integrate Deadpool into the MCU.

All the chaos and anarchy on display can sometimes feel like eating too much candy. The movie also sometimes comes off as too mean-spirited, trading in shock humour that can fall ever so slightly on the wrong side of bad taste. There’s a sequence in which our heroes unwittingly murder a village of innocent people, and Gunn seems to have it out for birds, with more than one sequence involving violence on birds. While the film handles its large cast better than a lot of other ensemble comic book movies do, there still are times when it feels spread a bit too thin. 

The circumstances surrounding Gunn’s hiring are slightly complicated, but it all worked out for him in the end. Riding high on the two Guardians of the Galaxy films, Gunn was fired from the third after old distasteful jokes of his were unearthed. The competition then scooped him up, offering Gunn any project he wanted. It only makes sense, since the first Suicide Squad movie was obviously a reaction to the success of the first Guardians of the Galaxy movie. Then, Gunn was re-hired by Marvel, meaning he would make both The Suicide Squad and Guardians of the Galaxy Vol. 3. Gunn comes from the Troma world, meaning his stock in trade is low-budget, gory horror-comedy. Like Sam Raimi and Peter Jackson before him, Gunn has gone from schlock to blockbusters, but has never really forgotten his roots – Troma boss Lloyd Kaufman makes a cameo in this movie, as he has in several of Gunn’s earlier films. Gunn displays an affection for and understanding of the source material, and works well with his talent, bringing wonderful performances out of the cast.

The premise of the Suicide Squad as re-imagined by comics writer John Ostrander (who makes a cameo in this movie) is that each line-up is comprised of expendable, C-list-or-lower villains. Gunn embraces this, claiming that Polka Dot Man’s inclusion in the film is the result of him Googling “who is the dumbest super villain of all time?”

Robbie continues to be an amazing Harley Quinn, with this movie showcasing her at her most violent. Elba cuts a heroic figure and is an undeniable presence onscreen. He was initially cast to replace Will Smith as Deadshot, but the character was rewritten into Bloodsport should Smith eventually choose to return. Viola Davis as Amanda Waller was arguably the best casting in the first movie, and she remains a force to be reckoned with here, even if most of her scenes are confined to a control room.

Cena portrays both excellent comic timing and brutish physicality as Peacemaker, a character who has decided that the path to peace is to kill everyone, because then there will be nobody to wage war. King Shark is imagined as loveable but intimidating, with Stallone’s voice fitting this design perfectly. Melchior is, unexpectedly, the heart of the film, with Ratcatcher II emerging as the most sympathetic and loveable character. David Dastmalchian, who has portrayed many a creepy character onscreen, is wonderfully unhinged as Polka Dot Man. It’s an A+ lineup of C-list-or-lower characters.

Summary: An ideal marriage of filmmaker and source material, The Suicide Squad is the messy, gory fun that fans have always wanted. This is a great example of what happens when a studio just lets a filmmaker do what they do best. James Gunn takes what he learned making the Guardians of the Galaxy films and ramps up the chaos, violence and anarchy. There are times when The Suicide Squad leaves a bit of a sour taste in one’s mouth, but for the most part, it makes fantastic use of its premise and characters. 

RATING: 4 out of 5 Stars

Jedd Jong

Jungle Cruise review

For F*** Magazine

Director: Jaume Collet-Serra
Cast : Dwayne Johnson, Emily Blunt, Jack Whitehall, Édgar Ramírez, Jesse Plemons, Paul Giamatti, Veronica Falcón
Genre: Action/Adventure
Run Time : 127 min
Opens : 29 July 2021 (Sneaks 28 July)
Rating : PG13

“Weird Al” Yankovic has a song called “Skipper Dan,” a melancholic tale of a Juilliard grad who must settle for being a Disney theme park cast member, playing the skipper on the Jungle Cruise ride. It’s a song about how following one’s dreams can often end in soul-crushing tedium, something this critic certainly knows nothing about. Anyway, we’re getting an upgrade from Skipper Dan to Skipper Dwayne in this movie based on said theme park ride.

It is 1916. English botanist Dr Lily Houghton (Emily Blunt) is in search of the fabled Tears of the Moon, a tree deep in the Amazon jungle which has petals said to cure any ailment. Lily’s brother McGregor (Jack Whitehall) would much rather live a luxurious existence but is dragged along on the expedition by his sister. Arriving in Brazil, they come across Skipper Frank Wolff (Dwayne Johnson), who gives river tours on his beat-up steamboat La Quila and is armed with corny one-liners. Frank is not above a bit of grifting and deception to get by, and behind on his payments to harbourmaster Nilo (Paul Giamatti), jumps at the chance to ferry Lily and McGregor when he finds out they are rich. Also hunting for the Tears of the Moon is Prince Joachim (Jesse Plemons), an obsessive German aristocrat who takes a submarine into the Amazon. The Houghton siblings and Frank must battle all manner of obstacles, including undead Conquistadors led by the ruthless Aguirre (Édgar Ramírez).

Jungle Cruise is a throwback and one that a certain section of moviegoers will find welcome. The poster is deliberately evocative of Drew Struzan’s classic painted movie posters, though it isn’t actually created by him. This movie is a throwback in that it’s a period adventure movie, but also a throwback to a time before Disney owned intellectual property like Marvel and Star Wars and before they were regularly remaking their animated films. Disney’s most successful attempt at turning a theme park attraction into a potential film franchise was with Pirates of the Caribbean, which Jungle Cruise bears many similarities to. Director Jaume Collet-Serra, known for directing Liam Neeson-starring thrillers like Unknown, Non-Stop, Run All Night and The Commuter, aims to recapture the spirit of those rip-roaring adventures. Flavio Labiano’s cinematography is textured and warm, while James Newton Howard provides a rousing score. There is some haunting horror movie-adjacent imagery, especially the one undead Conquistador who is covered in honeycombs and bees, Candyman-style.

Emily Blunt puts in a wonderful starring turn, as a spirited woman who has been rejected from her chosen field based on being a woman. There are notes of studio-ordered “strong woman protagonist,” but Blunt transcends that with an energetic, committed turn. Jesse Plemons plays against type, channelling Christoph Waltz as a power-mad royal, making for an entertaining villain.

Adventure stories are often intrinsically tied to a fundamentally colonialist worldview: the hero is often a European or American man outrunning the spear-wielding savages. Sometimes, a village is in dire straits, and only the hero can save the primitive folk. One can’t help but cringe at such depictions, with movies like Indiana Jones and the Temple of Doom being straight-up racist. Jungle Cruise subverts this with its portrayal of indigenous Amazon tribespeople and seems to be very conscious of the uncomfortable colonial undertones that many movies in this genre possess, intentional or otherwise. We won’t give too much away, but there is a commendable attempt at addressing one of the more controversial elements of the ride.

Jungle Cruise can sometimes feel like a facsimile of a facsimile – it invokes Romancing the Stone and Indiana Jones, which in turn were inspired by movies like The Treasure of the Sierra Madre. Jungle Cruise can either be taken as refreshing, given how different it is from the standard summer blockbuster one might get in 2021, or somewhat stale, given its old-fashioned sensibilities which have been processed through the Disney studio machine. It’s impossible to ignore how much this movie wants to be The Mummy (1999): Frank is analogous to Rick, Lily to Evelyn, McGregor to Jonathan and Aguirre to Imhotep. Alas, it’s some ways off from that. The midsection sags, and at 127 minutes, this feels a shade too long. The movie is filled with computer-generated animals, and one would think that after 2016’s Jungle Book, Disney would have mastered this art, but sometimes the animals can’t help but feel a little artificial.

Unfortunately, Dwayne Johnson is a major problem with this movie. Sure, he’s charismatic as always and can play a roguish adventure movie hero in his sleep, but he just doesn’t fit with the WWI-era setting and shares little romantic chemistry with Blunt, such that the love story subplot becomes actively uncomfortable. Frank is inspired by Humphrey Bogart’s steamboat captain character from The African Queen – this is Bogey if he ate 14 egg whites for breakfast and if his boat had a gym hidden somewhere. Johnson’s larger-than-life presence, which has served him well in many other roles, is distracting and doesn’t complement the setting or story. Perhaps someone like Pedro Pascal, Rodrigo Santoro or Oscar Isaac might have fit the role better. However, there is an excellent scene in the second act in which Frank’s intriguing backstory is revealed.

Summary: While somewhat derivative, Jungle Cruise will scratch that adventure movie itch for audiences who are starved of movies like Indiana Jones, Romancing the Stone and The Mummy (1999). Emily Blunt showcases her strengths in a role that seems tailored for her, while Dwayne Johnson can’t help but feel out of place even as he brings his trademark charisma to bear. Jungle Cruise also reckons with uncomfortable, outmoded adventure movie tropes in a worthwhile way.

RATING: 3.5 out of 5 Stars

Jedd Jong

Space Jam: A New Legacy review

For F*** Magazine

Director: Malcolm D. Lee
Cast : LeBron James, Don Cheadle, Khris Davis, Sonequa Martin-Green, Cedric Joe, Ceyair J. Wright, Harper Lee Anderson
And the voices of: Jeff Bergman, Eric Bauza, Zendaya, Bob Bergen, Jim Cummings, Gabriel Iglesias, Candi Milo
Genre: Animation/Comedy/Adventure
Run Time : 116 min
Opens : 15 July 2021
Rating : PG

In the 1990s, there was a spate of basketball players trying their hand at becoming movie stars. There was Dennis Rodman in Double Team and Simon Sez, John Salley and Rick Fox in Eddie, Ray Allen in He Got Game and Shaquille O’Neal in Kazaam and Steel. By far the most memorable of these was Michael Jordan in Space Jam. 25 years later, LeBron James steps into those Nikes to lead Tune Squad.

LeBron James (LeBron James) is having a bit of a rift with his younger son Dom (Cedric Joe). Dom is passionate about computer programming and videogame development, building his own game at just 12 years old, but LeBron is pushing his son to perform on the basketball court. LeBron brings Dom along to a meeting at Warner Bros, where father and son are absorbed into the “Serververse”. This is where Al G. Rhythm (Don Cheadle), a sentient program, holds court. He pits father and son against each other in a basketball game inspired by the game Dom is building. LeBron traverses the various realms of Warner Bros-owned intellectual properties, meeting the Looney Tunes. Bugs Bunny (Jeff Bergman) reunites his friends, including Daffy Duck (Eric Bauza) and Lola Bunny (Zendaya), to form the Tune Squad. LeBron doesn’t have much hope in his team but must get them into shape to face off against the Goon Squad, comprised of augmented digital avatars based on basketball players including Klay Thompson, Anthony Davis, Diana Taurasi and Nneka Ogwumike.

There are parts of the movie that are surprisingly emotional, and the father-son story is a fine backbone for a family film. The animated sequences are excellent, especially the 2D-animated stretch of the movie. There is a sophistication to the visual effects work which is commendable, and some of the design work is fun too. LeBron James is much more natural voicing the animated version of himself than he is on camera, even though he’s far from the worst athlete-turned-actor. It must be slightly strange for LeBron to act opposite actors playing fictionalised versions of his wife and children, but they mostly sell it.

Don Cheadle is a lot of fun in the villain role. Al G. Rhythm is a computer program, but Cheadle plays it completely relaxed and very human.

This reviewer loved the 2D-animated sequences set in the DC Animated Universe. It’s a thrill seeing those designs on the big screen. There’s also a section of the movie involving Wonder Woman that made this reviewer tear up.

This is “Corporate Synergy: The Movie”. Space Jam: A New Legacy is a pop culture nostalgia ouroboros. This is what happens when studios bank too heavily on recognisable IP, it starts to become a snake swallowing its own tail. The Looney Tunes characters have always been self-aware, and media involving them has always been heavy on pop culture references, but this lacks the wit of Looney Tunes: Back in Action, which was a wry showbiz satire. Here, the combination of various Warner Bros-owned properties can often feel clumsy. The LEGO Movie, Wreck-It Ralph 2 and even Ready Player One all executed this much more elegantly. There are six credited writers, four of whom also have a “story by” credit, which is usually an indication of far too many studio-mandated rewrites.

The climactic basketball match, which should be the highlight of the film, just goes on for way too long. It is interrupted by an unbearable sequence in which Porky Pig (Eric Bauza) performs a rap. It’s the moment during which the movie feels the most out of touch.

The audience at this match is comprised of characters from all sorts of Warner Bros. properties, including decidedly non-family-friend titles like Game of Thrones, It, A Clockwork Orange, and most bizarrely, Ken Russell’s The Devils. To be clear: the Droogs are a gang of rapists who are showing up in a family movie. The characters are all played by extras in costume, such that they feel more like cosplayers at a comic convention than the characters they’re meant to be. Compare this to when Disney got every living Disney Princess voice actor back for a sequence in Wreck-It Ralph 2.

Space Jam: A New Legacy is the culmination of 25 years of development hell. The original Space Jam was a massive hit, but Michael Jordan declined to return for a sequel. Options that were explored included the unfortunately titled ‘Race Jam’ with Nascar driver Jeff Gordon and ‘Skate Jam’ with Tony Hawk. Jackie Chan was courted to star in ‘Spy Jam,’ which eventually became Looney Tunes: Back in Action. That film was commercially unsuccessful, but in many ways, it is much better than Space Jam: A New Legacy.

Summary: Space Jam: A New Legacy packs in plenty of spectacle and boasts some impressive animated sequences but there’s just way too much going on. This belated sequel is bogged down by what feels like a corporate mandate to include as many Warner Bros-owned properties as possible, including several that absolutely should not be referenced in a family film. The day is almost saved by a charismatic turn from Don Cheadle.

RATING: 2.5 out of 5 Stars

Jedd Jong

Black Widow review

For F*** Magazine

Director: Cate Shortland
Cast : Scarlett Johansson, Florence Pugh, David Harbour, Rachel Weisz, O-T Fagbenle, William Hurt, Ray Winstone, Ever Anderson, Violet McGraw
Genre: Action/Adventure
Run Time : 134 min
Opens : 8 July 2021 (Sneaks from 7 July)
Rating : PG13

Marvel Cinematic Universe (MCU) movies have become an expected feature of the theatrical release calendar, and 2020 was the first year since 2009 in which none were released in cinemas. While the MCU is branching out on Disney+, it’s good to hear the Marvel Studios logo fanfare in a cinema again. After multiple delays, Black Widow finally arrives.

Set right after the events of Captain America: Civil War, Natasha Romanoff/Black Widow (Scarlett Johansson) is a fugitive from the authorities. While attempting to keep a low profile, she crosses paths with Yelena Belova (Florence Pugh), a sister figure who has undergone similar training. The duo eventually reunites with Alexei Shostakov/Red Guardian (David Harbour) and Melina Vostokoff (Rachel Weisz) – years ago, the four Russians posed as a family, undercover in rural Ohio. Now, they must work to dismantle the Red Room program run by the ruthless Dreykov (Ray Winstone), and attempt to free the brainwashed women whom Dreykov is conditioning to be the next generation of deadly operatives, known as ‘Widows’. Dreykov’s secret weapon, the enigmatic Taskmaster, is a Terminator-like assassin who can mimic the moves of any combatant he studies. Natasha, who has spent her whole life running from her past, must confront it, finally gaining a degree of closure.

The Black Widow character is long overdue for a solo movie, something that’s been floated since even before the character’s MCU debut in 2010’s Iron Man 2, with a Black Widow movie announced as early as 2004. Scarlett Johansson has never been given a great deal to sink her teeth into with the character, and the preceding MCU films have offered little more than tantalising hints at the character’s dark backstory of being trained and brainwashed from childhood into the perfect killing machine. This is a movie that is interested in its characters, and director Cate Shortland excels at scenes in which people are talking to each other, hashing out unresolved tension. There is a stylishness to the proceedings and a touch of spy movie flair. Several action sequences are entertaining, and the violence seems more brutal, impactful and immediate than in many other MCU films, perhaps pushing the PG13 rating a bit.

By now, we’re used to hearing criticisms of the MCU movies being formulaic. Unfortunately, despite a few stylistic touches, Black Widow still often feels like it’s rolled off the Marvel Studios production line. The pacing of the movie is very much “dialogue scene, action scene, dialogue scene, action scene,” in a way that feels very dutiful. There is an attempt to balance the character stuff with the superhero stuff, and it’s not quite as effortless as it should be.

The big climactic action sequence is stuffed with CGI, and by then it can’t help but feel like the movie is on autopilot. The action sequences in Black Widow and indeed in most other MCU movies are technically proficient, but it seems there are only so many ways a vehicle can flip over. It’s a bit of an open secret that MCU action scenes are mostly handled by a separate team, and some directors are better at making everything fit together than others, so the movie sometimes feels a bit disjointed. The curse of the mediocre villain strikes again – while Taskmaster’s mimicry gimmick is initially interesting, there’s just not a lot to him, and the dynamic of Taskmaster being the heavy and Dreykov as the puppet master is efficient but overly familiar.

The best parts of Black Widow are when the makeshift family of Natasha, Yelena, Alexei and Melina are spending time together. There are bits of the movie that even feel like The Incredibles. The way Natasha views the arrangement as a sham, whereas Yelena still has an emotional attachment to it, is an excellent approach to this setup. The new additions to the cast are all excellent, with rising star Pugh positioning herself in just the right MCU role. Her interactions with Johansson really feel like two sisters bickering, and there’s a believable chemistry between them, conveying the sense of two people making up for lost time.

David Harbour steals the show with a warm, loveable performance as Russia’s very own super soldier. He brings a great deal of dad energy to the proceedings and looks to be having a great time. Weisz is a lower-key, dignified presence, even if Melina is not an especially interesting character as written.

Summary: While not a wholly satisfying swansong for Scarlett Johansson’s Black Widow, this solo outing introduces some enjoyable characters into the MCU and is interested in its characters’ internal lives, even as there is plenty of requisite action spectacle. The movie is at its most enjoyable when it’s about Natasha’s makeshift family unit, with Florence Pugh’s Yelena making for an endearing little sister figure. As is the custom, stick around for a post-credits scene.

RATING: 3.5 out of 5 Stars

Jedd Jong

A Quiet Place Part II review

For F*** Magazine

Director: John Krasinski
Cast : Emily Blunt, Cillian Murphy, Millicent Simmonds, Noah Jupe, Djimon Hounsou, John Krasinski
Genre: Horror/Thriller/Sci-fi
Run Time : 97 min
Opens : 17 June 2021 (Sneaks from 5 June)
Rating : PG13

In 2018, A Quiet Place became a sleeper hit with audiences and critics alike. While John Krasinski had directed two feature films before, it was A Quiet Place that made everyone sit up and take notice of his skill behind the camera. The film’s box office success all but guaranteed that a sequel would be made, but especially after the pandemic has forced this sequel to be delayed for an additional year, can it live up to the brilliance of the first film?

After discovering that a high-frequency noise can drive away the monsters that have killed most of the earth’s population, the Abbott family must venture into the outside world. Evelyn (Emily Blunt) and her children Regan (Millicent Simmonds), Marcus (Noah Jupe), and a newborn baby leave the farm where they have been hiding for years. They come across fellow survivor Emmett (Cillian Murphy), whom they knew from before the monsters took over the earth. While the Abbotts are armed with a way of repelling the monsters, that doesn’t mean they’re safe, as they discover that the monsters are far from the only threats that lie in wait for them.

Krasinski continues to display strong directorial skill, staging several tense, thrilling set-pieces. The film’s opening sequence, which is a flashback that takes place on the very first day of the attack, is a killer way to start the film, allowing the audience to witness the initial moments of chaos that will change the Abbotts’ lives, and the lives of everyone else on earth, forever. This movie is not quite as scary as the first film, but there are a healthy amount of edge-of-your-seat moments.

The performances are as solid as they were in the first film, with Millicent Simmonds’ Regan getting more to do in this one. Cillian Murphy has a haunted quality to him that works well for the role of a ragged survivor. This film switches the character dynamics up by having Emmet try to protect Regan when she strikes out on her own, determined to find other survivors. This makes A Quiet Place Part II seem even more like the video game The Last of Us than the first movie did, with Emmet analogous to Joel and Regan analogous to Ellie.

Unfortunately, in trying to open the world and do something different, A Quiet Place Part II is not as good as the first movie. The sense of intimacy and the feeling of it being a very personal project for Krasinski and Blunt are somewhat diminished here, even though Krasinski arguably had more say over this one since he’s the sole credited writer. Krasinski was initially reluctant to return for the sequel, planning to pitch story ideas but hand the film off to another director, before he was convinced to return.

While Murphy puts in a good performance, Emmet can’t help but feel like a replacement for Krasinski’s Lee. The movie introduces some interesting ideas about the world beyond and certain groups of survivors, then quickly abandons them. Blunt has less to do here than one might expect. Also, since we already know what the monsters look like, they’re much more clearly visible in this film and sometimes feel a bit less scary because of it.

Just as in the first film, the sound design is an integral component in A Quiet Place Part II. The film very smartly uses the subjectivity of sound, with the sound dropping out entirely when we’re seeing – or rather, hearing – things from Regan’s point of view since the character is hearing-impaired. Sound designers Ethan Van der Ryn and Erik Aadahl and sound mixer Brandon Proctor do a marvellous job creating a soundscape for a world where making too much noise can be deadly. It’s especially interesting to start the film out with a flashback, seeing and hearing the world as normal, before jumping forward to show the contrast.

Summary: A Quiet Place Part II feels less personal than the first film, but considering the high bar that’s been set, it’s still a thoroughly thrilling, immersive experience and a remarkably well-made monster movie that is a further evolution of John Krasinski as a director. The film also serves as a showcase for Millicent Simmonds, arguably the breakout star of the first film. It’s well worth the additional year’s wait necessitated by the pandemic.

RATING: 4 out of 5 Stars

Jedd Jong

The Good, the Bad and the Badass: the Star and Creatives of Star Wars: The Bad Batch Talk the New Animated Series

By Jedd Jong

There are nine main Star Wars theatrical films and three more theatrically released spinoff films, including 2008’s animated Clone Wars movie. However, fans know this barely scratches the surface. There is a galaxy of ancillary material that greatly enhances and enriches the Star Wars story, and sometimes, is essential to getting the bigger picture.

One of the key components of Star Wars has been the Clone Wars CGI animated series, which the afore-mentioned animated movie led into, ran from 2008 to 2014, and had an additional final season that aired in 2020. The series is set between Attack of the Clones and Revenge of the Sith, and expounds on the titular conflict, fleshing out familiar characters like Anakin Skywalker and Obi-Wan Kenobi, while also introducing key players like Ahsoka Tano, Duchess Satine and of course the various Clones.

Streaming on Disney+, Star Wars: The Bad Batch picks up where The Clone Wars left off, focusing on a peculiar group of Clones who were introduced in the seventh and final season of that show. The leader Hunter, gadget whiz Tech, cyborg tactician Echo (once presumed dead and later rescued from his captors), demolitions specialist Wrecker and sniper Crosshair comprise Clone Force 99, nicknamed “the Bad Batch”. While there are small differences in the personalities and temperaments of the regular Clone Troopers, the Batchers (apart from Echo) have genetic defects that enhance certain traits desirable in a soldier, but also make them more individualistic and unpredictable. They are also more physically distinctive than the regular Clones.

At a virtual press conference moderated by Entertainment Tonight’s Ash Crossan, star Dee Bradley Baker, executive producer/head writer Jennifer Corbett and executive producer/supervising director Brad Rau spoke about the new series. Corbett and Rau both worked on the Star Wars animated series Rebels and Resistance. The series is created and executive produced by Dave Filoni, a stalwart of Star Wars animation who is now heavily involved with live-action series on Disney+ including The Mandalorian.

One of the draws for Star Wars fans is this series’ setting: the immediate aftermath of the fall of the Galactic Republic and the execution of Order 66, in which the Clone Troopers turned on and massacred the Jedi. “The question became: what happens after the war’s over? What happens to all these clones [when] all they know is being soldiers?” Corbett asked. She said the show examines “how [the Bad Batch] react to this new environment and the new way of doing things and the new way of following rules, which…isn’t their favourite thing to do.” The nascent Empire is seen through the eyes of the Bad Batch, but also civilians across the galaxy. “I found it kind of interesting to show planets and places that were happy that the war is over, and they don’t really understand the implications of what an Empire actually means,” Corbett continued.

The members of the Bad Batch may be different from the regular Clones, but until now, they have always operated as part of the Grand Army of the Republic. With the fall of the Republic and the rise of the Empire, they find themselves adrift. “None of them are really equipped to go out into the world,” Rau observed. “How do they eat? They don’t have a mess hall to go to. How do they get their gear fixed? How do they get fuel for their ship? These are all things we get into. It’s really interesting.”

Since 2008, Baker has voiced practically every Clone heard in Star Wars animated series and video games. If you watched even one cartoon series on Nickelodeon, the Disney Channel or Cartoon Network over the last 20-odd years, chances are you’ll have heard Baker’s work. Regarded as a living voice acting legend, his credits include Avatar: The Last Airbender, Spongebob Squarepants, Ben 10, Phineas and Ferb, Young Justice, Adventure Time, Steven Universe and Gravity Falls, among many others.

“Clone Force 99 is kind of another step beyond what I’ve been asked to do in the Clone Wars series,” Baker explained. “The tricky part for them is the differentiation between characters – although it has to be decisive and has to be clear, the Bad Batch are actually much further apart from each other which oddly makes it a little bit easier to jump from character to character to character,” Baker said, comparing the experience to “jumping from rock to rock on a stream.” “It’s…a really fascinating process as a voice actor to have these scenes where I’m just talking to myself, just switching from character to character to character as we go through the script, which is typically how we do it. We just go straight through it.”  

“It’s impressive to watch him do it in the room because when we first started, I thought he was going to do a character at a time [but] just watching him act out a scene with himself with all of these Clones, there’s no pause, he just goes right into it,” Corbett said, likely echoing the assumption of most viewers. “I was blown away, each time we do one of these recording sessions, I’m just amazed at Dee’s talent.”

The Bad Batch also introduces a new character, a young girl named Omega whom the Batchers somewhat reluctantly take under their wing. “It’s interesting in terms of the story and the writing to have this personal relationship with a younger character and to see how that changes and how they accommodate that,” Baker said. He compared it to an uncle-niece or father-child dynamic but added this is “not entirely” the case, “because Omega has her own interesting potential of power, maybe.”

The way the Batchers interact as members of a military unit is something that Corbett is familiar with, having served in the United States Navy. She applied this experience as a writer and producer on the long-running series NCIS. Corbett said she responded to the Bad Batch’s arc in the final season of The Clone Wars because she “Got the dynamic between this squad,” adding that she understood how servicepeople “Become like brothers and sisters very when you’re sent on missions together when you’re in close quarters, and the camaraderie and also the banter that comes with living with people so closely in high-stress situations.” A key element of the characters in the show is that they each bring different perspectives to the table. “I think that speaks to the military, no one comes from the same background; everybody has their different reasons for doing what they’re doing, and it is a family dynamic in real life,” Corbett elaborated.

Star Wars fans can look forward to appearances from characters from other shows, including Rebel leader Saw Gerrera, who appeared in Rebels, Rogue One and Jedi: Fallen Order, and Fennec Shand, who appeared in The Mandalorian, with Ming-Na Wen returning to voice the latter. This is in line with how each new Star Wars series, animated and live action alike, further connects the dots between characters and time frames.

Featuring characters who quickly became fan favourites and taking place in an intriguing and tumultuous period in the Star Wars timeline, The Bad Batch promises to make for riveting and rewarding viewing, perhaps setting the stage for much more Star Wars content to come.

The Bad Batch begins streaming on Disney+ on May 4 2021, with new episodes premiering each week.

Wrath of Man review

For F*** Magazine

Director: Guy Ritchie
Cast : Jason Statham, Holt McCallany, Jeffrey Donovan, Josh Hartnett, Laz Alonso, Raúl Castillo, Scott Eastwood, Niamh Algar, Rob Delaney, Eddie Marsan, Andy Garcia
Genre: Action/Thriller
Run Time : 119 min
Opens : 29 April 2021
Rating : M18

There’s something exciting about an armoured truck full of cash that filmmakers can’t resist. 2009’s Armoured was a caper centred around an armoured truck crew, and an unrelated film of the same name is set to be produced by Michael Bay. Films like The Heat and The Town have memorable armoured truck-centric set-pieces. Now, Guy Ritchie and Jason Statham take the wheel.

Patrick “H” Hill (Jason Statham) is a mysterious new employee at Fortico Security, an armoured truck company operating in Los Angeles. Every week, Fortico transports millions of dollars around the city. Bullet (Holt McCallany) teaches H the ropes. During an attempted robbery, H showcases formidable skills, indicating he is overqualified for the job. He crosses paths with a gang of ex-military personnel-turned-robbers. H is on a path of vengeance, and soon, the reason for this becomes clear.

Based on the French Film Le convoyeur (Cash Truck), Wrath of Man is a solid, muscular action thriller that makes good use of both director Ritchie and star Statham’s strengths. There are some brutal action sequences, and the production design of the armoured car depot is quite striking. Wrath of Man often feels beefy and substantial, when many mid-budget action movies can feel somewhat lacklustre and pack too little of a punch. The movie manages to build intrigue in its first half; it’s too bad that the trailers give away the reveal of why exactly H is working for Fortico. The ever-dependable Holt McCallany is especially charismatic, threatening to steal the show from Statham at times. Wrath of Man escapes the feeling of being confined to direct-to-streaming and fits well on the big screen.

The movie is oozing with a bit too much machismo for its own good. The screenplay by Ritchie, Ivan Atkinson and Marn Davies is crammed with dialogue that strains too hard to sound tough and badass, sometimes bordering on self-parody. There doesn’t seem to be much to any of the characters except H. A cameo by Post Malone threatens to pull one out of the movie. Scott Eastwood’s villainous character is also a non-entity, with Eastwood having little screen presence compared to Statham and McCallany. The film is also ultimately generic and attempts to conceal this with some fairly clever structural shuffling. The movie is also divided into chapters, which, together with the title, can’t help but come off as a bit pretentious for what is mostly a meat-and-potatoes action thriller.

Wrath of Man reunites star Statham and director Ritchie, who burst onto the scene in the 90s with Lock, Stock and Two Smoking Barrels and Snatch but haven’t collaborated since 2005’s widely-panned Revolver. This is not one of Ritchie’s more self-indulgent films; his signature combination of “toff guy” (the name of his production company) schtick and self-aware humour is toned down a little here. It seems like Ritchie is channelling Michael Mann, sometimes successfully. Statham isn’t an actor with a lot of range, but he is watchable doing what he does best. The pair will next collaborate on the spy thriller Five Eyes, currently in production.

Summary: Wrath of Man sees Guy Ritchie and Jason Statham doing what they do best. It’s not quite as cool as it thinks it is and sometimes has a whiff of self-importance about it. Overall though, this is a solid, intense action thriller that doesn’t quite feel as disposable as the typical action movies of the week we’ve been getting on streaming.

RATING: 3.5 out of 5 Stars

Jedd Jong