Dream Log

THE CONJURING: LAST RITES

2025 | Dir. Michael Chaves | 136 Minutes

3 out of 5

Narratively rote though entertaining enough for those seeking the franchise's signature blend of jumpscares and sappiness with a dash of Catholocisim, the picture tidily wraps up the cinematic mythologization of Ed and Lorraine Warren. It's fine, totally disinterested in innovating in any department, about as safe as the filmmakers can play it at this point. Perhaps unsurprisingly, though kind of funny in its absurdity, the film gives into the urge to bring back the demonic doll Annabelle for a few sequences -- she's an inextricable part of the package deal for these movies at this point, logical application to the story at hand be damned.

THE TOXIC AVENGER

2025 | Dir. Macon Blair | 102 Minutes

3 out of 5

Unapologetically dumb, gory, and irreverent, this Toxie reboot is disposable fun for folks craving something gross and a little filthy, though far from the levels of old Troma depravity. The picture lays on thick an anti-corporation, anti-polution message interwoven with all its crude jokes and ultra violence. The cast lead by a super earnest Peter Dinklage seems game for just about anything, netting the film some extra points.

CAUGHT STEALING

2025 | Dir. Darren Aronofsky | 107 Minutes

4 out of 5

Perhaps Darren Aronofsky's most accessible film to date, it's an engaging, suspenseful, and altogether entertaining yarn with an appealing late 90's New York City setting. Just as often funny as it is brutal, the peril the plot heaps onto the likeable put-upon protagonist steadily escalates seemingly without end as the body count surrounding him rises. The entire cast is phenomenal, and Austin Butler is particularly impressive and affecting in the lead role as a man who learns to face his inner demons. Go Giants.

HONEY DON'T

2025 | Dir. Ethan Coen | 89 Minutes

3 out of 5

High in pulp and low in substance, the charm of its cast lead by Margaret Qualley carries this horny and violent ride to a few amusing but ultimately underwhelming places. Its irresistibly appealing film noir tone and its cavalcade of quirky characters are mismatched with its paper-thin plot. Not the worst picture of its kind, but considering the talent in front of and behind the camera, it certainly could've been much better.

NOBODY 2

2025 | Dir. Timo Tjahjanto | 89 Minutes

3 out of 5

Funnier than its predecessor, with set pieces that are better staged, though somehow with even less thematic meat on its bones, it's an amusing enough action comedy sequel without too much on its mind. Its premise doesn't offer anything particularly fresh, but the picture makes very good use of Bob Odenkirk's comedic timing paired with entertainingly brutal fight choreography and over-the-top pyrotechnics. Sharon Stone steals the show as a psychotic crime lord.

The Fantastic Four: First Steps

THE FANTASTIC FOUR: FIRST STEPS
2025 | Dir. Matt Shakman | 115 Minutes

"For you, I would move heaven and earth." 

Loved by all, the Fantastic Four have saved New York City and the Earth several times over. However, when faced with their biggest threat ever, public opinion quickly turns and tensions within the family rise as they choose not to sacrifice their newborn to protect the planet. At the eleventh hour, the heroes devise a plan to save the world once again without forsaking the newest member of their family.

After several stand-alone films of varying questionable quality, one of Marvel Comics' most storied and beloved superhero teams gets a proper Marvel Cinematic Universe introduction. The Fantastic Four: First Steps is a lighthearted take on superheroes as public figures, brilliant scientists, and also as a caring family unit with genuine compassion for all. Immediately and convincingly selling the audience on the idea that the world loves the super-powered family, the feature wisely references their origin story in a breezy manner instead of fully rehashing it, fast-forwarding through their string of victories protecting their world against silly and outright bizarre villains of shapes and sizes while focusing the first act on their rather somewhat mundane day-to-day lives give or take a few bits of super-science. As the cosmic stakes for this particular story escalate, its primary conflict forces the heroes to make the impossible choice to sacrifice the newest member of their family or their entire planet and everyone under their protection. In an inspired and inspirational turn of events, the heroes opt for the solution that makes the most sense both logically and emotionally: play to their individual unique strengths to outsmart the problem and sacrifice no one, perfectly capturing what sets the titular Fantastic Four apart from other super teams.

The meticulous production design behind the alternate Earth-828 of First Steps is nothing short of superb, presenting a fully immersive fashionably retro 1960s New York City populated with sleek and imaginative technology. Michael Giacchino's film score is a perfect match the aesthetic of the picture, big and corny in the best very way. The effects are also generally very impressive, with fully computer-generated characters of Ben Grimm, the Silver Surfer, and Galactus standing out particularly in action sequences. The FTL chase scene leading the heroes and the Silver Surfer to a black hole is one of the most inventive superhero movie set pieces ever. However, CGI Baby Franklin Richards is without a doubt unsettlingly uncanny.

Pedro Pascal, Vanessa Kirby, Ebon Moss-Bachrach, and Joseph Quinn share infectious chemistry playing this incarnation of the Fantastic Four. Imbuing Reed Richards with a specific unintentional aloofness, Pascal makes one understand how one can both love and hate the impossibly ingenious and deeply frustrating Mister Fantastic. Kirby brings a barely contained ferocity to Sue Storm, gradually unleashing it more and more as the plot unfolds. Moss-Bachrach's sensitive tough guy persona fits Ben Grimm perfectly. Somehow, Quinn is simply charming as cocky kid brother Johnny Storm without a shred of obnoxiousness. In the role of Silver Surfer Shalla-Bal, Julia Garner delivers her dialogue with enough gravitas to further accentuate the herald's striking appearance. Ralph Ineson is believably terrifying as absolutely memorable as Marvel's legendary destroyer of worlds Galactus. The supporting cast also features Mark Gatiss as the Ed Sullivan-esque television host Ted Gilbert, Sarah Niles as Future Foundation CEO Lynne Nichols, Paul Walter Hauser as the mostly harmless Mole Man Harvey Elder, and Natasha Lyonne as Ben Grimm's schoolteacher love interest Rachel Rozman

The Fantastic Four: First Steps does Marvel Comics' first and most famous family justice, delivering a thrilling space adventure with an appealing retro-future look. Entertaining, endearing, featuring wonderful ensemble cast and action sequences that are ambitious in scale and visually exciting, it's one of the most emotionally satisfying films from Marvel Studios. Notably, enjoying this picture requires no prior knowledge or investment in Marvel's sprawling shared cinematic universe.


MID-CREDITS STINGER
Franklin Richards is visited by a stranger in a green hood holding an iron mask.


POST-CREDITS STINGER
H.E.R.B.I.E. watches intro to the in-universe The Fantastic Four Power Hour cartoon.


FRAGMENTS
- Very cute that the leads of the infamous unreleased 1994 The Fantastic Four make a cameo appearance together among the civilians expressing their appreciation

- Also cute that the recreated the cover of The Fantastic Four #1 in live-action

 

- The curious absence of a representative from Latveria as such an big invitation to speculate about what has already happened between these variations of the Fantastic Four and Victor von Doom

 

- The revelation at the bottom of the end credits that the Earth-828 designation is based on Jack Kirby's birthday is simply lovely

Elio

ELIO
2025 | Dir. Madeline Sharafian, Domee Shi, and Adrian Molina | 99 Minutes

"'Unique' can sometimes feel like 'alone,' but you are not alone."

Losing his parents at a young age, Elio lives with his Air Force major aunt but he struggles to connect with her and with other people, his only wish is to be abducted by space aliens. Against all odds, Elio makes contact with extraterrestrial life but is mistaken for the leader of planet Earth, receiving an invitation to join an intergalactic assembly of peaceful lifeforms. As a condition of his membership, Elio takes on a mission to negotiate with a merciless warlord but in the process becomes best friends with the despot's gentle son.

Elio is a gorgeously animated and emotionally stirring picture with an amusing sci-fi premise layered on top of a story centered on a child struggling with loneliness and feeling unwanted. While the picture immediately establishes Elio's challenging relationship with his aunt and his inability to make friends with other children, interpersonal conflicts that are all too relatable, once the story leaves Earth the emotional hook never goes beyond only just serviceable, somewhat underdeveloped in favor of delivering a fun though rather rote mistaken identity plot. Fortunately, the friendship between Elio and his alien slug friend Glordon is convincingly earnest and sweet, and the third act features some thrilling high-flying action and touching payoffs for the character arcs of Elio, his Aunt Olga, and Glordon, considerably improving the quality of the film as a whole.

Pixar Animation Studios shows off their technical prowess in Elio by way of some impressively dynamic lighting effects featured throughout the entire film, starting with little Elio's exploration of a darkened museum outer space exhibit still under construction at the start of the picture and carrying through the various colorful settings of the Communiverse. The designs for the extraterrestrial lifeforms are incredibly varied and every single one is lots of fun. The ethereal film score by Rob Simonsen is all around excellent.

Yonas Kibreab carries the film with a natural performance in the lead role, consistently hilarious and often incredibly affecting to movingly convey Elio's sadness. Remy Edgerly is infectiously cheerful as the happy-go-lucky Glordon, sharing fantastic comedic chemistry with Yonas Kibreab's Elio.  As the put-upon Aunt Olga, a rather manic Zoe Saldaña is very funny. Brad Garrett hams it up well as Glordon's ill-tempered warlord father.

Elio features the Pixar signature blend of heart and visual splendor that is sure to please children, adults, and inner children alike. However, while the story of a boy having a hard time finding his place in the universe is touching, it's nothing groundbreaking particularly by the storied animation studio's astronomical standards. In any case, as an average Pixar film that's finely crafted by any standard, it's a worthwhile uplifting experience that effortlessly tugs at heartstrings with plenty of humor and awe-inspiring imagery.


MID-CREDITS STINGER
Elio and Bryce chat with Glordon by ham radio.


FRAGMENTS
- Less a post-credits stinger than a promo, a brief teaser for the next Pixar film Hoopers plays after the closing studio logos

- Intriguingly, the original teaser trailer for Elio shows a few significant differences in character roles and premise from the final film -- America Ferrera plays Olga in the teaser instead of Zoe Saldaña who was originally written to be Elio's mother

MCU CONNECTIONS

- Zoe Saldaña (Gamora in Guardians of the Galaxy, Guardians of the Galaxy Vol. 2, Avengers: Infinity War, Avengers: Endgame, and Guardians of the Galaxy Vol. 3)

Thunderbolts*

THUNDERBOLTS*

2025 | Dir. Jake Schreier | 127 Minutes

"I can't think of a worse group of people trying to work together."

On the verge of ending her employment under the ruthless politician Valentina Allegra de Fontaine, former Black Widow Yelena Belova accepts one last mission. The assignment leads Yelena into a trap set by Val intended to liquidate all of her covert operatives in a ploy to destroy all evidence of her nefarious activities. The survivors of Val's scheme reluctantly band together to confront her only to come face to face with an unimaginably powerful new threat.

Primarily serving as a culmination of storylines established in Black Widow and on The Falcon and Winter Soldier, Thunderbolts* does what good Marvel Studios films do best: deliver interesting action-packed (and if we're lucky, thought-provoking) spectacle while doing right by their characters by continuing their story arcs in emotionally gratifying ways. Thanks to a frequently sincere screenplay by Eric Pearson and Joanna Calo, the collection of prickly hired guns at the heart of the picture come across as the biggest underdogs within their cinematic multiverse as they gradually become worthy of taking on the mantle of Earth's Mightiest Heroes in spirit if not in ability. It's rewarding to see the late Black Widow's endearingly dorky but seriously deadly kid sister stepping up to take on a leadership role, consistently offering empathy to the deeply troubled Bob as she learns to face her own demons after years of burying her pain in booze and wanton violence. Taking a massive creative swing for a superhero movie - arguably one that significantly pays off - it's only fitting that the finale is a psychological struggle rather than the standard massive battle.

Thunderbolts* features several inspired action sequences, made all the more entertaining by the prickly nature of Yelena, Ava, and Walker. The lethal meet-cute in the secret facility sports some excitingly dynamic fight choreography. The car chase in the desert is tense and genuinely funny with Bucky making an awesome dramatic entrance to top it off. Watching the team futilely attempt to subdue the super-powered Sentry is simply heartbreaking, though they more than redeem themselves demonstrating true heroism protecting the people of Manhattan from the devastation of the Void. The way the film depicts the Void as an emotional state, an entity, and a shadowy realm that traps individuals in the worst moments of their lives is clever if under-explained, but it works reasonably well as a storytelling device.

Reprising the role of Yelena, Florence Pugh absolutely carries this picture with a thoroughly engaging performance, bringing thrilling stunts, laughs, and heartache with aplomb. David Harbour lays on thick the Russian accent and broad comedy in his return as Yelena's super soldier surrogate dad Alexei, but he impressively dials back the silliness to really sell several poignant moments with Yelena. Making her second appearance as Ava Starr following 2018's Ant-Man and the Wasp, Hannah John-Kamen is captivating as a hyper-competent foil to Pugh's Yelena, though it would have been nice for her to have more screen time. Wyatt Russell's off-brand Captain America John Walker makes his silver screen debut bringing along all of the character's baggage from The Falcon and Winter Soldier, the rough-around-the-edges charisma inherited from his father Kurt serving him well, adding a considerable amount of likability to such an incredibly flawed character. As the most veteran superhero of the gang, Sebastian Stan's Bucky is excellent as the no-nonsense counterbalance to this group of dummies. Lewis Pullman is perfectly cast as the soft-spoken and unassuming Robert Reynolds, making his performance as the sinister Void even more terrifying. Playing a much bigger part than in her previous MCU appearances as smug master manipulator Val, Julia Louis-Dreyfus is a lot of fun to watch, and certain plot developments allow her to show off her range as a performer. In addition, Geraldine Viswanathan is incredibly amusing Val's conflicted assistant Mel.

Thunderbolts* is as much about the formation of a world-saving team comprised of sad misfits as it is about the challenges of processing shame and past trauma. An all-around solid cast lead by Florence Pugh and some fascinating creative choices make it one of the more unique MCU films. Though considerably gruffer than the more well-established heroes of the Marvel canon, this picture makes a strong argument to root for this group of reprobates.

MID-CREDITS STINGER

Seeing his team featured on boxes of Wheaties at the supermarket, Alexei fails to convince a shopper to buy a box.

POST-CREDITS STINGER

While Alexei proposes an unappealing solution to the gang's legal battle with Sam Wilson over the name of their team, the crew witnesses an extra-dimensional ship with the number "4" on its hull approach Earth.

FRAGMENTS

- This variant of the Marvel Studios logo as it and the fanfare are swallowed by the Void is a neat touch

- Cool redesign for Taskmaster, but Olga Kurylenko's Antonia Dreykov really gets the short shrift

- Very amusing to see Bunk and Frank Sobotka from The Wire (Wendell Edward Pierce and Chris Bauer) in an MCU film

- The oddest creative choice of the script to me is for the characters to associate the "Thunderbolts" team name to Yelena's childhood soccer team instead of regular MCU antagonist Thaddeus "Thunderbolt" Ross as it is in the comics, but the ultimate reveal that the asterisk in the Thunderbolts* title is in reference to the team's official branding as the New Avengers is simply masterful

- I very much love how the opening notes to Son Lux's theme music for Thunderbolts* mirror the opening notes of Alan Silvestri's iconic theme music for The Avengers

SUPPLEMENTAL STUFF

Video: Marvel Studios' Thunderbolts* | Red Guardian Limo Service

007 CONNECTIONS

- David Harbour (Gregg Beam in Quantum of Solace)

- Olga Kurylenko (Camille Montes in Quantum of Solace)

Wicked

WICKED

2024 | Dir. Jon M. Chu | 162 Minutes

"Everyone deserves the chance to fly."

In the Land of Oz, by chance the outcast Elphaba Thropp finds herself enrolled in Shiz University. Following their contentious first meeting, vain popular girl Galinda Upland gains a measure of compassion and gradually befriends Elphaba. When destiny calls, Elphaba learns hard truths about her world and must decide between fulfilling the expectations of others or doing what she believes is right.

Adapted from the first act of Stephen Schwartz's celebrated Broadway production, which in turn is based on Gregory Maguire's 1995 novel reinterpreting L. Frank Baum's The Wonderful Wizard of Oz, director Jon M. Chu delivers a visually dazzling showcase of song and dance with spectacular choreography and fun set pieces. Primarily serving as a revisionist origin story for a classic villain, Wicked is at its best when it focuses on its core relationship, the unlikely but genuine friendship between misunderstood Elphaba, who learns to embrace her agency, and the conceited Galinda, who learns humility and empathy. The narrative also has much to say regarding prejudice, discrimination, and disinformation, with a considerable amount of focus on the mistreatment of not just Elphaba but also the intelligent animal inhabitants of Oz. However, the pacing of the film suffers from an overabundance of exposition and lore to unpack. While the picture concludes on a triumphant high, with so many plot threads left unresolved it isn't quite satisfying as stand-alone feature when all is sung and done.

The songs by Stephen Schwartz are all-around phenomenal, many of which are immediately unforgettable, and they are performed by an immensely talented cast with superb cinematic direction for this film adaptation. The "Dancing Through Life" sequence is the perfect example of the picture's incredible scale, taking place in a massive dynamic magical library set populated with excellent dancers. On a smaller, more personal scale, the "Popular" number is a great spotlight for the picture's leading ladies, perfectly matching the clever and funny energy of the catchy song. The epic sequence capping off the film featuring the exceptionally memorable "Defying Gravity" is truly exhilarating, a fittingly moving and inspirational showstopper accentuated with impressive visual effects.

Cynthia Erivo is magnificent as Elphaba, a role that fully utilizes her incredible voice, but even more impressively, allows her to demonstrate her screen acting talent as she capably carries the emotional weight of Elphaba's story. Frequently hilarious and believably earnest, Ariana Grande embodies Galinda to perfection. Playing the part of Fiyero, Jonathan Bailey is suitably charming and convincingly magnetic. The supporting cast also features an Michelle Yeoh exuding an air of authority as the deceptively regal Shiz University headmistress Madame Morrible, and Jeff Goldblum more or less just being Jeff Goldblum in the role of the master con artist Oz.

A crowd-pleasing ride overall, Wicked is an entertaining and emotionally engaging movie musical featuring iconic visuals and memorable songs. Elevated by a universally appealing tale of self-discovery at its heart, the narrative also offers a timely and timeless cautionary look at the evils of scapegoating and propaganda. Unfortunately, the film falls short of perfection in no small part due to its extended runtime bloated with expository material that does not pay off in this first installment of an ambitious duology.

FRAGMENTS

- The ad campaign for the film strategically neglects to mention it is the first installment of a two-picture adaptation, though the actual title card featured in the opening reads: Wicked ~Part 1~

- Peter Dinklage playing Dr. Dillamond further demonstrates his frequent typecasting as persecuted intellectuals

- The way John Powell's score builds as Elphaba takes flight during the finale reminds me so much of Hans Zimmer's theme for Superman from Man of Steel

007 CONNECTIONS

- Michelle Yeoh (Wai Lin in Tomorrow Never Dies)

MCU CONNECTIONS

- Jeff Goldblum (Grandmaster in Guardians of the Galaxy Vol. 2 and Thor: Ragnarok)

- Michelle Yeoh (Aleta Ogord in Guardians of the Galaxy Vol. 2 and Jiang Nan in Shang-Chi and the Legend of the Ten Rings)

- Peter Dinklage (Eitri in Avengers: Infinity War)