Night Always Comes sees Kirby do a complete 180 from the new Marvel movie, but just like Sue Storm’s brush with Galactus it’s similarly far from perfect. This time, Kirby plays Lynette, a former sex worker turned bread factory staffer, desperately trying to keep her dilapidated home as a roof over her family’s heads. When her mom blows their $25,000 downpayment on a car, Lynette embarks on an unhinged mission to raise all the money in one night, before local enforcement repossesses the house.
I know what you’re thinking. Night Always Comes has the potential to be heartpounding, gut-wrenching, slick and commanding in such a dynamic storyline. But this is only half true thanks to a complicated plot that doesn’t know whether it’s coming or going.
This is particularly frustrating because the subjects being explored are such a vulnerable, authentic window into the realities of life in America when you’re living paycheck to paycheck, and the new Netflix movie effortlessly enthuses real-life inspiration points to hammer that point home.
But on the fictional end, the drama often goes too far. As we delve further into the new film, we see Kirby dust off her Mission: Impossible movie training and dropkick more nefarious men than I’ve ever seen be taken down in one small-town setting. This leads us to an ending scene that’s so bonkers, I couldn’t suspend enough belief to buy that it was something that would actually happen. It’s these jarring changes in tone and narrative speed that make a plot already hard to understand that little bit more challenging.
I still haven’t made my mind up on Night Always Comes, but I’ve fallen back in love with Julia Fox
Julia Fox as Gladys in Night Always Comes. (Image credit: Netflix)
Okay, let’s get straight to it. While Night Always Comes is no doubt Vanessa Kirby’s best performance of the year so far (more on that later), I couldn’t help but be the most charmed by Julia Fox’s Gloria. She’s an old friend of Lynette’s who owes her $3,000, willingly letting her into her apartment in the middle of the night before refusing to stay in one place because her “car is here”.
It’s the sort of flamboyant chaos we’ve naturally come to associate with Fox (remember Uncut Gems?), but she plays it with such conviction that you forget how much talent she has buried away under those killer looks. Fox herself bears so much weight in terms of her cultural capital, so I hope fans and the industry re-recognize a woman who genuinely knows what to do with the craft she’s chosen.
Then there’s Kirby. Teetering across a delicate balance of misplaced confidence and a complete mental breakdown, Lynette has us in the palm of her hand as she desperately clings to a life she doesn’t even want in the first place. Her backstory is well fleshed out, and it makes sense for her logical patterns to be as archaic as they end up being. Kirby’s emotional range is what really sells it, though, digging as deep as a woman has to when she’s acting out in pure panicked desperation.
Performances aside, the Netflix movie has built its foundations on sand
While I really appreciate the honesty of living in modern-day America and easily falling into an unsavory way of living, I have a lot of issues with Night Always Comes’ plot. I can buy one chaotic caper happening, such as Lynette beating a bunch of men to a pulp when she takes a stolen safe to be broken into, but four or five in a row? That’s just getting absurd. This also contradicts the safety of Lynette’s older brother Kenny (Zack Gottsagen) who has Down’s Syndrome, and is the bulk of the reason why Lynette is fighting so hard to keep the house. She eventually puts him in grave danger, but as much as the move shows Lynette’s slippery slope of inner morality, I cannot buy that an entire nightclub’s worth of people would equally throw Kenny under the metaphorical bus, too.
The more people Lynette meets to try and steal, barter and plead for her cash, the more you forget how she knows them, what their significance is and how she hasn’t magically run out of avenues to try. It’s a headscratcher and a bleak one at that, which is just as much of a blessing as it is a curse. There’s no foot off the pedal, meaning Lynette’s wild antics and desperation chug along at a constant pace without any letup. That’s exhausting for anyone, and I think it eventually does a disservice to the overall impact of her story.
As much as I enjoyed pretending to punch anyone who crossed Lynette’s path with a bad attitude, Night Always Comes ultimately has us sitting on the fence. With an almost equal amount of good and bad, it’s perhaps an ironic microcosm of life itself, only I wish I had Julia Fox strutting around sassing me in mine.
Light spoilers follow for Peacemaker season 2 episodes 1 through 5. Full spoilers also follow for Peacemaker season 1 and The Suicide Squad.
It's incredibly rare to see a C-tier comic book anti-hero star in his own show. It's even less likely that such an individual, who's now arguably one of DC Comics' hottest commodities, would be positioned as the most important cog in a nascent cinematic franchise.
Few eyebrows are being raised about Peacemaker being that person, though. With season 1 of the titular character's TV series receiving critical and commercial acclaim in early 2022, it was a case of when, not if, a sophomore outing would arrive.
Over three years later, Peacemaker season 2 is not only ready to be unleashed, but also become a core component of James Gunn and Peter Safran's DC Universe (DCU). The fact that this chaotic tragicomedy's next installment is as super as its first, and sets the stage for future DCU and DCU-adjacent projects, proves they made the right decision to use it as a key building block for their burgeoning shared universe.
Hero to zero
Whether it's saving the world or being grilled by school kids, Chris Smith can't catch a break (Image credit: HBO Max)
Set a few months after Gunn's Superman movie, Peacemaker season 2 reunites us with Chris Smith (John Cena), aka the eponymous anti-hero, as he continues to struggle with reconciling his past.
Things aren't much better in the present, either. A failed job interview to join The Justice Gang, the corporately owned team of metahumans introduced in Superman, coupled with Emilia Harcourt (Jennifer Holland) continually rejecting his romantic advances, leaves Smith longing for a better life.
I really got a kick out of Cena plumbing the depths of Smith's inner turmoil
As fate would have it, such an opportunity presents itself to Smith via the secret Quantum Unfolding Chamber (QUC), an inter-dimensional location outside of normal space that exists in the home of his deceased father, Auggie Smith (Robert Patrick). Inebriated one night, Smith stumbles onto a parallel world where his dead dad and brother are alive, and the Peacemaker of this world is a celebrated hero who's in a relationship with this universe's Harcourt. Hypnotized by this idyllic reality, Smith is drawn to it time and again – but, as the saying goes, the grass isn't always greener on the other side.
If the hit HBO Max show's second season sounds like it's putting a multiversal spin on introspective movies like It's a Wonderful Life with a Sliding Doors-style narrative, that's intentional.
Indeed, if season 1 trained its lens on Smith's superhuman alter-ego and his attempts to redeem the 'Peacemaker' name, its sequel is all about the man himself reflecting on the choices he's made and, if he had a do-over, how he'd handle things differently. I really got a kick out of Cena plumbing the depths of Smith's inner turmoil and, despite Smith's efforts to deal with them more maturely, his deeply flawed approach to handling his demons with external vices and increasingly regular trips to an alternate dimension that allow him to live a double life.
Harcourt and Smith's relationship is put through the wringer this season (Image credit: Curtis Bonds Baker/Max)
Parallels can be drawn between Smith's methodology and that of his perennial love interest, Harcourt. Harcourt's sense of self is rattled after she's fired by ARGUS and blacklisted by every US intelligence agency for apparently helping to expose former ARGUS chief Amanda Waller's role in Project Butterfly and Task Force X last season.
Two sides of the same coin, this impulsive pair uses physical pleasure and pain to numb themselves to their deep-seated trauma, and continues the show's exploration of the nature versus nurture debate in engrossing fashion through their individual arcs. Meanwhile, surprise-laden flashbacks to events that occur after 2021's The Suicide Squad, but before season 1, add a fascinating extra layer of complexity to their dynamic.
John Economos' (left) loyalties are split between his job and his friends this season (Image credit: Curtis Bonds Baker/Max)
The rest of Peacemaker's primary ensemble – who, alongside Smith and Harcourt, are collectively known as the 11th Street Kids – also face similar soul-searching experiences as part of their season 2 arcs.
Indeed, the six-month time jump between Smith chancing upon another universe and this season's main storyline is sufficient enough to show how Leota Adebayo (Danielle Brooks), John Economos (Steve Agee), and Adrian Chase/Vigilante's (Freddie Stroma) lives have changed.
The fascinating regression of some friendships... gives Peacemaker 2 a more pronounced soap opera edge than its forebear.
There's a greater emphasis on what makes each character tick and how they deal with setbacks, too, through their more substantial individual arcs this season. The pleasing progression of certain core dynamics and nascent character pairings gives rise to new kinds of awkward, albeit heart-warming, camaraderie. Equally, the fascinating regression of some friendships adds more than a pinch of melodrama, giving Peacemaker 2 a more pronounced soap opera edge than its forebear.
Admittedly, some characters get more to do than others. I was pleased to see the often underappreciated Agee shine in a much bigger role this season, and even Eagly, Smith's rambunctious White Eagle pet/sidekick, gets a funny, though quickly resolved, subplot this time around. However, I wish Stroma's scene-stealing sociopath wasn't relegated to the sidelines as much as he is. Hopefully, season 2 will rectify this glaring oversight in its final three episodes.
Careful what you wish for
Langston Fleury and Sasha Bordeaux are two of numerous new additions to Peacemaker's cast (Image credit: Curtis Bonds Baker/HBO Max)
With numerous supporting cast members killed off in season 1, there are plenty of vacancies to fill on its follow-up's roster.
So, how do they fare in the DCU Chapter One show? They're all terrific, but Tim Meadows' Langston Fleury and Michael Rooker's Red St. Wild are the pick of the bunch. The former – a greasy, smug, and misogynistic sycophant – picks up the cocksure slack that Cena's Smith discards this season, while the latter plays to Rooker's character strengths as a delightfully unhinged individual who's drafted in by ARGUS director Rick Flag Sr (Frank Grillo) and his deputy Sasha Bordeaux (Sol Rodriguez) to track down Eagly for reasons I won't spoil.
Frank Grillo returns as Rick Flag Sr after appearing in Superman and Creature Commandos season 1 (Image credit: Jessica Miglio/Max)
Like Stroma's Chase, I was initially disappointed over the use of Grillo's Flag Sr. Apart from a couple of scenes, including one of the flashbacks I mentioned earlier, Waller's recently-installed replacement – he was hired by ARGUS eight months before season 2's primary story begins – mostly takes a backseat in this season's first four episodes.
Like Stroma's Chase, I was initially disappointed over the use of Grillo's Flag Sr
Okay, Grillo's active role in proceedings is dictated by how the plot unfolds. However, considering Grillo told me that Flag Sr would be "on a mission" for justice in Peacemaker 2 – remember, the titular anti-hero killed his son in The Suicide Squad – I'd hope this storyline would've featured more heavily in earlier entries. Thankfully, once season 2 refocuses its efforts on the Flag Sr portion of the plot, the full weight and impact of Peacemaker's actions in that 2021 Gunn-directed film reverberate through episode 5 and, hopefully, in its final three chapters.
Leota Adebayo and Adrian Chase spend more time together this season compared to its predecessor (Image credit: HBO Max)
While we're on the topic of The Suicide Squad, season 2 does a mostly good job of confirming what parts of the DC Extended Universe (DCEU), i.e., Warner Bros' previous superhero-packed cinematic franchise, are officially canon in the DCU.
Ever since Gunn confirmed Peacemaker's second season would be part of his new-look shared universe, fans have wondered how it would handle this. Season 1 and The Suicide Squad were technically part of the DCEU – learn more about it via my DC movies in order guide – before Gunn and Safran's reboot. Smith's surprising but crowd-pleasing cameo in Superman, as well as Peacemaker season 2's official trailer, did little to answer fans' biggest questions. Fortunately, all is revealed through a handy 'previously on...' segment just minutes into this season's premiere. No spoilers, but I think the vast majority of fans will be pleased with the way that Gunn humorously retcons a particular scene from last season's finale – one that was the biggest canonical headache for many.
Michael Rooker's Red St. Wild is the primary antagonist of this season's Eagly-led subplot (Image credit: HBO Max)
Expected though they are, it's marvellous to see events and characters from the wider DCU play active roles in Peacemaker 2. Whether it's references to Superman's story, or episode 1's brilliantly dysfunctional interview scene involving The Justice Gang, I was heartened to see these narrative yarns spun out further and prove that, unlike Marvel's cinematic juggernaut, events on the big screen can and should be felt keenly in their small screen counterparts.
I'll admit season 2's new title sequence steadily grew on me to the point where I was actively singing along to it
And what of the most anticipated part of the show's return – i.e., this season's new title sequence. Last season's opening credits went viral in early 2022, with Gunn telling Entertainment Weekly it was watched four billion times on TikTok. No pressure, then, to make it as good, if not better.
Initially, I wasn't a fan of season 2's glam-rock-inspired dance number. With each episode that passed, though, I'll admit it steadily grew on me to the point where I was actively singing along to 'Oh Lord' by Foxy Shazam, aka the licensed song this season's ambitious choreographed sequence is set to. Don't be surprised if you feel the same way after re-watching it multiple times.
My verdict
Peacemaker season 2 is an impressive, entertaining, and startlingly thought-provoking continuation of its predecessor. A series packed with the usual trappings of a James Gunn project – dark and awkward humor, heart-wrenching moments, action-heavy sequences, a banging soundtrack, reams of melodrama, and broken characters you can't help but adore – it's must-see TV for DC comic book devotees, nascent DCU fans, and casual observers alike.
There are blemishes, some of which I've outlined above and others, like the occasionally jarring tonal shift, ruin its chances of earning a better rating. However, those flaws are comparatively minor in the grand scheme of things.
As I mentioned up top, not many DC Comics characters could carry their own series and be an integral part of the DCU storytelling machine. And yet, Peacemaker proves that, with the right cast and crew, and a creator who understands the material, anything is possible. If Chris Smith existed in the real world, I'm convinced the high regard he's held in by viewers would finally help him to *ahem* make peace with his past.
Peacemaker's second season launches with a two-episode premiere on August 21 (North and South America) and August 22 (everywhere else). Read my dedicated guide for Peacemaker season 2 before it arrives.
Nobody 2 is a far cry from being one of the best new movies of the year so far. Before I dig a little deeper into what went wrong, I must stress that I cannot think of a single word more apt to describe it than ‘naff’.
For anyone unfamiliar with UK slang, the dictionary definition tells us the word ‘naff’ is “something that lacks taste or style,” and you’d generally use it to describe something that’s a little cringeworthy in its rubbishness. If you went to see a musical put on by a local amateur dramatics society, if your mum ordered something off of eBay that’s arrived looking nothing like its picture, if you’ve watched a total comedic flop like Nobody 2… they’re all excellent times to use it as a descriptor.
Four years after the original Nobody film – which was one of the most-watched movies on Netflix – took place, Bob Odenkirk’s oddball hitman Hutch Mansell is back, and this time, he just wants to catch a break. Taking his family on holiday to Plummerville – a quaint Midwestern town where his dad took him on his one and only vacation as a kid – Hutch unknowingly walks into the middle of a crime syndicate operated between the local cops and boss Lendina (Sharon Stone). From there, it’s outright chaos to get the freedom to be left alone, and it comes at a price for almost everyone involved. That, my friends, is more interesting than watching it. Better Call Saul, it is not.
It blows my mind that an action movie that’s so incredibly gory can be as simultaneously mundane as Nobody 2. If you took away the (genuinely impressive) kills, standoffs, and fluke accidents, you’re left with an end product that’s so forgettable, it wouldn’t even live up to being a satisfying movie to watch on the plane. Weirdly, it’s difficult to decide who or what is at fault, with everything blending together in one homogenous blur that if it was a spice, it would be flour.
Nobody 2 has managed to make violence boring with no laughs to boot
The main takeaway from Nobody 2 is that it’s just not funny. Odenkirk tries his best with a plain Jane script to land some comedic blows, but even his sharp and wry wit doesn’t really get very far. The concept of a hitman taking his family on vacation unknowingly to a criminal hotspot should be a slam dunk, but once you’ve seen the reality blow up in Hutch’s face once, you’ve seen the whole narrative arc. We don’t really move on from the “I don’t know what I’m doing here, but I’m going to take every wrong’un I see on to hopefully be left alone” mentality, which means structurally, Nobody 2 is more of a small hill than a giant rollercoaster. Which in itself is ironic, as there are some excruciatingly brilliant deaths involving various fairground rides.
So, where does the problem come from? For me, it’s a combination of script, general story direction, and a tendency to rely on gimmicks. Why do we need to properly unpack relationships and motives when we can just watch Odenkirk punch people, set money on fire (yes, something we saw the first time, big shock) and watch Stone’s villain stab people over a game of poker. Stone herself is introduced way too late in the game, making Plummerville’s criminal hierarchy convoluted and difficult to follow. We don’t really care about who she is (which apparently has no more substance than just ‘being crazy’) by the time we see her as we’ve been led to believe someone else is the main antagonist… but despite an objectively cool tonal switch, it’s hard to be invested in the stakes.
Of course, good is going to triumph over evil and a lot of bad guys are going down in the interim. Of course, our leads will fix their romantic family problems, and fall more in love with each other than they ever have been in their fractured little lives. If a film is going to hit so many expected plot points, it has to have something else to offer. Aside from bombastic violence choices – and more on that in a moment – Nobody 2 fails to check this box (although I’ll give it the surprise pipeline of Queen Vic landlord to M-style mafioso, but that probably only chimes a chord with the Brits).
It’s not all bad news… it’s just mostly bad news
Bob Odenkirk as Hutch in Nobody 2. (Image credit: Universal Pictures)
I’m not that mean, though… Nobody 2 does have a few redeeming qualities. For starters, our cast put in solid ensemble performances, with Connie Nielsen’ Becca particularly stealing the spotlight while rightly putting Hutch in his place. It’s light-hearted fun to follow the family as they get in a few successful holiday frolics, and this is largely where the few laughs that do translate pay off. What really steals the show is the fight scenes. I know I’ve slated them a bit here, but boy, are they something to behold.
I do have to give it to the team for coming up with such creative ways for somebody to meet their maker. Faces get sliced horizontally in half, men are impaled on surfboards, and one even gets his head cut open on a table saw. Hutch kills people with the apologetic bumbling of a dad who just can’t help getting in the way, and the contrast works well in the heat of the moment. You’re probably going to dry heave, bring your hands to your mouth or gasp out loud in sudden shock. I did all three, and I’m feeling queasy just thinking back to those moments.
There might not be a method in the madness, but there is some fun. Nobody 2 is a pretty poor follow-up to an already pretty poor original action movie, though as my friends and I discussed after watching, the sequel (despite its dullness) is a definite improvement. We should all quit while we’re ahead and not make this a trilogy… Hutch said he wanted a rest, so let’s give him one.
Wednesday season 2 is back with a bang, and even though we have to wait until September for part 2, we're off to an excellent start.
Part one of season 2 is made up of four episodes, so it was crucial to keep audiences engaged and make sure they'd come back for the final installment. Considering Wednesday has been renewed for season 3, the pressure is on, but I personally can't wait for this show to keep going.
When we catch up with Wednesday after a two-year break, the gloomy teenager is returning to Nevermore as summer has come to an end. But while her peers were all partying and having fun, Wednesday spent her summer break pursuing a serial killer, very on brand for her.
Upon returning to Nevermore, a lot has changed. Following Gwendoline Christie's departure as Principal Weems, we've got a new head of school in the form of Steve Buscemi's Principal Dort, a dorky yet suspicious character who is keen to secure funding for the school.
He's not the only new addition to the cast, either. Joanna Lumley joins to play Morticia's estranged mother, Hester, expanding the beloved Addams Family and providing more family drama, something season one was seriously lacking.
I was thrilled that the family takes center stage this time, with Wednesday's brother, Pugsley, joining Nevermore, and her parents, Morticia and Gomez, sticking around to help with a gala. Having them around is a delight and you can expect laughs, macabre delights, and some cringeworthy moments because yes, Morticia and Gomez are sickeningly loved up this season.
The Nevermore students are back, too, of course, and we're reunited with familiar faces like Enid Sinclair, Bianca Barclay, Ajax Petropolus, and Eugene Ottinger.
It's not long before more drama ensues, of course, as Wednesday attempts to track down her stalker, deal with her psychic abilities, and figure out why a murder of crows is well, murdering people. There's never a quiet day for Wednesday.
While the main plot focuses on the crows and who (or what) is controlling them to kill people, we do have several subplots going on. Wednesday gets a vision of Enid's death, Enid is caught in a love triangle, Pugsley accidentally creates a zombie, and more.
I will admit, not all of these are attention-grabbing and do slow the pacing down in places, but the main plot is enough to keep you invested. I was also very enamored by the zombie character, named Slurp, who provided laughs and scares in abundance.
Steve Buscemi's new principal is a shady figure. (Image credit: Netflix)
We're only halfway through, but so far, I can confidently say this has been a good season and there's real potential to expand on things across the next four episodes.
I'm hoping we get to learn more about the family and their buried secrets, some of which have been referenced early in season 2. Without spoiling anything, there's plenty for fans to look forward to on that front, and Addams Family drama can rival any reality TV show.
When I was a kid in the early 2000s, Lindsay Lohan was across the holy trinity of sleepover movies: Mean Girls, Confessions of a Teenage Drama Queen and Freaky Friday. Each is a sacred text, a rite of passage watched until you and your friends are all word perfect, songs and scenes ingrained into your memory well into adulthood.
Thankfully, Hollywood is hellbent on resurrecting as many existing IPs as it possibly can, meaning Disney is giving us girls now in their 30s a sequel to the 2003 body swap comedy Freakier Friday. In the original movie, a mum and daughter swapped bodies, which allowed them to realize how they’ve been unfair to the other (don’t worry, they got switched back in the end). Lindsay Lohan is now on the other side of rebuilding her post-child star life and ready to reunite with Jamie Lee Curtis, and the result is absolutely glorious.
Mild spoilers for Freakier Friday ahead.
Let’s start with the bad news: Lohan’s Anna and Jake (Chad Michael Murray) are no longer together in Freakier Friday, despite their will-they-won’t-they romance being the entire plot of the first movie. Anna has decided to go parenthood alone in Freakier Friday, raising now 15-year-old daughter Harper (Julia Butters) on her own. Tess (Curtis) is the psychologist-turned-podcaster we remember, intent on helicopter grandparenting as best as she can. Anna meets fellow parent Eric (Manny Jacinto) when Harper gets into trouble with his daughter Lily (Sophia Hammons), and the two fall in love. When Anna and Eric soon plan to get married, a (frankly terrible) mystic at her bachelorette party swaps spirits between the quartet, and it’s a race against time to fix it.
When I found out that the storyline beats were almost exactly the same as the original movie just with additional characters I didn’t want, and even when I saw the trailer, I was braced for the worst. However, nothing could have prepared me for the spring in my step immediately after watching the full movie, which is a lightness I haven’t felt through films for decades. Freakier Friday ticks all the boxes we’re desperate for it to (feel-good storytelling with a light-hearted touch, Lohan at her best, silly nods to girlhood) and that’s going to be a lot of happy young women who’ve been left unfilled by mainstream media.
Freakier Friday is far from perfect, but it is a millennial teenage dream
The best things in life are those that are perfectly imperfect, and in an industry that’s striving for AI greatness and motion-blended superhero glory, that’s refreshing. As a Disney movie, Freakier Friday is not trying to be anything else – it’s not trying to compete as a box office smash, and it’s not trying to get a new audience base. Instead, it’s a love letter to its fans from way back when, and in turn, for Lindsay Lohan, too.
For me, the best part of Freakier Friday is seeing a happy, healthy Lohan back where we want her and absolutely loving it. She thrives working with Curtis and Murray, and it’s almost as if no time has passed. Freaky Friday clearly created an environment she felt comfortable in, meaning she could give her whole heart to the sequel when the timing was biologically right (according to Curtis, Disney was approached when Lohan could viably have a teen daughter).
Lohan turns up to our premiere in a nod to the final outfit she wore in Freaky Friday, and the love in the room for what they have created is palpable. It shows in every one of her scenes, effortlessly finding the balance between legendary Disney icon and a comeback kid proving she never lost the acting chops she was once heralded for. Between them, Lohan and Curtis go full throttle back into the 2000s, with plenty of references to their original movie through a stylised narrative structure typically left behind in the noughties (think school food fights, comedic detention scenes and impromptu fashion shows).
If you’re a fellow child of the noughties, Freakier Friday has this wonderfully rare ability to suspend time, leaving the everyday stresses of 2025 life at bay. In this bubble, the biggest worry is seeing whether Pink Slip will play ‘Take Me Away’ (more on that later), and if Anna will make it to her wedding on time. There’s love, laughs, and plenty of Easter eggs, and it’s genuinely the closest we can come to travelling back in time.
New additions hold up just as well, for the most part
Lindsay Lohan (Anna) and Jamie Lee Curtis (Tess) in Freakier Friday. (Image credit: Disney)
However, this doesn’t mean the new elements in Freakier Friday are left out in the cold. There’s a fresh take on modern social stereotypes that doesn’t feel as though someone’s mom has written it – instead the movie comes across as understanding what it means to be a young woman in the 2020s. Nobody is taking themselves or anything around them too seriously, meaning the movie has flexibility to lean into the unhinged storytelling that children’s TV was fixated with 20 years ago.
The only place this doesn’t entirely work is with popular singer Ella (Maitreyi Ramakrishnan), who Anna now manages. She struggles to feel like a popstar that would genuinely appeal to the TikTok generation, shoehorned into the plot just so Anna has enough emotional background to make up for her split with Jake.
This brings me to my biggest gripe with the sequel – you cannot continue a well-known 2000s IP and not use Chad Michael Murray properly. He was the biggest onscreen heartthrob of a generation, and I was genuinely overcome with nostalgia by seeing him in the flesh just before watching the movie. I hope he’d still be with Anna (or at the very least be back together by the end), but he’s sparsely seen and is only used to prop up jokes coming from Tess. There’s no explanation for why they’re no longer together, and, without spoilers, there’s certainly a missed opportunity to extend his connection to the movie’s main dilemma.
But enough about Chad (I’ll just rewatch Sullivan’s Crossing for a Murray hit). What about Pink Slip? Yes, the iconic fictional band is back together, and yes, you’ll see the entire back catalog. I recommend watching with your best friend for the full emotional effect of belting the words as the band has their onscreen reunion, albeit you might be a bit thrown off by a jarring edit that goes against the original film’s soundtrack. Still, this is a small price to pay for a cinematic moment of dreams, and boy, seeing Christina Vidal back where she belongs is mine.
Frankly, I’m impressed with Freakier Friday. The minute a sequel comes out decades after the original, it’s set up for a losing streak, but Lohan and Curtis’ effortless embodiment of 2003 means the overall premise works despite the huge chunk of time in between. Cinema buffs will say it’s terrible, and they’re probably right. But Freakier Friday is a worthwhile sequel, and it’s definitely what I – and I imagine other noughties children – want.
Zach Cregger burst onto the horror scene in 2022 with what looked to be a simple tale about a double booked Airbnb in the movie Barbarian. With the film praised so highly by horror fans, how could he possibly outdo himself?
Enter Weapons, a new movie that I genuinely believe is even better than Barbarian due to its wonderful cocktail of horror, dark comedy and mystery that keeps you guessing throughout.
Weapons has had some of thebest viral marketing I’ve ever seen for a horror movie. Indeed, it's not all hype and no substance, as after watching the movie I can report that it lives up to all the scary videos and the real looking website you've seen online.
Weapons follows a shocking mystery that shocks a small town. At 2:17am, all but one child mysteriously vanishes from the same class, leaving a sea of worried parents and baffled police officials behind to pick up the pieces.
Fingers are soon pointed towards Justine Gandy (Julia Garner) after the town realizes that it was only the teacher's class impacted by this terrifying phenomenon. CCTV footage shows the children all running, arms outstretched, their destination unknown, and Gandy becomes ostracized as a result.
(Image credit: Warner Bros.)
She's just one of the main characters we follow in the movie, though. The others are Archer Graff (Josh Brolin), a worried father, Paul Morgan (Alden Ehrenreich), a police officer, and Andrew Marcus (Benedict Wong), the school principal.
The less I say about this movie, the better because it's good to know as little as possible before watching Weapons. But just know that this mystery leaves the entire community stumped and soon puts them in danger too.
This is a movie that doesn't let up. Often with horror movies we feel safer when there's scenes set in the daytime, but Weapons has you constantly on edge from the ominous intro all the way to the final credits. It's terrifying and anxiety inducing – everything you could want from a Barbarian follow-up.
Cregger told me during an interview that "if you liked Barbarian, this is more – and in a good way" – and he's absolutely right. It does dial the horror up to 100, and left my jaw on the floor for a lot of it. Some of Weapons scariest moments happen when you least expect it as you find yourself absorbed in the investigation.
This is a very character driven movie. As a result, we do spend a lot of time getting to know the members of the town, often when they're alone. There's some excellent scenes that give us insight into how they're feeling while at their homes, or during nightmare sequences.
It's easy to feel sympathy for the characters but also frustration as well. Each character feels very well-rounded. This troubled town is full of very different personalities and they all shine through here.
The town of Maybrook becomes scarier thanks to the eerie score, composed by Cregger alongside his two friends, brothers Ryan and Hays Holladay. This was Cregger's first time composing for one of his own movie's and he's done a brilliant job.
For me, Weapons is a masterpiece but I know some fans might not like the non-linear pacing, as it can feel slow at times when the tension is building. But if you like character-driven horrors that build to a shocking reveal, you're going to love this.
In the trailer, the child narrator teases that “a lot of people die in a lot of weird ways in this story" and that's very true. To find out how, exactly, you'll have to be brave and go and watch it when it arrives in theaters on August 8 in the US and UK, and August 7 in Australia.
Light spoilers follow for Alien: Earth episodes 1 through 6.
Nearly 50 years have passed since Ridley Scott terrified audiences with 1979's Alien. In the decades since, the sci-fi horror movie has spawned its own film franchise, had crossovers with other big-name properties including Predator, Star Wars, and Marvel, and inspire countless numerous other scary extraterrestrial flicks.
It's only now, though, that the hair-raising property has made the facehugger-style leap to the small screen with Alien: Earth – and the good news is that it's been worth the wait. Armed with a near-perfect blend of nostalgia and contemporary long-form storytelling, Alien: Earth breeds a new kind of monstrous tale that made this Alien fan's chest burst with joy.
Man or machine
Wendy, a synthetic being known as a hybrid, is Alien: Earth's lead character (Image credit: FX Networks)
Set in the year 2120, Alien: Earth begins by telling us that the five megacorporations that rule the planet – Weyland-Yutani, Dynamic, Threshold, Lynch, and Prodigy – are in a race to unlock human immortality by any means necessary.
The last of that quintet is closest to achieving that aim. Led by the trillionaire tech wonderkid Boy Kavalier (Samuel Blenkin), Prodigy successfully transfers the consciousness of a child named Marcy into a synthetic body.
The resultant prototype is a Hybrid called Wendy (Sydney Chandler), whose supercomputer-like humanoid body is soon put to the test when the MSCSS Maginot, a deep-space research vessel owned by Weyland-Yutani, crash-lands on Prodigy City. Alongside five other Hybrids and their android mentor Kirsh (Timothy Olyphant), Wendy soon encounters numerous terrifying alien lifeforms who pose a significant threat to everyone on Earth.
Boy Kavalier, played with nefariously charming intent by Blenkin, is the Alien universe's newest love-to-hate character (Image credit: FX Network/Hulu/Disney+)
Timeline-wise, Alien: Earth takes place just two years before Alien, so it's not a surprise that episode 1's opening minutes capture the essence of the 1979 Scott-directed flick. Okay, it doesn't recreate Alien's own introductory sequence per se. But, whether it's the Maginot crew exiting cryosleep, the subsequent mess-hall scene, use of crossfades, and/or the inclusion of a ginger cat, Alien: Earth is a prequel that disregards other projects set before Alien, including Prometheus and Alien: Covenant, and evokes sentimentality for the original movie.
Alien: Earth evokes the spirit of its movie sibling from the get-go
That said, I found the opening 25 minutes to be quite messy. Sure, its weird pacing, jarring tonality, and artistic flair elicit a sense of suspense and dread, but its atmosphere and rhythm are frustratingly upended by superfluous quick cuts as the FX TV Original tries to find its footing.
Just when you think Alien: Earth is nothing more than nostalgia bait for Alien, though, a narrative switch is flipped that takes it in a completely different direction, and soon helps its story hit its stride.
Wendy joins the search and rescue operation in Prodigy City to find her biological brother Joe (left) (Image credit: FX Network/Hulu/Disney+)
Indeed, while the fearless albeit naive Wendy volunteers herself and her fellow Hybrids, aka The Lost Boys – these aren't the only narrative parallels to Peter Pan in Alien: Earth – to aid the Prodigy City search and rescue operation, she also does so in a bid to track down her biological brother Joe (Alex Lawther). Their familial dynamic is the beating heart of the entire show and, like Rain and Andy's surrogate sibling relationship in Alien: Romulus, it explores the emotional complexities of a bond between an artificial being and someone who's 100% human with aplomb.
I was completely absorbed by tête-à-têtes involving the super-companies
Alien: Earth also examines the uneasy truce between the Alien universe's multinational biotech powerhouses.
Until now, Weyland-Yutani is the only one of these profit-driven institutions we've really seen. Alien: Earth creator Noah Hawley's decision to place Prodigy front and center, then, is designed to place Weyland-Yutani on the back foot as it tries and fails to recover its incredibly dangerous extraterrestrial cargo, and positions them as an underdog to their fellow industry giant.
I was completely absorbed by tête-à-têtes involving the super-companies as the cocksure Kavalier runs rings around his peer at Yutani (Sandra Yi Sencindiver), and such meetings certainly put a novel spin on franchise lore – other parts of the Alien mythos are scrutinized and/or added to, but I won't spoil them here – that suggests Weyland-Yutani wasn't always the number one megacorp in the land.
It's a pity that Threshold, Lynch, and Dynamic are more conspicuous by their absence – although they could show up in this season's final two episodes, which I haven't seen yet. Their time might also come if Alien: Earth is renewed for another season – and if it is, I'd love to see how they stack up against their similarly power-hungry competitors.
Creature feature
Yes, the franchise's iconic Xenomorphs have a big part to play in the first Alien TV series (Image credit: FX Networks/Hulu)
Really, though, we're all here to see the franchise's famed Xenomorphs do what they do best: kill. Unlike Alien, which held back the Xenomorph's grand reveal to build tension, it doesn't take long for the nightmare-inducing endoparasitoid to appear in Alien: Earth, with the first Xenomorph surfacing very early on in its premiere to make light work of the Maginot's unfortunate crew.
Alien: Earth also introduces four new frightening creatures who add their own freakish flavor to proceedings
Indeed, after they're transported from the New Prodigy crash site to Kavalier's secret research center called Neverland (I warned you that the Peter Pan references weren't done) they soon become the focus of Prodigy's immoral founder at the expense of his Hybrid program. In that sense, Alien: Earth reminded me of Jurassic Park – i.e., a reckless CEO and his mostly loyal band of scientists experimenting (read: playing God) on dangerous creatures at a remote location.
The parasitic lifeform known as The Eye, seen in the sheep's left eye socket, is my new favorite bioweapon in the Alien franchise (Image credit: FX Networks)
It's from this point on that the relative stillness of the sci-fi drama that punctuates Wendy's side of the story is slowly and purposefully countered by the increasing sense of dread of the aliens eventually breaking out of confinement. It's a smoldering powder-keg that threatens to explode at any moment, and I was on tenterhooks waiting for things to go horribly wrong. For a property steeped in hyperviolence, Alien: Earth builds up more than enough tension to fill the vastness of space, but it eventually releases the pressure valve in typically – and delightfully – brutal and gory fashion as its huge ensemble becomes canon fodder for the deadly quintet.
Alien: Earth's life-threatening, otherworldly beings aren't the only monsters who populate its story. Whether it's the heinous Kavalier, or the show's android contingent, including Kirsh and Weyland-Yutani cyborg Morrow (Babou Ceesay) who operate in the morally gray, it's full of human characters and artificial creations alike who are as sinister, clever, uncompromising, and/or unsympathetic as the bioweapons they experiment on – or, in Morrow's case, want to recover for his employer.
Some creatures, such as this sundew-esque specimen, are underused in Alien: Earth's first six chapters (Image credit: FX Networks)
It's ethically minded people, such as Prodigy scientist Arthur Sylvia (David Rysdahl), plus Wendy and The Lost Boys – Slightly (Adarsh Gourav), Smee (Jonathan Ajayi), Curly (Erana James), Nibs (Lily Newmark),and Tootles (Kit Young) – who are predictably caught in the crossfire of the series' corporate bureaucracy, morally corrupt individuals, and lethal lifeforms. The slow unraveling of Prodigy's artificially constructed family, which also includes Arthur's fellow researcher and wife Dame Sylvia (Essie Davis), is an engrossing car crash that I couldn't look away from, and I'm desperate to see how things continue to implode in this season's final two episodes.
The slow unraveling of Prodigy's artificially constructed family is an engrossing car crash I couldn't look away from
I hope there are more interactions, albeit belated ones, between Alien: Earth's Hybrids in chapters 7 and 8, and/or in future seasons, too. With so many subplots and specific dynamics to dedicate time to, it doesn't leave much room to explore the relationships between these artificial kidults. Some of Alien: Earth's most nuanced moments involve sequences where their camaraderie and conflicting perspectives are on full view, so I'm keen to see more moving forward – that is, as long as they survive this season's finale.
My verdict
Alien: Earth is a facehugging delight. Like Alien: Romulus, it confidently re-energizes the fan-favorite property with a well-cast and well-crafted dystopian story that pleasingly meters out its mix of sci-fi horror, psychological thriller, action, drama, and even disaster elements without one or more of its genres suffocating the others.
With a reportedly sizeable production budget, it's a stylish slice of prestige television that carves out its own space and identity while staying true to what's come before. I'd even go so far as to suggest that it grants some Alien fans' long-held wishes by combining the best bits of the '79 original and its more action-oriented '86 sequel Aliens, too.
Sure, it's not without its issues. Its narrative occasionally drags around the show's midpoint, and some characters aren't as fully formed as they could be. I'm also going to slightly contradict what I said earlier about Alien: Earth's penchant for nostalgia bait, because its fifth episode – a Morrow-fronted whodunit-style flashback entry that provides context about the Maginot's eventual crash – is arguably my favorite entry of the six I saw.
Overall, though, Alien: Earth fully deserves a spot in our best Hulu shows and best Disney+ shows guides – and I'll scream that from the rooftops so everyone can hear me.
Alien: Earth will launch with a two-episode premiere on Tuesday, August 12 on Hulu (US) and Wednesday, August 13 on Disney+ (internationally). New episodes air weekly.
Light spoilers follow for The Fantastic Four: First Steps.
It's not an exaggeration to say The Fantastic Four have been represented poorly on the big screen. 20th Century Fox's two attempts to launch live-action franchises starring Marvel's First Family in the early and mid-2000s were at best average, and at worst utterly abysmal.
A well-made film that captures the spirit of the iconic quartet's comic-book adventures is long overdue, then – and The Fantastic Four: First Steps duly delivers. It falls short of being, well, fantastic but, considering what's come before it's easily the eponymous team's best live-action adventure to date.
Space oddity
First Steps is set in a '60s-inspired universe that's full of space-age wonder and optimism (Image credit: Marvel Studios)
Set in a parallel universe – one designated Earth-828 – to Earth-616, i.e., the Marvel Cinematic Universe (MCU), First Steps reintroduces audiences to the titular team. For those who don't know, the individuals who comprise this group are Reed Richards/Mister Fantastic (Pedro Pascal), Sue Storm/Invisible Woman (Vanessa Kirby), Johnny Storm/Human Torch (Joseph Quinn), and Ben Grimm/The Thing (Ebon Moss-Bachrach).
The only heroes who exist in this retro-futuristic alternate dimension, these superpowered scientists-cum-celebrities have not only created a utopia built upon ground-breaking technological advancements, but also keep their planet safe from those who wish to destroy it.
First Steps is arguably the most accessible Marvel Studios project since 2008's Iron Man movie
That's until Galactus (Ralph Ineson), an immortal, world-consuming cosmic entity, and his surfboard-riding lieutenant The Silver Surfer (Julia Garner) come calling, anyway. With the duo marking the group's planet for death unless they hand over Reed and Sue's newborn son Franklin for reasons I won't spoil, The Fantastic Four face their biggest obstacle yet as they try to stop a seemingly unstoppable space god from tearing their family – and their world – apart.
First Steps isn't your typical origins story for the iconic quartet (Image credit: Marvel Studios)
Sure, there are Easter eggs and references to the group's various villains in the comics. Those include Doctor Doom, who wasn't considered as First Steps' main villain before Galactus and who'll be played by returning MCU superstar Robert Downey Jr in Avengers: Doomsday. Still, given it's devoid of ties to the increasingly complex MCU, First Steps is the most accessible Marvel project – for first-time viewers and fans who've fallen off the cinematic juggernaut's bandwagon – since 2008's Iron Man movie.
But this isn't your typical origins story. With two prior film adaptations covering the team's backstory, First Steps takes a leaf out of Tom Holland's debut as Spider-Man in Captain America: Civil War, plus his standalone MCU film trilogy, by introducing heroes who already possess their cosmic radiation-sourced superpowers. As the film tells us, Richards and company have been operating as superheroes for four years by the time it begins.
First Steps' opening act is one of the most tonally jarring I can remember in any movie
Its breezy opening takes a similar approach to another of 2025's most exciting new movies and fellow superhero film in James Gunn's Superman.
Like the most recent entry of a long-running comic book series you've just picked up off the shelf, both films drop you right into the thick of things and expect you to figure things out as you absorb their story. It's a refreshing change of pace for a Marvel project and its DC Universe (DCU) counterpart, and helps to quickly establish these pre-existing universes without prolonging their first acts via another superfluous re-tread of their origins.
First Steps' plot spans one whole year, with Franklin's (center) growth helping to show the passage of time (Image credit: Marvel Studios)
That doesn't mean this movie's first 30 minutes aren't without fault. In fact, its opening act is one of the most tonally jarring I can remember in any movie.
Indeed, the Marvel Phase 6 flick is all too keen to flit between melodrama, comedy, and the occasional splash of horror between scenes, and sometimes within the same sequence. These narrative jolts make for an emotionally polarizing first act and detract from the grave, existential threat posed by the omnipotent and seemingly unkillable space tyrant (i.e. Galactus) at crucial moments.
Imagine how Avengers: Infinity War's incredibly shocking ending would've been emotionally undercut if one of the surviving heroes made an unnecessary joke amid the heart-shattering silence that follows. That's what First Steps does all too often in its first act and its narrative suffers as a result.
Heavy lies the crown
First Steps only offers a taste of its space horror vibes through its antagonists (Image credit: Marvel Studios)
Thankfully, The Fantastic Four's latest big-screen reboot becomes a much stronger movie once its opening act ends.
Part of that is down to the lack of hard cuts between scenes, which aid the natural flow of its unfolding story. However, the film's narrative improvement also owes much to a greater focus being placed on the four primary members of The Fantastic Four: First Steps' cast and the unwavering mutual bond that exists between them.
The Fantastic Four: First Steps' narrative improvement owes much to a greater focus being placed on its four primary cast members
Much was made of Pascal, Kirby, Quinn, and Moss-Bachrach's hirings when Marvel confirmed they'd be playing The Fantastic Four in February 2024, with some observers questioning whether they were the right fit and/or if they'd gel as a collective.
First Steps proves those naysayers wrong. Arguably the movie's biggest strength, their chemistry is on point from the outset, with quips and witty insults aplenty, plus their collective resolve amid individual and group disagreements, highlighting the easy rapport that exists between the actors and the characters they portray.
Galactus is one of the most terrifying villains Marvel has even put in an MCU movie (Image credit: Marvel Studios)
Individually, Moss-Bachrach does a great job of capturing Grimm's long-standing position as the heart and soul of the team. Pascal is similarly stellar as the group's incredibly intelligent yet oft-times emotionally awkward de-factor leader.
I wish there were more scenes showcasing their collective camaraderie and quieter moments between each pairing
However, the Storms are the real standouts. Kirby and Quinn steal the show as the superpowered siblings who, throughout The Fantastic Four's early comic book runs, were simply depicted as the team's tokenistic female/damsel in distress and stereotypical cocksure ladies' main.
As they have in more recent comic book stories, though, the pair's representation on the screen have undergone highly satisfying evolutions akin to how they're not portrayed on the page. Indeed, Sue is positioned as the group's strongest member from emotional and superpower perspectives. Meanwhile, Johnny is a fully-formed, three-dimensional character with his own intellectual intuition that ties into a intriguing subplot that makes full use of his multifaceted persona.
If there's a criticism I can level at First Steps from a cast viewpoint, I wish there were more scenes showcasing their collective camaraderie and quieter moments between each pairing.
Some scenes used in TV spots or one of its three main teasers, including First Steps' official trailer and the final trailer Marvel released for its new Fantastic Four movie, are absent from the final cut. Given the movie's sub-two hour runtime, though, there was certainly scope for their inclusion, and I wouldn't have scoffed at seeing more humorous, heartfelt, and dramatically heavy interactions that would've further sold me on these all-important dynamics.
Julia Garner does a good job of demonstrating the nuances of The Silver Surfer's emotional conflict (Image credit: Marvel Studios)
The same is true of the film's villains. I've been eager to see Ineson's take on Galactus since his hiring last May and Garner's version of the Big Bad's Herald following her casting a month earlier, especially given the Shakespearean tragedy elements that define their antagonistic sensibilities.
Sadly, both characters are underused. Garner gets more to do than Ineson and , after looming large as a terrifying off-screen presence for much of the film, the latter's humanoid monstrosity gets his due in First Steps' intense final act. Nevertheless, the pair weren't lying when they told me they never filmed a single scene together for First Steps, which is abundantly clear in the final edit. Their characters aren't given the requisite screentime to really dig into their motivations, nor does the flick lean into the cosmic horror they could've delivered individually and collectively.
My verdict
The Fantastic Four: First Steps is an entertaining, distinct, and at-times emotional Marvel film that MCU diehards and newcomers will equally enjoy. Still, while I applaud its brave storytelling and unique selling points, it could've benefitted from some narrative refinement to enhance its primary themes and multi-genre formula.
Those frustrations aside, this is still the most authentic representation of the superteam outside of Marvel literature. Considering what's come before, it wasn't a particularly high bar to clear, but I commend Shakman and company for giving us a Fantastic Four film that won't make me shudder at the thought of rewatching it. For that reason alone, it's not a small step forward, but rather a giant leap in the right direction for Marvel's First Family on the silver screen.
The Fantastic Four: First Steps launches in theaters on Thursday, July 24 (UK) and Friday, July 25 (internationally). The group's three other film adaptations are available now on Disney+.
I know what you’re thinking – why isn’t Girls getting rebooted like every other TV show these days? Why isn’t Lena Dunham contorting herself to make that happen? Isn’t everything else she works on going to be Girls 2.0? It’s understandable that her new Netflix series, Too Much, will be compared to the show that launched her career to global heights, but it’s a lazy contrast.
You see, I am not a Girls fan. Aside from brief flashbacks of Dunham’s character Hannah spaced out on drugs while wearing a string vest that wasn’t hers, much of the show’s scenes blur into one hazy hallucination for me. That’s not to say the hit TV show was a bust in my eyes – far from it – but 17-year-old me wasn’t ready to embrace the messy reality of womanhood when Girls first aired in 2012.
Aged 30 in 2025, I couldn’t have fallen harder for Too Much. Set in my back garden of London, Jessica (Megan Stalter) takes the opportunity to move to the city for work after her ex-boyfriend, who she’s still not over, proposes to a popular influencer. It’s not the most original lead-in to a new Netflix show like this, but it’s the springboard for something even better.
(Image credit: Netflix)
No matter your opinions on Dunham or her work, she’s able to remain effortlessly relevant in a way that’s absolutely astounding. The script and situations feel fresh without ever venturing into laughable territory, incorporating 2020s culture like Instagram reels and TikTok beauty hacks with successful irony. Trust me, you’ve never wanted to own a hairless dog who wears bespoke turtleneck jumpers more.
Where Dunham has largely stepped behind the camera (aside from a few stray appearances), Megan Stalter’s Jessica is a flawless replacement. We’ve known she’s a comedy queen in the making since her role on Hacks, but Too Much is her circus ring for the performance of a lifetime. Jessica might question her choices every 0.5 seconds, but she never truly sacrifices her sense of self, unashamedly returning to the things that give her joy in darker moments. She’s a typical 2020s twentysomething and proud of it, and that in turn makes us feel better about the ways we’ve adapted cliché and overdramatic habits.
Clearly Stalter is our star here, but the rest of the ensemble cast is just as chaotically fleshed-out, and we want to sink our teeth into all of them. Even better is the frankly insane level of celebrity cameos, popping out more frequently than a teenager’s acne. It’s hard to pick a favourite, but Naomi Watts’ diabolically unfazed British housewife Ann has to cinch it for me. Keep a close eye on every episode, though – I won’t spoil it, but there’s a particularly good cameo in episode 9 that might remind you of a character they’ve played before.
There are a few downsides, but regardless of how Too Much tackled its subject, they were bound to be there. Jessica’s fixation on her ex-boyfriend becomes as tiring as it is in the show as we experience watching it ourselves, with the stereotypes of her new London chums not doing anyone any favours either. Roll the two together too frequently and the show becomes its namesake, but sadly, Jessica needs to wade through the worst to learn her lessons.
Too Much isn’t an in-depth exploration of what it means to love and live as a young woman in a new decade, and it doesn’t have to be. In hindsight, Girls was heralded as exactly that for its time and place, but to judge Too Much in the same way is to miss the raw emotion and humanity on display here. It’s never slacking on the chaotic front, and going with the emotions and bad decisions in real-time is what makes Dunham’s show feel like a new take on something we’ve seen before. Sometimes you’ve just got to make your peace with the fact your life has resulted in eating cold instant noodles at 1am, and that’s okay.
Jurassic World Rebirth is the latest entry into the beloved dinosaur film franchise, following its revival in 2015 where we were introduced to Jurassic World for the first time. The first movie was great and I loved being back, but since then, it's definitely gone downhill.
By far the worst installment to date is Jurassic World Dominion, which has so far received a very low Rotten Tomatoes score of 29% from the critics, making it the lowest rated film in the franchise.
With audiences left frustrated by the direction that movie went in, there was a lot of pressure on filmmakers to restore it to its former glory, ironically, not unlike their efforts to revive a jurassic theme park as seen in the movies, following the collapse of the original.
It may be reassuring for me to begin by saying Jurassic World Rebirth is nowhere near as bad as Jurassic World Dominion, and is a much better made movie, even though I'm not sure if it really adds much to the story, as it seems to go off doing its own thing once again.
I'm likely not alone in missing the original Jurassic World cast, even though the stars in Jurassic World Rebirth were very strong. With so many big names attached to the project like Scarlett Johansson, Mahershala Ali and Jonathan Bailey, if you're after star power, you're definitely going to get it here. They give it their all, even with a script that doesn't have much substance.
Having said that, it does feel strange not following the characters we're used to seeing in the Jurassic franchise and with no returning faces from older movies, this may come as a disappointment for fans wanting to see some familiar names.
An entirely new cast was a gamble I'm not sure was worth taking, though there's likely going to be some division here from fans. Some may argue that it's nice to see a fresh set of characters, but they didn't grip me the way Chris Pratt and Bryce Dallas-Howard did when they dominated the screen in the very first Jurassic World movie.
Still, if you're looking for a fast-paced, loud, exciting trip to the cinema you'll definitely get it here. The action set pieces, when they happen, are great and make good use of a cinema sound system. The sound design is epic as are the visuals, so it's a real bit of escapism.
The T-Rex gets disappointingly little screen time in Jurassic World Rebirth.(Image credit: Universal Pictures)
One thing that disappointed me was that the dinosaurs felt underused. Audiences are flocking to a movie called Jurassic World to be thrilled by the dinosaurs, so it's frustrating when we don't get to see a lot of them. I've had similar criticisms of monster movies like Godzilla v Kong, which took entirely too long for the big monsters to start punching each other. While I'm not asking for a movie devoid of any plot, it's sad when the dinosaurs do seem to take a back seat, when they should be front and center of a movie like this.
The best action movies are ones that don't hold back. These movies don't lull in the middle, whereas I did struggle with some of the pacing issues throughout Jurassic World Rebirth. The script felt weak in places and it's a real shame – I suppose trying to fix the mistakes of Jurassic World Dominion was no easy task, I'm sure.
It's certainly not the worst in the franchise, but for me, even something like Jurassic World: Fallen Kingdom, which received divisive reviews, entertained me more than Jurassic World Rebirth.
I liked the way Jurassic World: Fallen Kingdom leaned into darker topics and borrowed from the horror genre, for example, and there was nothing quite that memorable here, save for one stand out scene involving a T-Rex and a raft, but even then they could've done so much more.
There are worse ways to spend an afternoon at the movies, though, and this one will help you switch off and escape into some beautiful visuals and a good score, but it does make me worried for whether or not this franchise has a future, or if its at rapid risk of extinction just like its subject matter.
