Movies, Films & Flix

Quick Thoughts:

1. I may or may not have thrown my fist into the air and said something like “hell yeah” when a certain character made their first appearance.
2. Elise > The Avengers.
3. I love the Insidious franchise. I like watching nice people battle horrible demons.
4. Amelia Eve is a likable hero.
5. Grapefruit tattoos!
6. Pillow fort chase!

The Insidious franchise may be about horrifying spirits tormenting nice people, but there’s a comfort-food element to it that keeps me coming back. There are always jump scares, lanterns, fog, sleeping people, a final boss spirit who attempts to get into the real world, and it’s great. The franchise works because, at its core, it’s about innocent people dealing with something out of their control. It also helps that Lin Shaye plays Elise, a bada** ghost fighter who helps people because she’s the nicest and most noble person on the planet (her former partners Tucker and Specs are cool too). The Insidious movies are told with earnestness, and their PG-13 scares have helped them collect $741 million worldwide on an average budget of $8.5 million.

Insidious: Out of the Further focuses on what happens when a spirit from The Further (a terribly dark place between heaven and hell) attempts a jailbreak by using a “Traveler” (a person capable of astral projection) to escape the bleak dimension. The “Traveler” is a woman named Gemma (Amelia Eve), a hygienist who lives in a creepy house with her daughter Maya (Island Austin). Since it’s an Insidious film, the house is filled with shadows, long corridors, and rooms constructed to facilitate jump scares. Things take a turn for Gemma when a trio of maniacs starts lingering around the home (which isn’t haunted; moving won’t help anything), and she starts having nightmares in which she has to battle them whilst inside a never-ending pillow fort. The silent villains also visit her at her office, which results in a teeth-cleaning sequence that will be hard to forget. It would be a shame to spoil the rest; know that one night while traveling, Gemma comes across a super cool lady named Elise (Lin Shaye), who tells her to visit a tattoo artist named Clare (Maisie Richardson-Sellers), who can help her defeat the evil spirits with the help of Gemma’s police office boyfriend Nick (Brandom Perera).

Director/writer Jacob Chase sticks to the Insidious playbook by retaining the visual aesthetic (lots of fog) and maintaining its earnest storytelling. Insidious: Out of the Further isn’t trying to reinvent the franchise; instead, it’s a fun/familiar experience for Insidious fans who’ve grown to love the inventive jump scares and creepy spirits associated with the film series. In a unique twist, the $18 million production budget makes the film look super polished, which isn’t something normally associated with an Insidious film. James Wan directed the 2011 OG Insidious film on a $1.5 million budget, so it takes a while to get used to an Insidious movie with an actual budget (which is still small for most movies) to make The Further look like more than a dark room filled with fog. The lack of scrappy aesthetics works against the movie at first because the crisp aesthetic feels a bit generic. However, I quickly stopped worrying about the look and started enjoying that the film features a tattoo artist/medium explaining a plan with grapefruits (that have tattooed faces on them – it’s great).

The cinematography by David Garbett (Evil Dead Rise, Lee Cronin’s The Mummy) does a fine job of setting up jump scares without leaning into comedic territory. There’s a fun shot from the perspective of a mouth that works really well when combined with squishy sound effects. The practical effects and prosthetics created by Adam Johansen (Evil Dead Rise) and Chiara Tripodi (Upgrade, Send Help) are perfectly gooey, with the highlight being a dental scene involving a silent villain with horrible teeth/gums/everything (Joseph Lopez).

Garbett’s dedication to delivering an Insidious film for the diehards will prevent it from pulling in huge box office numbers. However, with an $18 million budget and a dedicated fanbase, Insidious: Out of the Further will be another success for the folks at Blumhouse, who will want to keep their successful franchise rolling. I’d love to watch five more of them so I can witness Elise beating up more demons.

Final thoughts – I love it.

Quick Thoughts:

1. Excellent usage of a Counting Crows song.
2. As always, Jane Schoenbrun’s visuals are unique, expressive, and handcrafted.
3. There’s a great bit about the perspective of a film being told through the shower curtain from Psycho.
4. Zombie IP is real.
5. Interesting tree burl work.
6. Best worst Zoom call of 2026. I’d hate to pitch a film to the executives.
7. We’re living in a golden age of gummy candy.
8. Schoenbrun describes the film as “Portrait of a Lady on Fire set in a Friday the 13th sequel,” and it’s a solid descriptor.
9. There’s a great Wes Craven’s New Nightmare bit.

Between We’re All Going to the World’s Fair, I Saw the TV Glow, and Teenage Sex and Death at Camp Miasma, director/writer/producer Jane Schoenbrun has produced three thrillingly original and long-titled films. All three are deeply personal yet appeal to universal emotions. Teenage Sex and Death at Camp Miasma is Schoenbrun’s most mainstream-accessible film to date and should be watched in a theater so you can immerse yourself in the world.

The film revolves around a young director named Kris (Hannah Einbinder) who is tasked with rebooting the dormant horror franchise Camp Miasma after her successful Sundance debut. Her film, which spent a large chunk of its screen time from the perspective of the shower curtain from Pysho (I love silly meta-commentary), gave her enough cred to reboot the franchise. In an interesting twist, Kris was hired to bring the “zombie IP” back to life because she’s a twenty-something queer director who can make the problematic material less problematic, which is wildly cynical. But she’s fully aware of why she was hired. Kris’s first bit of research involves interviewing Billy Presley (Gillian Anderson), the “final girl” of the first Camp Miasma film. Billy retired from acting shortly after appearing in Camp Miasma, and Kris wants to meet Billy because her memorable performance (Amanda Fix plays the younger version of Billy) greatly affected and molded Kris.

Kris sets up a meeting with Billy, the original “final girl”, who lives a hermit-like life in an isolated cabin located on the property where the first Camp Miasma movie was filmed. The two share a fried chicken dinner, smoke weed, and converse while eating loads of candy. From there, the two bond as they rewatch the original film and go on a bloody journey of self-discovery in the stylized world. Schoenbrun was smart to pitch a high-concept horror-ish idea so they could create a “meaningful exploration of desire, pleasure, and gender in genre filmmaking.” (thank you press notes). The easily digestible story allows for the film to be visually ambitious and genre-fluid. One of the best things to come out of my research is learning that Schoenbrun is incredibly well-studied in the horror genre. It’s neat that this film was influenced by Sleepaway Camp, Friday the 13th, Evil Dead II, A Nightmare on Elm Street 3: The Dream Warriors, Peeping Tom, Psycho (the OG and remake), Secretary, Psycho II, and Sunset Boulevard. It’s obvious that Schoenbrun loves horror cinema, but also understands its problematic history, which makes Teenage Sex and Death at Camp Miasma a unique and worthwhile watch.

Shot over 25 days on Vancouver Island, the film is loaded with inspired matte paintings (inspired by the movie Kwaiden), lovingly constructed sets, and fake snow created by snow guru Kyle Moore. Costume designer Kendra Terpenning and Schoenbrun drew inspiration from the plastic surrounding Laura Palmer’s body in Twin Peaks to create Little Death’s plastic outfit, a visually distinctive and meta creation. Terpenning and Schoenbrun also loaded Gillian Anderson with furs, silks, and velvet outfits that are very Norma Desmond-esque. As always, Anderson looks great, and her Dolly Parton-inspired accent works perfectly in the surroundings. Also, it shouldn’t be spoiled, but one of the funniest wardrobe moments involves Einbinder leaning into the final girl trope by doing something unexpected in the woods (you’ll know).  

Horror franchises are known for their killers, and the killer here is Little Death (Jack Haven), who was once a camper, and now lives in a subterranean world in the middle of a lake. Decked out in a plastic body suit and wearing what looks like an air vent on his head, Little Death (which means a couple of things) stalks the campground and uses a harpoon to impale horny teenagers. Little Death’s backstory is that he was a gender-confused child who was bullied, drowned in a lake, and now stalks the campground. Little Death’s highlight is a fantastic one-take rampage soundtracked by a Counting Crows song. Haven’s physicality is admirable as they carried a 60-pound SnorriCam (body-mounted camera) on their back and moved gracefully during the murderous musical moment.

Final thoughts – Catch it in theaters and enjoy the world.

Quick Thoughts:

1. David Robert Mitchell loves featuring swimming pools in his films. 
2. It’s a good time. The world needs more 100-minute movies featuring dinosaurs.
3. Anne “Action Hero” Hathaway!
4. Don’t watch any trailers or look for spoilers.
5. Cinematographer Mike Gioulakis (It Follows, Us, Split, Old) deserves praise for some cool shots. The running scenes are legit.
6. Sit back, relax, and don’t think too much about the plot mechanics.

With a brisk running time of 100 minutes, The End of Oak Street is a fun creature feature that harkens back to Spielberg’s 1980s Amblin films, in which families were forced to deal with science fiction (or supernatural or horror) shenanigans. The high-concept films mostly took place in the suburbs, put kids in danger, and featured boring lives being upended spectacularly  (think E.T., Goonies, Back to the Future, etc..). After directing his Amblin-homage Super 8, J.J. Abrams teamed up with director/writer/producer David Robert Mitchell (It Follows, Under the Silver Lake) to bring the summer blockbuster to life. It’s nice to see Mitchell’s name in film credits again because he’s been in director’s jail since directing the $8 million budgeted A24 film Under the Silver Lake. Typically, director’s jail is meant for directors who helm massive stinkers, so it’s been a bit mystifying that an indie film (and now cult classic) sidetracked his career. It’s smart that he made his comeback with an accessible PG-13 monster movie that doesn’t feature hidden clues, a smelly protagonist, and homeless kings.The End of Oak Street was manufactured for summer audiences looking for a fun movie that keeps them out of the August heat for a couple of hours. The result is a fun summer popcorn film that has the potential to be a sleeper hit. During the press screening, the audience cheered multiple times (I won’t spoil anything) and genuinely seemed to be engrossed in the mayhem. 

The End of Oak Street begins with an idyllic summer barbecue in a well-manicured suburb. The main characters are Denise Platt (Anne Hathaway), a tough housewife (and secret writer), and her husband Greg (Ewan McGregor), who, despite having a day job, still spends his nights delivering pizza for extra cash. Their kids, Audrey (Maisy Stella – watch My Old Ass) and Brian (Christian Convery), are reasonably well-behaved and the family seems to exist in a pleasant world where the biggest problem is money and job security. Since it’s an Amblin-type film, the parents are having marital struggles, and it’s affecting their children who know exactly what’s going on when their parents step away to “talk.” Before the marital issues can be investigated further, a bright light appears, and the following morning Mel (P.J. Byrne), their grumpy neighbor, pounds on the Platts’ door to complain about a massive pile of poop in his backyard. The following day, there’s another bright light, and the family wakes up to a world that’s stuffed with hungry dinosaurs treating the suburbs like an all you can eat buffet. From there, they need to survive in a dangerous suburb that makes the post-apocalyptic world of Love and Monsters (wonderful movie) seem quaint. 

Once the action starts, the film never lets up and features solid athletic work from Anne Hathaway and Ewan McGregor, who must’ve been in great shape when the film wrapped. Together, they sprint around the Georgia-filmed suburbs (which were also used in Stranger Things) and evade huge snakes, hungry raptors, and slow-moving turtles. The production design by Maya Shimoguchi (Werewolf By Night, Hawkeye) utilizes on-location work and sound stages to recreate the 1980s. The costume design by Erin Benach (The Bikeriders, Roofman, Drive, Loving, The Place Beyond the Pines, Devil) is perfection, and I love how it incorporates Saucony shoes, short shorts, high socks, and nightgowns to capture the spirit of the 1980s. 

The cinematography by Mike Gioulakis (It Follows, Us, Split, Old) is the film’s MVP as it allows the various characters to run for their lives in expertly constructed wide shots. The chase scenes in The End of Oak Street were intelligently conceived, and when more information becomes available, I’m going to research how they were brought to life. There is something thrilling about watching actors test their cardio during long takes that see them sprinting across multiple lawns to avoid the hungry dinosaurs chasing them. Also, Anne Hathaway has showcased her physicality in The Dark Knight Rises and Mother Mary (excellent dancing), but it was a fun surprise seeing her play a tough-as-nails mom with cardio for days. 

Final Thoughts: David Robert Mitchell is back!

Quick Thoughts:

• It’s fun that director Eli Roth studied Saving Private Ryan while planning to film rampaging kids.
• Kiori Mirza Waldman, Charlie Zeltzer, and Shiloh O’ Reilly are solid.
• After watching a child saw off their parent’s head with a hacksaw, the rest of the bloody carnage is a bit monotonous.
• The film makes more sense when you learn that Roth made it for kids.
• Grade – 3 Evil Ice Cream Sandwiches out of 10.

Shot in 19 days during a Toronto summer, Ice Cream Man is a 20-year-in-the-making passion project from director Eli Roth. After almost 20 years of studios telling Roth that his “Pied Piper meets The Birds” splatterfest was commercially unfeasible, Roth started up an indie studio named The Horror Section so he could exorcise the idea from his head. It’s admirable that he chased his dream, but the result is loaded with too many scoops of plot cream which build towards a monotonous and unwieldy experience.

Ice Cream Man revolves around what happens when a mysterious ice cream man (Ari Millen) sells hundreds of frozen “treats” to the children of Bayleen Bay, an idyllic coastal town that will soon become a warzone. The frozen treats turn the children into homicidal maniacs who kill their parents and then spread throughout the town to kill the remaining adults. Amidst the carnage, it’s up to middle schoolers Jared (Charlie Zeltzer), Mia (Kiori Mirza Waldman), and Tommy (Shiloh O’Reilly) to save the town with the help of Jared’s sister Lizzie (Sarah Abbott – who has a fun but unnecessary Wolf of Wall Street-esque moment).

In the press notes, star Ari Millen describes the film as “Home Alone meets 28 Days Later,” and he’s not wrong because it features rampaging children inflicting creative pain on dozens of adults. Roth came up with the idea while dreaming, and the most memorable visual was children playing jump rope with intestines. So, he dreamt about children murdering adults, and then had to reverse-engineer the scenario to explain why the kids ripped open an adult’s midsection, pulled out their intestines, and then used them as a jump rope. The explanation shouldn’t be spoiled, but it involves town secrets, churches, and a school attack sequence involving 100+ children.

Fueled by high-key lighting and a hot August sun, the colorful-looking film goes hard on daylight horror, and had to happen so Roth could film with middle-school-aged kids. The nostalgic look is supposed to stand in opposition to the unrated violence involving bricks, shovels, garbage disposals, pencils, and hacksaws. However, the bright lights showcase Roth’s stretched ambition (you can’t hide anything in daylight). Roth wanted the film to feel like a fairy tale, but most fairy tales are fairly easy to explain and don’t need a bit about how hard it will be to defeat the Ice Cream Man. When you get into the plot mechanics of Ice Cream Man, it’s all a bunch of hooey, and they were clearly created around the initial ideas that Roth had 20 years ago. The biggest problem with building a 100-minute film around a feverish dream is that the elements don’t always fit organically. After directing for over 20 years, Roth knows his way around a successful production (Thanksgiving is a hoot), so it’s a surprise that he didn’t tighten the script to dedicate more attention to the seemingly simple premise.

It’s also worth noting that the majority of the townsfolk and students are terrible people before the evil ice cream is introduced. So, when the killing starts, nobody cares about the carnage because there are zero feelings involved when a person is attached to an ambulance and dragged through the street. The idea of Roth crafting a “Stand by Me” featuring deadly ice cream is fun, but the production was too rushed and stretched to do anything other than shoot really quickly. It’s neat that Roth was able to get this idea out of his head (with the help of a little bit of AI), and it will be fun to see what original idea he tackles next (or makes another Thanksgiving film).

Quick Thoughts:

1. Between The Dirties (2013), Operation Avalanche (2016), BlackBerry (2023), Nirvana the Band the Show the Movie (2025), and Tony, director/writer Matt Johnson is one of my favorite working directors.
2. I hope Antonio Banderas is nominated for a Best Supporting Actor Oscar. His performance is gruff, tender, smart, caring, funny, and likable.
3. You can tell that Johnson loved working with Leo Woodall. The guy takes over the screen whenever he’s around. 
4. Emilia Jones thrives in movies that take place in coastal cities. She is solid in CODA and Tony. 
5. I’ve never been more annoyed to have a shellfish allergy.
6. It knows exactly what it needs to be. 
7. Matt Johnson is on a legit (lobster) roll.
8. Grade – 7.4 Lobster Thermidors out of 10. 

After watching BlackBerry in 2023, I immediately felt the urge to message IFC and ask if there was a way I could interview director Matt Johnson. The ingenuity of the low-budget production was thrilling, and I wanted to learn more about the Toronto-based director. This led me to watch Nirvana the Band the Show, and then catch a special screening of Nirvana the Band the Show the Movie attended by Johnson and Jay McCarol. One of the highlights of watching a lot of films is when you witness an ingeniously crafted film. There’s something thrilling about watching collaborators make smart decisions that lead to a unique experience. Johnson’s winning streak continues with Tony, a well-made biopic that will hopefully earn Antonio Banderas an Oscar nomination for Best Supporting Actor. Between Johnson, writers Matthew Miller/Todd Bartels/Lou Howe, and star Dominic Sessa knew exactly what they needed to do – and they did it.. Tony focuses on a formative three-month span of chef/writer/TV star Anthony Bourdain’s life, and it is easily Johnson’s most by-the-book film, but it’s done intelligently and with technical craft. You can still see shades of his early work in the close-ups and camera placement, but it’s a more polished and mainstream dish for the millions of people who loved Bourdain. 

The nice thing about this biopic is that it avoids a decades-long story that plays the greatest hits, and instead focuses on an eventful summer in 1975. A summer in which 19-year-old Anthony “Tony” Bourdain lied about winning a writing fellowship and traveled to Cape Cod (Provincetown, MA to be exact) to be near an older classmate named Nancy (Emilia Jones), who spent her summers on the peninsula. After a chaotic first day, which sees Tony lose all his money, drink way too much, and get knocked out by a local cook, he decides to call his impromptu trip off and head back home. When he learns he can’t afford a ferry, he starts washing dishes at the restaurant where he was kicked out of the night prior. The owner/head chef conveniently named Chef (Antonio Banderas) sees something in the little maniac and lets him sleep on his front porch hammock. When Tony runs into Nancy, he lies and says he landed a writing fellowship and is spending his summer in Cape Cod to work on the project. He also claims that his oyster-shucking coworker Sal (Leo Woodall) is a professor overseeing his writing project. Since it’s a coming-of-age film, the lies catch up to him, and the aftermath propels him to attend the Culinary Institute of America (CIA), in New York City.

During his months on the peninsula, he learns how to cook, does copious drugs, and learns that food can bring people together. Nothing is especially hard for the guy, but he needed to get away from his loving parents (Dagmara Domińczyk, Richard Sommer) so he could get beat up for a summer. Many of his problems are self-inflicted (so many lies), but several people see through his insecurities and see a witty kid who could become something. A lot of things that he comes across during the summer (drugs, kitchen work, community) play a role throughout his life, so it’s fun seeing it visualized on screen. 

One of the most interesting facts that I learned from the press notes is that Johnson was drawn to the project because of Dominic Sessa. Johnson and Sessa met after The Holdovers was released in 2023, and they had an hours-long conversation that ended with the two deciding that they needed to work together. Johnson had never read Bourdain’s book or watched his shows; instead, he was interested in directing Tony so he could work with the young actor. With Sessa and Johnson onboard, the cast quickly filled up with a smorgasbord of legit actors. 

Antonio Banderas (who owns eight restaurants) should get an Oscar nomination for his portrayal of Chef. He’s funny, warm, tough, likable, and has excellent chemistry with the actors. Johnson directed the film because of Sessa, but it feels like he hands the movie over to Leo Woodall (watch Tuner – it’s good) whenever his chaotic presence is around. Leo’s character Sal is a hard-living maniac who is equal parts charismatic and evil. He never says no to anything, and he seems like he’s always about to get into a bar fight. Filling out the cast is Emilia Jones, who easily matches Sessa’s wits and is so cool that you understand why Tony creates a world of lies so he can be close to her.  

On the technical side, the movie looks and sounds really good. Johnson and DP Patrick Bauman used long lenses to stay in Sessa’s face as he skulked around Cape Cod. Bauman brought in vintage Panavision glass to recreate the feel of a 1975 summer. It also helps that the production shot mostly on location, as the realistic settings work well with Johnson’s documentary vibe. 

Final Thoughts: Watch It. Matt Johnson is on a legit (lobster) roll.

Quick Non-Spoiler Thoughts:

1. Good movie.
2. The lack of multiple CGI smack-em-ups is nice. 
3. The on-location work is appreciated
4. The characters have time to exist and be likable.
5. It’s obvious that everyone involved wanted to create something ambitious. Spider-Man: Brand New Day still fits nicely in the Marvel Cinematic Universe (MCU), but it also stands apart because of its dedicated to developing characters and relationships. 
6. Director Destin Daniel Cretton is 3-for-3 in the MCU.
7. Grade – 7 out of 10 on the MCU scale. 

One of the reasons why Iron Man (2008) is my favorite MCU film is because it allows Tony Stark (Robert Downey Jr.) to exist on his own (16.41 minutes to be exact – read my data article). Throughout the film, Stark is left to his own devices as he tests tech, builds suits, and deals with life after captivity. The film rests on his shoulders, and it kicked off a massive cinematic universe that pulled in billions of dollars and captured the world’s attention. The only other MCU character that could be trusted to exist alone for long periods of time is Tom Holland’s Spider-Man. In Spider-Man: Homecoming, he has 20.5 minutes of alone time (#1 overall in MCU), and the movie was a tremendous success. Moviegoers loved Holland’s portrayal of Peter Parker/Spider-Man, and the films work when it’s just Peter (the cast is great too. Props to director Jon Watts). Whether it’s being stuck in a massive warehouse or dealing with Mysterio’s nonsense, the guy can be trusted to hold the screen. After the bombast and game-changing ending of Spider-Man: No Way Home, it’s nice that Brand New Day scales things back by focusing on Peter’s self-imposed solitude and the effects of his alienation from the world. 

The film opens strong with a Spider-Man kicking butt montage that’s fueled by the TV on the Radio song “Wolf Like Me” (the segment is easily the best in the Spidey franchise). Peter’s focus on crime fighting has been good for New York City, but bad for the amiable kid, as his body starts changing due to depression and stress. He’s holed himself up in a loft where he spends his days tinkering with equipment and developing more efficient ways to defeat criminals like Scorpion (Michael Mando). The only time he leaves his fortress of solitude is when he visits Aunt May’s grave, or to grab the Little Caesars pizza left at his front door. His social interactions are limited to his phone chats with Detective Jean DeWolff (Liza Colón-Zayas – super likable) and occasionally bickering with Frank “The Punisher” Castle (Jon Bernthal) when they’re fighting crime. He also follows Ned’s (Jacob Batal0n) TikTok page, where he catches glimpses of MJ (Zendaya) in Ned’s videos that highlight their time at the Massachusetts Institute of Technology.

The plot kicks in during a tank chase involving a body-swapping antagonist who has been attacking the NYC-based Department of Damage Control (DODC) facilities. Sharing more wouldn’t be cool, but know that there are several well-executed action scenes and a generous heaping of quiet moments dedicated to developing relationships and characters. 

Between Shang-Chi and the Legend of the Ten Rings, Wonder Man, and Spider-Man: Brand New Day, director Destin Daniel Cretton has proven himself to be a capable director who understands how to play in the big-budget world of the MCU, while still being able to focus on character development (watch Short Term 12). He was originally supposed to direct The Avengers: The Kang Dynasty, but was able to pivot to the box office-friendly world of Spider-Man when Kang’s Dynasty collapsed. Shortly after joining the production, the film was delayed for six months, so Holland and Zendaya could work on The Odyssey. The extra time benefited the film as it gave the crew and writers time to tighten the script and focus on ways to take the production outside to real locations.

The nice thing about Tom Holland is that he could’ve coasted on his charm, but he was driven to take Peter Parker into adulthood. Holland cares about the character, and wasn’t satisfied with phoning it in. He pushed for more practical effects, and the streets of Glasgow, Scotland were well-tread during the production. The action scenes push the narrative forward, and it’s refreshing that there aren’t multiple CGI smack-em-ups. 

The nice part about including The Punisher (Jon Bernthal) in the proceedings is that he grounds the action and adds stakes whenever he’s around. Certain characters could smash with him easily, so watching Spider-Man keep him safe while trying not to get flattened works really well. Bernthal and Holland worked together on 2017’s Pilgrimage and 2026’s The Odyssey, and their familiarity pays on-screen dividends as they seem to genuinely like each other. 

The cinematography by Brett Pawlak (Short Term 12, Just Mercy, Wonderman) leans into his indie sensibilities while still maintaining the clean look of an MCU film. His handheld camera work and close-ups of Tom Holland, Zendaya, Sadie Sink, and Tramell Tillman provide intimacy for their characters (They can all hold the screen), and occasionally make audiences forget that they’re watching a massive blockbuster.

Final Thoughts – It’s worth a trip to the theaters.