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Jurassic World: Dominion Review | An Extinction Event?



Let me preface by saying that I did not grow up on the Jurassic Park franchise as a kid nor was I dying to see the legacy sequel/reboot, Jurassic World back in 2014. Yeah, dinosaurs are cool and all, but the most exposure I had to them was at the Museum of Natural History growing up. But even still, the Jurassic World trilogy has a good hook between MCU leading man Chris Pratt, Bryce Dallas Howard, who is one of the best directors to helm a Mandalorian episode, and upgraded visual effects that should make the dinosaurs truly come to life. Unfortunately, Dominion fails to end the trilogy on a high note, or even end the trilogy at all and is a lifeless sequel that should put this franchise on the verge of extinction.

Dominion picks up four years after Fallen Kingdom; dinosaurs are co-existing with humans, and while the fate of humanity is in question, Owen Grady (Chris Pratt) and Claire Dearing (Bryce Dallas Howard) are here to save the day. The pair spend their days rescuing the dinosaurs they can, all while attempting to raise Maisie (Isabella Sermon) but also protect her from outside threats. Meanwhile, a new organization, Biosyn, is up to no good in a plot that crosses the paths of the new trilogy crew of Chris Pratt, Bryce Dallas Howard, and Isabella Sermon, with the original trilogy trio of Sam Neil, Laura Dern, and Jeff Goldblum.

A Mosasaurus in Jurassic World Dominion, co-written and directed by Colin Trevorrow.

Before I vent my frustrations, I want to say that the opening of Dominion is exactly what I loved about Fallen Kingdom; it opens with a gigantic dinosaur completely annihilating a boat at sea. The opening of Fallen Kingdom did something similar, and better, which is one of the only things I remember about that film. And Dominion brings the franchise back to its roots a bit with the integration of some practical effects with the dinosaurs. Obviously, you’re not able to recreate a T-Rex for budgetary and logical reasons, but some of the smaller dinosaurs have that animatronic charm that can be traced back to the original films. Perhaps Fallen Kingdom did this as well, but let’s not act like that film was memorable.

(from left) Dr. Alan Grant (Sam Neill), Maisie Lockwood (Isabella Sermon), and Owen Grady (Chris Pratt) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.

I may have called Chris Pratt an MCU leading man, and while he has always been good in his appearances as Star-Lord, where is that charisma in Dominion? When Owen Grady first appears on screen, it’s almost as if Pratt is doing his audition to take the fedora in the Indiana Jones franchise in a scene that is reminiscent of the opening of The Last Crusade. From his first real line of dialogue, Pratt is void of all of the energy and aura that he brings to his other franchise roles. In that particular scene, Pratt plays the role of the father who doesn’t know how to handle his daughter, but the delivery of his lines such as, “That kid” — or something to that effect mixed — or his moments of trying to be a stern parent, are cringe-inducing. And believe me, it brings me no joy to say this as I like Pratt. Luckily, Thor: Love and Thunder releases in less than a month, and perhaps some of that charisma will be rediscovered. If not, I guess we’ll just have to wait for him to voice Mario.

Perhaps even worse was Campbell Scott who plays the main antagonist of the film, Dr. Lewis Dodgson, CEO of Biosyn Genetics. His character spends about 90% of his screentime eating and Scott spends the other 10% delivering his lines as dry as the desert whilst likely wondering what he’ll do with the blank check he’ll get when he’s brought back for the (inevitable) third Andrew Garfield-Spider-Man film.

(from left) Claire Dearing (Bryce Dallas Howard), Dr. Ian Malcolm (Jeff Goldblum), Dr. Ellie Sattler (Laura Dern), Dr. Alan Grant (Sam Neill) and Kayla Watts (DeWanda Wise) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.

As for the returning legacy characters, returning are Sam Neil as Dr. Alan Grant, Laura Dern as Dr. Ellie Sattler, and Jeff Goldblum as Dr. Ian Malcom, who I believe was relegated to a monologue at the end that was so out of place, it felt like it belonged in a Rolland Emmerich film. Goldblum is the only of the three that showed up and didn’t drag his feet. Meanwhile, Neil and Dern both seem like they’re being mouthed to smile in the grocery store by their parents even despite how good the two are capable of being.

But to be fair to the actors, some of those struggles can be traced back to the script. Dominion gives its actors very little to work with which is made evidently clear with exchanges such as: “Can you do it?”; “Not for free”; “…Then do it.”

(from left) A Giganotosaurus, Claire Dearing (Bryce Dallas Howard), Maisie Lockwood (Isabella Sermon), Dr. Ellie Sattler (Laura Dern), Kayla Watts (DeWanda Wise), Dr. Alan Grant (Sam Neill), Owen Grady (Chris Pratt) and Dr. Ian Malcolm (Jeff Goldblum) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.

Dominion is at its best when it lets its dinosaurs go at it (go figure). So why is the film more focused on its locust subplot? Beats me! The same could be said about the character of Maisie Lockwood. Remember all of the mystique surrounding this character (who ends up being a clone)? Apparently, there was nothing more to add to that story aside from transitioning her into her teenage rebellious phase with her way of acting out being biking across the bridge from A Quiet Place despite being told not to by her very “stern” guardian figures. Yes, Maisie is still important to both of the plots at hand, but her being kidnapped is a mere means to an end, which is getting all of the original trio and the sequel trio to Biosyn in this case.

Ironically, at some point in Dominion, the question of whether or not a replica can top the original. As The Force Awakens and now the Jurassic World trilogy have shown, it’s damn-near impossible to accomplish that feat. The fact of the matter is, Dominion is not a great sequel, much less a great legacy sequel. Its sloppy pacing and lack of closure make this feel like yet another sequel in a larger sequel when it’s supposed to serve as a bookend to the story of this sequel trilogy, at least to my knowledge. And the thing that everyone comes to these films for, dinosaurs, are etched into the plot far too little. Perhaps this IP needs an age of extinction for a bit before trying to revitalize it.

Universal Pictures will release Jurassic World: Dominion on June 10.


Andrew is an entertainment journalist and film "critic" who has written for the likes of Above the Line, Below the Line, Collider, Film Focus Online, /Film and The Hollywood Handle among others. Leader of the Kaitlyn Dever Fanclub.

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M3GAN Review | Chucky and Annabelle Meet the 21st Century

2023’s year of doll movies is off to a bad start.



Could I have skipped this one? Why am I so tired? Should I go to the bathroom? 

These are the questions I find myself asking when attending press screenings. These usually begin at 7 pm and after a long day preceding it, so it’s natural that I ask myself these questions as I stare blankly at what’s in front of me. Facing opposite me is a large screen filled with images from the film all of us in the auditorium are about to see and the social handles/hashtags associated with the film. 

That’s how 99% of screenings go. M3GAN, however, turned that on its head because about 20 minutes before the film was about to start, the entire auditorium was collectively jump-scared by a pre-screening screen that moved. Our titular robot spoke to us! She thanked us all for watching her “documentary” on a 65-ft tall screen and gave a fair warning to all of those in attendance of the potential repercussions should anyone take their phone out during the screening.

I’m sad to report that this was the highlight of M3GAN — the latest misfire from Blumhouse; whose 2022 was a mixed bag ranging from good ideas (The Black Phone) to horrible franchise enders (Halloween Ends) and plenty of indie hits (Nanny). What happens when Chucky and Annabelle meet the 21st century? You get a film with one-note jokes and no thrills to speak of. It’s a case of one step forward in the doll horror subgenre and two steps back. 

A still from M3GAN. Photo courtesy of Universal Pictures/Blumhouse.

M3GAN begins with an ad for a children’s toy that looks eerily similar to SNL’s takes on various companies such as Target and Starbucks. This toy — the name of which is slipping my mind — is basically a Furby that poops when necessary. Cut to a family that is attempting to drive through a snowstorm. Cady (Violet McGraw — sister of The Black Phone’s standout Madeline McGraw) is sitting in the backseat and attached to her Furby-adjacent toy — feeding it endlessly from her tablet. Her parents both dislike the toy for different reasons, but that becomes the least of their problems after they get into a fatal car crash that leaves Cady alone.

Cady is then placed into the custody of her Aunt Gemma (Allison Williams) — an engineer at a toy company who’s really attached to her life-like doll idea and sick of designing the same old schlock (in this particular case it would be Furbys). But as every industry goes, if the cost of making the product and the price for families to buy it is too expensive (the doll will run you $10,000), is it worth the investment? That’s the question that Gemma’s boss David (Ronny Chieng clearly understood the assignment and tone of this film) poses throughout M3GAN

David is a skeptic of this radical idea until the moment he watches M3GAN in action. The presentation that Gemma gives may not go completely as planned, but the doll puts on enough of a show for David to give the green light to this product.

But when Gemma is having a hard time connecting with her niece and sees the job come across her face at the sight of a robot she built in college, she decides to spend 100 bands on building the prototype and finishing M3GAN (played by Amie Donald and Jenna Davis provides the voice). But as the bevy of sci-fi films about A.I. and robots have taught us, you cannot trust them and M3GAN is no exception.

You see, when Gemma first builds M3GAN for her niece, it was meant as a temporary distraction/placeholder as she felt the squeeze from work. After all, Cady has been a shell of herself since the passing of her parents, and M3GAN nicely slotted into the type of warm figure Cady needed at the time. But there is such thing as getting too close to something, especially as M3GAN technically is an inanimate object (though programmed to be insentient), and the doll begins causing the typical mayhem that you come to expect in this genre all culminating in a ridiculously dumb final battle.

A still from M3GAN. Photo courtesy of Universal Pictures/Blumhouse.

Therein lies the problem with M3GAN. We’ve already seen the story that plays out in Gerard Johnstone’s latest film. We all have come to expect the doll to hurt people and make the owners look bad unbeknownst to them, and the sassy one-liners delivered by Davis can only do so much in the film’s effort to make the titular doll more than one note. I’ll give M3GAN scribe Akela Cooper (who was also assisted by James Wan) some credit for updating this type of story to the 21st century with technology that doesn’t feel that far off, but the film rushes through its 100-minute runtime once M3GAN is introduced into the story (thanks to the guy sitting in front of me and his bright Apple Watch, I can tell you that this occurs about 23 minutes into the film) to get to the film’s third act which sees the toy company setting up a live-stream to reveal M3GAN to the world. Again, one step forward, two steps back. 

And look, I know that I’m a stickler when it comes to PG-13 horror films, and M3GAN is a unique case. It’s much more in the vein of the Child’s Play films (especially the sequels) with its dosage of camp — M3GAN pays homage to Sam Raimi by suddenly shoehorning the “Raimi Zoom” into a few shots in one sequence—  so perhaps expecting anything up to the level of another PG-13 horror flick that was actually scary, 2016’s Lights Out, was asking for disappointment, but even when it tries, M3GAN lacks any sort of tension whatsoever. 

Much of this issue stems from the fact that anytime our titular doll is in action, you know that she’s simply going to kick butt and the scene will end. It’s almost like the Jason Voorhees situation in the Friday the 13th video game in that the counselors have no shot against this otherwordly being. It makes the game no fun to play when the odds are stacked so heavily against you, and the scares in M3GAN are about on par with anything you’d see in that video game.

A still from M3GAN. Photo courtesy of Universal Pictures/Blumhouse.

And yes, there are jump scares in M3GAN. How else would a film rated PG-13 have any chance of keeping an audience awake? My biggest complaint with these types of scares that have become a mainstay in contemporary horror films is that they’ve become too predictable. Trust me, you won’t be surprised in the slightest when something pops out of a corner as a character opens a door slowly or walks down an empty hallway. Whether it was a theater issue or not, it certainly didn’t help that the jumpscares weren’t loud. The usage of loud sounds to enhance the jump scares is truly an eye-rolling tactic, but the ones in M3GAN had no second hit in what’s usually a 1-2 punch. 

The PG-13 rating serves the film fine whenever M3GAN is slaughtering somebody — I don’t really need to see the doll stabbing someone or Quentin Tarantino-levels of gore — but you’re going to leave disappointed if you’re expecting any gnarly kills. I’ve read the interview where Johnstone talks about the PG-13 rating and how they “embraced” it, but I struggle to imagine what an R-rated version of this film looks like if this iteration is somehow scarier because the end result screams that this was a way to make the film more accessible to a wider demographic and more money at the box office. 

It doesn’t feel great being a Grinch after the holiday season, but M3GAN just didn’t do it for me. I suppose I can see how the camp appealed to some, but most of the jokes missed — which especially hurts a film attempting to be a horror-comedy — and the lack of scares/tension severely hurt the fun of the film. And this film is far more concerned with having fun than actually tackling its themes of A.I. and the repercussions of allowing it to replace the roles of humans (for better or worse). In the battle of horror films with viral marketing horror movie campaigns, Smile wins by a landslide (though the DMs were a great idea). Can M3GAN win the battle of 2023 doll movies? Greta Gerwig’s Barbie is coming for that crown and does not have a high bar to clear. 

Universal Pictures will release M3GAN in theaters on January 6.

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‘Avatar: The Way of Water’ Review | An Immersive Motion Picture Spectacle



“Avatar The Way of Water” is truly the motion picture event of a generation boasting an incredible, immense, and immersive 3D experience like no other seen on the big screen. James Cameron delivers an epic odyssey on a stunning scale showcasing breathtaking visuals, action, and a powerful, emotional story about family and discovering your identity.

Thirteen years ago, Academy Award®-winner James Cameron introduced us, moviegoers, to a whole new world unlike any we’d ever seen with his breathtaking epic “Avatar.” Now, the visionary filmmaker returns and invites us on a brand-new cinematic journey with the highly anticipated “Avatar: The Way of Water.”

Sam Worthington and Zoe Saldaña reprise their iconic roles, playing Jake Sully and Neytiri, alongside Sigourney Weaver, Stephen Lang, Cliff Curtis and Kate Winslet. The movie also introduces audiences to a group of talented young actors including Britain Dalton, Jamie Flatters, Trinity Jo-Li Bliss, Jack Champion and Bailey Bass.


Set more than a decade after the events of the first film, “Avatar The Way of Water” begins to tell the story of the Sully family (Jake, Neytiri and their kids), the trouble that follows them, the lengths they go to keep each other safe, the battles they fight to stay alive and the tragedies they endure. However, they must leave their home and explore the regions of Pandora. They travel across the vast reaches, ultimately fleeing to a territory held by the Metkayina clan, who live in harmony with their surrounding oceans. There, the Sullys must learn to navigate both the dangerous water world and the uncomfortable dynamics of gaining acceptance from their new community. However when an ancient threat resurfaces, Jake must fight a difficult war against the humans.


Making The Magic

“Avatar: The Way of Water certainly had 13 years of preparation to deliver a memorable cinematic experience and making a sequel to the most successful movie of all time seems like a daunting challenge but as the saying goes never doubt James Cameron who had before written and directed two of the most successful and beloved sequels of all-time: “Aliens” and “Terminator 2: Judgment Day.” This world of Pandora and its inhabitants has been with Cameron for quite a long time, originally he had written an early treatment in 1994, though the technology and means to bring his vision to life didn’t exist yet. The filmmaker brought wealths of Knowledge from his filmography and “The Abyss” creating a live-action film, transforming motion capture into performance capture and truly pushing the technology with visual effects which in turn has become truly revolutionary within Hollywood.

Cameron writes movies with themes that are bigger than their genre and that’s why his movies resonate with people. Back in 2010 Cameron, Landau, and a gathering contemplated a future on Pandora by exploring and expanding stories set on the lush alien moon and with more than 1,500 pages of notes on the story, they worked on not just one sequel but a series of subsequent movies all anchored around one central theme, the importance of family.

They had all screenplays for the four movies completed before moving on to production on the first sequel. This allowed him to map out all the stories and then get the scope and scale of the different stages of production such as capturing the actors across multiple films with performance capture, live-action, and then post-production. The success of 2009’s Avatar heavily influenced the direction of digital filmmaking and distribution,. The film includes 22 tracks, featuring music by Grammy Award-winning composer Simon Franglen, who worked alongside the late Jame Horner on the original Avatar film and spend much of the last three years composing the score for the highly anticipated sequel.

Photo courtesy of 20th Century Studios. © 2022 20th Century Studios. All Rights Reserved.

Family Is Our Fortress

Set approximately 15 years after the events of the original Avatar. In the forests of Pandora, Jake Sully, having begun “Avatar” as a paraplegic Marine grieving the death of his twin brother and desperately searching for a new path, now begins “The Way of Water” as the happily married patriarch of his family and the head of the Omatikaya clan, fully inhabiting his Na’vi body. “Family is our fortress,” he often reminds wife Neytiri and their children, Neteyam (Jamie Flatters), Lo’ak (Britain Dalton), Tuk (Trinity Jo-Li Bliss) and their adopted teenage daughter, Kiri (Sigourney Weaver). Much to Jake’s and Neytiri’s chagrin, their kids often hang out with Spider (Jack Champion), a human child orphaned by the war and too small at the time to return to Earth.

Sam Worthington returns to the leading role of Marine turned Na’vi leader Jake Sully. Zoe Saldaña once again is the Na’vi warrior Neytiri, now wrestling with her obligations and duties to her family and her clan. Sigourney Weaver plays their adopted teenage daughter Kiri, who’s the biological daughter of the avatar of Dr Grace Augustine, the deceased character Weaver played in the first film. Weaver truly gives one of her best performances throughout this film, she truly transcends through Kiri.

Jamie Flatters is Neteyam, the eldest of Jake and Neytiri’s boys, and the somewhat golden child, who can do no wrong. Britain Dalton, is the proverbial second son, Lo’ak. desperate to win his father’s approval, Lo’ak was born with an extra finger, which makes him something of an outcast among his clan. Trinity Jo-Li Bliss portrays Tuk, another favourite character of mine as she is daring, mischievous and incredibly close to her mother Neytiri, her grandmother Mo’at (CCH Pounder reprising her “Avatar” role) and big sister Kiri.

The Sully family truly are a delight as we go on a journey across Pandora with them. Its the importance of family that makes this movie outstanding, this theme is universal as it shows on screen the bonds between a mother, father and their children whilst the sons try to live up to their fathers legacy. the film brings a dilemma to these characters as you’ve got to do what’s right for the greater good or to do your job and duty of what your heart tells you for your family.

Photo courtesy of 20th Century Studios. © 2022 20th Century Studios. All Rights Reserved.

Into The Water

After making the long journey across the vast oceans of Pandora, the Sullys arrive at the home of Metkayina clan, they’re oceanic Na’vi located on Pandora’s reefs in the village of Awa’atlu led by Ronal (Kate Winslet) and Tonowari (Cliff Curtis). Reluctantly welcoming their guests, Ronal and Tonowari instruct their children Tsireya (Bailey Bass) and Aonung (Filip Geljo) to attempt to help the Sully kids adapt to the water clan’s customs and traditions.

Reuniting with James Cameron for the first time since 1997’s “Titanic,” Kate Winslet portrays Ronal, the Tsahik, and Matriarch of the Metkayina clan, married to Tonowari (Cliff Curtis) the Olo’eyktan of the clan.

Photo courtesy of 20th Century Studios. © 2022 20th Century Studios. All Rights Reserved.

They live along the shores of the Pandoran oceans, housing in Mauri pods which are built into the roots of mangrove-like trees spanning the islands, these homes hang directly above the water. Massive seawall terraces that guard the village from strong waves and provide easy access for the clan to fish. The main village Awa’atlu has small docks for canoes, a centralised ilu pen and communal areas for gathering, eating and the telling of tales and singing of songs.

The characters themselves are a slightly different shade of blue than the Omatikaya, and they have a different physiology, with large hands, wider chests and rib cages, and thick protuberances of cartilage beneath skin, almost like fins, that extend down the sides of their arms and legs to help them swim. They also have wider tails to help propel their bodies through the water. 

The islands of the Metkayina and the waters surrounding them are home to many unique specimens of fauna and flora such as having a close relationship with tulkuns, sentient, whale-like creatures of Pandora, and are able to communicate with them. The Metkayina consider them to be their siblings, with each member having a tulkun “spirit brother/sister”. They have also domesticated ilus, using them as a mode of transport across the Pandoran oceans, much like direhorses of terrestrial Na’vi. During combat, skilled hunters of the Metkayina ride the skimwing; taming one is also a rite of passage into adulthood. most notably is the Cove of the Ancestors which is a sacred place.

Photo courtesy of 20th Century Studios. © 2022 20th Century Studios. All Rights Reserved.

The Metkayina have a unique and spiritual relationship with the tulkun, a species of sentient whale-like creatures that can grow to 300-feet long. the tulkun culture and the Na’vi culture are joined together with music, with singing, with dance. Jake and Neytiri’s son Lo’ak befriends Payakan an adolescent tulkun, somewhat of an outcast—the two communicate using sign language developed specially by actor and deaf-advocate CJ Jones for the production of the film.

Cameron’s world-building is absolutely phenomenal as he brings to life a new species of Na’vi that are accustomed to the way of water and enriched with such stunning landscape. The underwater sequences are truly a spectacle to behold especially in 3D.

Photo courtesy of 20th Century Studios. © 2022 20th Century Studios. All Rights Reserved.

We continue to explore more of the moon Pandora itself, Pandora is another character in the movie ultimately being used as a metaphor for our world throughout the film explores new biomes and new cultures. And Cameron sets this story focusing on his love for the oceans. 

The production design is beautiful everything from the natural Pandora to the Na’vi Dylan Cole designed while Ben Procter designed the environments, vehicles and weapons of the human characters. Two worlds collide in “Avatar The Way of Water”, the human world which is highly advanced and technological, and then the world of Pandora, its inhabitants, the creatures, the plants.

Underwater Perfomance Capture

Captureing performances under water was something that had never been done before. They actually shot underwater and at the surface of the water so to capture that the actors were swimming properly, getting out of the water properly, and diving in properly, each underwater sequence is real because the motion was real. The filmmaker constructed an enormous tank at where Cameron and Landau’s production company, Lightstorm, is housed. The tank could hold enough water to allow the filmmaker to replicate real-world oceanic conditions. Standing 120 feet long, 60 feet wide and 30 feet deep and holding more than 250,000 gallons of water, the massive tank functioned as the films’ underwater performance capture stage.

For the performance capture technology to work underwater, however, the water had to be clear. The actors and crew of course, had to be holding their breath so to help them give compelling performances underwater, the cast studied free diving with internationally recognised expert Kirk Krack. Kate Winslet was able to do a static breath hold for 7 minutes and 20 seconds.

Photo courtesy of 20th Century Studios. © 2022 20th Century Studios. All Rights Reserved.

An Immersive, And Emotional, Theatrical Spectacle

Overall Thoughts

With “Avatar The Way of Water” James Cameron creates an immersive experience in which audiences will feel like they’re alongside the characters on their adventures. He pushes the boundaries of cinematic storytelling, by expertly utilising enhanced 3D technology, Cameron transports filmgoers inside the narrative, enabling them to truly experience the richly detailed environments of Pandora and allowing them the opportunity to traverse its majestic terrain alongside brave and bold heroes Jake and Neytiri.

Ultimately Cameron has delivered an epic! blockbuster that succeeds in taking us back to Pandora with such emotional weight, sheer scope, and incredible detail. It’s worth seeing on the biggest screen possible.

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The Big 4 Review | An Uproarous, Action Packed Joy Ride

Timo Tjahjanto once again delivers an action extravaganza with a surprising amount of style, heart and gut busting comedy.



Utterly bonkers and gloriously gory, The Big 4 offers a louder, more stylized and hilarious experience which vastly differs from director, Timo Tjahjanto’s previous Netflix action epic, The Night That Comes For Us. And whilst The Big 4 doesn’t achieve the brilliance nor does the action compare to that of The Night That Comes For Us, The Big 4 instead delivers more on its heart, comedy and odd, yet entertaining assortment of characters.

Four retired assassins spring back into action when they cross paths with a straight-arrowed cop determined to track down the elusive murderer that killed her father, only to learn that the murderer has a shared past with them all.

Timo Tjahjanto once again proves he is an action movie legend delivering another action extravaganza. With brutal choreography, expert direction and phenomenal physicality from its actors, The Big 4‘s action is among the best the year had to offer. However, The Big 4‘s action doesn’t quite compare to the gory, explosive and jaw dropping action from The Night That Comes For Us but is still nonetheless engaging and incredibly entertaining.

The Big 4‘s story is fairly simple and is nothing that we haven’t seen before, many times. However where The Big 4 shines above the rest is with its compelling and completely nuts characters, that provide a much needed and welcome heart to the flick. Each character is brilliantly kooky and stand out in their own ways, with each having totally different personalities and more importantly, talents.

Similarly, the film’s cast is great, selling the relationships with infectious chemistry, as well as elevating the films comedy. The films over the top characters would be nothing if it wasn’t for the brilliant cast bringing them to life. All without metioning the phenomenal physicality each actor brings to the fight scenes.

In terms of both of its action and comedy there is simply no holds bared in this relentless action packed joy ride. The action whilst still exciting, also offers many silly and comedic moments very remiscient of Jackie Chan’s action comedy style. Comedy-wise, The Big 4 is absolutely uproarous as the characters all hurl hilarious insults at each other. Sure, there aren’t many, if at all any clever, or uniquely written jokes, instead the comedy mostly comes from the cast its absurd characters and its action.

Ultimately, The Big 4 is simply KICK-ASS. Relishing in it ridiculous and bonkers nature, resulting in an incredibly entertaining and action packed flick. It’s characters and the relationships give the film a lot of heart and elevate its humour, and even though the action doesn’t quite compare to Tjahjanto’s The Night That Comes For Us, there is still plenty here to still make it memorable and a worthy addition to Tjahjanto’s filmography.

Courtesy of Netflix

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