Christoph Waltz Archives

Review: ‘Guillermo del Toro’s Pinocchio,’ starring the voices of Gregory Mann, David Bradley, Ewan McGregor, Christoph Waltz, Ron Perlman, Tilda Swinton, Finn Wolfhard and Cate Blanchett

December 6, 2022

by Carla Hay

Geppetto (voiced by David Bradley) and Pinocchio (voiced by Gregory Mann) in “Guillermo del Toro’s Pinocchio” (Image courtesy of Netflix)

Directed by Guillermo del Toro and Mark Gustafson

Culture Representation: Taking place in World War II-era Italy in the 1940s (and briefly in 1916), the animated film “Guillermo del Toro’s Pinocchio” features cast of human characters (all white Italians) and magical creatures representing the working-class and middle-class.

Culture Clash: An elderly wood carver/carpenter makes a puppet boy that comes alive and then goes on a quest to become a human being.

Culture Audience: “Pinocchio” will appeal primarily to people who are fans of filmmaker Guillermo del Toro and the original 1940 “Pinocchio” movie and are interested in seeing a unique retelling of this classic story.

Sebastian J. Cricket (voiced by Ewan McGregor) in “Guillermo del Toro’s Pinocchio” (Image courtesy of Netflix)

“Guillermo del Toro’s Pinocchio” is a stellar example of how to do a highly creative movie remake that maintains the spirit of the original while making imaginative revisions. It’s destined to be a classic in stop-motion animation. The movie takes a while to get to the action-adventure part of the story, so be prepared for a lot of very talkative scenes in the first half of the film. “Guillermo del Toro’s Pinocchio” is such a visual treat that lets viewers get to know the characters in a meaningful way, the leisurely pace in the movie’s first half is not too much of a detriment to the film overall.

Oscar-winning filmmaker del Toro had been trying to make a stop-motion animation version of “Pinocchio” since 2002, when the Jim Henson Company acquired the rights to make Carlo Collodi’s 1883 children’s fairy tale “The Adventures of Pinocchio.” “Guillermo del Toro’s Pinocchio” (whose animation is inspired by illustrator Gris Grimly’s interpretation of Pinocchio) is directed by del Toro and Mark Gustafson, with the movie’s adapted screenplay written by del Toro and Patrick McHale. The book was famously made into Disney’s 1940 musical animated film “Pinocchio.” “Guillermo del Toro’s Pinocchio” keeps the gist of the story (an Italian wooden puppet named Pinocchio that wants to become a human boy) and brings it into the 20th century.

It’s not a political movie or a preachy film, but “Guillermo del Toro’s Pinocchio” is primarily set during World War II, when Italy was under the fascist regime of Benito Mussolini. A such, “Guillermo del Toro’s Pinocchio” has themes about the horrors of war and how people can become puppets under an oppressive government. The movie keeps the original story’s meaningful messages about family love, coping with death and self-acceptance. There are touches of comedy in “Guillermo del Toro’s Pinocchio,” but people should not expect a perky musical. The movie’s overall tone is dramatic.

“Guillermo del Toro’s Pinocchio” begins with a flashback to 1916, in an unnamed part of Italy, where a kind and amiable wood carver/carpenter named Geppetto (voiced by David Bradley) lives happily with his son Carlo (voiced by Gregory Mann), who’s 10 years old. Geppetto is a single parent. Carlo’s mother is not seen or mentioned in the movie. The movie’s intermittent narrator is a nomadic cricket named Sebastian J. Cricket (voiced by Ewan McGregor), who has settled in Geppetto’s home workshop to write a memoir about his extensive travels.

One day, Carlo finds a pine cone and gives it to Geppetto so that Geppetto can plant the pine cone, with the expectation that it will grow into a tree. Carlo gives this gift to Geppetto on the day that he accompanies Geppetto to a carpenter job at the local church, where Geppetto is restoring a giant statue of Jesus Christ on a crucifix. Suddenly, military airplanes appear in the sky, and a bomb is dropped on the church. Geppetto escapes, but Carlo is killed instantly.

About 25 years later, Geppetto is a very lonely elderly man, who is still grieving heavily over the death of Carlo. He sometimes gets drunk to try to cope with his emotional pain. The pine cone that Carlo gave to him all those years ago has now grown into a pine tree. In a drunken rage, Carlo cuts down the tree and makes a wooden boy puppet out of the tree, as a tribute to Carlo. Sebastian observes it all.

One night, the benevolent Wood Sprite (voiced by Tilda Swinton) visits the workshop, and finds out from Sebastian that the puppet was made so that Geppetto wouldn’t be lonely and to remind Gepetto of his son Carlo. (The Wood Sprite is called the Blue Fairy in other versions of “Pinocchio.”) The Wood Sprite brings the boy puppet to life, and names the puppet Pinocchio (also voiced by Mann), while Sebastian witnesses this magical spell. The Wood Sprite calls herself a “guardian” on Earth. She tells Sebastian: “I care for little things, the forgotten things, the lost ones.” And she asks Sebastian to help her look after Pinocchio.

At first, Geppetto is frightened by the sight of Pinocchio being alive, but he eventually loves Pinocchio like a son. One day, Pinocchio follows Geppetto to church, where the parishioners treat Pinocchio with fear and suspicion. The churchgoers think that this talking puppet is demonic, but Geppetto assures them that Pinocchio is just a puppet. Still, Pinocchio is treated like an outcast in the village from then onwards.

The church’s priest (voiced by Burn Gorman) and the village’s podesta (voiced by Ron Perlman), who represent the village’s top authority figures, order Geppetto to send Pinocchio to school, so that Pinocchio can learn the rules and laws of this Italian society. Viewers will have to overlook that most of the main characters have British accents in the English-language version of this movie. Because most of movie’s voice actors do not have Italian accents, it’s one of the few details that “Guillermo del Toro’s Pinocchio” gets wrong, but most viewers won’t notice or care.

The very stern podesta has a son named Candlewick (voiced by Finn Wolfhard), who often lives in fear of his domineering father and tries hard to please his father. The podesta is quick to judge others harshly and is eager to dole out punishment to anyone he thinks doesn’t follow his orders. Candlewick and Pinocchio are around the same age, in terms of emotional maturity level, and their relationship at first consists of Candlewick being a bully to naïve Pinocchio.

For example, Candlewick plays a mean-spirited prank on Pinocchio by suggesting that Pinocchio move closer to a fire to get warmer. As a result, Pinocchio’s legs get partially burned off, but Geppetto compassionately makes new and improved legs for Pinocchio. Candlewick and Pinocchio eventually become friends in a poignant storyline where they find out they have more in common than Candlewick thought. Pinocchio also wants to please Geppetto like a dutiful son. These father-son issues are recurring themes in the movie’s story.

Pinocchio doesn’t go to school as planned, and he ends up being lured into working at a carnival as the star act. The carnival is led by greedy and unscrupulous Count Volpe (voiced by Christoph Waltz), who is cruel and abusive to his loyal and sweet-natured monkey Spazzatura (voiced by Cate Blanchett). The rest of “Guillermo del Toro’s Pinocchio” has faithful renditions of the original story while adding very different new plotlines to the movie.

Sebastian the cricket (who is a purple instead of the traditional green) is not an ever-present sidekick with Pinocchio. In this movie, Pinocchio actually spends more time with Candlewick. “Guillermo del Toro’s Pinocchio” also has a character called Death (also voiced by Swinton), who is the sister of the Wood Sprite. Both sisters are blue magical creatures that talk without moving their mouths. The character of Death has a lot to do with some of the main changes to the story.

There are some pleasant original songs performed in “Guillermo del Toro’s Pinocchio,” but none that will become iconic such as “When You Wish Upon a Star” from Disney’s 1940 version of “Pinocchio.” Alexandre Desplat, who wrote the terrific musical score for “Guillermo del Toro’s Pinocchio,” collaborated with Roeban Katz on the movie’s original songs “My Son” (performed by Bradley) and the Mann-performed “Fatherland March,” “Big Baby Il Duce March” and “Ciao Papa.” It certainly would have been easier (and lazier) to try to replicate the Disney songs from 1940’s “Pinocchio,” so the filmmakers of “Guillermo del Toro’s Pinocchio” deserve some credit for not relying on the same old type of tunes.

The voice cast in “Guillermo del Toro’s Pinocchio” is top-notch and delivers the expected emotions on a very entertaining level. John Turturro has a supporting role as a doctor, while Tim Blake Nelson voices the four Black Rabbits that encounter Pinocchio. Mann’s high-pitched British voice is perfectly fine, but might be a little bit of a distraction for people who think Pinocchio should’ve sounded more Italian or southern European in this movie.

Waltz has played many villainous characters, so his interpretation of Count Volpe has the expected amount of sleaze and smarminess. Blanchett’s voice work is the biggest surprise because many people would never guess she’s the wordless voice of a monkey in this movie. McGregor’s distinctive voice seems underused, since the cricket character isn’t as prominently featured in “Guillermo del Toro’s Pinocchio,” compared to other “Pinocchio” movies. However, Sebastian gets a big scene in “Guillermo del Toro’s Pinocchio” where his strong-willed and opinionated personality is expressed in full force when scolding Geppetto for not appreciating Pinocchio.

As for the movie’s visuals, the animation is striking, gorgeous and often emotionally rousing. It is stop-motion animation that represents the best of what could be done creatively and technically when this movie was made. The ending of “Guillermo del Toro’s Pinocchio” is a major departure from the original book and 1940’s “Pinocchio,” but the conclusion is handled in a way that’s of a much higher quality than Disney’s inferior 2022 remake of “Pinocchio.”

Fantasy films of del Toro often walk the line between whimsy and melancholy in telling stories of life and death. “Guillermo del Toro’s Pinocchio” is no different and is, without question, one of del Toro’s most impressive movies. Some people looking for more action sequences in this movie might be disappointed, but “Guillermo del Toro’s Pinocchio” has much more to offer than being a superficial joy ride.

Netflix released “Guillermo del Toro’s Pinocchio” in select U.S. cinemas on November 9, 2022. The movie will premiere on Netflix on December 9, 2022.

Review: ‘The French Dispatch,’ starring Bill Murray, Tilda Swinton, Owen Wilson, Benicio del Toro, Léa Seydoux, Frances McDormand, Timothée Chalamet and Jeffrey Wright

October 22, 2021

by Carla Hay

“The French Dispatch”

Directed by Wes Anderson

Some language in French with subtitles

Culture Representation: Taking place in the fictional city of Ennui-sur-Blasé, France, the comedy film “The French Dispatch” features predominantly white cast of characters (with a few black people, Latinos and Asians) representing the working-class, middle-class and wealthy.

Culture Clash: After the American editor of The French Dispatch magazine dies, his staffers gather to put together the magazine’s final issues, with four stories coming to life in the movie.

Culture Audience: “The French Dispatch” will appeal primarily to people who are fans of filmmaker Wes Anderson and of arthouse movies that have well-known actors doing quirky comedy.

Lyna Khoudri, Frances McDormand and Timothée Chalamet in “The French Dispatch” (Photo courtesy of Searchlight Pictures)

At times, “The French Dispatch” seems like an overstuffed clown car where filmmaker Wes Anderson tried to fit in as many famous actors as possible in this movie. This star-studded cast elevates the material, which is good but not outstanding. Anderson’s style of filmmaking is an acquired taste that isn’t meant to be for all moviegoers. He fills his movies with retro-looking set designs, vibrant cinematography and snappy dialogue from eccentric characters. “The French Dispatch,” written and directed by Anderson, takes an anthology approach that doesn’t always work well, but the fascinating parts make up for the parts that are downright boring.

The movie revolves around a fictional magazine called The French Dispatch of the Liberty, Kansas Evening Sun (also known as The French Dispatch), which is a widely circulated American magazine based in the fictional city of Ennui-sur-Blasé, France. The French Dispatch was founded in 1925. The movie opens in 1975, when the French Dispatch editor/owner Arthur Howitzer Jr. (played by Bill Murray), an American originally from Kansas, has died in the magazine’s offices. The employees have gathered to work on his obituary and reminisce about him and the magazine’s history.

Arthur appears in flashbacks throughout the movie. In one of the flashbacks, Arthur has told his top-ranking staffers that he has put a clause in his will which requires that The French Dispatch will stop publishing after he dies. The staffers are melancholy and a bit disturbed when they hear about this decision. Arthur is loved and respected by his employees, so they oblige his request. Therefore, they know that the French Dispatch issue that will have Arthur’s obituary will also be the magazine’s final issue.

The French Dispatch is a magazine that is known for its collection of stories. In “The French Dispatch” movie, four of these stories come to life and are told in anthology form, with each story told by someone from the magazine’s staff. Some scenes are in color, and other scenes in black and white. Anderson says in the movie’s production notes that The French Dispatch was inspired by his love for The New Yorker magazine. That’s all you need to know to predict if you think this movie will be delightful or pretentious.

The French Dispatch staffers are mostly Americans. They including copy editor Alumna (played by Elisabeth Moss), cartoonist Hermès Jones (played by Jason Schwartzman), an unnamed story editor (played by Fisher Stevens), an unnamed legal advisor (played by Griffin Dunne), an unnamed proofreader (Anjelica Bette Fellini) and an unnamed writer (played by Wally Wolodarsky). All of these aforementioned staffers don’t have in-depth personalities as much as they have the type of quirky reaction conversations and stagy facial expressions that people have come to expect from characters in a Wes Anderson movie. A running joke in “The French Dispatch” is how obsessive Alumna and proofreader are about things such as comma placement.

The staffers who get more screen time and more insight into their personalities are the four staffers who tell their stories. The first story is told in travelogue form by Herbsaint Sazerac (played by Owen Wilson), whose title is cycling reporter. Herbsaint travels by bicycle to various parts of the city. He has a penchant for going to the seedier neighborhoods to report what’s going on there and the history of how certain locations have changed over the years. During his travels, he visits three other French Dispatch writers who tell their stories. They are J.K.L. Berensen (played by Tilda Swinton), who is the magazine’s flamboyant art critic; Lucinda Krementz (played by Frances McDormand), a secretive essayist who likes to work alone; and Roebuck Wright (played by Jeffrey Wright), a lonely and brilliant writer with a typographic memory.

J.K.L.’s story is “The Concrete Masterpiece,” which is about the how a “criminally insane” painter named Moses Rosenthaler (played by Benicio del Toro as a middle-aged man and by Tony Revolori as a young man) is discovered and exploited while Moses is in prison for murder. One of the paintings that first gets attention for Moses is a nude portrait of a prison guard named Simone (played by Léa Seydoux), who is his muse and his lover. Moses has a makeshift art studio in prison for these intimate painting sessions, which he is able to do because Simone gives him a lot of leeway and protection from being punished.

An unscrupulous art dealer named Julian Cadazio (played by Adrien Brody), along with his equally corrupt and greedy uncles Nick (played by Bob Balaban) and Joe (played by Henry Winkler), find out about Moses’ talent and are eager to make huge profits off of Moses’ work. These art vultures figure that they can take advantage of Moses because he’s in prison. Julian, Nick and Joe get a tizzy over how much money they can make off of Moses, who is a mercurial and unpredictable artist. Imagine these art dealers’ panic when Moses decides he’s going to stop painting until he feels like painting again. There’s also a Kansas art collector named Upshur “Maw” Clampette (played by Lois Smith) who comes into the mix as a potential buyer.

“The Concrete Masterpiece” is the movie’s highlight because it adeptly weaves the absurd with harsh realism. Swinton is a hilarious standout in her scenes, because J.K.L. is quite the raconteur. She delivers her story as a speaking engagement in front of an auditorium filled with unnamed art people. It’s like a pompous lecture and bawdy stand-up comedy routine rolled into one. You almost wish that Anderson would make an entire movie about J.K.L. Berensen.

Lucinda’s story is “Revisions to a Manifesto,” which chronicles a youthful uprising in the French town of Ennui, when young people stage a labor strike that shuts down the entire country. At the center of this youthful rebellion are two lovers named Zeffirelli (played by Timothée Chalamet) and Juliette (played by Lyna Khoudri). Zefferelli (a college student) is the sensitive and romantic one in this relationship, while Juliette has a tendency to be aloof and no-nonsense. Although “Revisions to a Manifesto” has some visually compelling scenes depicting the strikes and protests, the overall tone of this story falls a little flat. Chalamet’s performance is very affected, while McDormand is doing what she usually does when she portrays a repressed character.

Roebuck’s story “The Private Dining Room of the Police Commissioner,” which is a tale of kidnapping and other criminal activities. The story starts off being about a famous chef named Nescaffier (played by Stephen Park), who is hired to serve Ennui-sur-Blasé’s police commissioner (played by Mathieu Amalric), who is just named The Commissaire in the story. But then, the story becomes about The Comissaire’s son/crime-solving protégé Gigi (played by Winsen Ait Hellal), who gets kidnapped by some thugs, led by someone named The Chauffeur (played by Edward Norton). The kidnappers say that Gigi will be murdered unless a recently arrested accountant named Albert (played by Willem Dafoe), nicknamed The Abacus, is set free from jail.

“The Private Dining Room of the Police Commissioner” ends up being too convoluted and somewhat sloppily executed. Liev Schreiber has a small role as a Dick Cavett-type TV talk show host who interviews Roebuck on the show. There’s some whimsical animation in this part of the movie. But ultimately, “The Private Dining Room of the Police Commissioner” is a story about a lot of people running around and making threats with no real sense of danger.

Although it’s admirable that Anderson was able to attract so many famous actors in this movie, after a while it seems like stunt casting that can become distracting. Viewers who watch “The French Dispatch” will wonder which famous person is going to show up next. Some well-known actors who make cameos in “The French Dispatch” include Christoph Waltz, Saoirse Ronan and Rupert Friend. Anjelica Huston is the movie’s voiceover narrator.

“The French Dispatch” can almost become a game of Spot the Celebrities, since there are so many of them in this movie. That being said, there isn’t a bad performance in the bunch. However, the movie would’ve benefited from taking a chance on casting lesser-known but talented actors in some of the prominent speaking roles, in order to make the film a more immersive viewing experience instead of it coming across as an all-star parade.

Despite its flaws, there’s no doubt that “The French Dispatch” is a highly creative film that has Anderson’s unique vision and artistic flair. He has a love of language and a knack for keeping viewers guessing on what will happen next in his movies. And these bold risks in filmmaking are better than not taking any risks at all.

Searchlight Pictures released “The French Dispatch” in U.S. cinemas on October 22, 2021.

Review: ‘Most Dangerous Game,’ starring Liam Hemsworth, Sarah Gadon and Christoph Waltz

April 22, 2020

by Carla Hay

“Most Dangerous Game”

Directed by Phil Abraham

Culture Representation: Taking place in Detroit, the action drama “Most Dangerous Game” features a predominantly white cast (with some black people, Asians and Latinos) representing the middle-class.

Culture Clash: A financially desperate man, who’s been diagnosed with an inoperable brain tumor, agrees to participate in a game in which he will be hunted by anonymous people who intend to kill him, but if he’s still alive at the end of the game, he will win $24.5 million.

Culture Audience: “Most Dangerous Game” will appeal primarily to people who like crime dramas where the action is more important than a well-written screenplay.

Christoph Waltz in “Most Dangerous Game” (Photo courtesy of Quibi)

The streaming service Quibi (which launched on April 6, 2020) has set itself apart from its competitors by offering only original content, and each piece of content is 10 minutes or less. Therefore, content that Quibi has labeled a “movie” actually seems more like a limited series, since Quibi will only make the “movie” available in “chapters” that look like episodes. The suspenseful drama “Most Dangerous Game” is one of Quibi’s flagship movies that began streaming on the service on Quibi’s launch date.

The title of “Most Dangerous Game” is no doubt inspired by the 1932 film “The Most Dangerous Game” (starring Joel McCrea and Fay Wray), because both have the same concept—people hunting and killing other human beings for sport. In Quibi’s action-filled schlockfest “Most Dangerous Game,” Douglas “Dodge” Tynes (played by Liam Hemsworth) is the hunting game’s target who agrees to participate in the game out of financial desperation.

Dodge is a real-estate developer in Detroit who’s drowning in debt and is very close to being financially ruined. The main cause of his financial woes is a bad investment that he made by purchasing a run-down, high-rise office building that he hasn’t been able to sell. The building is in such terrible shape that Dodge hasn’t been able to attract tenants, and he doesn’t have the money to make improvements to the building.

Adding to Dodge’s financial pressure: His wife Val (played by Sarah Gadon) is pregnant with their first child. Dodge is such a loving and devoted husband that he serves Val breakfast in bed every morning. But he does keep some secrets from her.

Dodge has been experiencing painful headaches. One day, he’s walking outside when he’s overcome with pain and collapses on a sidewalk. He’s taken to a hospital, where the doctors tell Dodge that he has terminal brain cancer, and the tumor in his brain is inoperable. As he leaves the hospital in despair, a hospital orderly gives him a business card for a company called Tiro Fund. The orderly tells Dodge that the company can help patients like Dodge.

When Dodge tells Val the news about his diagnosis, she’s also understandably devastated. Dodge then confesses to her that he doesn’t have health insurance or life insurance, because he sold his insurance to help pay off some of his business expenses. Dodge’s parents are dead, Val’s parents are broke, and they have no one to turn to for financial assistance.

Is it any wonder that Dodge contacts Tiro Fund to find out what the company can do to help him? The first meeting that Dodge has with Tiro Fund chief Miles Sellars (played by Christoph Waltz, in yet another villain role) is actually shown at the beginning of “Most Dangerous Game,” before a flashback reveals how Dodge ended up becoming a part of this homicidal hunting game.

While meeting in a sleek, ominous-looking office at night, Miles calmly tells Dodge that he can become a multimillionaire if he plays the game right. Every hour that Dodge stays alive during the game, he earns a certain amount of money, and the hourly rate increases every time that he reaches a certain level in the game. If Dodge is still alive at the end of the game, he can win a total of $24.5 million. All of the money will be deposited in a secret offshore account in Dodge’s name that Dodge can monitor to verify that the deposits are being made on an hourly basis.

According to Miles, the hunters in the game are “elite, wealthy clientele,” who “hunt to kill” and who “want desperate humans” to hunt. Dodge won’t know what these hunters look like (they can be any race or gender) until the hunters reveal themselves to him when they attack. Dodge won’t know in advance how many of them will be hunting him. They can ambush Dodge, and it’s also possible that more than one hunter will go after him at the same time.

There are certain rules to the game: The hunters can use any weapons except guns while trying to kill Dodge. Dodge cannot leave Detroit city limits or else the hunt can go on for as long as he’s alive. And (not surprisingly) Dodge can’t tell anyone about this game.

Miles convinces Dodge that even if Dodge dies during the game, Dodge can still make enough money to financially take care of Val and their unborn child for several years. And all of that is enough to convince a desperate Dodge to agree to participate in the game, although he doesn’t come to that decision right away. He decides to go through it after a sought-after “last chance” business investor rejects Dodge’s proposal to invest in Dodge’s debt-ridden dud building.

The rest of “Most Dangerous Game” is basically a series of chases and violent attacks—some more believable than others. Dodge just happens to have a background as a star athlete—he was a prize-winning runner when he was in school—so it explains why he has much higher stamina in the chase scenes than a regular guy would have. But even with this athletic prowess, it’s a bit of a stretch to see Dodge do the type of stunts that he does in “Most Dangerous Game,” which clearly wants people to be wowed by the action and ignore all the problems in the screenplay.

“Most Dangerous Game” (written by Nick Santora and directed by Phil Abraham) is strictly B-movie material. The hunters who go after Dodge each has an alias that’s the name of a former U.S. president. The other hunters who try to kill Dodge are nicknamed Nixon, Reagan, Carter and LBJ. The less you know about what they look like in advance, the better the surprises are when they reveal themselves to Dodge.

However, one of the dumbest aspects about “Most Dangerous Game” is that the hunters, who are supposed to be “anonymous,” do nothing to disguise their faces when they attack Dodge in public (which is where they usually go after him), sometimes in crowded areas. And in a big city like Detroit, there are plenty of security cameras around, which is something the “Most Dangerous Game” creators want viewers to forget during the big fight scenes.

Some of the dialogue is so bad that it’s laughable. For example, in one scene, the hunter nicknamed Carter tells Dodge in the middle of a fight that he named himself after Jimmy Carter because “I like his work with Habitat for Humanity.” It’s actually one of the funnier lines in “Most Dangerous Game.” And the tone of the acting in “Most Dangerous Game” is uneven. Hemsworth acts like this is a serious drama, while Waltz seems to understand how cheesy this story is and injects some campy humor in his acting.

While the appropriately nicknamed Dodge is running around town, trying not to get killed, Val begins to notice large amounts of money being deposited to Dodge’s bank account. Wasn’t the money supposed to go into a secret offshore account? “Most Dangerous Game” has too many inconsistences and plot holes to mention.

Val enlists Dodge’s best friend Looger (played by Zach Cherry), who’s a bar owner, to help her find out what’s going on, because at this point she’s figured out that Dodge (who hasn’t come home) is in deep trouble and involved in something illegal. Val and Looger foolishly go to the bank branch where Dodge has the account and to try to discover who’s behind the mystery deposits, but Val and Looger only end up looking suspicious themselves. Looger and Val leave the bank in a hurry when the desk worker they’ve been speaking to offers to get the manager for them.

What happened to the idea that the money was supposed to go to a secret offshore account? That plot hole is never explained. As the Val character, Gadon doesn’t have much in-depth acting to do in “Most Dangerous Game,” since she’s playing a typical “worried wife” role that has become a predictable stereotype for male-oriented action stories. Looger is also very loyal to Dodge, but he’s another supporting character that doesn’t have much depth.

Miles has a creepy henchman named Connell (played by Aaron Poole), who “conveniently” shows up at the hunters’ crime scenes to clean up messes and get rid of evidence, so that the game can stay “secret.” Meanwhile, Tiro Fund headquarters is decked out with a lot of hi-tech computer equipment that tracks Dodge’s whereabouts at all times (such as showing which streets he’s on), regardless if he’s in a car, on a bus, on a train, on a ship or on foot.

It’s never explained how they’re able to keep track of Dodge in such an extremely precise way, since he does not have his phone with him at all times. But many things in “Most Dangerous Game” are illogical, including the ludicrous twist at the end. “Most Dangerous Game” has some unintentional laughs because there are so many badly written parts of the story. If you don’t care about a good screenplay and just want to see Hemsworth in a lot of scenes involving chases and fights, then this type of mindless entertainment might be for you.

Quibi premiered the first three chapters of the 15-chapter “Most Dangerous Game” on April 6, 2020.