Tag: science fiction

Review: ‘The Marvels,’ starring Brie Larson, Teyonah Parris, Iman Vellani, Zawe Ashton, Park Seo-Joon and Samuel L. Jackson

November 8, 2023

by Carla Hay

Iman Vellani, Brie Larson and Teyonah Parris in “The Marvels” (Photo by Laura Radford/Marvel Studios)

“The Marvels”

Directed by Nia DaCosta

Culture Representation: Taking place on Earth and the fictional planets of Hala and Aladna, the sci-fi/fantasy/action film “The Marvels” (based on Marvel Comics characters) features a cast of racially diverse cast of characters (white, black and Asian) representing superheroes, regular humans and alien creatures.

Culture Clash: Earth superheroes Carol Danvers, Monica Rambeau and Kamala Khan team up to battle Kree leader Dar-Benn, who wants to become the most powerful person in the universe. 

Culture Audience: Besides appealing to the obvious target audience of Marvel movie fans, “The Marvels” will appeal primarily to people who are fans of the movie’s headliners and don’t mind watching superhero movies that have mindless dialogue, subpar visual effects and unimaginative plots.

Zawe Ashton (center) and Daniel Ings (in blue jacket) in “The Marvels” (Photo courtesy of Marvel Studios)

“The Marvels” should be called “The Debacles.” This superhero disaster is proof that a bloated budget and talented cast members can’t save a low-quality movie that is an embarrassment to everyone involved. Tacky cartoons have better dialogue than this mess.

Directed by Nia DaCosta, “The Marvels” is not only one of the worst movies of the Marvel Cinematic Universe (MCU), but it’s also one of the all-time worst big-budget movies based on comic books. And that’s saying a lot when creatively bankrupt flops like 2022’s “Morbius” and 2022’s “Black Adam” exist. At least those other movies had a better sense of their cinematic intentions. “The Marvels” (a sequel to 2019’s “Captain Marvel”) is an irritating and erratic film that wants to be many different types of movies at once but fails at being any type of movie.

“The Marvels” is an onslaught of terrible screenwriting, shoddy visual effects, and fight scenes thrown into an already mindless plot. The fight scenes try to dazzle with intricate choreography, but all of it is wasted when the outcomes of the fight scenes are so underwhelming. This mishandled action happens so frequently in “The Marvels,” it makes you wonder if “The Marvels” filmmakers forgot the meaning of “suspenseful action.”

“The Marvels” also relentlessly punctuates almost every scene with weak jokes that often look and sound very fake and awkward for these characters, which are based on Marvel Comics characters. And this is not a joke: In one of the fight scenes, lead superhero Carol Danvers/Captain Marvel (played by Brie Larson), who’s supposed to be one of the most powerful and fearless Marvel warriors of all time, whines like a wimp, “Please don’t,” to her villain opponent who’s about to attack. It’s pathetic and a complete insult to the Captain Marvel character.

Audiences already know that most superhero movies have a plot about superheroes trying to save the world from an evil villain or villains. That’s not a problem if the story is well-crafted and has characters that can engage audiences. The problem is when a movie like “The Marvels” does the opposite. DaCosta, Megan McDonnell and Elissa Karasik co-wrote the abysmal screenplay for “The Marvels,” which renders all of the characters as shallow vessels to spew out cliché-filled conversations and unfunny jokes. There are 10-year-old kids who can write better dialogue than what’s in “The Marvels.”

In “The Marvels,” the chief villain is Dar-Benn (played by Zawe Ashton), a former scientist who is now a Kree politician leader obsessed with reclaiming supremacy for her Kree beings who live on her home planet of Hala. Captain Marvel, who is nicknamed The Annihilator by the Kree beings, is considered the ultimate enemy of the Kree, based on events that happened in “Captain Marvel.” In “The Marvels,” Dar-Benn is looking for two magical bangles (which look like long, metal braces) that give whoever wears both bangles the type of power to rule the universe. The beginning of “The Marvels” shows Dar-Benn with some of her Kree cronies on a desolate planet, where she finds one of the bangles.

The other bangle is in the possession of 16-year-old Kamala Khan (played by Iman Vellani), a Captain Marvel superfan, who lives with her parents and older brother in Newark, New Jersey. Kamala’s alter ego is the superhero Ms. Marvel. Kamala’s wide-eyed and perky mannerisms will either annoy or charm viewers. In the MCU, this character was first introduced in the Disney+ series “Ms. Marvel.” Kamala has a fixation on Captain Marvel that borders on unhealthy. Kamala’s room is filled with Captain Marvel memorabilia, and she draws comic strips with fantasies of Captain Marvel interacting with Kamala.

Meanwhile, astronaut captain Monica Rambeau (played by Teyonah Parris) is on an exploratory mission in outer space. The adult Monica made her first MCU appearance in the Disney+ series “WandaVision.” Monica’s history with Carol Danvers/Captain Marvel is that Monica is the daughter of Carol’s best friend Maria Rambeau (played by Lashana Lynch in “Captain Marvel”), who was in the U.S. Air Force with Carol. Maria created the Sentient Weapon Observation and Response Division (SWORD) to detect outer space aliens.

Maria and Carol were so close, Carol was like an aunt to Monica, who still calls her Aunt Carol. However, Carol and Monica have been estranged for years, for reasons explained in “The Marvels.” (And obviously, Carol and Monica reconcile in “The Marvels.”) Apparently, Carol doesn’t age, because she looks the same in “The Marvels” (which takes place in the early 2020s) as she did in “Captain Marvel,” which took place in 1995.

In “The Marvels,” Monica is working for S.A.B.E.R., which is described in “The Marvels” production notes as “a space station covertly acting as Earth’s first point of contact and defense from a rapidly expanding universe.” The inhabitants of S.A.B.E.R. are humans and Skrulls. (Kree and Skulls are longtime enemies.) Nick Fury (played by Samuel L. Jackson) is in command of S.A.B.E.R., but in “The Marvels,” he’s just a buffoonish side character who utters some of the worst wisecracks in the movie. It’s a huge downgrade from the badass Nick Fury in other MCU movies.

Monica comes across the uninhabited planet where Dar-Benn found one of the bangles. Monica sees a huge crater that looks like an excavation took place. She also notices a purple portal in the sky. Somehow, Monica seems to know that this portal is “leaking energy.” It’s explained later that Dar-Benn created this outer-space portal with her destructive ways.

The next thing that happens is Monica, Carol and Kamala are all quickly transported by laser beams to each other’s locations. Kamala ends up wearing Monica’s astronaut suit. Carol is teleported to Kamala’s home, much to the shock of Kamala’s mother Muneeba Khan (played by Zenobia Shroff), Kamala’s father (played by Mohan Kapur) and Kamala’s brother Aamir Khan (played by Saagar Shaikh), who is in his 20s. Carol is in the Khan household for only a few minutes before she quickly gets transported to the planet where Monica found the portal.

Carol can absorb light in her superpowers. Monica can see light through spectral vision. Kamala can turn light into physical matter. Through the portal, Dar-Benn has somehow “tangled our light-based powers,” says Monica, who adds, “We switch places whenever we use them.” All of this nonsense means is that there are several jumbled scenes where Carol, Monica and Kamala try to coordinate their powers, often to clumsy results.

One of the low points of “The Marvels” is when this cinematic train wreck briefly turns into a musical. It’s in a sequence where Carol, Monica and Kamala visit the planet Aladna, ruled by Prince Yan (played by Park Seo-Joon), who is smitten with Carol. Why is he so smitten? Because (surprise!) Carol married Yan but abandoned him, so technically, Carol is Aladna’s princess. And what happens when Carol returns to Aladna? People break out into song-and-dance numbers, including Yan and Carol acting as if they’re in Aladna’s version of a Disney musical. It’s as cringeworthy as it sounds.

As already revealed in a trailer for “The Marvels,” Carol’s beloved cat Goose (an orange-and-white domestic shorthair) is a superpowered Flerken cat who has the ability to make deadly tentacles spring out of her mouth. That gimmick is multiplied by featuring numerous Flerkittens, who gestate in exterior eggs that resemble brain matter and who have the same tentactle-spouting ability. It’s just an excuse to show kittens zapping other beings with tentacles, which is a novelty that has its limitations in an already flimsy story.

Dar-Benn is not much of a villain, because all she does is show up for some fight scenes. A memorable and effective villain is a true mastermind and a genuinely powerful menace who is difficult to defeat. In “The Marvels,” it looks like the filmmakers thought that Dar-Benn looks menacing just by scowling and flashing some of her gold teeth. Dar-Benn has a sidekick named Ty-Rone (played by Daniel Ings), who doesn’t say much and is utterly generic.

The acting performances in the “The Marvels” range from mediocre to unwatchable. Parris seems to be making the most effort to give some credibility to her Monica character, but this effort is buried in an avalanche of sitcom-like silliness that has plagued the worst Marvel movies. Carol should be renamed Cardboard, to describe her personality in “The Marvels.” As for Kamala, her starstuck ingenue persona becomes grating very quickly and will likely turn off many viewers. Kamala’s family members are relegated to showing up occasionally to act worried about Kamala.

The ending of “The Marvels” shows Kamala making plans to team up with a character who was introduced in Disney+’s “Hawkeye” series. There’s a mid-credits scene that also shows how “The X-Men” universe further will tie into the MCU. Incorporating more of “The X-Men” into the MCU was widely expected, ever since several “X-Men” characters appeared in 2022’s “Doctor Strange in the Multiverse of Madness,” one in a growing list of MCU sequels that are inferior to the origin movies. “The Marvels” has no end-credits scene, which is good for people to know in advance if they don’t want to spend any time watching all of “The Marvels” end credits.

What’s most disappointing about “The Marvels” is that it didn’t have to be this horrible, considering all the money that was thrown into this movie, and the fact that DaCosta and the principal cast members have proven in other movies that they are capable of making better films. “The Marvels” is the cinematic equivalent of a spoiled, lazy and stupid brat coasting on the success of superior predecessors, with the entitled attitude that the Marvel brand name alone means that people should automatically love it. You can put any name you want on “The Marvels.” It’s still time-wasting junk.

Marvel Studios will release “The Marvels” in U.S. cinemas on November 10, 2023.

Review: ‘Monsters of California,’ starring Jack Samson, Gabrielle Haugh, Jack Lancaster, Jared Scott, Casper Van Dien and Richard Kind

October 31, 2023

by Carla Hay

Jared Scott, Jack Samson and Jack Lancaster in “Monsters of California” (Photo courtesy of Screen Media Films)

“Monsters of California”

Directed by Tom DeLonge

Culture Representation: Taking place in the San Diego area, the sci-fi comedy film “Monsters of California” features a nearly all-white cast of characters (with one African American person and one Latin person) representing the working-class and middle-class.

Culture Clash: Three teenage buddies team up with a teenage girl and a scientist to solve the mystery of what the government agent father of one of the friends was investigating before the father disappeared. 

Culture Audience: “Monsters of California” will appeal primarily to people who are fans director/co-writer Tom DeLonge (who is best known for being a singer/guitarist in the rock band Blink-182), because hardly anyone else will be able to tolerate this time-wasting and wretched film.

Jack Lancaster, Richard Kind and Gabrielle Haugh in “Monsters of California” (Photo courtesy of Screen Media Films)

Completely awful on every single level, “Monsters of California” takes a mishandled detour from paranormal investigations of ghosts to hidden conspiracies about outer-space aliens. The movie’s three vapid and annoying lead characters make everything worse. It’s a comedy in name only, because the so-called jokes are not funny and are mostly pathetic.

Tom DeLonge, an on-again/off-again singer/guitarist for the rock band Blink-182, makes his feature-film directorial debut with “Monsters of California.” DeLonge co-wrote the “Monsters of California” screenplay with Ian Miller and Ben Kull. It would be a little too presumptuous to tell DeLonge, “Don’t quit your day job” as a musician, just because his first movie as a director is a stinker. There’s always potential to improve, but “Monsters of California” shows that DeLonge has a lot to learn about filmmaking.

“Monsters of California” takes place in the San Diego area, where three teenage pals spend their free time as amateur paranormal investigators. The three friends are supposed to be about 17, but the actors portraying these characters look like they’re in their mid-to-late 20s. The leader and irritating narrator of this trio is Dallas (played by Jack Samson), who spends too much time rambling with idiotic commentary throughout this dreadful movie.

For example, in the opening scene, Dallas says in a mindless voiceover: “Want to know something crazy? Time is an illusion. Physicists say that the past, present and future exist at the exact same moment. Like every possible thing that can occur is occurring all at once. So yeah, I guess I’m going to try to explain the unexplainable.” One thing that’s unexplainable: Why anyone thought this horrible screenplay was worth making into a movie.

Dallas’ two best friends are dimwitted stoner Toe (played by Jack Lancaster) and pretty boy Tyler (played by Jared Scott), two cretins who show more than a hint of misogyny in how they objectify women. The character of Toe is the worst. His nickname should’ve been Toe Fungus, which describes his personality.

Dallas is interested in the paranormal, partly because his government agent father disappeared three years ago while on the job and is presumed dead. Dallas’ father left behind a paranormal notebook that Dallas uses as his guide. The notebook has locations with known paranormal activity.

In an early scene in the movie, the three buddies visit an abandoned house that is the closest suspected paranormal location to them. They see a ghostly demon (which Tyler calls Mr. Asshole) that knocks over a few things in the house and scares off Dallas, Toe and Tyler, who run quickly away from the house. None of it comes close to looking believable.

“Monsters of California” is such a messy and disjointed film that it completely abandons the ghost storyline and then goes down an erratic path of outer-space aliens and conspiracy theories. If you saw the trailer for “Monsters of California” before seeing the movie, then you will already know that Dallas’ father Myers (played by Casper Van Dien) is still alive. The trailer reveals a lot about the movie, including how horrendous it is.

The U.S. government is looking for a secret GPS device that Myers had but he kept hidden. Dallas finds the device and some secret journals that were also hidden by his father. It all leads to a part of a story that you can figure out quicker than you can say, “Some people made a horrible movie that tries to be like ‘The Goonies’ in a place like Area 51.”

Along the way, Dallas meets a teenage love interest named Kelly (played by Gabrielle Haugh), who sneaks out of her house to join Dallas, Toe and Tyler on their misadventure. And here comes another sci-fi stereotype: the misunderstood scientist who’s gone rogue because he doesn’t agree with what the government wants to do with his research. This scientist is Dr. Walker (played by Richard Kind), who invented the GPS device that the government is desperate to have. Longtime actor Kind is the only person in this move’s cast who gives an adequate performance, but it’s hampered by such a witless screenplay.

“Monsters of California” has a poorly acted subplot about Dallas being unhappy that his religious mother Leah (played by Arianne Zucker) plans to marry her boyfriend Myron (played by Jay Bingham), who’s been dating her for about a year. Dallas, who believes that his father Myers might still be alive, thinks Myron is a dorky interloper who doesn’t deserve to be a part of the family. Dallas has two younger siblings: outspoken teen sister Meg (played by Camille Kostek) approves of Myron, while quiet brother Roman (played by Roman Sayer Cote), who’s about 8 or 9, has a blank personality.

There aren’t very many redeeming qualities about “Monsters of California,” which becomes more frantic in its foolishness, as the movie stumbles over plot hole after plot hole. The visual effects look very amateurish. And almost every character in the movie is unbearable to watch. “Monsters of California” is the type of sci-fi misfire about outer-space aliens that will make you wish that the aliens could zap this repellant movie into oblivion so no one else will have the misfortune of watching it.

Screen Media Films released “Monsters of California” in select U.S. cinemas, on digital and VOD on October 6, 2023. The movie will be released on Blu-ray and DVD on December 5, 2023.

Review: ‘Foe’ (2023), starring Saoirse Ronan, Paul Mescal and Aaron Pierre

October 1, 2023

by Carla Hay

Paul Mescal and Saoirse Ronan in “Foe” (Photo courtesy of Amazon Content Services)

“Foe” (2023)

Directed by Garth Davis

Culture Representation: Taking place in an unnamed Midwest state in the United States, the sci-fi drama film “Foe” (based on Iain Reid’s novel of the same name) features a predominantly white cast of characters (with one black person) representing the working-class and middle-class.

Culture Clash: After an environmental apocalypse has left Earth deprived of many resources, a married farming couple must decide what to do when the husband is selected to live in an outer-space colony populated by humans who used to live on Earth. 

Culture Audience: “Foe” will appeal primarily to people who are fans of stars Saoirse Ronan and Paul Mescal and the book on which the movie is based, but this movie trudges through a lot of time-wasting scenes and that do a substandard job of telling the story.

Aaron Pierre in “Foe” (Photo courtesy of Amazon Content Services)

The pretentiously dull sci-fi drama “Foe” wants to say a lot about humans choosing between living on Earth or living somewhere else, but fails to tell anything substantial about the couple at the center of the story. Good acting can’t save this weak script. This cinematic dud had the potential to be a fascinating character study about a married couple facing a truly life-changing dilemma. Instead, “Foe” is a clumsy slog of disjointed scenes and hollow characters that will leave viewers feeling disengaged and not very interested in what happens to these two discontented spouses.

Directed by Garth Davis, “Foe” is based on Iain Reid’s 2018 novel of the same name. Davis and Reid co-wrote the disappointing “Foe” screenplay. “Foe” had its world premiere at the 2023 New York Film Festival. Although the movie’s relatively small number of principal cast members are very talented (only three people in “Foe” have significant speaking roles), they are limited to a very flawed screenplay that is like a car being stuck in the mud while spinning its wheels. Expect to see many dead-end scenes of marital spats, tentative truces, and then more spousal arguing.

The main location in “Foe” (which takes place in an unnamed Midwestern state in the United States) is the remote and desolate farm property of married couple Henrietta, nicknamed Hen (played by Ronan), and Junior (played by Mescal), who have been spouses for an unnamed period of time. (“Foe” was actually filmed in Queensland, Australia.) Almost nothing is shown or told in the movie about the personal histories of these two frequently quarrelling spouses, except that Junior inherited the farm, which has been in his family for five generations. Don’t expect to find out how and why Hen and Junior fell in love with each other.

The story takes place in an unspecified time period, after an environmental apocalypse has left a ravaged Earth depleted of many resources. Hen and Junior (who do not have children and do not live with anyone else) do what they can to scrape by in their meager existence. But mostly, they just hang around the house and have tension-filled conversations. Hen is often standoffish and abrupt when Junior shows her affection or when he wants to get sexually intimate with her.

“Foe” begins with the arrival of a mysterious stranger named Terrance (played by Aaron Pierre), who visits the couple’s farmhouse unannounced. Terrance, who wears a casual business suit, tells Hen and Junior that Junior is on the shortlist of a special lottery where Junior can live in another place in the universe where other humans have settled and where there are more resources and a more comfortable way of life. This other place is never named or described, but it’s referred to as “up there.” Terrance doesn’t say who employs him, but it’s implied that he works for the U.S. government.

Of course, the problem with this offer of a better life “up there” is that this offer does not include Hen. Terrance never explains how and why Junior was chosen for this lottery in the first place. Junior refuses to leave Hen, while Hen doesn’t seem to give Junior many reasons to stay, because she is very moody and argumentative with him. Hen also has a nasty temper and will throw things or get violent when she’s angry. Spaceships hover around from time to time, with no real explanation. And sometimes, men in suits randomly show up and try to kidnap Junior.

One of the weird things about “Foe” is that it tries to make it sound like resources have been scarce in this world for many years, but then the movie shows other things that contradict that concept. Junior tells Hen that he has fond memories of when the farm had livestock when he was a child. And when Terrance comes to visit, Terrance tries to entice Junior to go “up there” because he says people don’t have to worry about having enough food “up there,” compared to on Earth.

But then, there are multiple scenes of Junior working on an assembly line at a chicken processing factory that is filled with skinned and headless chickens. It doesn’t look there’s a food shortage at all—at least not at this place of business. Likewise, Hen has a job as a waitress at a casual restaurant, and there’s no mention of food shortages when she’s on the job. It’s implied that Hen and Junior have been unable to make a living from their farm, so they’ve taken jobs elsewhere.

The movie hints that Hen and Terrance (who always shows up unannounced) start to feel an attraction to each other. Junior predictably gets jealous. This boiling cauldron of emotions would only work well for this movie if it gave viewers reason enough to care about any of these lackluster and uninteresting people. Junior is the only one of the three who acts like he cares about others. Hen is mostly selfish and miserable. Terrance seems to take delight in seeing rifts between the couple, because apparently, Terrance has been tasked with getting Junior to go live “up there,” no matter what the personal cost.

“Foe” is a very dark and dreary movie, not just in its visuals but also in much of its tone and mood. There’s only one scene where there’s a hint that Hen and Junior had a great relationship in the past. They are both outside, when Junior asks Hen not to wear the white shirt that she is fond of wearing. When she asks why, he says it’s because it’s the same shirt she wore when they met, and it reminds him of the time when “we were happy.”

Hen and Junior have no friends or family members in their lives. And so, viewers are stuck watching this couple fight, reconcile, and then fight again. And then, Terrance occasionally shows up to have slow-paced conversations with Hen. This drudgery is the majority of “Foe,” which raises many questions that the movie never bothers to answer. There’s a drastic plot development that’s thrown into the last 20 minutes of the film, but it’s as phony and sloppily explained as the vague “up there” utopia that’s supposed to be the reason for the separation conflicts that could have made “Foe” an intriguing movie.

Amazon Studios will release “Foe” in select U.S. cinemas on October 6, 2023.

Review: ‘The Creator’ (2023), starring John David Washington, Gemma Chan, Ken Watanabe, Sturgill Simpson, Madeleine Yuna Voyles and Allison Janney

September 26, 2023

by Carla Hay

John David Washington and Madeleine Yuna Voyles in “The Creator” (Photo courtesy of 20th Century Studios)

“The Creator” (2023)

Directed by Gareth Edwards

Culture Representation: Taking place in Los Angeles and other parts of Earth in 2065 and in 2070, the sci-fi action film “The Creator” features a predominantly white and Asian cast of characters (with a few black people) representing the working-class, middle-class and wealthy. 

Culture Clash: In a post-apocalyptic world, artificial intelligence (A.I..) beings fight for their rights to be treated as equal to human beings, who are hunting and killing rebel A.I. beings on behalf of the U.S. government.

Culture Audience: “The Creator” will appeal primarily to those who like sci-fi films that have a lot of visual spectacle but not much of a cohesive plot.

Allison Janney in “The Creator” (Photo by Oren Soffer/20th Century Studios)

“The Creator” takes a big swing and misses in its commentary on whether or not human beings and artificial intelligence beings can peacefully co-exist. The last half-hour of this sci-fi misfire is a mess of plot holes, while the film irresponsibly ignores other real-world prejudices. The movie’s visual effects and cinematography are fairly impressive, but “The Creator” is truly a case of style over substance.

Directed by Gareth Edwards (who co-wrote “The Creator” with Chris Weitz), “The Creator” takes place in 2065 and mostly in 2070, in a world still recovering from an apocalypse. It’s explained in the beginning of the movie, through a montage of news reports, that a war began after a nuclear bomb was detonated in Los Angeles in 2055. A mysterious artificial intelligence (A.I.) genius named Nirmata, who is worshipped by A.I. beings as their god, is widely believed to be responsible for this disaster. Nirmata is the leader of a rebellious group of A.I. beings that want humans to stop treating them like slaves and start giving A.I. beings the same, equal rights as humans.

As a result of this bombing, the U.S. government has been at war with the rebellious A.I. beings that the U.S. military has been tasked with shutting down wherever they can find them. By contrast, a region called New Asia doesn’t believe in this policy and is sheltering A.I. beings. The U.S. government has said that they’re at war with the A.I. beings, not New Asia, but there’s an undertone of xenophobia in the U.S. military activities that take place in New Asia. Many of the movie’s combat scenes are deliberately made to remind people of the Vietnam War. (“The Creator” was actually filmed in Thailand and London.)

Early in the movie, a raid takes place in New Asia in 2065, where an undercover U.S. military sergeant named Joshua Taylor (played by John David Washington) and his pregnant wife Maya (played by Gemma Chan) experience a home invasion by U.S. military soldiers who have gotten a tip that Nirmata is hiding in this home. Joshua, who is originally from Los Angeles, lost his parents and brother in the nuclear bombing that hit Los Angeles in 2055. Joshua insists to the home invaders that Nirmata is not in this home.

The rest of the story takes place in 2070, and it involves Joshua becoming a fugitive and going on the run with a Nirmata-affiliated A.I. being that Joshua names Alphie (played by Madeleine Yuna Voyles), who has the appearance of a human girl who’s about 9 or 10 years old. Alphie has the ability to move large objects and change thoughts just by using her mind. She is considered to be Nirmata’s ultimate “weapon.” Alphie is also the catalyst when Joshua has to make a decision about which side of the war will ultimately get his support.

The chief “villains” in the story are U.S. military officials General Andrews (played by Ralph Ineson) and Colonel Jean Howell (played by Allison Janney), who are hell-bent on destroying as many A.I. beings as possible. Colonel Howell is sent to do most of the dirty work. One of her motives is that she lost a son in this war, and she blames A.I. beings for his death. Joshua has two colleagues who are also in the mix: Drew (played by Sturgill Simpson) is Joshua’s best friend and a former war buddy. Shipley (played by Robbie Tann) is a U.S. military sharpshooter. The characters of Drew and Shipley are very generic and almost forgettable.

“The Creator” is a movie that wants viewers to believe that racism, sexism, homophobia, ableism and other harmful bigotries have somehow magically disappeared from Earth, and the only bigotry that matters is the prejudice that humans have against A.I. beings. These other prejudices aren’t just sidelined. They are completely erased in the movie, as if they never existed at all. Keep in mind that this story takes place only 42 to 47 years after “The Creator” was released in 2023. It’s highly problematic to suggest that these real-world problems no longer exist, in a movie whose very premise is about species bigotry. Other nations seem to have “disappeared” too, since there’s no mention of any other countries being allies on either side of this U.S. war against the A.I. beings of New Asia.

Furthermore, for a movie where some of it takes place in Los Angeles, there are hardly any Latinos in sight, when (as of 2023) Latinos are the majority race in Los Angeles and is a demographic that continues to grow in that area. Are we supposed to believe that this apocalypse mostly wiped out Latinos? The world’s racial demographics in “The Creator” are presented as mostly white and Asian, with a few people from other races scattered here and there. The great actor Ken Watanabe has a small, mostly thankless role as Harun, who is an ally of Nirmata.

The identity issues wouldn’t be worth mentioning if this entire movie hadn’t been built on its clumsily handled plot that the world is in a vicious war against beings because of different identities. Bigotry is based on ideas of superiority and power, but those ideas are just reduced to “shoot ’em up” scenes and chase scenes where humans and A.I. beings fight each other. The biggest bright spot in the movie is the performance of Voyles. She absolutely shines in her role as Alphie, who displays convincing human emotions, despite being an A.I. creation. All the other characters in “The Creator” are stereotypes, with mediocre performances to match.

“The Creator” is also one of those irritating movies that does enough “fake-out deaths,” it will make some viewers think that it’s trying to be like any of the most recent movies in the “Fast and the Furious” franchise. Even in the realm of science fiction, “The Creator” has too many plot holes that undermine what could have been a much better movie. The logic is sorely deficient in many of the action scenes, which often have sloppy editing, in order to cover up these glaring plot holes. Some people might praise “The Creator” for being brilliant and ahead of its time, but the movie’s story is actually quite backward-thinking, simple-minded, and somewhat insulting to the intelligence of viewers expecting a quality sci-fi story that takes place on Earth in the 21st century.

20th Century Studios will release “The Creator” in U.S. cinemas on September 29, 2023.

Review: ‘Blue Beetle,’ starring Xolo Maridueña, Adriana Barraza, Damían Alcázar, Raoul Max Trujillo, Susan Sarandon and George Lopez

August 16, 2023

by Carla Hay

Xolo Maridueña in “Blue Beetle” (Photo courtesy of Warner Bros. Pictures/DC Comics)

“Blue Beetle”

Directed by Ángel Manuel Soto

Some language in Spanish with subtitles

Culture Representation: Taking place primarily in the fictional U.S. city of Palmera City, the sci-fi/fantasy/action film “Blue Beetle” (based on the DC Comics character) features a Latin and white cast of characters (with a few African Americans and Asians) representing the working-class, middle-class and wealthy.

Culture Clash: Recent college graduate Jaime Reyes has his body invaded by a super-powered beetle scarab, and he becomes the superhero Blue Beetle, battling his evil former boss who wants the scarab to create an oppressive army of robotic enforcers.

Culture Audience: “Blue Beetle” will appeal primarily to people who are fans of superhero movies, the film’s headliners and adventurous stories about underrepresented people who are the stories’ protagonists.

Elpidia Carrillo, George Lopez, Xolo Maridueña, Belissa Escobedo and Damián Alcázar in “Bue Beetle” (Photo by Hopper Stone/Warnet Bros. Pictures)

“Blue Beetle” sometimes gets trapped in a familiar superhero formula, but the movie’s comedic charm, rollicking style and authentic chemistry among the cast members are a winning combination. As an origin story, “Blue Beetle” won’t rank among the very best for superhero movies based on DC Comics, because there are a few too many superhero movie stereotypes in “Blue Beetle’s” action scenes. However, “Blue Beetle” has enough uniqueness and charisma in its characters that will give this movie a loyal fan base.

Directed by Ángel Manuel Soto and written by Gareth Dunnet-Alcocer, “Blue Beetle” tells the story of 22-year-old Jaime Reyes (played by Xolo Maridueña), an optimistic recent college graduate who has returned to his hometown of Palmera City, a fictional U.S. city based partially on El Paso Texas. DC Comics’ “Blue Beetle” stories have more than one person who is the character of Blue Beetle: archaeologist Dan Garrett (a character that debuted in 1939); inventor Ted Kord (debuted in 1966); and Jaime Reyes (debuted in 2006), a Mexican American who lives in El Paso.

In the “Blue Beetle” movie, Jaime (who is the first person in his family to graduate from college) has come back home to live in a family household that is going through some drastic changes. Jaime lives with his supportive parents Alberto Reyes (played by Damían Alcázar) and Rocio Reyes (played by Elpidia Carrillo); Alberto’s sassy mother Nana Reyes (played by Adriana Barraza); Jaime’s 17-year-old outspoken sister Milagro “Millie” Reyes (played by Belissa Escobedo); and Alberto’s eccentric brother Rudy Reyes (played by George Lopez).

Soon after arriving home, Jaime finds out that the family will be moving out of the house in the near future because the family can no longer afford the house rent, which has “tripled” due to gentrification. The family’s auto body shop is going out of business. Alberto is also recovering from a recent heart attack. Jaime is shocked to hear this news and asks why his family didn’t tell him sooner. They say it’s because they didn’t want anything to distract Jaime from his studies at school.

Jaime is hopeful that his college degree will help him get a job that pays enough to get the family out of these financial problems. He’s also hoping to go to law school someday. “I’ll get the money to save this place,” Jaime confidently tells Milagro. She isn’t so sure this goal will be as easy as Jaime thinks it will be. In the meantime, Jaime and Milagro work in sanitation and groundskeeping at Kord Industries, a massively successful technology corporation whose specialty is security.

The leader of Kord Industries is the ruthless and cruel Victoria Kord (played by Susan Sarandon), who took over the company after her brother Ted Kord disappeared. Ted inherited the company from his father. Victoria is still bitter and jealous that Ted got this inheritance. The opening scene of “Blue Beetle” shows Victoria and some of her minions discovering something near an asteroid that has fallen on Earth. Victoria gleefully says, “I’ve been looking for this for 15 years!”

Viewers later see that what they found is a blue beetle (about the size of a hand) called the Scarab, which has extraordinary powers and a mind of its own. Victoria wants the Scarab for a new Kord Industries invention: One Man Army Corps, a group of super-powered robots described as “the future of private policing.” Victoria’s brooding, hulking henchman named Conrad Carpax (played by Raoul Max Trujillo) is her most-trusted right-hand man to do her dirty work. Victoria’s leading scientist who works for her is Dr. Sanchez (played by Harvey Guillén), a long-suffering employee who experiences some of Victoria’s noticeable racism.

Not everyone is happy with Victoria’s plans for One Man Army Corps. Ted’s smart and independent daughter Jenny Kord (played by Bruna Marquezine), who is in her early 20s and is originally from Brazil, is the complete opposite of Victoria, when it comes to their outlooks on life. Jenny cares about humanity, the environment, and having socially responsible and ethical business practices. Jenny suspects but can’t prove that Victoria is behind her father Ted’s disappearance. (Jenny’s mother died years ago.)

Over the course of the movie, Jenny and Victoria clash in a number of ways. Anything that Victoria wants to do, Jenny wants to dismantle. Jenny isn’t afraid to openly defy her domineering aunt, who becomes infuriated and vengeful when she sees how far Jenny is willing to go to stop Victoria from Victoria’s nefarious plans. Early on in the movie, Victoria snarls to Jenny: “You are nothing to this company. You are a brat … Your father abandoned this company, and he abandoned me.

At first, Jaime is eager to impress Victoria. When Jaime sees Victoria on the company property, he tries to get her attention, but Victoria doesn’t even notice Jaime and other low-paid workers at the company. Milagro is with Jaime when he tries and fails to get Victoria’s attention. Milagro comments to Jaime: “We’re invisible to people like that.”

It isn’t long before Jaime and Jenny meet when Jenny is at Kord Industries headquarters. Jaime’s attraction to her is immediate. Jenny plays it cool, but it’s obvious that she will be Jaime’s love interest. Perpetually skeptical Milagro thinks that Jenny is out of Jaime’s league and tells Jaime, Milagro assumes that Jenny is just another spoiled rich kid who wouldn’t want to associate with people in the Reyes family. Through a series of events, Jaime will cross paths with Jenny until they both find out that they have a common goal.

Jaime and Milagro get fired after Jaime tries to defend Jenny during an argument between Jenny and Victoria. Later, Jenny (disguised as a Kord Industries lab worker) steals a security key card to gain entrance to the lab where the Scarab is being secretly kept. Jenny then takes the Scarab, which she knows Victoria needs to make the One Man Army Corps. However, Dr. Sanchez (who was not in the lab during this theft) comes back and sees the Scarab has been stolen and quickly gives a security breach alert.

The Kord Industries building goes on a security lockdown, but Jenny quickly gives the Scarab (which is in a box) to an unwitting Jaime, who is headed for the exit with other visitors, who have been told to evacuate the building. Jenny tells Jaime that what’s in the box is an important secret, and she warns him not to open the box. But, of course, as shown in the “Blue Beetle” trailers, Jaime opens the box when he’s at home with his family.

The Scarab enters Jaime’s body (painfully), and he becomes the Blue Beetle, a superhero with physical characteristics of a giant beetle and a blue superhero suit of armor. This transformation is shown in the “Blue Beetle” trailers, so there’s no mystery about it. After the Scarab melds with Jaime’s body, he can hear the voice of the Scarab as being an entity called Khaji-Da (voiced by Becky G), who gives Jaime/Blue Beetle advice on what to do when he’s in superhero mode.

The rest of “Blue Beetle” goes through a lot of over-used superhero movie motions of “we have to save the world from an evil villain.” However, thanks to engaging dialogue (some of it is hilarious, some of it is hokey) and a likable rapport between the Reyes family members, “Blue Beetle” can be very enjoyable to watch. It’s suspenseful and dramatic in all the right places.

Maridueña, who was previously best known for his supporting role as Miguel Diaz in Netflix’s “Cobra Kai” karate drama series, gives a star-making performance in “Blue Beetle.” He perfectly embodies Jaime’s amiable personality, which is a mixture of hopeful, curious and insecure about what he perceives as his shortcomings. Maridueña also adeptly handles the wide range of emotions that Jaime goes through in the movie.

It should come as no surprise that Lopez, who has a long history in comedy, gets the best and funniest lines in the movie as Uncle Rudy, who just happens to be an underappreciated tech whiz. Barraza as Jaime’s seemingly mild-mannered grandmother also has a few moments to shine in ways that aren’t too surprising, since the movie keeps dropping hints that there’s more to Nana Reyes than being a kind grandmother. Alcázar, who portrays the easygoing Alberto, has some well-acted heartfelt moments in scenes between Alberto and Jaime, who inherited is father’s positive attitude.

Victoria obviously represents corporate greed that’s out of control. Sarandon plays this villain role to the hilt, but Victoria might not impress some viewers who like superhero movies to have chief villains with superpowers. “Blue Beetle” also has some commentary and observations (but not preaching) about racism, such as a scene where Jaime goes to a Kord Industries reception area, because he has a meeting with Jenny, and the snooty receptionist (played by Brianna Lewis) automatically assumes that Jaime is a delivery person.

The visual effects in “Blue Beetle” are perfectly fine, but they’re not going to win major awards. Some of the action scenes are clumsily staged and could have been better, in terms of visual style and how events unfold in the screenplay. A mid-credits scene in “Blue Beetle” hints that a certain character will be in a “Blue Beetle” sequel, while the end-credits scene in “Blue Beetle” is a bit of fluff that has no bearing on any DC Comics movie. Overall, “Blue Beetle” is a solid superhero movie that doesn’t have a lot of originality in its “good versus evil” story, but the movie has appealing messages about family unity during tough times that can resonate with audiences of many different backgrounds.

Warner Bros. Pictures will release “Blue Beetle” in U.S. cinemas on August 18, 2023.

Review: ‘The Flash’ (2023), starring Ezra Miller, Michael Keaton, Sasha Calle, Michael Shannon, Ron Livingston, Maribel Verdú and Kiersey Clemons

June 6, 2023

by Carla Hay

Ezra Miller, Ezra Miller and Sasha Calle in “The Flash” (Photo courtesy of Warner Bros. Pictures/DC Comics)

“The Flash” (2023)

Directed by Andy Muschietti

Some language in Spanish with subtitles

Culture Representation: Taking place in the fictional Central City (in the United States), in Russia, and in a fictional multiverse, the superhero action film “The Flash” (based on DC Comics characters) features a predominantly white cast of characters (with some Latinos and African Americans) representing the working-class, middle-class and wealthy.

Culture Clash: Barry Allen, also known as the superhero The Flash, goes back in time to try to prevent the death of his mother, while the evil General Zod hunts for members of the exiled Krypton family that includes Superman and Supergirl. 

Culture Audience: Besides appealing to the obvious target audience of comic book movie fans, “The Flash” will appeal primarily to people who like watching imaginative multiverse movies that don’t get too confusing.

Ezra Miller, Michael Keaton and Ezra Miller in “The Flash” (Photo courtesy of Warner Bros. Pictures/DC Comics)

Bold, creative, and with some appealing quirks, “The Flash” lives up to expectations and offers some jaw-dropping surprises. Viewers who are new to the DC Extended Universe (DCEU) won’t get too confused, while ardent fans will be constantly thrilled. Some movies with multiverses can get too convoluted with messy plots, or overstuffed with too many characters. However, “The Flash” (which is based on DC Comics characters) wisely sticks to less than six principal characters that get the most screen time. The movie’s plot (which has some fantastic twists) is easy to follow, although people who’ve seen previous DCEU movies will have a better understanding of everything. Viewers with extensive knowledge of pop culture will also appreciate some of the jokes in the movie.

Directed by Andy Muschietti and written by Christina Hodson, “The Flash” takes place mostly in the fictional Central City, a sprawling U.S. metropolis that is currently under attack by General Zod (played by Michael Shannon), a supervillain whose chief nemesis is Superman, the superhero who has the powers to stop Zod. Superman, who has an alter ego as journalist Clark Kent, has gone missing. Faora-Ul (played by Antje Traue) is a fearless warrior who is General Zod’s second-in-command.

As superhero fans already know, Superman (whose birth name is Kal-El) is a refugee of the planet Krypton, which was destroyed by Zod. Superman’s parents died in this massacre but sent him to Earth as a baby while the attack on Krypton was happening. Did other members of the family survive? All of this background information is useful for what happens later in “The Flash.”

The title character of “The Flash” is man in his 20s named Barry Allen (played by Ezra Miller), whose superhero alter ego is The Flash, who has phenomenal speed. The movie’s opening sequences shows The Flash saving babies from a hospital maternity ward when the building’s hospital was destroyed by Zod and his army. The movie foreshadows what type of comedy it will have by showing that during this crisis, The Flash took the time to eat and drink from a falling vending machine to boost his energy.

In other early sequence, a criminal with a briefcase is apprehended on a bridge by The Flash, Batman (played by Ben Affleck), also known as billionaire Bruce Wayne, and another member of the Justice League (whose identity won’t be revealed in this review) help The Flash. The briefcase contains a weapon that can “wipe out half of Gotham by lunchtime,” warns Bruce’s trusty butler Alfred Pennyworth (played by Jeremy Irons), who has a quick cameo appearance in “The Flash.”

When he’s not being The Flash, shy and insecure Barry is a forensics lab employee at the Central City Research Center, which does a lot of work for the Central City Police Department. Barry is preoccupied with proving the innocence of his father Henry Allen (played by Ron Livingston), who is in prison for the murder of his wife/Barry’s mother Nora Allen (played by Maribel Verdú), who was stabbed to death in their kitchen at home. (Livingston replaces Billy Crudup, who previously played the role of Henry Allen, but Crudup was unavailable to be in “The Flash” because of work commitments on Crudup’s Apple TV+ series “The Morning Show.”) Henry was wrongfully convicted of Nora’s murder and is appealing the conviction. In “The Flash,” Henry is awaiting a court hearing for this appeal.

A flashback shows that Barry at 11 years old (played by Ian Loh) was home and upstairs when the murder happened. Henry had been at a grocery store getting a can of tomatoes at Nora’s request, because she had forgotten to buy the tomatoes earlier. Henry came home to find his wife murdered. However, he doesn’t have a solid alibi. The grocery store’s video surveillance has images of Henry, but he’s wearing a baseball cap, and his face can’t fully be seen in the surveillance video. Henry was the one who discovered Nora’s body, and with no solid alibi, he became the chief suspect in the murder.

Through a series of events, Barry finds himself going back in time and interacting with his 18-year-old self (also played by Miller) in a multiverse that includes the Bruce Wayne/Batman (played by Michael Keaton) of the 1989’s “Batman” and 1992’s “Batman Returns.” When the two Barrys first meet this version of Bruce, he is a bearded and disheveled recluse who denies he was ever Batman, but then he admits it. This Batman grumpily and reluctantly comes out of retirement to help Barry.

The movie makes it easy for viewers to distinguish between the two Barrys: The younger Barry has longer hair, is goofy, and has blue light rays surrounding him when he becomes The Flash. The older Barry has short hair, is more serious, and has red light rays surrounding him when he becomes The Flash. The younger Barry has a homemade Flash superhero suit, while the older Barry’s Flash suit is the “official” Flash superhero suit.

Along the way, these three superheroes encounter Superman’s cousin Kara Zor-El, also known as Supergirl (played by Sasha Calle), who has been imprisoned somewhere in Russia. Because it’s already revealed in the movie’s trailers, Supergirl joins both iterations of The Flash and Keaton’s Batman to team up to fight Zod. Central City journalist Iris West (played by Kiersey Clemons) returns in a supporting role as Barry’s love interest. Iris just happens to be covering Henry’s court case.

Although “The Flash” has a lot of dazzling images throughout the film, the movie’s visual effects fall a little short in scenes where Barry goes to stop time and pick a multiverse to enter. These scenes show flashbacks to other versions of the DC Comics-based movies and TV shows, with the visual presentation looking a little too much like the computer-generated imagery that it is. It’s a little distracting, but it doesn’t ruin the movie.

Miller excels in their performance as the dual Barry Allen/The Flash. (Miller identifies as non-binary in real life and uses the pronouns they/them.) Calle’s performance is a little stiff, but her Supergirl comes out of coma in the movie, so her personality is aloof and more than a little shell-shocked. Keaton steps back into his Batman role perfectly. It’s a performance that will delight fans of the first two “Batman” movies.

“The Flash” has some clever comedy about alternative castings for movies, including a running joke about Eric Stoltz being the star of 1985’s “Back to the Future” in an alternate universe. In real life, Stoltz was fired from “Back to the Future” and replaced by Michael J. Fox. Only people who know this pop culture trivia will really get the jokes. There’s also some surprise and sometimes hilarious references to other actors who were cast or could have been cast as superhero characters in other DC Comics-based entertainment.

“The Flash” is a rollicking adventure that earns its total running time of 144 minutes. The movie has an end-credits scene that is there for pure comedy and has no deep meaning to any sequels. If “The Flash” is the first DC Comics-based movie that a viewer will see, it’s best to know what happened in 2013’s “Man of Steel” and 2021’s “Zack Snyder’s Justice League.” DC Comics-based movies have been hit and miss, in terms of quality, but “The Flash” leaves no question that it’s a “hit” on a storytelling level.

Warner Bros. Pictures will release “The Flash” in U.S. cinemas on June 16, 2023.

Review: ‘Simulant’ (2023), starring Robbie Amell, Jordana Brewster, Alicia Sanz, Simu Liu and Sam Worthington

June 4, 2023

by Carla Hay

Robbie Amell, Simu Liu and Jordana Brewster in “Simulant” (Photo courtesy of Vertical)

“Simulant” (2023)

Directed by April Mullen

Culture Representation: Taking place in an unnamed U.S. city, the sci-fi action film “Simulant” features a predominantly white cast of characters (with a few Asians, African Americans and Latinos) representing the working-class and middle-class.

Culture Clash: A computer hacker illegally gives simulants (human clones with artificial intelligence) the ability to completely think on their own, and a government enforcer tries to track down and disable these rogue simulants. 

Culture Audience: “Simulant” will appeal primarily to people who won’t mind watching derivative sci-fi movies about human clones on the loose.

Sam Worthington in “Simulant” (Photo courtesy of Vertical)

“Simulant” is this title of this bland and poorly acted sci-fi action flick, but it could also describe how this lackluster movie is pretending to be a creative story. It’s another “human clones must be stopped” movie with no real suspense. Even if the movie’s poster didn’t give away the weak “plot twist” of “Simulant,” it still would be very easy to guess this plot twist within the first 15 minutes of the film.

Directed by April Mullen and written by Ryan Christopher Churchill, “Simulant” begins by showing a married couple—named Evan (played by Robbie Amell) and Faye (played by Jordana Brewster)—having what appears to be a stable and loving relationship, somewhere in an unnamed U.S. city. (“Simulant” was actually filmed in Canada.) The biggest problem in their marriage is that Evan keeps having a nightmare that he and Faye were in a major car accident where he was the driver and she was the passenger in their car. In this dream, the car skids and crashes into another before skidding into a lake.

The dream is so vivid, Evan thinks it’s real. However, Faye insists that nothing like that ever happened to them. But in a movie called “Simulant,” which is about trying to control human clones (called “simulants”) from thinking for themselves, you can easily predict what Evan’s nightmares really mean. It’s explained early on in this completely unoriginal movie that these simulants can be purchased by people who want clones themselves or their loved ones.

The simulants have artificial intelligence that allows them to look and act like real human beings, if the simulants are programmed that way. Brains of the simulants must keep active, or else the brains will atrophy, just like human brains. Most simulants are purchased to be employees, such as Evan and Faye’s housekeeper simulant named Lisa, who wears a creepy mask that makes Lisa look more like a robot than a real human being.

Simulants must also follow these four basic rules:

  • Do not inflict harm on another human being.
  • Do not modify themselves or other simulants.
  • Acts against international and local laws are forbidden.
  • Obey all commands from simulant masters.

When someone dies, a simulant can replace the dead person. It’s supposed to help people with their grief over a loved one’s death. But it’s also caused an underground resistance movement of people and humanoids who want the simulants to be free to make their own decisions and have their own lives, independent from the simulants’ masters. It’s led to a government crackdown where armed agents who work for the Artificial Intelligence Compliance Enforcement (AICE) are tasked with hunting down “rogue simulants.”

One of these AICE agents is named Aaron Kessler (played by Sam Worthington), a generic tough guy who spends a lot of time in the movie trying to find a rogue simulant named Esmé (played by Alicia Sanz), who has been hiding for more than three years. Esmé has superhuman strength, so the action scenes with her are very predictable. Aaron has a hatred of simulants because his only child was killed by a simulant. “Simulant” clumsily handles the Evan/Faye storyline and the Aaron/Esmé storyline with a character who comes into contact with all four of them: a computer hacker named Casey Rosen (played by Simu Liu), who is suspected of being one of the technology rebels who are setting simulants free.

“Simulant” is so lacking in suspense and is just filled with nonsensical chases, it reeks of lazy storytelling. None of the characters in “Simulant” comes close to being interesting, and the cast members’ performances are reflections of the characters’ hollow personalities. “Simulant” is another B-movie where the “b” could also stand for the boredom that viewers will feel while watching this pile of sci-fi mush.

Vertical released “Simulant” in select U.S. cinemas, on digital and VOD on June 2, 2023. DirecTV premiered the movie on May 5, 2023.

Review: ‘Pichaikkaran 2,’ starring Vijay Antony, Kavya Thapar and Dev Gill

May 27, 2023

by Carla Hay

Vijay Antony in “Pichaikkaran 2” (Photo courtesy of Vijay Antony Film Corporation)

“Pichaikkaran 2”

Directed by Vijay Antony

Tamil with subtitles

Culture Representation: Taking place in Chennai, India, the sci-fi action film “Pichaikkaran 2” (a stand-alone sequel to 2016’s “Pichaikkaran”) features an all-South-Asian cast of characters representing the working-class, middle-class and wealthy.

Culture Clash: An evil and greedy businessman, who wants to get rid his rival brother, abducts a street beggar so that the brains of the beggar and the businessman’s brother can be switched through a secret surgery.

Culture Audience: “Pichaikkaran 2” will appeal primarily to people who don’t mind watching an overly long and terribly made movie about greed and swapping human brains through transplants.

Dev Gill in “Pichaikkaran 2” (Photo courtesy of Vijay Antony Film Corporation)

“Pichaikkaran 2” is a sorry excuse for a sequel. This long-winded sci-fi action flick has a terribly conceived plot about brain swapping. This time-wasting junk ironically lacks any brain-power intelligence. The only real brain damage is to the brain cells of viewers who watch this idiotic film.

Written and directed by Vijay Antony, “Pichaikkaran 2” is a sequel to the 2016 film “Pichaikkaran,” which is superior to this sequel in every single way. (The word “pichaikkaran” means “beggar” in Tamil.) The main thing that these vastly different movies have in common is that Vijay Antony has the title starring role in both movies. “Pichaikkaran” was written and directed by Sasi. Antony makes his feature-film directorial debut with “Pichaikkaran 2,” which Antony co-wrote with K Palani and Paul Antony.

In “Pichaikkaran 2” (which takes place in Chennai, India), a wealthy businessman named Vijay Gurumoorthy (played by Antony) is the heir leader to his family’s business, after the family patriarch (Vijay’s father) has died. Vijay’s evil and greedy younger brother Aravind (played by Dev Gill) convinces a reluctant Vijay to keep their father’s death a secret for about a month. Aravind tells Vijay that they need this secrecy so that the company’s stocks don’t go down and so that they have time to prepare for the transition to new leadership.

In reality, Aravind want this month to prepare for a dastardly plan to get rid of Vijay and take over the business. Aravind has heard about a revolutionary surgery that can do human brain transplants. This surgery is an outlawed medical procedure, since the worldwide medical community has issues with the ethics of human brain transplants.

A rogue surgeon named Dr. Shiva (played by Hareesh Peradi) is an advocate of this surgery and has given media interviews saying that this surgery should be legal because it could prolong people’s lives. Aravind tells M. Krishna Iyer (played by Y. G. Mahendran), the loyal secretary of this deceased business mogul, to find Dr. Shiva, who is brought to a secret meeting with Aravind and Krishna. Dr. Shiva is eager to perform this surgery, for the right price.

After Aravind is convinced that this surgery would really work, he hires Dr. Shiva and tells him to wait and see who will be the two people who will have their brains swapped. Aravind then has Vijay kidnapped. Aravind viciously beats and kicks Vijay into unconsciousness. And it just so happens there’s an impoverished beggar named Sathya (also played by Antony), who is a look-alike to Vijay. Sathya, who grew up as a poor orphan, is also kidnapped and made unconscious through violent ways.

Two look-alike people and a brain-swapping plot? You know what this means, of course. Vijay and Sathya end up in a secret operating room, where their brains are swapped. When they both wake up, the body of Vijay has the mind of Sathya, while the body of Sathya has the mind of Vijay. Sathya and Vija still have long-term memories, so they can vividly remember their past.

Avarind’s plan is to kill the body of Sathya (which has Vijay’s mind) and keep the body of Vijay (which has Sathya’s mind), to use as a decoy, so that people will think Vijay is still alive. Avarind thinks that this “fake Vijay” (who has Sathya’s mind) will be such an incompetent leader, the “fake Vijay” will be ousted from the company, giving Avarind a clear path to take over the family business. The problem with this conspiracy is that Sathya, whose mind is in now in the body of Vijay, remembers his real past and isn’t afraid to say so. Even though some people think Sathya is mentally ill for saying he’s trapped in the wrong body, Sathya (in Vijay’s body) is determined to find out why he’s now being told that he is Vijay and has to live Vjay’s life.

After this secret brain-transplant surgery takes place, Vijay’s loyal and loving girlfriend Hema (played by Kavya Thapar), who also works for the company, begins to grow suspicious about the way the “fake Vijay” has been acting, because this “fake Vijay” doesn’t remember a lot of things about their relationship. Will she discover the secret? Will Avarind get away with his moronic scheme? It should come as no surprise that Sathya (in Vijay’s body) is not as gullible and passive as Avarind thinks Sathya should be.

This bloated 148-minute film stretches out the very thin plot with a lot of phony-looking fight scenes and cringeworthy musical numbers. Everything about “Pichaikkaran 2” reeks of mindless filmmaking with a big budget. How stupid is the dialogue in “Pichaikkaran 2”? Aravind repeats the redundant phrase that Vijay is worth “millions and billions.” The acting in this movie is mostly horrendous. The film editing (by Antony) is choppy and amateurish. Antony also wrote the bombastic musical score for “Pichaikkaran 2,” which blasts the music in obnoxious volume levels.

Although “Pichaikkaran 2” tries to make Vijay look like he’s a desirable and admirable person, he’s actually quite terrible. There’s a scene early in the movie (before the brain-transplant surgery takes place), when Hema questions Vijay’s decision to keep his father’s death a secret for a month. In response, Vijay hits Hema hard in the face. It’s all just an exploitative set-up to make the mind of altruistic and compassionate Sathya the better choice for the body of Vijay. Sathya also has a side to him that is a ruthless vigilante, which is the movie’s excuse to have a lot of violent scenes of Sathya as an “action hero.”

Along the way, “Pichaikkaran 2” has a lot of preaching about Anti-Bikili, a social movement that’s against greed, corruption and arrogance about money. There’s also a treacly subplot about Sathya looking for his long-lost sister Rani, who was separated from him in their childhood, when they were sent to different foster homes. “Pichaikkaran 2” is just a horribly made vanity project from Antony. The only real “begging” for “Pichaikkaran 2” is when disastisfied viewers see how bad this trash-dump movie is and beg for it to be over.

Vijay Antony Film Corporation released “Pichaikkaran 2” in select U.S. cinemas and in India on May 19, 2023.

Review: ‘Robots’ (2023), starring Shailene Woodley and Jack Whitehall

May 18, 2023

by Carla Hay

Pictured clockwise, from left to right: Shailene Woodley, Jack Whitehall, Shailene Woodley and Jack Whitehall in “Robots” (Photo courtesy of Decal/Neon)

“Robots” (2023)

Directed by Casper Christensen and Art Hines

Culture Representation: Taking place in 2032, in New Mexico and in Mexico, the sci-fi comedy film “Robots” (based on the short-story collection “The Robot Who Looked Like Me”) features a predominantly white cast of characters (with a few African Americans and Latinos) representing the working-class, middle-class and wealthy.

Culture Clash: A Lothario and a female gold digger, who each have illegal look-alike robots that do dirty deeds for them, go on a misadventure together to look for the robots after the robots “go rogue” by falling in love and running away together. 

Culture Audience: “Robots” will appeal primarily to people who are fans of the movie’s headliners and fans of the book on which the movie is based, but it’s a silly, boring and predictable movie that is a failure of imagination.

Jack Whitehall, Paul Rust and Shailene Woodley in “Robots” (Photo courtesy of Decal/Neon)

Robots with artificial intelligence could have come up with a better movie than the filmmakers responsible for the drab and unfunny comedy “Robots,” an embarrassing dud that fails to blend sci-fi and romance into an interesting story. It’s hard to believe that anyone who read the dreadful “Robots” screenplay actually thought that this junk was worth getting made. All of the movie’s cast members have the depth and personality of decommissioned robots in their hollow performances.

Written and directed by Casper Christensen and Art Hines, “Robots” is based on Robert Sheckley’s 1978 collection of short stories titled “The Robot Who Looked Like Me.” Viewers of “Robots” might find it hard to believe that Hines is one of the Oscar-nominated writers behind Sacha Baron Cohen’s hit movies, including 2006’s “Borat” and 2020’s “Borat Subsequent Moviefilm,” for which Hines received adapted screenplay Oscar nominations. Granted, the prankster movies of Baron Cohen are largely improvised, whereas a movie like “Robots” has a very formulaic script. The difference in the entertainment quality of a movie like “Borat” and a movie like “Robots” is like comparing a satisfying meal to stale garbage.

The opening scene of “Robots,” which takes place mostly in New Mexico in 2032, shows the governor of New Mexico (played by Hank Rogerson) giving a speech in front of a chain-link fence that’s supposed to separate the border of the United States and Mexico. (“Robots” was filmed on location in New Mexico.) The governor has a very small but enthusiastic audience of about 25 people, mostly middled-aged and elderly, who are sitting on folding chairs. It’s a group of right-wingers who hate undocumented immigrants from Latin American countries.

In his speech, the governor (who is obviously supposed to be a Donald Trump-like politician) proudly announces that under his leadership, the wall to keep the “illegals” out has been successfully built, and all the “illegals” have been deported. He also declares that industries that heavily depend on undocumented immigrants no longer need to employ these immigrants, because 10 years ago, the U.S. government created robots to “do the work that illegals once did.” After this speech event, the chairs are folded up and packed away by some of these robots.

Meanwhile, in Albuquerque, New Mexico, the two main characters in “Robots”—a man and a woman in their 30s—are rude and selfish humans who own illegally purchased, highly advanced robots that are clones of themselves. In this sci-fi society, legal robots have a human body structure, but their heads look like robots, they sound like robots, and they wear human-looking masks. The advanced illegal robots (which are very high-priced) look, move, and talk exactly like humans in every way, except that the illegal robots do not have real human eyes.

Charles Cameron (played by Jack Whitehall) is a narcissistic ladies’ man who only wants to date women to have sex with them. After Charles gets what he wants, he abruptly dumps the women and cuts off all contact with them. Charles (who is spoiled, lazy and over-privileged) works with his real-estate mogul father Ted Cameron (played by David Grant Wright) at Ted’s company, which is called the Cameron Group.

Charles uses his robot clone, which is called C2, to impersonate Charles at the office, do domestic work for Charles, and go on romantic dates. As shown in “Robots” trailer, Charles also makes C2 shave Charles’ pubic hair in his genital area. The only time that Charles wants to be on a date as himself (and not sending the C2 robot in his place) is when he knows he’ll be having sex on that date.

Meanwhile, Elaine (played by Shailene Woodley) is a high-maintenance gold digger who only dates men who can give her money or buy her high-priced gifts. Elaine makes enough money this way so that she doesn’t need to have a real job. Whereas Charles uses his clone robot to get women to have sex with the real Charles, what Elaine uses her robot for is for the opposite reason: She doesn’t want to be the one to have sex with the men she dates for money, so she has her robot clone (called E2) impersonate her on these dates. Woodley and Whitehall also portray the robot counterparts of Elaine and Charles.

Because these robots are illegal, and owners could get heavy fines and prison time, there are certain precautions that Charles and Elaine have taken for their respective clone robots. The biggest precaution is that Charles and Elaine have told C2 and E2 that they are not allowed to be out in public at the same time as their human counterparts. C2 and E2, who are always accommodating and friendly, know that they are robots who have to be kept secret.

For reasons that are never explained in the movie, Charles has a British accent, while his father Ted and Charles’ half-brother Ted Cameron Jr. (played by Nick Rutherford) have American accents. (Whitehall is British in real life.) It can be presumed that Ted Jr. and Charles have different mothers (these mothers are not seen or mentioned in the movie), and Charles grew up with his mother in England. The movie has a very useless subplot about Ted Jr. and Charles in a sibling rivalry, which is made more competitive because they both work for the family company.

The character of Elaine is a lot less developed than the character of Charles. The movie doesn’t reveal anything about Elaine’s family or what she wants to do with her life, other than spending money that’s given to her by men she dates. “Robots” spends the first 10 to 15 minutes showing how Charles gets women to date him: He goes to a local ice-skating rink and deliberately falls down near an attractive woman whom he thinks will help him get up.

This tactic works for a woman named Emily Denholm (played by Chelsea Edmondson), who begins dating what she thinks is Charles but is actually C2. The only time Emily interacted with the real Charles was when they first met and when Emily and Charles had sex. The movie’s way of making a joke is that the real Charles has very robotic sex that ends too quickly. Predictably, after Charles gets what he wants, he breaks up with Emily.

It’s mentioned in the movie that Charles is secretly heartbroken over a breakup he had with an ex-girlfriend named Francesca (played by Emanuela Postacchini), whom he still keeps track of on her social media. This is a very weak reason for Charles’ awful personality and misogyny, but it’s all just to lay the flimsy groundwork for the rom-com formula of an obnoxious playboy who meets his match and falls for her.

You know where this is going, of course: One day, Charles and Elaine both happen to be skating separately at the ice-skating rink that predatory Charles uses as his hunting ground. Charles deliberately falls down, and Elaine crashes into him. After this “meet cute” moment, Charles and Elaine begin dating, but C2 is the one who is sent on the romantic dates with her. C2 (as Charles) buys Elaine anything she wants.

On the day that Charles is sure that he and Elaine will have sex for the first time, he makes a 6:30 p.m. date with Elaine at her home. It will be the first time that Charles will be going to Elaine’s home. However, not long after this date is set, there’s a scheduling conflict that’s supposed to happen on the same date and time as Charles’ date with Elaine.

Charles’ father Ted tells Charles that Charles is required to attend a company board meeting at the home of an important board member named David Schulman (played by Richard Lippert), who will be meeting Charles for the first time at this meeting. Instead of rescheduling the date with Elaine for another evening, Charles breaks his biggest rule about C2. He decides to send C2 to the board meeting instead, while Charles keeps his date with Elaine.

However, dimwitted Charles accidentally gives C2 the address of Elaine. Unbeknownst to Charles, she has ordered E2 to be on this date that Elaine knows will include sex. Charles finds out he’s at the wrong place when he shows up at the Schulman home with flowers and his genitals out as soon as he goes into a room that he thinks is Elaine’s bedroom. The room is actually a dining room, and the people inside are the people attending the board meeting, including the host and Charles’ father and brother.

Meanwhile, C2 and E2 have sex and instantly fall in love with each other. And even though this conversation is never shown in the movie, C2 and E2 find out how horribly they’ve been treated by their owners, so C2 and E2 decided to run away together to Mexico. Charles and Elaine find out because C2 and E2 left video messages for their owners. Yes, this movie really is that stupid. The rest of “Robots” is about Charles and Elaine on a frantic search to track down C2 and E2, in order to prevent the secret getting out that these two robots exist.

During this wretched and very tedious misadventure, Charles and Elaine turn to the person who sold them C2 and E2 in the first place: a nerdy inventor named Zach (played by Paul Rust), who hastily says to Charles and Elaine that C2 and E2 are starting to take on more human qualities, such as falling in love and having complete freedom of choice. There’s no logical explanation given for why these robots have suddenly taken on more human qualities. Zach says that C2 and E2 have to be destroyed because C2 and E2 could expose Zach, Charles and Elaine for being involved in these illegal robot transactions.

However, Charles and Elaine don’t like the idea of destroying C2 and E2 because Charles and Elaine have grown accustomed to using C2 and E2 to do the work that these robots were doing. Elaine wails that if E2 is destroyed, then Elaine would have to (gasp!) get a real job. Charles tells Elaine, “As much as it pains me to say it, we have to work together to track these fuckers down.”

Charles is annoyed with Elaine because she had sent E2 to have sex with Charles. Elaine is annoyed with Charles because she thinks this mishap wouldn’t have occurred if Charles had given C2 the correct address. It all just leads to a heinously idiotic slog of bickering and bad decisions. Woodley and Whitehall have no authentic-looking chemistry together. They just go through the motions and utter their lines, much like the robots that they also portray in this terrible movie.

The movie’s supporting characters are even emptier. Charles has a moronic and schlubby best friend named Ashley (played by Paul Jurewicz), a former U.S. Army chef who is currently unemployed. Ashley is a politically conservative bigot who blames immigrants and robots for his inability to get a job. Ashley serves no purpose in the movie except to show up and act like an idiot. The friendship between Charles and Ashley looks completely phony.

Worst of all, “Robots” has nothing clever or amusing to say about how robot clones would have an impact on society if these robots really had the ability to become more “human.” This sloppily made and poorly conceived film just becomes another rom-com chase movie where the would-be couple spends most of the story denying what most viewers already know is going to happen between them. Charles and Elaine want to pull the plug on their robot clones, but it’s too bad no one pulled the plug on this mindless and time-wasting movie.

Decal/Neon will release “Robots” in select U.S. cinemas, on digital and VOD on May 19, 2023.

Review: ‘Hypnotic’ (2023), starring Ben Affleck, Alice Braga, JD Pardo, Hala Finley, Dayo Okeniyi, Jeff Fahey, Jackie Earle Haley and William Fichtner

May 12, 2023

by Carla Hay

Ben Affleck and Alice Braga in “Hypnotic” (Photo courtesy of Hypnotic Film Holdings LLC/Ketchup Entertainment)

“Hypnotic” (2023)

Directed by Robert Rodriguez

Culture Representation: Taking place in Austin, Texas, the sci-fi action flick “Hypnotic” features a white and Latino cast of characters (with some African Americans and Asians) representing the working-class and middle-class.

Culture Clash: A police detective, who is searching for his missing 10-year-old daughter, encounters dangerous “hypnotics”: people with the ability to control other people’s minds through hypnotism.

Culture Audience: “Hypnotic” will appeal primarily to fans of star Ben Affleck, filmmaker Robert Rodriguez and convoluted sci-movies that are weak imitations of other sci-fi movies about alternate realities.

William Fitchner in “Hypnotic” (Photo courtesy of Hypnotic Film Holdings LLC/Ketchup Entertainment)

No amount of hypnotism can convince viewers with basic quality standards that “Hypnotic” is a good movie. Ben Affleck’s robotic acting makes this dull and witless sci-fi mystery even worse. One of the most irritating things about this misfire of a movie is how it contradicts and undermines the story’s world building many times with avoidable plot holes—just for the sake of adding illogical plot twists.

Directed by Robert Rodriguez (who co-wrote the abysmal “Hypnotic” screenplay with Max Borenstein), “Hypnotic” was filmed on location in Austin, Texas. The movie begins with a scene of Austin police detective Danny Rourke (played by Affleck) in a psychological therapy session in his therapist’s office. Danny is remembering a very painful experience in his life: the day his daughter Minnie disappeared while he was with her in a park.

His unnamed therapist (played by Nikki Dixon) says to Danny: “Park? That’s what you drift to, isn’t it? That park. That day. Take me back there.” A flashback to three years earlier shows 7-year-old Minnie (played by Ionie Nieves) and Danny in the park. Minnie asks Donnie to re-braid her pigtails, which have become slightly loosened. Danny tells Minnie as he touches her hair: “This is not a braid. This is a maze only your mother can solve.” Get used to this cringeworthy dialogue, because “Hypnotic” is full of it.

The flashback shows that Danny was watching Minnie play in the park when he took his eyes off of her for only a few seconds. And then she was gone. Before she disappeared, Danny remembered seeing a suspicious-looking young man lurking nearby. This suspect is 18-year-old Lyle Terry (played by Evan Vines), who was arrested on suspicion of abduction, even though there’s no evidence to tie him to the crime. Lyle has proclaimed his innocence.

Back in the therapist’s office in the present day, the therapist asks Danny if Danny thinks he needs to take a leave of absence from his job. Danny replies that work is “the only thing keeping me sane.” And where is Minnie’s mother? That information is revealed later in the movie. Minnie is now 10 years old (played by Hala Finley) and remains missing.

After leaving the therapist’s office, Danny is given a car ride by his cop partner Randy Nicks (payed by JD Pardo), who prefers to be called Nicks. Danny finds out from Nicks that two Bank of Boston branches in Texas (one bank in the city of Houston, and the other bank in Amarillo) experienced “inside job” armed robberies. The thieves didn’t steal any cash but took just one safe deposit box from each bank. As Danny and Nicks drive in their patrol car, Nicks plays a voice mail recording of a woman calling in an anonymous tip that a bank robbery is in progress at a bank in Austin. The tipster says that robbers plan to take the bank’s safe deposit box number 23.

Danny and Nicks are next seen with some colleagues outside the bank and doing a stakeout from a surveillance van. This van apparently has the surrounding area “bugged” with recording devices, because everyone in the van can hear many people’s conversations outside. On a bench outside, a man wearing a business suit sits down next to an unnamed woman (played by Bonnie Discepolo, also known as Bonnie Kathleen Ryan), who is also in a business suit.

The man, whose name is later identified as Lev Dellrayne (played by William Fitchner), looks intensely at the woman and tells her that it’s a very hot day. The woman then gets up and walks around as if she’s in a trance. She repeats out loud that the weather is so hot. And then she takes off her jacket and blouse, all while looking dazed and wandering out in the street where there’s traffic. Her wandering causes multiple car accidents.

Meanwhile, Dellrayne has gone into the bank, because this mystery man is up to no good and is about to be involved in robbing the bank. Danny leaps into action and goes into the bank too, even though his co-workers don’t want Danny to do that because they think it will disrupt their sting operation. Inside the bank, Dellryane has used hypnotic mind control of a bank teller (played by Natalie Garcia), by telling her that it’s the bank’s closing time in the late afternoon. It should come as no surprise that this bank teller is about to be an unwitting accomplice to this bank robbery.

Danny quickly convinces an unsuspecting bank manager (played by Lawrence Varnado) that Danny wants to open a safe deposit box at this branch. While in the safe deposit room, Danny manages to pickpocket the safe deposit keys from the manager without the manager knowing. The manager leaves the room to look for the keys, giving Danny enough time to open safe deposit box number 23. Inside the box, he finds a photo of Minnie, with these words written on the front of the photo: “Find Lev Dellrayne.”

The rest of “Hypnotic” shows action scenes and plot pivots that get more ridiculous as the story drones on in a stiff and awkward manner. The movie’s visual effects are nothing special. During his investigation, Danny encounters a psychic named Diana Cruz (played by Alice Braga); a technology expert/conspiracy theorist named River (played by Dayo Okeniyi); and an acquaintance of Diana’s named Jeremiah (played by Jackie Earle Haley), whose performance in the movie is a quick cameo that gets less than five minutes of screen time. And there are two people from Danny’s past named Carl (played by Jeff Fahey) and Thelma (played by Sandy Avila), who suddenly show up in one of the movie’s poorly conceived plot twists.

Affleck’s subpar acting looks like he’s bored and disinterested for most of the movie. If the lead actor looks like he doesn’t really care about giving a good performance, why should viewers care about the movie? Braga is the only principal cast member who makes a consistent effort to show some emotional range for her “Hypnotic” character. Finley is adequate but is not in the movie long enough for viewers to get to know her Minnie character. Everyone else in the cast has a role as a hollow character with no personal backstory.

“Hypnotic” could have been a mind-blowing sci-fi thriller, but instead it looks like an inferior ripoff of filmmaker Christopher Nolan’s 2010 classic “Inception.” One of the few highlights of “Hypnotic” is the gripping musical score by Rebel Rodriguez, who is one of the sons of “Hypnotic” filmmaker Robert Rodriguez. The movie is just too enamored with its bad ideas, including a mid-credits scene that’s another contradictory plot hole. This mid-credits scene hints that the “Hypnotic” filmmakers want to make a sequel, which is unlikely to happen for this muddled and misguided flop.

Ketchup Entertainment released “Hypnotic” in U.S. cinemas on May 12, 2023.

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