[Film Review] Superman

Writer/director James Gunn has a pretty stellar track record when it comes to the realm of spunky, comical, and heartfelt superhero films. In this latest incarnation of Superman, Gunn continues to prove he’s got the magic touch. Not only is this film thoroughly enjoyable, but it’s also a rousing portrayal of Superman at his most human.

When we catch up with Superman (David Corenswet), he’s really going through it. He’s just lost his first battle, the public is casting him as a pariah, and he’s even having relationship problems with his girlfriend, Lois Lane (Rachel Brosnahan). To make matters worse, the notorious Lex Luther (Nicholas Hoult) — in full-on evil tech bro mode — is concocting plans to eliminate Superman once and for all. 

Even with the cape on, Superman’s characterization here is vulnerable, emotional, sensitive, and empathetic. He also takes a lot of hits along the way, both physically and mentally. In fact, he gets the crap kicked out of him multiple times during this film. There’s also a global smear campaign against him that would send even the most experienced crisis management team running for the hills. Adding some comic relief is his foster dog named Krypto. This canine companion gives the film some extra cuteness while also bringing out the caretaker in Superman. 

Gunn opts for a decidedly lighter and kookier tone. It’s even cheesy at times. And you know what? It works! After all, Superman is a guy who goes around wearing his underwear over his pants. It’d be foolish to take him too seriously. That’s the fatal mistake that plagued Zack Snyder’s cold and brooding Man of Steel era. This film is much warmer -- all the way down to its colors.  

But what’s most surprising about the story is how daringly political it is. When watching the events unfold, you can’t help but think of real-world headlines. There are threats of authoritarianism, there's discrimination against immigrants, there's the abuse of artificial intelligence, there are media waves of disinformation and propaganda, and there are corrupt and unjust foreign wars. The film is all the better for diving head-first into these topics. 

Lois Lane plays a significant role along the way, going beyond just being a journalist who looks up to the sky, and it’s refreshing to see. And like Gunn did with Guardians, he gathers a quirky group of supporting characters in Green Lantern, Mister Terrific, and Hawkgirl. I must say, Mister Terrific wins the title of being the coolest character in the film. As for Lex Luthor, he's as ruthless and diabolical as he is pathetic and small - a dangerous combination. 

The proceedings deliver the spectacular action you’d come to expect. The action scenes hit with force and gravity, and it's a blast to watch. And by placing Superman in such desperate situations, he becomes quite an underdog, and it's easy to root for him. He's not only saving the world; he's also saving himself. When he says the line, "I put one foot in front of the other and I try to make the best choices I can," it feels sincere. The core of this film is really all about human kindness. Isn’t that a sentiment that everyone should get down with? 

* 8.5/10 *

[Film Review] Drop

Do you like thrillers that mostly take place in a single setting? How about thrillers where the main character is faced with a crucial dilemma? Ones where an ominous entity gives the protagonist a series of cruel commands? Drop checks all of those boxes. Coming from Christopher Landon, the director of the clever Happy Death Day slasher series, this film is a fun and focused take on a high-concept “What if?” scenario.  

Early on, we meet Violet (Meghann Fahy), a widowed single mother who has arranged a first date with a guy named Henry (Brandon Sklenar), whom she met on a dating app. When they take their table at what we humble folk would call a very fancy restaurant, things get weird. Here’s the gist: She receives a text message that essentially says: “Do what I say or your child gets killed.” From this moment on, she is forced to take tenacious steps in order to spare her child, all while risking looking like the worst date in history. 

Considering the film's incorporation of smartphone apps, memes, and social media-driven lingo, you could definitely call this a first-date thriller for the millennial generation. Its tech-savvy spin feels fitting for the times. The narrative sparks plenty of intrigue from the get-go, and it’ll make you want to stick around to know what happens next, who exactly is behind this sinister scheme, and how it will all turn out in the end. 

The plot escalates in an effectively suspenseful way, and the overall vibe of this outing is uncomfortable, awkward, and dangerous all at once — to the point where it might have you squirming in your own seat. With each message sent, the stakes are upped. Let’s just say that the wine isn’t the only red that is spilled here. And as you’d expect, the evening’s dessert is topped off with some big twists. 

One thing you can definitely say about this date: It’s never boring. So here’s a toast to Drop. 

( 7.5/10 )

[Film Review] Sinners

The word “Badass” is thrown around a lot when it comes to films, but writer/director Ryan Coogler’s Sinners resoundingly earns the honor. Part blockbuster with the blues, part pulpy vampire flick, and part shoot-em up showdown, this genre remix emphatically stomps to its own beat. 

It’s set during the Jim Crow South in Clarksdale, Mississippi, and the story takes place over the course of one day, one dusk, one evening, and a dawn. Michael B. Jordan plays a pair of twin brothers named Smoke & Stack, and the two roll into town like a hurricane of sharp suits, gold teeth, and shady business deals. With their entrepreneurial aspirations on full display, they buy a sawmill and flip it into a juke joint meant for showcasing the talent of local musicians. The club’s grand opening turns out to be a party for the ages. 

And by “a party for the ages”, I really mean a party for the ages. One of the film’s most awe-inspiring sequences is a musical montage on the dance floor that conjures up the spiritual evolution of black music and culture, bridging the past, the present, and the future in such a surreal and creative way. It’s a moment where I knew I was witnessing something truly extraordinary. Oh, and did I mention that there are vampires lurking about?

The blood-sucking narrative turn can feel jarring, but that’s the point. The film’s mashup of genres is most reminiscent of HBO’s "Lovecraft Country", where American history bleeds into horror and the supernatural. What unfolds is a tale of paranoia and survival—an old-fashioned “Avoid getting bit at all costs” saga.

Sinners is certainly elevated by its all-around technical craft. The camera work is graceful, the script is full of quotable lines, and the score and music-driven scenes are lively and soulful. The film is just as much of an ode to music as it is to cinema itself. Even the editing choices catch a rhythm. Michael B. Jordan is such a great screen presence here, and Jack O’Connell delivers a fully game performance as the story’s bloodthirsty antagonist, while also partaking in a lovely rendition of the Scottish folk song, “Wild Mountain Thyme.”

From Ryan Coogler’s early indie beginnings with Fruitvale Station, to the franchise fare of Creed and Black Panther, his films always wear a sense of palpable passion on their sleeves, and Sinners continues on with that tradition. He takes a huge risk here, and the gamble pays off big time. 

* 9/10 *

An alternate version of this review is slated to appear in the August 2025 edition of St. Paul's Community Reporter newspaper.

[Film Review] The Phoenician Scheme

The masterful Wes Anderson is back with his 12th(!) film, and this time around he’s devised The Phoenician Scheme, an industrialist-themed yarn that blitzes with style and rattles with hilarity. Here, we bear witness to an artist working at the height of their craft. It’s truly splendid cinema.  

Set in the 50s, the story zooms in on Zsa-Zsa Korda (Benicio del Toro), a slippery tycoon with a controversial aura. He’s had multiple brushes with death (and the law), we get the impression that he’s probably screwed over a lot of people, and there might even be an assassin or five out for his head. He’s also got 10 kids. After seeing visions of his judgment day, he decides to anoint his only daughter (a nun played by Mia Threapleton - Kate Winslet’s daughter, for those keeping score of talented nepos) as the sole heir to his estate—but on a trial basis. Anderson deploys his signature boxy aesthetic to literal levels, as the tightly organized plot unfolds through a series of shoeboxes that contain Korda’s enterprise plans…er…schemes would be more accurate.

What ensues is a comedic caper of suspicious events and idiosyncratic characters. This thing is hysterical. It’s delightfully absurd and absurdly delightful. The clever script is packed with dialogue that is as droll as it is sophisticated, and there are plenty of sight gags stuffed in—my favorite being a high-stakes game of basketball where Benicio del Toro and Riz Ahmed square off against a duo of cantankerous investors played by Tom Hanks and Brian Cranston. The scene stresses the wise notion that you should always be prepared—because you just never know when a game of basketball might break out. Benicio del Toro gives a stellar central performance, and his comic timing and overall delivery are excellent. A patented who’s who cast comprises the eccentric ensemble of supporting characters: Michael Cera (shockingly, his first role in a Wes Anderson film), Scarlett Johansson, Jeffrey Wright, Willem Dafoe, Charlotte Gainsbourg, Richard Ayoade, Benedict Cumberbatch, and Bill Murray, to name a few.

As expected, Wes Anderson’s defining traits as a filmmaker are on full display here. The visuals are painterly, picturesque, and cinematic all at once. Every frame is exquisitely staged, and every scene is a hoot and a half. There’s a significant emphasis on architecture and interior design, and if you pay close attention to the depth and dimension of each setting, the details are astonishing—right down to the texture and color palettes. It’s as if a lot of the shots were ripped from an issue of Architectural Digest that Wes Anderson curated in his imagination. I also must mention the truly superb opening credits scene, which boasts a striking overhead shot that sets the tone for the film while also leaving a lasting impression. Wes Anderson has perfected the craft of introductory sequences, which often feels like a lost art these days. Even the closing credits have personality. From beginning to end, this is a film film. 

With a title like The Phoenician Scheme, it’s only fitting that the intricate narrative stacks on the twists, turns, and reveals. But what’s most surprising are the sneakily tender moments, along with the themes of fate, faith, and family. With this film, Wes Anderson proves that he’s one of the greatest auteurs in contemporary cinema. All elements considered, it feels like he’s just as much of an engineer as he is a filmmaker at this point. When Korda utters the line, “Don’t buy great art, buy masterpieces,” it feels like a challenge. Get your basketball gear on.

* 10/10 *

[Film Review] A Complete Unknown

Were you there when Bob Dylan went electric?

Director James Mangold pulls back the curtain and brings the riveting story to the screen with A Complete Unknown. Based on the book Dylan Goes Electric! by Elijah Wald, this film is a fascinating portrayal of Minnesota's own legend Bob Dylan, and it's also a tuneful ode to the power of instruments, songwriting, inspiration, and free will.

Oscar nominee Timothée Chalamet plays Dylan, and he's got the look. It's 1961, and Dylan has made his way from Minneapolis to New York City to visit his idol Woody Guthrie (Scoot McNairy) and friend Pete Seeger (Edward Norton). The film details Dylan's meteoric rise in the folk scene, his relationship with Sylvie Russo (based on Dylan's real-life love Suze Rotolo), his collaboration with Joan Baez (both musically and personally), and it all leads up to that infamous night when Dylan went electric, much to the dismay of his fans and his music label.

A Complete Unknown moves at a nice pace that is not too rushed, nor too bogged down, and it utilizes Dylan's seminal musical catalog to mark key turning points in his career, from his foray into political and socially-conscious lyrics to his rocky romantic relationships. Chalamet gives a truly impressive, dedicated, and detail-oriented performance here. It's no small task to step into the shoes of such an icon, but he does it with immense skill. You can tell that he closely studied Dylan's mannerisms, inflections, and yes -- that unmistakable singing voice. Thankfully, he refrains from over-acting and instead focuses on subtleties, which elevates the performance way above a basic impression. Edward Norton, Elle Fanning, and Monica Barbaro are also great in their supporting roles.

Even if you're not super familiar with Bob Dylan's story or are not even a fan of his music, there is a lot to enjoy in this film. And for us Minnesotans, I know we all get a little giddy inside when we hear our state getting mentioned multiple times on the screen. Ultimately, A Complete Unknown is a tale about the art of taking risks. What happens when you go against the grain? What happens when you follow your heart? Given that Dylan has gone on to become one of the highest-selling and most critically acclaimed artists of all time, it's worked out pretty well for him.

This review originally appeared in St. Paul's Community Reporter.