Seems to be a growing trend nowadays to lead with the credentials of the director in order to get eyeballs onto a movie. That's what seems to have happened here, but once you're watching it turns out to be little better than a derivative vehicle for an unremarkable Jake Gyllenhaal who gets to tug at the heart strings on behalf of those vital interpreters (50,000 of them, apparently) who were abandoned to the Taliban when the allied forces quit Afghanistan. In this rather procedural effort, his guide "Ahmed" (Dar Salim) goes above and beyond to rescue his handler "Kinley" from ambush only to find that the American is flown home to safety, recuperation and a big steak on the barbecue. The latter man is left to reap the benefits of his sterling efforts by having a price on his head and so is forced to live in hiding. "Kinley" learns of this and decides that the man must be got out. After endless red tape seems determined to ensure that the promise made at the time to these folks to offer them fast-track American visas after the conflict was not going to be honoured any time soon, "KInley" decides he's going to have to take matters into his own hands. Remarkably, from his American home he manages to track down the elusive "Ahmed" and with the aid of a commercial extraction agency, funds a trip to get in and get his friend out. Aside from some serious plot plausibility issues, as action films go it's fine. The cinematography and pace work well to give us a sense of the danger and the relentlessness (and stealth) of the warfare that frequently nullifies the superior firepower of the visitors when faced with hostile terrain and efficient guerrilla warriors. Gyllenhaal does nothing for me here, though. He's just going through the motions, especially when required to actually act. He has become a rather one-dimensional performer (maybe it's the beard?) and though there is merit in Salim's performance as his character is allowed to mature a little by Guy Ritchie, I just felt that I'd seen the film before and the underpinning moralisation was largely undermined by the predictability of the storyline. It's certainly watchable, but it isn't hard to see why it never got a cinema release.

A staggering tale of an unhinged perseverance which is backed by a captivating screenplay.
Air is a story so frivolous and flat , that the courage of Ben Affleck should be lauded with our hats down. A simple plot which would fit within 3 lines of a page is magically presented to us as a fascinating and appealing peace of history which changed the strature of business in sports in America and revolutionized a global culture, Nike's collaboration with the greatest basketball player in the history of the game, "Michael Jordan". The 2 hours doesn't feel long when you have a dazzling screenplay & a marvelous ensemble cast with their pragmatic conversations. Ben Affleck really puts in a fine effort to yield such sensational performances for the star studded cast.
Brilliant is an understatement for the ensemble cast. I have never seen a better grounded performance of Matt Damon than this. He is sensational. Jason Bateman and Viola Davis add the much needed spark with their magnetic performances. Good to see Chris Tucker back and boy he just gets his sense of humor right each time. The banters between Matt and Chris Messina is the highlight for me. Ben Affleck is a master in terms of direction, the way he manages veterans into building such a collaboration is astounding.
Overall, If you believe in uplifting stories behind sports and redefining moments of history which changed the world we live in today then Air is a great addition to your watchlist.
Instagram @streamgenx

After Guy Ritchie’s last film, Operation Fortune: Ruse de Guerre, was an absolute disaster, I seriously considered skipping his most recent outing, The Covenant. However, I'm very happy I didn't because it's become one of my favorite films of the year so far.
The direction is excellent, with amazing up-close shots and zooms that really add to the intense nature of the film. The first hour flew by with fantastic build-up and character development. The action was superb and brutally realistic, showcasing the true horrors of the War in Afghanistan in a respectable way. However, after this first act, the movie does slow down a bit, with a pretty substantial lull that lasted about 20 minutes in the middle of the film. It was not terrible, but something I definitely noticed. Performances were excellent, particularly from Dar Salim, who was a standout in the film. His grueling journey across the Afghanistan terrain was one of the most stressful and inspiring segments in any film so far this year and had me at the edge of my seat.
Overall, The Covenant is a pretty straightforward war story, told with excellent direction, performances, and visuals. It handles the source material with incredible care, showcasing the environment of Afghanistan in a way I have never seen before.
Score: 85% ✅
Verdict: Great

Director Guy Ritchie is no stranger to crafting exciting action films, but his latest project is quite different than his previous work. The narrative is linear, there aren’t any montages, and the story isn’t about criminals, gangsters, or Brits. Fans of Ritchie will absolutely still recognize his visual style (hello, overhead shots) and testosterone-fueled themes, but “The Covenant” is a more dramatic, mature, and restrained work from the legendary director.
Set during the war in Afghanistan in 2018, the film tells the story of U.S. Army sergeant John Kinley (Jake Gyllenhaal) and his local Afghan interpreter, Ahmed (Dar Salim). Called a traitor by his people for helping the Americans, Ahmed has volunteered to seek revenge against the Taliban that killed his son. He has also been promised visas for his service so his family can flee to safety in America. After a lethal ambush in the desert, Kinley is gravely injured by enemy fire. With his platoon gone, Ahmed refuses to leave a fellow soldier behind to die, so he drags Kinley through the mountainous terrain in order to get him back to the base for medical help.
The film tells the story of their 100 mile journey, but then pivots to Kinley’s return to the United States. It’s months after he gets home that Kinley learns Ahmed and his family were not given safe passage as promised and, as a way to repay the debt he owes his friend, he returns to Afghanistan to retrieve them. It won’t be easy, because Ahmed has been placed at the top of the Taliban’s most wanted hit list.
It’s a meaningful story of honor and brotherhood wrapped up in an intense wartime thriller. The story is told in three major acts, from the early days Ahmed and Kinley spent chasing IEDs, to their dangerous journey, to the red tape of getting a man what he’s owed. There are plenty of thrilling acting sequences throughout, and they will keep you on the edge of your seat.
Ritchie has an extraordinary sense of timing and instincts for shooting action scenes, and the brutal, graphic wartime violence puts you in the be-or-be-killed survival mind of a front line solider. The director’s visual storytelling is terrific here, as he switches between handheld shots with uneven movements to dizzying aerial shots to sweeping tracking shots seamlessly within one action scene. It creates a greater sense of immediacy and danger, expressing the gravity of the situation at hand.
Some of the scenes are so distressing that I found my heart pounding throughout, and Ritchie’s use of harsh close-ups adds to the intensity. There’s a lot of cat-and-mouse content that adds to the tension, but it doesn’t feel gimmicky because this is a film that is unafraid to kill off characters at any time (so don’t get too attached to anyone).
Gyllenhaal and Salim make a dynamic onscreen duo, and both men have a natural chemistry that is the highlight of the film. Salim’s performance is dynamic and genuine, and Gyllenhaal proves yet again that he’s a formidable leading man. He’s in his natural habitat here, playing a rugged everyman with a non-threatening masculinity that gives him a broad, universal appeal. The performances from the supporting cast are also top-notch.
The story is one of integrity, loyalty, and respect, and these men have an incredible amount of honor. Ahmed and Kinley are forced to make tough decisions, but they never shy away from doing the right thing, even when it’s the harder option. These guys are still combat killers and trained soldiers, but their friendship takes center stage. This is such a great story of brotherhood that you’ll wish it was true (sorry folks, this is a work of fiction).
The film only makes a couple of missteps, and there are two major things that bothered me. First, the alpha male dialogue among the soldiers is openly homophobic. It’s laughed off and never challenged. I found this to be a bit problematic, but the way these guys talk is also likely accurate and authentic. Second, the grand finale shootout feels a bit like military propaganda, where the brawny American saviors must step in and become the heroes. It’s a sequence that’s thrilling, but feels stuffed in as a way to appease the hyper-patriotic “U.S.A.! U.S.A.!” crowd.
But here’s where it gets interesting: the film is also highly critical of the U.S. government and the heads of the military. The soldiers may have honor, but those at a higher level do not. The film offers a scathing criticism that applies to the many ways the U.S. abandons its veterans too, from dismissing allegations of sexual assault, making it difficult to obtain proper healthcare, crafting vague promises, and flat-out lying. It’s a profound theme that may be lost on the majority of audiences (but I hope not).
“The Covenant” is an extremely well made wartime action film, and those looking for a thrill will find it. Go and enjoy the entertainment value, but don’t lose sight of the small, emotional story that’s at the heart of it all.
**By: Louisa Moore / SCREEN ZEALOTS / www.ScreenZealots.com**

There's a good film in there, but the ultra lame characters just suck out any interest I have in 'Scream VI'.
I felt similarly about 2022's 'Scream', in that the legacy ones are solid though the newcomers just lack any sort of conviction with their performances, in my eyes anyway. Jenna Ortega is the only one I named as decent in the predecessor, however even she isn't all that in this 2023 release unfortunately.
Melissa Barrera is OK but forgettable, Dermot Mulroney overacts by chewing the heck out of the scenery and the rest of the friends circle range from boring to irritating. I don't intend to hate on them too much as I actually don't dislike them, it's just they consistently stopped me from getting into the movie.
...and that's a shame, as its other elements are quite good. The visual use of Ghostface is effective, the music plays well (on that note - big fan of Demi Lovato's end credits song, as I was for last year's film from Salem in fairness... they know how to pick 'em!) and, most importantly, the kills are actually awesome; fwiw, they help boost up my rating.
Sadly, for me, the characters are too detrimental, but also the limp reveal at the conclusion simply stopped any positive thoughts from forming in my head whilst watching this. Wish I enjoyed it.

Pretty much what I expected from the fifth installment of a franchise that ended after its second - i.e., bad. Gale Weathers makes an appearance, but the original cast is gone.
At the start, the main character walks up to some guy and says 'I'm gonna taze you in the balls', and does so. Instead of spending the rest of the movie in a jail cell on sexual assault charges, and then getting sued into the ground, the film just goes on. (The victim was a white male, so modern hollywood wants you to think it's 'funny' rather than disgusting.) From that point on, the main character is in no way an innocent victim, so it's hard to care that she's being pursued by a killer. The plot is mediocre, there are no funny or cool characters that the viewer might actually care about, and the killer's identity has reached the level of 'roommate's friend's brother's dogwalker', aka 'who cares'. Very forgetable.

Not bad although not great and probably the second weakest in the franchise only ahead of Scream 3. Still, some decent kills and an okay twist but not sure how memorable this entry will be.

Scream VI is bloodier and more gruesome than its predecessor, but that does not make up for an average plot and rushed first act.
This movie is a tale of two halves for me. The first half was pretty messy, with a lot of new characters introduced and events taking place across multiple different locations. The New York setting created a multitude of interesting set pieces, but the spanning locations result in the movie being slightly unfocused at times. The film rushed through this introduction, which resulted in poor pacing. The second half was an intense, paranoia-inducing sequence that had me on the edge of my seat. As a whole, the movie worked well but could have been much better.
The best parts about Scream VI are the characters and the action. All of our returning cast is fantastic, and their chemistry works so well together. They are so great on screen that I feel as though the film does not really need the legacy characters, as they seem somewhat unnecessary. Our new cast members do fine in their roles, but they are not nearly as interesting as our core four. But that is fine in a slasher, as their role is to be carved up by Ghostface. This film is especially brutal, with some particularly gruesome kills and fantastic effects work to show the remains of our victims. There are a few kills that were top-notch and will go down as some of my favorites in the franchise. Scream VI is the first film for me that genuinely had me stressed. There are a few scenes that just linger for a moment too long and create an unsettling feeling in me that I thought worked really well. My favorite scene was the subway sequence, as my heart was pounding for genuinely two minutes straight.
Other than the rushed first act, my only complaint has to do with the ending and some of the unbelievability in terms of our cast's survival. Although I do not think the final reveal was as bad as most reviewers make it out to be, I still think it could have been slightly better. I had one killer pegged from the beginning, but the other was a surprise, so I think they did a good job keeping the audience in the dark. Our characters take quite the beating in this film, with some being stabbed nearly a dozen times and still somehow being able to survive. It isn’t a huge deal, but it did take me out of the film a bit. Also, I spent nearly ten minutes of the movie trying to figure out how the hell Kirby was alive; I could have sworn she died in Scream 4.
Overall, Scream VI was a welcomed addition to the franchise, even if it was not as good as Scream (2022). I do think my expectations were a bit high from the initial reactions, which may have led me to being slightly let down.
Score: 68%
Verdict: Good

Now I did approach this with some trepidation. I positively hated the puerile outing for "Ghostface" from last year. Still, it could hardly be much worse - and, as it happens, is actually really rather better. The plot still reminds me of something from an edition of "Scooby Do". The slasher manages to penetrate tight security; be in half a dozen places at one time; have access to secret phone numbers etc...; whilst those impaled appear to have a remarkable resilience for survival and recovery after an onslaught that would have felled an elephant. That's not the point, though. Unlike so many of the genre, this is actually quite scary and works well as a bit of a self-parody. If you've watched the others in the franchise, you will know how the dynamic plays out - and this is just an extension of that. The story doesn't really matter - it's the way in which the directors manage to imbue the whole thing with an entertaining degree of menace and paranoia, a few quite effective jump moments and by using a cast of relative non-entities (and by only using the wooden as a draining-board Courteney Cox sparingly), they manage to create a film that is actually a bit frightening at times. There are plenty of new characters for us to suspect including love interest Josh Segarra ("Danny") - who reminded me of Christian Bale, and the rather hapless Jack Champion's ("Ethan") before an ending that was, admittedly, quite ridiculous! This is not a film that will engage your brain on any level, but as piece of well constructed entertainment with some frequently quite witty dialogue and an eye watering encounter between a boy and a taser - it's well worth catching up with.

FULL SPOILER-FREE REVIEW @ www.firstshowing.net/2023/review-radio-silences-horror-sequel-scream-vi-is-satisfying-enough/
"Scream VI is satisfying enough as another sequel. The new location and sets bring much-needed freshness to the franchise. The killings have never been this visually violent and gory, pushing the entertainment levels of a pretty fast-paced story. Melissa Barrera proves that she's capable of leading a film of this scale, but Jenna Ortega plays in a league of her own. Unfortunately, the third act is everything that it shouldn't be: predictable, forced, underwhelming, and incapable of bringing together all its meta commentary – lacking development, or a plot. One too many inconsistencies, even for a saga known for not taking itself seriously."
Rating: B-

Scream VI has the "killer" trademark opening kill we've all come to expect and it does not disappoint! The fresh setting (in New York City) is a welcome twist.
While it is somewhat self-referential it is not nearly as much on that vibe as Scream V. Directors Matt Bettinelli-Olpin and Tyler Gillett are back with the same knack for set pieces but they're even stepped up their game more! Each scenario is cleverly set up for maximum suspense and tension, then pays off with buckets of blood. There's a scene set on the subway that is especially hair-raising.
The women rule here -- Melissa Barrera, Jenna Ortega, and Jasmin Savoy Brown are totally believable and likable. It just goes to show that this franchise can survive and even thrive without the legacy characters.
I'll be watching this one again.

**Scream VI cranks up the violence, paranoia, and chaos but also enhances the character development and story, making the new directors' second entry even better than I had hoped!**
I have been hyped and anxiously anticipating this movie since the final moments of finishing Scream (2022) in theaters - and it did not disappoint! The Radio Silence team (Bettinnelli-Olpin and Gillett) prove they are the perfect new shepherds of the franchise. The four young survivors take giant leaps in character development as they grapple with the trauma, fallout, and spotlight of the last film's events. Their loyalty and care for each other draw immediate similarities to Sidney, Dewey, and Gale, which quickly endear the "Core Four" as beloved characters you desperately want to survive. The danger, kills, and gore all have been cranked up a notch, and for the first time in the franchise, even the survivors are possible Ghostfaces. I doubt and suspect everyone while simultaneously caring for them - that is masterful writing right there! On top of all that, having another legacy character back with Kirby Reed returning was fantastic. I loved this movie, but I really missed Dewey and Sidney. I also think the main Ghostface killer is a little too over the top when revealed, which keeps Scream (1996) and Scream (2022) ahead on my list. But those are incredibly minor complaints! Scream VI is another exceptional entry in the Scream franchise, and I hope we get another one soon!

I didn't understand the idea of the movie, there is no story or plot. was it a curse or an environmental disaster, or what, why the sacrifice and on what basis?

The concept is awful. I find it quite ridiculous. I even regret watching it.

Knock at the Cabin is an interesting premise that has a lot going for it in terms of atmosphere and mystique but fails to land a satisfactory ending.
I was pleasantly surprised with the story structure. The movie wastes no time throwing the audience into the conflict within the opening frames of the film. This allowed for an increased focus on the main story while maintaining a decent pace. The first act of the film is great, as the audience is new to the story and the mystery is still fresh. But slowly, the plot starts to repeat the same beats resulting in a less engaging second act. As the film draws to its conclusion it’s ending is incredibly predictable which slightly worked for me but may be divisive to a general audience. I did enjoy the small flashbacks of the couple's life. It added much needed context without taking too much time away from the main story arch.
The acting in the film is overall good, but there are some major characters that stand out from the rest of the cast. Dave Bautista was excellent, he had a very serious, menacing presence, but had a kind and gentle nature to him that begged the audience to trust him. This was by far one of his more complex roles in his career and I think he did a great job. Abby Quinn had probably my favorite performance of the film. Her dramatic scenes were mesmerizing and really drew me in. She had such subtle facial gestures that expressed a deep sense of fear and sadness with eyes that could tell a story by themselves. It was superb. Jonathan Groff was good, although he really seems to be playing a similar style of character to all of his previous roles. I was excited to see Rupert Grint, but we do not really get to see enough of him as he is only in the film's first act and when he is present barely talks.
Cinematography was great. There were some really interesting camera angles and shots that were classic from Shyamalan. I thought he did a really good job of portraying the brutality of what was occurring without actually showing it. Having it pan away from the action or it being just out frame gave the audience what they needed to know without directly seeing it. It slightly added to the suspense of it all. Although, as a true horror fan, I would have loved to see some gore! There are some very corny sequences with terrible CGI that took me out of this movie. But with a budget of only $20m, I am not sure what more I could have asked for.
Overall, there is a lot to like about Knock at the Cabin, but it is missing multiple key elements that hold it back from being a Shyamalan instant classic. Despite that, I think it was an enjoyable watch that I recommend you check out in theaters.
Score: 73% |
Verdict: Good

The tender, sympathetic, and desperate performances are what make _Knock at the Cabin_ worthwhile. The psychological and horror aspects of the film are timid at best with the true identities of Leonard and his associates being obvious, gruesome elements that you never see, and an apocalypse that is a lackluster disaster overall.
It’s not that _Knock at the Cabin_ is entirely bad, it’s that it seems to actively know it could be more creative, thrilling, and shocking and yet purposely chooses to bury its head in the sand and let mediocrity have its remorselessly bland way with it.
**Full review:**
https://boundingintocomics.com/2023/02/03/knock-at-the-cabin-review-a-well-acted-blah-pocalypse/

"Wen" (Kristen Cui) is out collecting grasshoppers when she encounters the statuesque and friendly "Leonard" (Dave Bautista). When his three friends turn up though, she gets spooked and runs to her remote cabin home where her dads "Eric" (Jonathan Groff) and "Andrew" (Ben Aldridge) are chilling on the veranda. She is worried, and soon they are locked in with four seemingly hostile folks outside demanding entry. The doors and windows are no match for their rather medieval weapons and soon the boys are tied to their chairs fearing the worst in homophobic behaviour. Thing is, the four appear to mean them no harm - well, not directly anyway. "Leonard", in a calm and measured manner, now regales them with a tale foretelling an apocalyptic end for mankind unless this small family make a very, very, tough decision in the next twenty four hours. Should they not, then we soon discover that things will not go well for them, but do not go at all well for their four "persuaders" either. Bautista is quite good here, as is Aldridge and for a while the plot is actually quite intriguing. The ultimate catch-22 with a question posed to rational people - who love each other - that would test any of us. Sadly, though, M Night Shyamalan can't keep the intrigue sustained and it rather runs out of steam from the middle onwards. Groff doesn't really show up and neither, for that matter, does Rupert Grint. I also felt that young Cui takes a little too much screen time and grates after a while. It's the shortest of short stories, and might have worked better had it just been the hour with a tighter narrative and less meandering. Still - it does ask a question that I'm not sure I could answer either in their position - and I did quite enjoy watching it.

“Knock at the Cabin” is a suspenseful, thriller with horror elements that wastes no time in its execution. After less than five minutes, the idyllic vacation choice of Eric and Andrew, dads to Wen, is turned into a nightmare home invasion. Leonard ( Dave Bautista ) tries to engage with Wen showing gentleness and countering the stereotype his muscular size conveys. Happily catching grasshoppers together, Leonard and Wen discuss family and future ambition. However once Leonard is joined by his three other companions his insistence and subsequent forceful entry to the cabin makes his character seem far more sinister.
Denial and paranoia set the tone as the four invading characters disclose their backgrounds and cult like vision that has set them on a mission to save the World from the Apocalypse. During back and forth conversations and threat of death, love and compassion strongly prevails even after some graphic killing. When faced with the reality of the home invaders reasoning for their actions, Eric and Andrew’s rising panic with each separate revelation fuels suffocating tension that continues to grow until the final moments. With very clever use of the four headless horsemen of the Apocalypse, and the persuasive nature of Leonard, eventually Eric and Andrew believe what they are being told.
Throughout “Knock at the Cabin” M. Night Shyamalan’s direction keeps the audience constantly questioning. Are the events unfolding on screen actually real or just cult like paranoia twisting events to suit their agenda. With excellent performances and great use of lighting and cinematography to convey fear and rising tension, “Knock at the Cabin” is an engaging end of the World thriller.

Knock At The Cabin Is A Tense And Engaging Thriller
Writer/Director M. Night Shyamalan is back with his new thriller “Knock at
the Cabin” and like his earlier works; the film blends reality with
supernatural elements to put ordinary people in circumstances that are
dangerous and unnatural.
The film involves a same-sex couple named Eric (Jonathan Groff) and Andrew
(Ben Aldridge), who have taken their adopted daughter Wen (Kristen Cui),
to a secluded cabin for a relaxing vacation.
The arrival of four strangers lead by the imposing but soft-spoken Leonard
(Dave Bautista) becomes dangerous when Leonard informs them that the world
is about to end and only by choosing to sacrifice one of them can the
Apocalypse be diverted.
Leonard explains that the four had the same vision of the end of the world
and that they were drawn to save it by taking such drastic actions. They
inform their captives that they will not harm them but they will not be
allowed to leave as they must make the choice and failure to do so will
doom everyone and force the three of them to exist as the sole-survivors
of the aftermath.
Convinced that the intruders are insane; Eric and Andrew refuse the offer
and watch as one of the four captives sacrifices themselves which is soon
followed by news on the television of a massive earthquakes which resulted
in tsunamis.
Convinced it is a ruse or simply timed events to the days news; the
captives again refuse a request only to see another sacrifice followed by
more news of devastation happening around the world.
What follows is a tight thriller as Eric and Andrew learn more about their
captives and the changing world situation which forces them to confront a
world gone mad.
The film is good at setting a tone and maintaining a mild tension
throughout as the audience is left to wonder how real what is being
presented by Leonard and his associates are. I liked the fact that the
movie did not try to wrap things up nice and tidy and left the audiences
with some questions about the events as well as what would happen in the
aftermath.
Bautista gives an career-best performance and shows that his is capable of
doing more than the action-comedy genre which he has been playing to date
and I hope he continues to seek roles such as this.
While the film may not reach the levels of some of his earlier classics,
Shyamalan has crafted an entertaining film that keeps you guessing.
3.5 stars out of 5

FULL SPOILER-FREE REVIEW @ https://www.msbreviews.com/movie-reviews/knock-at-the-cabin-review
"Knock at the Cabin marks the triumphant comeback of M. Night Shyamalan, who possibly delivers his best film since Signs! With the help of a superb cast led by the phenomenal Dave Bautista - career-best performance - the filmmaker explores the emotional complexity found in the profound moral dilemmas placed upon human beings when faced with life-and-death decisions. Total focus on a single location with persistent cinematography (Jarin Blaschke) and immersive sound production, generating an atmosphere charged with excruciating tension. Extraordinarily gripping from start to finish. The next cult classic is born."
Rating: A-

Ooof another disposable entry into the hellish cgi nightmare that is cinema these days. I cant even recall if this was DC or Marvel, I think DC? Really scraping the bottom of the barrel here, including trying to make this relatively gross looking hero silhouette seem cool. Kinda reminds me of that spiderman character in venture bros who spews silk from an orifice in his lower back, but this one is less funny. Just odd.

'Blue Beetle' won me over in the end.
I wasn't personally convinced by it for large periods, not that I was finding it anything boring, irritating or anything close to that but I just wasn't really feeling the vibe. However, across the second half of the film I could feel myself gradually becoming more invested in the events onscreen.
Much of the cast match each other in terms of standard, they all try and subsequently produce solid displays. I will say that I really enjoyed George Lopez's performance as Rudy, he brings a lot of life and humour to the film via that role.
Xolo Maridueña is more than decent as the titular character, while Bruna Marquezine makes for a good match alongside Maridueña; even if her character's Kord family portion of the story didn't interest me as much as the Reyes', in that sense the less said about Susan Sarandon the better here - extremely meh, at best.
I very much wouldn't say the filmmakers hit the ball out of the park with this 2023 release, but I can certainly see potential with the character going forward - given they are reportedly planning to continue with him within the DCU. As for this, it's a serviceable superhero watch.

I mean, it's not bad. It has the message, but it isn't screamed at you at the top of it's lungs like most movies are these days. In fact, it's so subtle that it's not even much of a distraction.
Not that it doesn't have it's distractions. It has the same "because the plot needs it" occurrences that make you roll your eyes that seem to plague just about every movie these days... but even that is sort of muted.
The themes are fun and decent enough where you would actually want your kids to see it... and in the end it doesn't try to do anything new, it just attempts to make itself into a fun and enjoyable film. That's really all I ask for in movies, especially these days. I want to have fun at the box office again, and this movie delivers that.
It's just... you forgot it was even released didn't you?
And you hardly ever heard of the character. There was next to no publicity. It wasn't really advertised, it came at a time when people were burned out from all the political super hero movies, and let's face it, everyone is sick of the huge CGI fight with the huge CGI villain/army.
So, at the end you had a bit of a flop, and an undeserving one at that, because the movie is fun, it does entertain, and it deserved more than it got.

The Good: Light-hearted and family centric. Love story does not involve a centuries old god. Overall a very positive message.
The Bad: Very stereotypical superhero story-line. Big CGI villain and some pretty uninteresting fight scenes.

Blue beetle is very awesome!! WoW!👏🏻👏🏻👍🏻👍🏻

Maybe this should just have been called the "Blue Bottle" after the annoying blowfly that buzzes around annoyingly to no apparent purpose? Susan Sarandon (why?) is the megalomanic corporate mogul "Kord" who is out to create a super-soldier ("OMAC") using an extra-terrestrial scarab that can synergise an human being with an almost indestructible endo-skeleton. Fortunately for all of us, her cleaning lady likes to use the luxury bathroom at her home, and when she is caught and quite literally dumped, she and her brother find themselves out of work and introduced to "Jenny" (Bruna Marquezine) - the strong-minded niece of our baddie - who is determined to thwart the militarisation of her daddy's company. She smuggles the gadget out of their HQ and manages to pass it to the rather earnest and drippy brother "Jaime" (Xolo Maridueña) with strict instructions not to even open the box. Of course they do, and next thing he and the glowing blue gizmo are best mates - he can fly, zip around with great speed and has, of course, super-human strength. "Cord" is determined to get it back, so she energises her already semi-mechanised henchman "Carapax" (Raoul Max Trujillo) for a gradual/glacial build up to a denouement that a bat could see from space. This has all the feel to it of a standard television movie. Great visual effects but lightning pyrotechnics, cleaving a bus in half and endless explosions are no longer enough to sell a film. There has to be some semblance of originality with the thing. Aside from it's bilinguality, this has precious little by way of innovation to shout for it. The characters are largely forgettable - especially the annoying uncle "Rudy" (George Lopez) who's astonishing adeptness with all things super-tech was just plain daft! It's also way, way too long and I felt the ominous presence of a sequel looming at the end quite sad. This is a weak story with a weak cast that seems designed to fill a gap in the USA's expanding and under-served Hispanic market. I think it may work there? I'm not so sure anyone else needs this.

⁃ Some months before release: 'Nah, it looks too mediocre, I don't even know who this Blue Beetle is. Okay, at least he has a sword from Final Fantasy!'
⁃ Some days before release: "Wow, what is it? Good rating? Now I'm hooked!"
⁃ Some minutes after leaving the cinema: "Ooohhhh........"
In a few words, I didn't like it. Blue Beetle looks like a superhero origin combined with Iron Man, Venom, and Spider-Man, adding just a bit of the family dynamic from Encanto (or Fast & Furious, you decide).
The only outstanding thing is the cringe factor: strange jokes, graphics that are far from the best, and a derivative plot — everything looks like it was made in the 00s. It's not bad, really; sometimes, it's even good — you'll definitely giggle if you're into this style. However, it's not enough to label the movie as a good one.
P.S. While watching this one, I've finally come up with the thought that I'm always bored during the first act. All these character introductions and exposition setups look like they're for people who are watching the first movie in their life. It doesn't matter if I like the film; I'm always waiting for the real action to begin 🙁

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Blue Beetle follows the usual superhero origin formulas, being extremely predictable, and lacking narrative creativity, but all these issues are well-compensated by a proudly Latino cast that offers exceptionally genuine performances - Xolo Maridueña is quite impressive - and by the magnificently rich Mexican culture that encompasses the film. Entertainment is also guaranteed due to a good mix of CGI action with choreographed fight sequences, as well as an energetic score (Bobby Krlic).
A movie that nonsensically finds itself labeled as part of the DCEU when it clearly belongs to the saga. James Gunn probably didn't want to risk starting the DCU with a lesser-known character, which is an understandable reason, but keeping it attached to a soon-to-be-extinguished cinematic universe is very questionable.
There are no doubts: we will see Jaime Reyes again.
Rating: B+

**Wrong in so many levels.**
Big fan of the game since PS1 till that day. Trailer gave me no thrills so i was expecting nothing but no! Way worse than trailer.
Guys ! Even GT (is a half-sim) has some reality way more than this. For starters Whats with the Hungaroring? Silverstone Academy is reverse Hungaroring, Le Mans (La Sarthe) is regular Hungaroring....
In racing there is no wiggly helmets; cars don't explodes, engines do, there are no spotters except ovals!; track races have qualies, you don't start in the middle of nowhere; you dont pass your opponent with down shifts and sudden throttle; GT3 cars are fast as any car on straights; Le Mans 24H doesn't finish at the last lap; it finishes at the end of 24 hours + 1 lap; Nurburgring is 20.83 km and if you crash in the middle of it nobody waves yellow flags in start-finish straight. I could have add more but i am already bored.
Good soundtrack, good cinematography, well blended CGI but no soul and no technical aspect. I don't even know how Yamauchi San gave his blessing to this as himself a real deal racing driver. Lastly this film is the second DRIVEN disaster IMO.(4/10)

Archie Madekwe is quite good here as the gamer Jann Mardenborough who entered a competition devised by Nissan marketing man Danny Moore (Orlando Bloom) to raise the profile of their sports cars in a league usually dominated by the likes of Porsche and Ferrari etc. There's a great degree of cynicism from the high-pressure, high-octane, industry that these glorified couch potatoes could ever make the grade, but with the help of slightly jaded but experienced coach Jack Salter (David Harbour) they decide to push these youngsters to their limits. What now ensues is based on fact, so we have little jeopardy to the ultimate denouement. That said, though, Neill Blomkamp manages to build the momentum well with some excellent action photography to get the adrenalin pumping. Neither Bloom nor Harbour are really here nor there, but the young Madekwe does manage to exude some of the grit and determination of his ambitious, fiercely competitive, and dedicated persona and it's been quite a while since I heard the dulcets of Enya emanate from a big screen. It does take a little while to get out of neutral - maybe just a bit too much familial scene setting to justify the fees of Geri Horner and Djimon Hounsou but once we escape that, the thing picks up entreatingly and is quite a thrill a times to watch. Definitely better on a big screen.