The Odyssey and Spider-Man: Brand New Day are about to cross the billion dollar mark at the box office. With that, there are now a total of 66 movies to have made it into the one billion dollar club. Regardless if inflation or re-releases also helps with that (which they both do), a movie has made a total of over seven bills at least 66 times throughout cinema history. Because of that, I decided to go ahead and do a ranking of every single one of these since I’ve actually seen all of these movies at least one time.
This will make for a rather complicated list, even more so than other lists I make on here. This will be a fine mix between what I believe is the best movie from an objective standpoint, what I believe is the best from a subjective standpoint, and the impact each one has had on pop culture for better and worse. I’ve thought about this for quite awhile now so it’s time for me to rank them.
If you disagree with this list, then by all means disagree but please don’t be a jerk about it. We have enough of those on the internet. I really don’t take much pride in these lists and rankings other than to have some fun. Opinions change everyday and this ranking is just how I feel at the exact moment that I’m publishing this list.
Also, since it’s going to be 66 movies, I’m not gonna go into detail on any one of those and just show the number I have ranked for each movie. I’ll just say which movie is ranked where and show off a trailer for it because why not? I might even update the list once another movie comes around that makes a billion dollars and see how much of my opinion on this list has changed since then.
Let’s not waste anymore time and get right down to it.
There has been no other franchise that has made as big of an impact on the film industry as the Marvel Cinematic Universe. You can debate whether or not it has impacted the industry for the better or for the worse but no doubt it has made an impact. With Spider-Man: Brand New Day now out in theaters, I want to take the time to share my rankings of all 38 (!) films to be released in the Marvel Cinematic Universe thus far.
First off, a few disclaimers. I am ONLY counting the movies that were released to be a part of this cinematic universe and nothing else. Which is why you won’t see the Venom movies, Morbius, or any of the Spider-Man movies except for the ones with Tom Holland on this list. I’m also NOT including any of the Netflix or Disney Plus series as that would make the rankings on this list even more complicated than it already is. Lastly, this is all MY opinion. Considering there’s now 36 movies in this universe, there’s a good chance my rankings won’t match yours.
When doing this list, I mostly tried to find a good mix between the ones I find to be the best in terms of objective quality, the ones that I enjoy watching the most, and the ones that I believe serves a big purpose to not just the cinematic universe itself but also the superhero subgenre in general.
Anyways, here I go with the biggest ranking I’ve made on this site so far. Let’s rank the Marvel Cinematic Universe films!
38.) Thor: Love and Thunder
On paper, Love & Thunder should be the best Thor movie ever made. By incorporating major comic elements such as Jane Foster as Mighty Thor and have the GOAT Christian Bale playing Gorr the God Butcher, this should have been a slam dunk. Too bad, it doesn’t come anywhere close to living up to it’s potential, with Takia Whatti not being able to get out of it’s own damn way, making a film that feels like a parody of an MCU movie than an actual MCU movie. Nearly every single joke falls flat on it’s face, the tone is inconsistent as hell, the story of Jane dying of cancer could not have been handle in a more disrespectful way, and while Christian Bale tries his heart out as Gorr, he is giving jacks**it to work with, playing a god killer who does very little god killing. Whatever magic trick that Whatti was able to pull in balanced the comedic and dramatic elements of Thor: Ragnarok does NOT pull off here! Love & Thunder is exactly the kind of movie that gives the MCU haters plenty of ammo to support their arguments of Marvel ruining Hollywood!
37.) Ant-Man and the Wasp: Quantumania
Ant-Man and the Wasp: Quantumania isn’t quite the worst movie in the Marvel Cinematic Universe but it’s certainly knocking at that door. Despite the movie’s overall goal is to give everyone a clear direction as to where this next phase of the Marvel Cinematic Universe is going, it still has that feeling of inconsequentiality because of how little that will likely matter in the long run and how it barely progresses the characters and their stories here. It still hits the same beats you would expect from a Marvel movie but whether or not that will be enough to save the picture is entirely up to you. And if the box office results and fan/critical reception is anything to go by, it’s clearly not for most people. Jonathan Majors as Kang stands out well here (at least until Majors had to be an idiot and derail his own career and the MCU along with it) but very little else does, especially the mind numbing CGI. At least this is when Marvel knew something was wrong and had to make changes for the future!
36.) Captain America: Brave New World
If there is one MCU film that is the textbook definition of a nothing burger, look no further than Captain America: Brave New World. Anthony Mackie’s first ever film outing as the man in the stars and stripes could not have been more underwhelming if it tried. Instead of centering around an earnest adventure of Sam Wilson learning to step into the shoes as Captain America, Brave New World instead uses it’s plot for the sake of connecting tissues to prior (not so beloved) MCU installments such as The Incredible Hulk and Eternals. While it’s cool to see the MCU finally reference The Incredible Hulk as a legit thing and remember about the god from Eternals laying down in the ocean, I came to see a Captain America movie and….it doesn’t really deliver that here. Red Hulk is barely in it, the plot itself feels like a mismatch of the better parts of Winter Soldier and Civil War, it aims to be a political thriller without having ANYTHING to say politically that makes sense in the context of the MCU, and the reshoots could not have been more painfully obvious if it tries. When looking at it as a deposable action flick with espionage elements added to it, there’s nothing much here. When looking at through the current lenses of the MCU, there’s nothing much here. Even when talking about the post credits scene, there’s nothing much here! Brave New World is a film you can easily skip in your MCU marathon and you will miss NOTHING!
35.) Black Widow
The original female Avenger FINALLY got her own movie to shine…….about six years too late! When looking at it like that and the timing of it’s release, Black Widow could not have came out at the worst possible place at the worst possible time. Even when looking at the movie as it’s own thing, there’s not much that stands out here aside from some decent family drama and the introduction of the impossible-not-to-adore Florence Pugh of Natasha’s highly energetic sister Yelena. And don’t get me started on what’s done with Taskmaster, the less than stellar CGI in the third act that everyone and their mother has made fun of, and the fact they waited until AFTER Natasha was killed off to give her her own movie. If we have gotten this film much sooner, this could’ve stood out among the MCU’s greatest heroes. But by 2021, that ship had already sailed! Thanks a lot, Ike!
34.) Thor: The Dark World
The entry in this franchise that has aged the worst, especially in the wake of Thor:Ragnarok, remains among the weakest MCU installments to date. It still has it’s moments such as the powerful funeral scene and the moment where Thor and the main villain fights through the portals. However, it can never shake the feeling that it only exist just so Thor has a movie in Phase 2. The main problem is that it feels too inconsequential, complacent, and moves at such a fast clip that it’s hard to get invested into anything happen, even after characters supposedly “die”. The reshoots the movie have are quite obvious as it feels like a mix of multiple visions that never come together as a cohesive whole. Not to mention, the villain flat out sucks here (You can’t even remember his name, can you?)! On the bright, this did get a redemption arc later on down the road in Avengers:Endgame. It’s certainly a movie you can watch and get some entertainment out of, but this is certainly one movie which you can always skip when doing your MCU marathon re-watches.
33.) Iron Man 2
There are plenty of folks that claimed that Marvel Studios couldn’t miss in the Infinity Saga. Those people clearly didn’t watch Iron Man 2 (or Thor: The Dark World). Nearly everything that worked well in the original Iron Man just falls flat here. The cast is still great and the effects are top-notch but the script lets it down with too much Marvel easter eggs, little to no character progression, and action scenes that are over before they even began. You could tell Marvel was still getting their footing in how to make these movies as this feels like it only exist to buy time for the other movies in Phase One. On the bright side, just like with The Dark World, it did at least get a bit of a redemption arc later on down the road, with Captain America: The Winter Soldier being able to paint a much better picture on this ill-fated sequel. I guess that’s something.
32.) Captain Marvel
Marvel finally got around to making a female led superhero movie in 2019 with Brie Larson’s Captain Marvel. If you are able to separate the bizarre controversy that was attached to this film pre-release, it’s just…..painfully mid. The first act is all over the place and some retcons to the universe are plain dumb (Fury losing an eye to a cat!) but it is passable as a buddy cop flick/origin story on the most powerful superhero in the MCU. Brie Larson fits the roll very well and has great chemistry with the rest of the cast, the 90s setting is fun, Samuel Jackson and his CGI is perfection, and seeing Captain Marvel flying through and destroying ships in her super form is quite satisfying. If only this character was introduced a bit sooner and not just before Endgame that I think it would have been easier for others to accept Carol with the other Marvel heroes.
31.) Eternals
If you were to ask me which MCU movie would have worked better as it’s own Disney Plus series than as it’s own individual film, my first answer will always go to Eternals. Despite having a lot of ambition and interesting ideas, this never quite works the way it desperately wants too. There’s just too much characters to focus on with so little time given to develop any one of them to make you care about them. Not to mention, it has themes that (while well intended) end up practically contradicting itself by the end of it. Chloe Zhao does what she can in given the film it’s own unique directing style that distances itself from the rest of the MCU but it’s still too much of an unengaging slog to give it a pass. Eternals may not work but I do hope the negative reception this movie has gotten doesn’t prevent Marvel Studios from trying films like this in the near future.
30.) Doctor Strange
This introduces some of the most interesting ideas and concepts that the Marvel movies have tried out thus far but it’s just a shame not all of it is able to be executed to it’s fullest potential until the near tail end of the picture. Doctor Strange is the one MCU installment where you can really feel the Marvel formula that this franchise has grown accustom too with the way it hits every single origin story beat in the book. Also, the sideling of Mads Mikkelsen and Rachel McAdams doesn’t help here. The third act is still an absolute banger, Benedict Cumberbatch was born to play Stephen Strange, and it does at least give a clear view into the direction that future Marvel movies are going with how much weirder and “out there” it will dare to go with it’s set pieces and visuals. It’s still functional, but it feels like Doctor Strange is at his best when he’s paired up with other characters in this universe.
29.) Ant-Man and the Wasp
Coming straight off of the high heels of the maximum culmination blockbuster of Avengers: Infinity War, Ant-Man and the Wasp made for the right, breezy palate cleanser when it came out in 2018. Looking at it’s own, however, it doesn’t really offer more than the bare minimum of what most were expecting an Ant-Man sequel to consist off. Paul Rudd is still as charming as ever as Scott Lang/Ant-Man, Evangeline Lilly steals the show and kicks major ass as Wasp, and the set pieces are quite fun. Even so, it still can’t help but feel too much like a placeholder film and a real expensive explanation as to what Scott did after Civil War and why he wasn’t in Infinity War. Not to mention, wasting Michelle Pfeiffer like that is a big no-no. It’s harmless fun but not all that memorable.
28.) The Marvels
Talk about a movie that came out at the worst possible time imaginable. Releasing during multiple strikes, franchise/superhero fatigue, and internet trolls being louder than ever, The Marvels is basically the one MCU movie that no one gave a chance to, not even Disney and Marvel themselves. Which sucks because when actually looking the movie on it’s own, it’s actually quite fun with some damn good action sequences, neat looking visuals, and three enjoyable female leads. Iman Vellani is precious as hell as Kamala Khan, Teyonah Parris is cool as Monica, and Brie Larson is able to shine much better her than any other films she’s been in as Captain Marvel, almost as if this is the character that Brie has been wanting to play since signing up for the role. It could have used a stronger villain in Dar-Benn, with more flesh out dynamics between her and the Marvels themselves and it’s certainly a film you can nitpick to death if you want to get technical about it but judging it as a straight up action movie, it’s entertaining with solid chemistry between the three leads. If you skipped this movie in theaters, I’d say give this a chance once it comes out on Disney Plus and you might be surprised with it.
27.) Spider-Man: Far From Home
On one hand, this sequel does have more focus on Peter Parker and his personal relationships and dilemmas than Homecoming along with some incredibly inventive action sequences (That Mysterio illusion scene is masterfully done!). On the other hand, there is still way too much Iron Man tech here (Especially with his literal killer glasses) and it’s ridiculous how we have ANOTHER Spider-Man villain that’s trying to get revenge on Tony Stark (despite the fact he’s actually dead now) instead of Spider-Man himself. Also, having a Spider-Man movie that takes place 95% outside of NYC or the multiverse just doesn’t gel well with the other. It doesn’t come close to being the very best of Spider-Man’s adventures, especially at the time with Into the Spider-Verse and Marvel’s Spider-Man, or top-tier MCU as a whole but acting as a plate cleanser for Avengers: Endgame and an epilogue for the Infinity Saga, Far From Home is passable but the best still have yet to come for the MCU version of Spider-Man.
26.) Avengers: Age of Ultron
In hindsight, this movie has gotten better with aged thanks to the films that came afterwards that were able to justify it’s existence. That being said, I still can’t help but feel there was still some major missed opportunities with Avengers: Age of Ultron (especially with Ultron himself). Too much of the picture feels like a placeholder for future movies instead of the main course, which is not something you should want out of an Avengers movie. Instead of feeling like a proper payoff to the other movies of the current phase like the original Avengers, this just feels like more build up for the likes of Civil War and Infinity War. And don’t get me started on that Hulk and Black Widow romance! Still, there are still plenty of solid character moments and action throughout (everything with Hawkeye is exceptional) and did introduce Scarlet Witch, who would later become one of the best, most developed and multilayered characters in the entire franchise! It’s a glorious imperfect mess but in a way, that’s part of it’s charms and I don’t think the other big MCU movies after this would have worked as well as it did without Age of Ultron.
25.) Thor
There are two main elements that holds the original Thor strongly together, the castings of Chris Hemsworth as Thor and Tom Hiddleston as Loki. The first third and last third of the film are legit great, starting and ending Thor’s coming-to-age arc strongly, but the rest of the movie is a bit of a mixed bag. The scenes on Earth are just no where near as interesting as the ones on Asgard, the special effects look straight out of a cheaply budgeted CW show, and it’s hard to understand why Thor and Jane are that into each other, aside from the fact that both characters are played by two EXTERMELY attractive people. Also, some of the setup with S.H.I.E.L.D. feel like they are only here so audience don’t get confused by their presence in The Avengers. Still, the brilliant casting of Chris Heinsworth as Thor and Tom Hiddleston as Loki work wonders and Thor’s redemption arc works quite well, even if the journey along the way can be quite iffy.
24.) Ant-Man
While it still remain a shame we’ll never to get see Edgar Wright make his own Marvel movie, this still deliver as a perfectly enjoyable heist flick. Paul Feig and Michael Douglas were perfectly casted in their roles as Scott Lang and Hank Pym respectively and that third act remains one the more fun and creative third acts in the whole MCU. It also helps that it softened the landing after Age of Ultron was a mild disappointment being more refreshingly smaller scaled compare to other entries. It still does fall victim to many of the usual MCU tropes, especially with the charismatic but underused turn by Corey Stoll’s Darren Cross, but it’s breezy and entertaining enough that it doesn’t bring it down. Also, that cameo fight with you-know-who was cool too.
23.) Spider-Man: Homecoming
As it’s own movie, Spider-Man: Homecoming is fine and certainly enjoyable. As a Spider-Man movie however, it’s quite underwhelming. Tom Holland is great casting as both Peter Parker and Spider-Man, Michael Keaton’s Vulture is one of the very best baddies in the MCU, and the high school elements were somewhat relatable. However, too much of the movie feels restrained, like the filmmakers were too afraid of this movie being compared to the other Spider-Man movies that they desired to play it as safe as possible. There are changes that feel unnecessary (Why does Betty Brant feel like Gwen Stacy?), things that are removed (Uncle Ben’s importance), and things that are added (Spider-Man being Iron Man Jr.) which prevents Homecoming from being a top-tier Spider-Man experience. However after No Way Home and Brand New Day, this certainly has grown on me overtime and now feels like a film that has earned it’s place within the MCU. I like it but don’t love it!
22.) Doctor Strange in the Multiverse of Madness
Arguably the most divisive MCU installment since Iron Man 3, Multiverse of Madness is a film that uses it’s set pieces and effective imagery to flirt with and mock the kind of fandom that care more about filmmakers making their bizarre fan theories coming true instead of making a genuine work of art. It doesn’t quite reach it’s ambitions with quite a bit of characterization being paper thin and not taking as much advantage of the actual multiverse as much as it should (or at least even a quarter of how it was done in Everything Everywhere All At Once) but Sam Raimi’s unique style is on full display here, the set pieces that work here are some of the best in the entire MCU, and Elizabeth Olsen is an absolute force to be reckoned with as the Scarlet Witch. It’s just a shame that Marvel felt the need to apologize for this film and basically make an anti-equivalent of Multiverse of Madness with #21 and (probably) with Avengers: Doomsday!
21.) Deadpool & Wolverine
The third Deadpool film finally introduces the long-awaited arrival of Ryan Reynolds’s Deadpool and Hugh Jackman’s Wolverine into the Marvel Cinematic Universe. For the longtime fans, there’s a lot of fun and enjoyment to be found here with the insane amount of cameos, action beats, full 4th wall breaking humor, and just seeing Hugh Jackman in that classic yellow X-Men suit for the first time ever. As immensely enjoyable as Deadpool and Wolverine is, I did find myself missing the supporting cast that helped carry the first two films and is quite hostile in being a sequel to Deadpool 2. Also, I really hope Marvel doesn’t take the wrong lesson from this movie’s inevitable box office success and start making every movie going for just “MCU Reddit Fan Theories The Movie”. That will get old and fate very, VERY quickly!
20.) The Incredible Hulk
This is perhaps the most underappreciated film in the MCU, especially since this is the kind of movie that critics of this franchise tend to ask for. A movie that is mature, self-contained, and has it’s own arc for it’s main character that you don’t need to see any other movie to fully understand. Not to mention, the clever opening credits that is able to perfectly showcase Bruce’s origin into become the Hulk in a span of just three minutes along with the final fight between Hulk and Abomination is some of he most stand-out scenes in the MCU. However, Edward Norton doesn’t quite capture the character of Bruce Banner in the same way that Mark Ruffalo does and it’s overall distinct tone makes it feel quite jarring to fit in with the rest of the MCU. It’s nice to know though that The Incredible Hulk is getting recognize more from the universe with returning characters showing up in more MCU projects. Far from the best of the MCU but still pretty damn good in it’s own right and deserves recognition.
19.) Black Panther: Wakanda Forever
Black Panther: Wakanda Forever is about as good and thematically rich of a sequel as it could have been given the circumstances surrounding it. Despite losing a main key piece and a few too many subplots that feel like they’re only here to tease future movie and shows, it is still able to follow the remaining characters and themes from the first one in a way that feels organic and right. It’s beautifully acted and made, the handling of Chadwick Boseman’s death is done to near perfection, and is certainly a film you will want to bring tissues too. If only the runtime had been trimmed down and there wasn’t subplots that put more focus on setting up future Disney Plus shows. As divisive as Phase 4 as a whole as been, I don’t think it could have ended on a more emotional note than Wakanda Forever. Hopefully can bring the majority of fans and moviegoers together and realized what amazing things they had in the past while hoping for amazing things in the future.
18.) Thunderbolts*
Thunderbolts* pits the most unlikely scrappy anti-heroes of Marvel together, in a tale about the power of friendship and the dealings of mental health and depression. It’s easy to mistake this film as being a meta commentary of itself, where it’s about a team of unlikely super folks coming together in a time where superheroes have become a thing of the past and the world has moved on from them. However, what makes this stand out as well as it has is the chemistry and the development of the main cast that is front and center. Florence Pugh’s Yelena remains one of the most engaging leads of post-Endgame, Wyatt Russell still has the charm and charisma as dollar store Captain America, it’s always a treat to see Sebastian Stan as Bucky, and Lewis Pullman as Bob has one of the most compelling arcs in recent MCU history. It’s not quite an instant classic with the narrative being too disjointed at points and some characters giving rather harsh treatment (Don’t expect much from Ghost!), but Thunderbolts* is a solid reminder as to what made the MCU work in the first place, putting the characters first and story, lore, and world building second. It’s also refreshing how for the first time in a long time, it actually seems like the MCU has a proper direction and feels like it’s building towards something exciting.
17.) Guardians of the Galaxy Vol. 2
Guardians of the Galaxy Vol. 2 is the one MCU installment that I’ve come close to loving completely but a few elements keep me back to doing so. James Gunn is able to capture that same charm and heart as the first one along with continuing the themes of family and friendship that the first one introduced as well as expand more on the side characters such as Nebula and Yondu. (Not to mention, Baby Groot is the cutest thing ever!) If only the second act didn’t drag as much and the Guardians had the same spark away from one another as they do when they are together, then this could have been just as good as the first one. Thankfully, Vol. 2 ends on an incredibly emotional high with one of the most fun post credit sequences ever in the MCU and Kurt Russell’s Ego is one of the better MCU villains throughout it’s history. Similar to Age of Ultron, it may have not moved the needle when it came out but as the MCU continues to expand, time has been very kind to this one!
16.) The Fantastic Four: First Steps
It may have taken literally four times but Marvel Studios was FINALLY able to get their first family right on the big screen with their MCU debut in First Steps. What makes this film so unique is how it’s able to exist in it’s own little bubble outside of the main MCU, allowing for a visual style, cosmic-like feel, worldbuilding, and a refreshing sense of optimism we have had yet to see in the rest of this cinematic universe. All four members of the team get their own moments to shine (Even if I would’ve liked a bit more of The Thing) and even the humor gets toned down this time around, allowing for more dramatic and emotional beats to play out better than most recent MCU movies. It does feel a bit too fast paced at times, given the indication that an extra 10-15 minutes might’ve been trimmed down due to possible concerning test screenings, and there are certain characters I would’ve liked to see get more screen time but if your biggest complaint with a movie is that you want more, then that MUST mean it’s a good thing. Overall, The Fantastic Four: First Steps is quite simply (I promise no pun intended!) FANTASTIC and a promising new reset to a possible bright future for Marvel!
15.) Shang-Chi and the Legend of the Ten Rings
Here is proof that Marvel still knows how to take the familiar origin beats that they’ve become accustom to but still deliver something innovative and entertaining in the process! Taking a stamp from traditional martial art movies, Shang-Chi and the Legend of the Ten Rings delivers some of the best and most creative action sequences in the entire Marvel Cinematic Universe to date! Simi Lulu as Shang-Chi is one of the coolest heroes the MCU has ever introduced, Tony Leung Chiu-wai as The Mandarian is one of the most engaging villains the MCU has ever had, Ben Kingsley is still an absolute riot as Trevor Slattery, and all of the female characters introduced such as Awkwafina’s Katy, Fala Chan’s Ying Li, Michelle Yeoh’s Jiang Nan, and especially Meng’er Zhang’s Xialing all stand out in their own unique and sometimes badass way. Sure, the third act is quite iffy and the resolution is shakey at best that doesn’t derail Shang-Chi from being one of the finest, fresh, and most pure fun installments in the post-Endgame MCU.
14.) Thor: Ragnarok
Thor: Ragnarök still remains the best Thor movie to this very day! Waititi is able to offer Thor’s most funniest, interesting, and tragic adventure yet, offering the change of pace, style, and tone that the Thor franchise desperately needed to after the underwhelming The Dark World to stand out with the rest of the MCU. Thrown in a great supporting cast with Tessa Thompson, Cate Blanchett, Jeff Goldblum, and even Taika Waititi himself with the return of Mark Ruffalo’s Hulk and you got a complete package here. At times, it can get bogged down by having to carry too much baggage from the first two Thor movies without much proper payoff (I sure hope you weren’t big fans of Thor’s buddies from the first two movies) and it is perhaps “too funny” for some, but if it wasn’t for the success of this movie, there’s a good chance Marvel would have been as good as done with Thor by now.
13.) Iron Man
The Marvel Cinematic Universe started off with an absolute winner with Jon Favreau, Iron Man delivers an incredibly strong origin story of of Tony Stark, who would end up become the face of this franchise for 11+ years! Robert Downey Jr. is hands down the best casting choice in Marvel history as Iron Man and there is not a single scene in his Iron Man armor that he does not look like a badass. If it wasn’t for the tacked-on climax and an incredibly rushed villain arc in Iron Monger, this might just be one of the best superhero movies of all time. For what it’s worth though, we would not have the Marvel Cinematic Universe in any way, shape, or form if it wasn’t for the success of this movie, so this movie deserves all the credit and respect in the world for what it help start. And who could ever forget that bombshell of a post credit scene with Samuel L. Jackson as Nick Fury coming out and mention the Avengers?!
12.) Captain America: The First Avenger
Might be a hot take but Captain America: The First Avenger was my personal favorite of the build-up movies leading up to The Avengers. It had such a warm and nostalgic feel to it that I can’t help but be in the mood to watch it whenever it’s on TV. Even before it became cool to like Captain America, this made me respect and admire the character of Steve Rogers in ways I never imagined. He’s a good guy just trying to do good things and do what he believes it’s right for himself and others. Chris Evans is terrific as Steve Rogers along with co-stars Sebastian Stan, Hugo Weaving, and the absolutely beautiful Hayley Atwell. Even the montage scene that is everyone’s biggest complaint didn’t bother me, even if I wouldn’t have mind an extra 15 to 20 minutes. With it’s warm tone and sense of wonder and optimism threw out, this is one of my personal favorites. Also, you are a robot if you don’t tear up at or near the end.
11.) Spider-Man: Brand New Day
Brand New Day is the first MCU Spider-Man film that is unafraid in giving us the Spider-Man doing his friendly neighborhood duty of protecting the city he’s sworn to protect and doing what’s best for those that he loves. Yes, we get to see Spider-Man at his absolute HIGH points as being the answer to The Big Apple. Yes, we get to see Spider-Man interacting with plenty of faces old and new in this cinematic universe in ways that feel organic, natural, and welcoming every time they are screen. Yes, the action scenes and web swinging sequences are cranked up to 11 in ways that hasn’t been done before in live-action, including a very impressive comic run-like scroll in the film’s opening 20 minutes. But what makes Brand New Day stand out as well as it does is the overall arc that Peter Parker goes through, with the themes of loneliness, isolation, and the need for reconnecting with others blended together beautifully. There are characters that I would’ve like to have seen more of and there’s one resolution towards the end that does feel like a complete copout but any potential narrative shortcoming here is completely washed away with the film’s overall sense of wonder and awareness. It might’ve taken a film of Tom Holland being sad and lonely to give this genre the potential two billion dollar booster shot it needed but hey, there’s no superhero that does it quite like Spider-Man.
10.) Avengers: Infinity War
The culmination of the past 10+ years of the Marvel Cinematic Universe was an event of a lifetime and Avengers: Infinity War was able to deliver on that hype every step of the way! Seeing every possible Marvel superhero coming together to take on the greatest Marvel villain in Thanos felt like a dream come true for not just comic book fans but movie lovers in general. Not to mention, that ending which traumatize and entire generation of children, giving them the “You gotta be effing s*itting me!” feeling that Gen X got with Star Wars: The Empire Strikes Back in 1980. However, certain elements such as the scattered shot first half and an ending that (while shocking) was clearly not gonna last holds it back for being higher on this list. Still, Infinity War is certainly one of the most exhilarating theater experiences I have ever had and it will always hold a special place in my heart because of that.
9.) Spider-Man: No Way Home
Now, that’s more like it! No Way Home was basically the Spider-Man movie that I have been waiting for from the MCU! It offers Tom Holland as his absolute best as Peter Parker/Spider-Man, giving the character more depth and intrigue than he did in his previous two solo movies, finally utilizing the potential of this version of Spider-Man that had previously shown glimpses of it in his extended cameo in Captain America: Civil War and his side roles in the last two Avengers movies. Unlike the previous two MCU Spidey films before it, No Way Home finally gave you an indication as to what this Spider-Man actually IS rather than what he is NOT! Of course, bring back in Tobey Maguire and Andrew Garfield along with their gallery of baddies and this is about as good of a Spidey adventure as it gets.
8.) Iron Man 3
That’s right! Iron Man 3 is my personal favorite Iron Man movie to date! Having the amount of action, humor, twists, turns, and social/political commentary, this is everything I could have ever want in an Iron Man movie. We see Tony Stark going back to basics here as he discovers that he can in fact be the hero that is Iron Man without even putting on the suit. Robert Downey Jr. is at his absolute best here in his solo movies, seeing Tony outside of his comfort zone is fun, and the action is about a exciting and thrilling as it could get with these movies. Hell, I even love that Mandarin Twist that everyone else and their mothers hate, sue me! It’s a shame that Rebecca Hall is sidelined here though and Bill Maher was given any screen time as well. Other than that, Iron Man 3 is the best Iron Man to date and one MCU experience that gets better and better for me each time I watch it.
7.) Captain America: Civil War
Arguably a better Avengers movie than Age of Ultron, Captain America: Civil War feels more like the darker, mature follow-up that we were hoping for than the installment we got in 2015. This is the one that tore the Avengers apart physiologically, where it took several years later to the team to even be whole again. The action sequences are phenomenal, it does a great job at being the right follow-up to both Winter Soldier and Age of Ultron, both sides of the conflict have clear and understandable motives that don’t just bluntly make them right and/or wrong, and every character, regardless of how important they are to the plot or not, get their own arc or at least moment to themselves. Aside from Zemo’s overall actions to his master plan is too far stretched and definitely requires some suspension of disbelief, Civil War remains a top-tier Marvel experience and makes for one of the most rewatchable installments in the MCU.
6.) Guardians of the Galaxy Vol. 3
Guardians of the Galaxy Vol. 3 is able to successfully hit all the beats it needs to give fans and audiences a very satisfying ending to it’s trilogy of what is perhaps the Marvel Cinematic Universe’s most surprising and consistently great franchise, along with showing how Marvel can still find ways to deliver quality entertainment, even when it might seem like they’ve reached their limits. It’s able to be funny, dark, sad, engaging, and deliver the highest and most personal stakes of all the three Guardians films that helps make it stand out as possibly the very best in trilogy. This also has some of the very best performances and emotional beats in anything Marvel related! All Guardians of the Galaxy Vol. 3 needed to do was deliver a conclusion that felt definite, right and satisfying all the same. And on those terms, it was no doubt able to deliver a famously huge third (Pun entirely intended!) I’m glad James Gunn was able to end his run with Marvel on a high note and leave me awaiting his future with DC. A fitting farewell to these lovable galactic a-holes!
5.) Avengers: Endgame
Despite some time travel inconsistencies and one or two misused characters (*cough* Hulk), Avengers: Endgame still makes for a thrilling and satisfying end to the Infinity Saga. It ends the first few waves of Marvel movies on a high note, it’s well-structured and paced despite it being three hours long, it delivers some of the most unexpected but well earned payoffs in the entire franchise, and that final battle, which the whole series was building too, could not have deliver any better than it did. (FYI, the girl power scene is AWESOME! Don’t @ me!) Even if, like INFINITY WAR, it does feels more like an event than a movie, Endgame still makes for one amazing event nonetheless. I will definitely never forget seeing the entire theater’s reaction to Captain America wielding the Mjolnir, showing that he is in fact worthy, or hearing folks cry when Tony Stark died. Even if the Marvel Cinematic Universe ended here, Endgame would have been more than a fine note to go out on and still remain one of the greatest accomplishments in the history of blockbuster cinema.
4.) Black Panther
Yes the CGI isn’t that great. Yes, it does move a bit slow in the first act and quite fast in the third act. And yes, more time with the bad guys would have helped. Nevertheless, when it come to quality, filmmaking, and it’s overall impact on pop culture, I don’t think there’s been an MCU installment that hits quite as hard as Black Panther. The characters are all iconic, especially with Kilmonger being arguably the bet MCU villain to date, everything that takes place in Wakanda is wonderful, the action is well done, especially that car chase, the aesthetic (minus the CGI) is a treat for the eyes, the music absolutely slaps, and the impactful themes are ones that still resonate with me to this very day. When looking back on it, you can tell the impact that Black Panther had with Marvel Studios and director Ryan Coogler and how it would be quite hard to replicated something with that one center piece now gone. Nevertheless, they can at least look back and witness the amazing achievement they were able to accomplish with the absolutely MARVELOUS (no pun intended) gem that is Black Panther. RIP Chadwick Boseman!
3.) The Avengers
The one crossover flick for the ages! The one that change all superhero and blockbusters in general for better and for worse (mostly worse). With all the comic book flicks that have come out after this, it’s easy to forget how much of a miracle it is that The Avengers worked out as well as it did in the first place. Yes, the plotting and themes are simple and can be read like a book but that’s a necessary evil giving it does everything else incredibly well. Just about all the Avengers get their time to shine, the entire cast has perfect chemistry, it has the perfect blend of action, comedy, and drama, and the final battle is an absolute banger, which helps tie everything together and basically as a firework display with Marvel basically celebrating their own tremendous accomplishment. Who knows where Marvel and Cinema would be today if this movie didn’t work out? That in of itself makes The Avengers an all-time classic and one that I will always revisit whenever I’m in the mood. Joss Whedon can suck it though!
2.) Captain America: The Winter Soldier
If Captain America: The First Avenger was a perfect period piece flick, then Captain America: The Winter Soldier is a perfect Captain America flick for the modern times. Not only a very well done espionage thriller with plenty of thrilling action, character development, and important subject matter, but it managed to make certain characters more interesting and badass than ever before. Captain America became cool to like in this one, Black Widow was more interesting and developed this time around (along with having the best hairstyle here), Nick Fury actually gets to do something here than just try to motivate the Avengers through pep talk, and man does Winter Soldier make for an intense and threatening presence whenever he is one screen. This was the Russo Brothers first film in the MCU and they could not have left a better first impression than they did here. Winter Soldier was the one that change the MCU for the greater good and proved they can in fact work as their own things instead of being sneak previews for the main big events. One of the greatest superhero movies ever made and that is NOT an exaggeration!
1.) Guardians of the Galaxy
While this may not be technically the best directed, acted, or written MCU movie, I don’t think there’s any other MCU movie I would rather rewatch than the original Guardians of the Galaxy. It’s incredible how a movie with this different of concept and characters and play barley over two hours yet it feels like the complete package. Every member of the Guardians of the Galaxy is instantly iconic and lovable, with the big standouts being Chris Pratt as Peter Quill/Star-Lord, Bradley Cooper as Rocket Raccoon, and Dave Bautista as Drax the Destroyer, the story is familiar but also refreshing, the action scenes are well-crafted, it’s funny as hell, the score is kick-ass, and there’s some hard hitting emotions that feel just right. The best part about it is that you can easily watch this movie without having seen any other Marvel movie and you’d be able to follow it just fine. Even the one-note villain of Ronan the Accuser, is actually quite functional in his own way as being the space equivalent of Hitler. There are definitely Marvel movies that are better made and might be better objectively but you’d be hard pressed to find one that’s as fresh, surprising, and flat-out more entertaining than Guardians of the Galaxy!
Oh, boy! This movie is gonna be a hard one to review in spoiler-free fashion! Not necessarily because it’s hard to describe my feeling towards the latest cinematic adventure with your favorite web swinger without revealing all the nooks and crannies in it but more that it’s near impossible to talk about the film in it’s entirety without address the GIANT elephant in the room! An elephant in the room that was solely created by the marketing (which has done a surprisingly superb job of not giving too much away and saving the fun surprises for the theatrical experience) that COMPLETELY glosses over a certain character that is meant to act as the film’s central main antagonist (or at least the closest thing this film has to an actual antagonist). For whatever reason, Marvel and Sony has decided to keep that character’s identity a complete secret and went through a great deal in the trailers to show as LITTLE of this character as possible.
Granted, about 99% of Marvel fans probably knows EXACTLY who I’m talking about and what character this certain actor or actress is playing (and I believe there’s already been certain folks at the premiere who basically already revealed the identity of that character) but in case you are the 1% of folks out there who don’t have a clue who or what I’m talking about, I won’t spoil it in this review. I do plan to post a spoiler filled piece after the movie releases worldwide to give a deep dive into that character and how I felt about their role in the film. But for know, I will try to keep this review as vague as possible. Here we go!
It’s crazy how we are actually getting a fourth film with a cinematic version of Spider-Man for once. Tobey Maguire wasn’t able to get his fourth film up and running after the commercially successful but poorly received, Spider-Man 3. Andrew Garfield couldn’t even get a third one after the commercially unsuccessful AND poorly received, The Amazing Spider-Man 2. But yet, it’s Tom Holland of all webheads that was able to get his fourth entry, something which not even his old pal Tony Stark could say (at least for now). However, with the emotionally fulfilling way the last one ended, it left PLENTY of free realm to take this series in a completely new direction.
Sure, No Way Home did make for a bittersweet ending to a somewhat uneven “home” trilogy of our friendly neighborhood NYC hero and it would’ve been fine if that was the last we ever saw of Tom Holland as Spider-Man in the MCU. However, with the way the first three films operated themselves as a slow burn origin story of our (Spider) boy learning to become a (Spider) man (unintentionally or otherwise), it paves a way to FINALLY have a Spider-Man movie in the MCU that legit feels like the “prime” Spider-Man we all know and love. And for the most part, Brand New Day is able to deliver just that and then some.
Premise: Following Dr. Strange’s spell at the end of No Way Home, the world has forgotten that Peter Parker exists. Four years later, Peter (Tom Holland) anonymously protects New York City as the hero Spider-Man and investigates a powerful new threat while his superpowers undergo a surprising and potentially dangerous evolution.
Brand New Day is the first MCU Spider-Man film that is unafraid in giving us the Spider-Man doing his friendly neighborhood duty of protecting the city he’s sworn to protect and doing what’s best for those that he loves. Yes, we get to see Spider-Man at his absolute HIGH points as being the answer to The Big Apple. Yes, we get to see Spider-Man interacting with plenty of faces old and new in this cinematic universe in ways that feel organic, natural, and welcoming every time they are screen. Yes, the action scenes and web swinging sequences are cranked up to 11 in ways that hasn’t been done before in live-action, including a very impressive comic run-like scroll in the film’s opening 20 minutes. But what makes Brand New Day stand out as well as it does is the overall arc that Peter Parker goes through.
Everyone always know that the best Spider-Man stories are ALWAYS the ones where the worlds of Peter Parker and Spider-Man collides among his friends, rivals, and responsibilities. Although, the ones that tend to stand out among the VERY best are the ones that raises the questions of what happen when one side of the personal life/hero persona get abandoned in favor of the other side. In Sam Raimi’s Spider-Man 2, we see a Peter Parker who gives up being Spider-Man so he can focus on being Peter Parker. In Destin Daniel Cretton’s Spider-Man: Brand New Day, we see a Peter Parker who gives up being Peter Parker so he can focus on being Spider-Man. This is an arc that not only feels perfectly in line with the titled character and the aftermath of No Way Home (while also making for some interesting metaphors on the new powers he develops out of thin air) but also making Holland’s version of Peter Parker standing out as perhaps the most relatable of his generation.
While this Spider-Man has had plenty of Ws in the four years that have passed since the last movie, this Peter Parker has taken nothing but Ls since then. By feeling he has no choice but to put his superhero life over his personal life, we see Peter being forced to adjust into a world that has forgotten about him and moved forward with their lives. He has no friends, no family, no stable job, and no career ahead of him. He has nothing left…..except Spider-Man. To put it simply, Brand New Day is a Spider-Man movie made for Gen Z, the generation that grew up during the height of covid, a loneliness epidemic, and an economy that is about as depression that Peter is throughout the entirety of this film.
And it’s not just Peter himself that has a massive black hole needing to be filled within himself, we get to see that sentiment shared with other characters as well. The Punisher is still operating as his own independent vigilante after losing his family all those years ago, there’s Bruce Banner who still has that battle within with the green monster that can always break out at any moment, which causes him to keep his distance from those he loves, and MJ and Ned pursuing the lives and career choices they’ve desired, they still feel like they are missing something which just so happens to be Spider related. And of course, there is also the film’s antagonist/mystery character which will NOT be mentioned in this review that serves the best parallel out of all of this to Peter Parker. While plenty will be said about the film’s overabundance on characters and subplots, there’s no denying that the film’s overall themes surrounding loneliness, isolation, and the needing to reconnect with one another is fairly consistent throughout the entire film.
And speaking of which, Brand New Day certainly does try to juggle a lot throughout it’s entire 145-minute long runtime. It aims to be that perfect mix of being a proper sequel to No Way Home with it’s smaller-scaled, street level ambitions while also laying the groundwork for a newly introduced character that is clearly going to play a big role in future Marvel endeavors. Thankfully, writers Chris McKenna and Erik Sommers prove they are up to the task with making both of these major storylines intertwine in a way that feels consist with the overall narrative of the film that doesn’t forget that this is a Spider-Man movie, even more so with how they juggled the Far From Home aftermath of Mysterio spilling the beans of who Spidey is and just making a live-action version of Into the Spider-Verse last time around.
There is a slight detour towards the beginning of the third act that nearly takes a noise dive and makes it seem like all of the thematic plates spinning in the air are about to come crashing down. But then, the film remembers what it’s about by cleverly taking a page from the climax of a recent MCU film, properly expanding upon that film’s and this one’s relatable dilemma, and everything’s good again. I can’t properly answer whether or not this character needed to be introduced in THIS movie but they work rather well for what I imagine was forced upon them by Kevin and company since the 2025 MCU entries couldn’t move the needle on getting audiences enthused on what comes next after the multiverse shenanigans is over. Like the very best MCU movies, it’s able to have it’s cake and eat it too in the ways that are even more delicious than what you ordered.
While Jon Watts did a fine job overall with the “Home” trilogy, Destin Daniel Cretton proves himself to be more than worthy of continuing this version of Spider-Man on his own with no extreme guidance necessary. He’s able to bring so much energy with the film’s action sequences and web swinging moments that makes them all exhilarating to watch, while also able to embrace it’s comic-booky feel without it feeling too jarring or far stretched to the casual movie goer. I’m sure there’s a shot or two that Film Twitter will nitpick to death for the next three years until the next Spider-Man movie comes along but the same proper care and treatment that Cretton gave to his other (underrated/overlooked) MCU projects in Shang-Chi and the Legend of the Ten Rings and Wonder Man are properly shown here. Looks like Mr. Feige has ANOTHER director he can take under his wing.
The entire cast gives everything they got here. Tom Holland still shows great passion and vulnerability as perhaps the most relatable version of Peter Parker we have seen to date, shockingly still able to explore hidden depth and intrigue despite being four movies in, while also being more jokey and confident than ever before as Spider-Man. Jon Bernthal is able to fit perfectly in movie form as Frank Castle as he does in streaming service form. Zendaya and Jacob Batalon are given more depth to MJ and Ned than you might’ve expected. Liza Colón-Zayas and Tramell Tillman are fun in their brief roles as totally NOT Commissioner Gordon and totally NOT Head of ICE! Mark Ruffalo is given a lesser role than you would probably expect as Bruce Banner/Hulk but he’s still here (even if he’s no where to be seen at the premiere).
And without getting into spoilers, Sadie Sink is absolutely great as her “mysterious” character. While it does take a while to actually get to her on screen, she is able to perfectly match the presence of Holland and all those she shares screentime with. If the rest of the cast of the series that she will be attached to from hear on out is as pitch perfect as this, then there might indeed be some hope for the MCU yet.
Spider-Man: Brand New Day is that rare fourth installment in a franchise that not only works strongly in it’s own right but is able to greatly justify it’s own existence with no financial apology needed whatsoever. It’s able to act well as being a proper follow-up to the last movie while also setting things up for what could be a even more promising second trilogy with a more “proper” Spider-Man this time around. There are characters that I would’ve like to have seen more of and there’s one resolution towards the end that does feel like a complete copout but any potential narrative shortcoming here is completely washed away with the film’s overall sense of wonder and awareness.
It’s no secret that superhero films aren’t the box office juggernauts they used to be but films like Spider-Man: Brand New Day prove that there is still a dire need for them in this day and age. Even if the quality is in shorter supplies these days, there is just nothing like seeing a cast and crew using their great powers to take on great responsibilities when tackling these popular superheroes. It might’ve taken a film of Tom Holland being sad and lonely to give this genre the potential two billion dollar booster shot it needed but hey, there’s no superhero that does it quite like Spider-Man.
Just please let him be happy once this is all over, okay?!
Other thoughts:
Don’t bother staying for the end credits scene because….it sucked. It just sucks!
Also, don’t expect much out of the Spidey villains shown off in the marketing because they don’t really matter that much, outside of MAYBE Scorpion. (There’s a reason why there’s only been ONE leaked shot of Tombstone!)
Michael Giacchino deserves more credit for the scores in this series. It’s able to stand out gloriously well as it’s own distinct Spider-Man score without much reliance on prior Spider-Man scores to make it stand out. This man in general might be the legit saving grace when it comes to the score in the MCU.
I can definitely see why Mark Ruffalo hasn’t join the press tour for this movie. Taking away his political persuasions and being busy shooting another tv show, Bruce Banner and Hulk aren’t in the movie that much.
It still is cool to see an unhinged Hulk that we have NOT seen since the beginning of Infinity War.
I REALLY need more of The Punisher and Jean DeWolff in the future. They work off of Tom Holland’s Spider-Man PERFECTLY!
Now, please just bring in Kingpin for the next time and have Daredevil join along for the ride. We can’t have a complete Devil’s Reign adaption WITHOUT Spider-Man playing a big role in it.
Oh, and that ONE character that shows up is a lot of fun to. Try to guess which one I’m talking about when you see them!
This weekend saw the release of The Odyssey, the newest entry to come from the great mind of Christopher Nolan. Despite all the controversy and outrage over the internet, it looks as though it’s set to have a strong opening weekend in spite of it being three hours long and clearly NOT PG-13. As a result, time to rank every film in Christopher Nolan’s filmography thus far and see how it fares from worst to best.
It shouldn’t be unpopular to say that Christopher Nolan is one of the greatest filmmakers working today! He’s one of the few directors out there that everyone is aware of and his name attached to a film alone is enough to get people’s butts in theater seats. And coming in a post-covid and post-2023 strikers timeline and in the middle of summer filled with underperforming/underwhelming big movies, leave it to Nolan to be the one big name this weekend helping to turn the tide on the narrative that people don’t go to theaters anymore. I’m sure this isn’t what the Dark Knight himself had in mind when he made it his quest to save theaters back in 2020 with Tenet, but hey, I still think he consider it an absolute win regardless.
Keep in mind that for this list, there’s really only one of these movies that I’m not the biggest fan off. Just about every other one I either like or absolutely LOVE! Heck, over half of the movies on this list were some of my absolute favorite films in the year they came out with some of them being on my list of favorite films every year. That’s why this list was INCREDIBLY hard to make! Regardless, I’m up to the challenge and let’s rank the great work coming from the Nolan mind himself.
13.) Tenet
If there is one Christopher Nolan film that I would unfortunately have to declare to being a complete and total dud, it’s Tenet. While it’s well acted and looks amazing, this feels more like an intimation of a Christopher Nolan film than an actual Christopher Nolan film. The plot is a convoluted mess, the characters are completely one-note and half of the time nameless, the sound mixing is ungodly atrocious, and while it’s central time travel/espionage premise is a very interesting one, the execution of it could not have missed the mark as much as it did.. The fact you have a film where the main protagonist name is literally referred to as “The Protagonist” and you are expected to take it all seriously is literally all you need to know about the experience of watching Tenet. Little did we know that this would be the end of the road between the partnership of Nolan and Warner Bros, with the latter getting another chance of “saving” cinema but with a total different studio.
12.) Following
Here is the one that started it all. Christopher Nolan is able to make his first length directorial debut with Following, an INCREDIBLY low budget and small scale flick about a young writer who follows strangers for a living in the hopes of being able to write something interesting for his novels. For a film that basically involves it’s main character trying to find an identity, this is where Nolan enters the realm of cinema and secures an identity of it’s own. It’s beer money-level budget does hold it back from being a truly great film with the stellar production you would come to expect from Nolan and the 70 minute long running makes many elements feels rushed and sloppy. For a directorial film debut, you can certainly do much worse but can also do much better as well.
11.) Dunkirk
Nolan has always been a filmmaker that remained a loyalist on the experience of watching films in a theater. I don’t think there has been a film he has made to date that didn’t put as much emphasis on theater experience than with Dunkirk, a tense, tightly paced war epic about the battle that took place in the beaches of Dunkirk between Germany and France. While this definitely was an event worth seeing on the biggest screen in pure IMAX back in July 2017, it’s lack of compelling characters, questionable sound mixing, and a needlessly complicated narrative really hinders the rewatch value, making it fall short of being an all-time war movie classic. Plenty will argue that this is the intention on the part of Nolan but that still doesn’t make for a very engaging watch for me. If Tenet was an example of a Nolan film that had great ideas but bad execution, then Dunkirk is an example of a Nolan film with bad ideas but ultimately great execution. I guess if you have a massive 4K TV with a stellar sound system, you might get HALF of that theatrical experience that I got back in 2017. But take all of that away, all you get with Dunkirk is a basic war film that feels more like akin to your Ken Burns PBS documentary rather than it’s own film.
10.) Insomnia
The first film Nolan made that was disturbed by Warner Bros might just be his most overlooked feature to date, even if this is ranked in the lower half of Nolan’s filmography. We have a solid and engaging thriller about one man’s descent into madness and another man that is driven solely by madness. Al Pacino and Robin Williams turn in great performances and make for a perfect duology of the hero and villain of the picture. The film does a great job of showing the effect that constant daylight has on a character along with the passage of time that is scattered across the film. Tbh, the fact that this film is this low on the list says more about how good Nolan is at making films than the overall quality of Insomnia. It might be mid-tier on the Nolan scale but this is still a pretty good film all things considered.
9.) Interstellar
What might be Nolan’s most ambitious film and largest in scope to date, Interstellar makes for one of the most interesting and intriguing sci-fi films of the 21st century. The film goes into great lengths about mankind’s place in the universe and what we are willing to achieve for the survival of the human race. The effects are a feast for the eyes, it’s superbly acted, the emotional core between Cooper and his daughter is very well done, and the first two acts is able to execute it’s themes to near perfection, acting as an engaging race against time to preserve what’s left of humanity on Earth. Unfortunately, the third act then comes along where all logic gets thrown out of the window, a certain subplot that the film has been building to gets completely handwave, and everything is tied up into the cheapest little bow imaginable. There’s PLENTY to love about Interstellar and there are many moments where it becomes SO CLOSE to being up there with Nolan’s absolute best, but then the last 20 minutes happens that just doesn’t feel satisfying. Even if it’s not able to stick the landing as well as it could have, Interstellar makes for one engaging ride that is worth experiencing at least one time.
8.) Batman Begins
Batman Begins was an absolute revolutionary when it came out back in 2005. Not only did it revived the Batman franchise that seemed long dead for eight years, but it help set the foundation that properties surrounding superheroes and comic books can in fact be taken more seriously and still be really good. It gives us an incredibly engaging Bruce Wayne in Christian Bale’s iconic turn as this iconic character along with providing a satisfying origin story that stands as one of the best ever put to screen, being able to revolutionized superhero films for DC the way Richard Donner’s Superman and Michael Keaton’s Batman did back in the days. While it’s impact didn’t feel all the way felt until around the arrival of it’s sequel The Dark Knight three years later, this film’s importance to the Caped Crusader along with the sub-genre should not go unnoticed. Even before Marvel got their universe with Iron Man, it was this terrific first entry from Christopher Nolan that got the ball rolling with just how good a modern superhero movie can be. Only shaky camera action sequences and the second half not being quite as engaging as the first half prevents this from being even higher on the list!
7.) The Prestige
Fresh off a year after reviving the Batman franchise, here we have an absolute mind bender of a film with a strong emotional core, twists and turns that are not just surprising but makes complete sense, and a film that overall doesn’t have a clear protagonist or antagonist. The Prestige offers Nolan’s most packed film in terms of themes, craftsmanship and it’s twisty as hell narrative. With the way everything unfolds through the entire picture, the whole experience plays like a manifesto itself. Making you wonder if one day Christopher Nolan will acts as a professional magician himself once he retires from making films. Even if I feel like there’s one twist too many and the re-watches don’t quite match the experience of seeing everything unfold for the first time, The Prestige is still awesome and a film that should be talked about more when it comes to Nolan’s greatest achievements.
6.) The Dark Knight Rises
That’s right, I have The Dark Knight Rises THIS high on the list! Nolan’s final entry in his largely successful Dark Knight trilogy is his most daring movie of the lot. This is the one Batman film that actually dares to question the entire idea around the character of Batman: that perhaps Bruce Wayne becoming Batman was a mistake. Aided by a intimating villain in Tom Hardy’s Bane, a welcome supporting turn in Anne Hathaway’s Catwoman, fist bumping action sequences and a ending that brings the full themes of the trilogy together, The Dark Knight Rises made for an ending that is imperfect but yet FELT perfect at the exact same time. And especially in a age where superhero and movie franchises that constantly refuse to end, it’s certainly refreshing to have a series that was able to get a proper finale and stick to it, with NO sequel or follow-ups of any kind coming after it. While this is FAR from other flawless masterpieces that Nolan has created, I do think there is a strong argument that this is his most FLAWED masterpiece. In the sense, that despite all the glaring issues from a technical and script side of things along with some underwhelming death scenes, everything here just feels…..right. Even if this film does have it’s detractors, I’m still a believer in The Dark Knight Rises…even if you’re not.
5.) Memento
If you want to see a textbook example of how to make a film within a film, look no further than Memento. This is the kind of mind f**k that very few directors could pull off but Nolan is somehow able to do it and make it look complete easy. Guy Pearce is at his absolute best here as a man suffering from a rare memory loss and is trying to find the man who raped and killed his wife. The score is great, the mystery is able to build perfectly with each previous scene building perfectly to the next, and it’s just one of those rare films that will reward you every time you watch it regardless of what way you prefer to watch it. There’s not many films that constantly wants to keep me coming back for more after each viewing but Memento is one of those rare films. This is a film that might give you a headache when first watching it but it’s certainly the best headache you will ever have. Some might argue this is a bit too high on the list but this film just rules and deserves a spot in the top 5!
4.) Oppenheimer
With this being the first film that Nolan made with Universal Pictures after his departure from WB, Oppenheimer is yet another masterfully made and directed film by the great Christopher Nolan himself. It’s able to tell exactly the kind of sprawling epic story that it aspires to be by making sure to act as a character study first and a biopic second. Every single member of it’s highly recognizable cast is able to completely disappear into their roles and captured their performances perfectly, it does a good job of exploring the man of J. Robert Oppenheimer (played perfectly by Cillian Murphy) as not just “the destroyer of worlds” but as an impactful man himself, the three hour runtime is put to good use without feeling bloated in the slightest, and is able to deliver fully on the theater experience in ways that no other filmmaker could pull off. While may not quite be my very favorite from Nolan himself,this is certainly one of his most impressive works to date and one that I wouldn’t fault anyone who declares it as their new favorite.
3.) The Odyssey
The Odyssey is cinema at its absolute finest! The cast from top to bottom is absolutely outstanding, the unconventional storytelling of this adapted classic tale works without any hesitation whatsoever, the action and set pieces are extremely thrilling and make paying the extra few dollars for the “special” screenings all the more worth it, there’s not a single minute of it’s near three hour running time that feels wasted, and while I can’t say that I agree with every single creative choice that Nolan makes along the way, the way everything comes full circle by the very end makes any potential glaring issue up to that point feel like a complete dust in the wind. Regardless if this is the best Christopher Nolan film or not, I don’t there is a film in his filmography that showcases the grand mindset that this man has had as a filmmaker for the past 30+ years. By constantly trying to find ways to outdo himself and providing you with even grander adventures with grander scales than before, this is Nolan yet again achieving a new level of high quality and a new meaning of absolute cinema! I can’t possibly know how he plans to top himself next time out but man, I will be the first in line for whatever he’s got next!
2.) The Dark Knight
I know it’s become cliché to claim that The Dark Knight is one of the best superhero movies ever, but many people said that for a reason, it is just that damn good. It justworks flawlessly at being an unique, distinct story about Batman being challenged mentally, emotionally, physically, thematically, and symbolically. Joker and Harvey Dent acts as perfect parallels to the hero that Bruce so desperately wants to be as Batman along with the villain that he fears that he will one day become. It’s a Batman movie that perfectly mirrors itself with out it tells this identical tale of crime, corruption, and vengeance in the most complex and fascinating way imaginable. There have definitely been PLENTY of superhero movies out that have come out since 2008 that people have liked/disliked more than others but I don’t think anyone can argue that there hasn’t been a superhero movie that has a much of an impact on the genre or cinema as a whole than The Dark Knight. From it’s mind blowing twists and turns to it’s rapid fire pace to gripping action sequences to it’s resonate themes to Heath Ledger’s amazing turn as Heath Ledger and to even Christian’s Bale Batman voice, The Dark Knight, even 18 years later, still stands strong! Even if it is quite an eye roller to keep glazing this film all these years later, it deserves ALL the glazing that it gets because it’s THAT f**king awesome!
1.) Inception
I always go back and forth on #1 and #2 depending on my mood but for right now, I’m gonna go with Inception. There is not one Christopher Nolan film that perfectly demonstrates the man had his finest in terms of craft, narrative, novelty, and ideas. This is easily one of the very best sci films every made and one of the rare films where it’s brilliant ideas is able to be brilliantly executed in every way. The creativity on display is astonishing, the premise involving Inception is put to perfect use and feels wholly original, the dream scenes and world building is some of the very best I’ve seen in any film, the action is top notch and thrilling, the effects are breathtaking, the characters are all compelling and engaging, every actor is perfect in their roles, the score is among the most mesmerizing I’ve ever in any film, and it has one of the most satisfying endings I’ve seen in any film that it NEVER fails to tear me up. This is one of the films where no matter how many times I watch it, I still get that same fresh, unique, and intriguing experience I got when I watched it in the cinema back in 2010. Inception is the best film by Christopher Nolan to date and is one I can recommend to anyone that is a lover of films and cinema.
I don’t think there is a director in Hollywood that always seems so eager to top himself the way that Christopher Nolan does! And I don’t just mean in terms of trying to green mushroom himself in terms of the size, scale, and scope that he chooses to shoot his films with or how grand, epic, and unconventional he wants to go with telling his stories (Although, that should DEFINITELY be noted!) but more in how he goes about it through the actual motivations of his main characters. I could go on talking about how The Odyssey is yet another cautionary tale in Nolan’s filmography about a man who wants nothing more but to get back to his family he abandoned (Inception, Interstellar) or another story where his main character who is forced to rebuild and rediscover himself to remember his true purpose (Memento, Batman Begins, & The Dark Knight Rises) but what is always so fascinating and even inspiring is how much the main protagonist in those films will go through in order to accomplish these goals that Nolan clearly has behind the camera or in the writer’s room.
The Dark Knight sees a “non-limited” Batman going through hoops and ladders to stopping the Joker while realizing that even he must have a breaking point or else he will lose himself. Inception has a professional thief that is given the chance of a lifetime to have his criminal record clean if he is successful in literally going into someone’s dream and planting another person’s idea into one’s own target subconscious. The Dark Knight Rises gives us a broken Bruce Wayne that is given no choice but to tear himself apart and start over from scratch in order to defeat Bane and save Gotham City one last time as the Batman. Interstellar has Matthew McConaughey traveling to infinity and beyond in the hopes of finding a new home for his own children before it’s too late. Dunkirk has soldiers well…..doing everything in their power to save themselves in an actual war! Tenet follows someone literally named THE PROTAGONIST trying to do their job as being the film’s literal protagonist by messing with time before it messes back! And lastly, Oppenheimer, sees an infamous physicist nearly destroying the world once and for all to make himself go down in history as the man who invented the very first nuclear bomb.
I bring all this up because you really get the feeling that ever since The Dark Knight, Nolan has consistently have a strong desire to make his films as big, ambitious, and personal as they can possibly be. Not strictly because for the sake of the audience’s own entertainment but with Nolan’s own grand ambition as a filmmaker. Even if he is the last man in the world that needs to prove and justify himself with each new film he makes, he will still go through the great lengths and means to do so anyway, with the complete mindset that each new film he makes could be the very last one. These aren’t just stories about flawed protagonists pushing themselves beyond unrealistic measures to see the light at the end of the tunnel but also about how Nolan himself is willing to push himself beyond unrealistic measures to achieve an even bigger level of peak that nobody think is even possible anymore.
And with The Odyssey, Nolan is here to tell us his biggest and most daring tale yet. Not only with adapting one of the most epic poems in history with Homer’s The Odyssey, developed by the Greeks (We’ll get to that in a moment!) but with crafting his most layered and human story yet, centered around a man being forced to go through hell and back to return to his family and home, no matter how long it takes or what methods he has to use to get there. This is Nolan with his biggest cast, grandest scale, most nonlinear storytelling, and the most personal stakes of any film he has released to date. And the results is nothing short of magnificent!
The Odyssey is cinema at its absolute finest! The cast from top to bottom is absolutely outstanding, the unconventional storytelling of this adapted classic tale works without any hesitation whatsoever, the action and set pieces are extremely thrilling and make paying the extra few dollars for the “special” screenings all the more worth it, there’s not a single minute of it’s near three hour running time that feels wasted, and while I can’t say that I agree with every single creative choice that Nolan makes along the way, the way everything comes full circle by the very end makes any potential glaring issue up to that point feel like a complete dust in the wind. Although it might take me another rewatch or two to declare this my absolute favorite film from the great Christopher Nolan, The Odyssey is prove that the king of modern cinema still has plenty of days remaining on his throne!
Premise: It follows the Greek King Odysseus (Matt Damon) attempting to return home to Ithaca after the Trojan War. While he faces a treacherous voyage and is held captive by the nymph Calypso (Charlize Theron), his wife Penelope (Anne Hathaway) and son Telemachus (Tom Holland) struggle to fend off aggressive suitors trying to claim his throne.
At this point, you have probably already read or at least strongly familiar with the story of Homer’s The Odyssey. It’s a epic tale that has been told for many generations with many different iterations of this beloved/infamous story that have been made. Through every single moment of it’s 173 minute runtime, Nolan is in the mindset that you know the ins and outs of this story but is still wanting to tell it in the freshest and newest way possible, almost like you are seeing this countlessly told story being told before your eyes for the very first time. There’s clear inspiration on display between many translations of The Odyssey, including those from Emily Wilson, E.V. Rieu, and Robert Fagles, AND even other great epic historical films such as Andrei Rublev, Ran,Gladiator, and yes, even Troy. While I can’t imagine the 2026 version is exactly what Homer had pictured when he first made this story, there is a strong sense of confidence here of being able to perfectly capture the spirit of Homer’s tale, translating itself with the best possible update of the story that one can imagine.
And while we are on the subject, yes I would be lying if I claim that Nolan’s take on The Odyssey is as historically accurate as it gets. From the silver armors in Bronze Age to the “modernized” dialogue to the character of Simon basically replacing the character of Achillies to there being little to no Greeks in this overall Greek tale, this is definitely an adaption that you can tell was made in the year 2026 and NOT 1926!
If this was your typical adaption made by your typical filmmaker, these kind of bizarre changes would make the whole thing feel dead on arrival! However, just like with Odysseus himself, Nolan is clearly up to the challenge and is willing to go through any sort of controversy and pre-release PR disaster to craft the best possible version of his grand vision.
And the main thematic throughline that helps Nolan’s The Odyssey be up to par with the very best adaptions of it’s source material is that it never forgets that at it’s heart, The Odyssey is about a man learning the humanity within himself and using that as strength to pull off the biggest comeback of all time. Each character from the film’s extremely stacked cast plays a role that ties back to Odysseus’ overwhelming journey, with trying to get home after the Trojan War and the encounter of mythical beings along the way in order to reunite with his wife, Penelope, and a son that he may or may not know about.
It’s through these first two hours of the film that do their damnest of carrying the weight of the complete damning picture. Big important sequences are told out of order and through the perspectives of other characters played by the most talented actors and actresses you can think of, it has a balanced tone that knows when to take it’s material seriously and when to have some completed messed up fun with it (That “pig” scene will live rent free in my head for a long time!), and it never forgets for one moment that is a story about Odysseus first and everyone else second. While this is all well and done for the first two hours, there are definitely some moments along the way where you can’t help but hear the gears turned out a little too loudly, wondering how much of this narrative plate spinning is Nolan showing confidence with himself and Nolan just being forced to grind through certain moments of backstory in order to show off the most important set pieces of the story.
Thankfully, the final hour of this film completely makes up for any prior shortcoming. Not only is it able to make nearly every questionable creative choice and casting decision beforehand seem completely justified but it all culminates to one of the most satisfying climaxes in recent memory, with Matt Damon being able to relive his “good old days” in about the best way possible (I imagine Universal will be on the phone with him Monday morning to discuss resurrecting a certain franchise that made him what he is). It’s hard to go into details without major spoilers but the way everything is paid off in the final 30 minutes is so damn good, making a man’s journey come full circle and taking back everything that he lost along the way.
The cast, as you would expect given how much AURA is on screen here, are all excellent. Matt Damon as Odysseus is able to perfectly sell himself as a believable warrior king in his middle age and able to carry himself as well as among the best featured films with him. Tom Holland excels as the son, Telemachus, clearly comfortable in stepping out of the shadow of Spider-Man and into the shoes of a young man waiting for his father to return. Anne Hathaway as Penelope should be the current frontrunner for Best Actress come the Academy Awards next spring, giving an amazing and vulnerable performance as a troubled mother, wife, and queen of a kingdom that she is forced to rule by herself.
Robert Pattinson is entertaining playing the complete asshole that is Antinous, Himesh Patel makes for a solid second-in-command of Eurylochus, Charlize Theron is great as always as Calypso, the woman that takes care of Odysseus and wants him for herself, Zendaya is given a similar role as she did in Dune: Part One as Athena but she makes it play, Jon Bernthal as Menelaus acts as the right guide for Telemachus, a man who represents the version of a father that he might want, and John Leguizamo is completely unrecognizable in the best way as Eumaeus, given more focus and depth than I was expecting. I would’ve liked to have seen more from Mia Goth and Logan Marshall-Green as twin siblings in Melantho and Melanthius and Benny Safdie as Agamemnon but they are able to fit in alongside everyone else. Oh, and although Samantha Morton’s Circe is only in one major sequence in the film, nailed it just……nailed it!
And of course, you have to address the GIANT elephant in the room in regards to the controversy surrounding the casting. Yes, Travis Knight, Lupita Nyong’o, and Elliot Page are all in this film as their roles of Phemius, Helen of Troy/Clytemnestra, and Sinon (A.K.A. NOT Achilles) respectively but their roles are about as minor as they come and don’t hog the spotlight as majority of the cast members already mentioned that it’s baffling it attached as much backlash as it did. Sure, I can question if it was the wisest choice for Nolan to cast a rapper in a Greek tale (Even if Travis’s newest song in the end credits is catchy as hell!) or I would buy Elliot Page as being the bravest warrior that Odysseus has ever seen (To be fair, it’s NOT implied he is the best or strongest warrior of them all and the film is clearly aware of that!) but for anyone that is familiar with The Odyssey, they are all given the same extended cameo roles they did in the books, given a combined screentime of five to seven minutes at best. So, even if you are among the unhinged folks that are outraged of these castings, they are not in it nearly as much for them to hold you back on your enjoyment of the film, especially since all three of them are great in the film with their limited screentime (And yes, I do indeed buy Lupita Nyong’o as the most beautiful woman in the world! Don’t @ me!).
However, despite having nearly everyone but the kitchen sink as part of the cast, the real MVP of the film is no one other than Christopher Nolan. His craftsmanship is yet again on complete full display, making sure that regardless of what way you chose to see this film in theaters, it will make for the very best possible viewing experience that anyone could have imagine. With completely sharp direction, gorgeous cinematography from Hoyte van Hoytema, surprisingly consistent editing from Jennifer Lame, and a haunting/riveting musical score from Ludwig Göransson, Nolan yet again deliver the complete full package of a theatrically released film, making sure that every single penny that was spent from it’s $250+ million budget was justified. Heck, even the sound mixing worked for me this time! It’s THAT good!
Even if you are someone that don’t care for Christopher Nolan as a filmmaker, you can’t deny the man is doing everything in his integrity to keep the cinematic theatrical experience alive. With so many achievements underneath his belt, he has every excuse in the book to just play it safe with each new film he now releases and not feel the end to top himself every chance he gets. But thank the Greek gods he REFUSES to do that because man, I can’t think of a bleaker cinematic future in the 2020s if Oppenheimer and The Odyssey never became a thing. For as long as that man is making films, he will always act like a man on a mission, constantly aiming to reach a higher bar with each new film that he makes. I mean, can you name me ONE other director working in Hollywood that is able to CONSISTENTLY deliver films that always end up being in the top 10 highest grossing films of the year because of their name ALONE?! I bet you can’t and that what makes Christopher Nolan such a gift to cinema.
The Odyssey makes for yet another grand triumph from Christopher Nolan along with one of the best grand epics in recent memory, managing to defy all expectations and find new unforeseen boundaries to push. The story centering on Odysseus is captivating, the action sequences whether it involves the Trojan War, cyclops, or Matt Damon going full Jason Bourne are all brilliant, the cast is among the greatest ensembles of all time, and everything about the final hour of the film is so perfectly executed that it literally washed any gripes I had beforehand completely away. I can’t say I would have made every single creative and artistic decision that Nolan makes here but nearly every single one of those decisions is justified and is perfectly shown why onscreen.
Regardless if this is the best Christopher Nolan film or not, I don’t there is a film in his filmography that showcases the grand mindset that this man has had as a filmmaker for the past 30+ years. By constantly trying to find ways to outdo himself and providing you with even grander adventures with grander scales than before, this is Nolan yet again achieving a new level of high quality and a new meaning of absolute cinema! I can’t possibly know how he plans to top himself next time out but man, I will be the first in line for whatever he’s got next!
Although if the cave and “pig” scene is any indication and how ANOTHER certain big someone in Hollywood has reacted to The Odyssey, I think we have a certain genre that Nolan hasn’t tackled yet and a certain actor that Nolan hasn’t collaborated with yet could be a match made in heaven!
*Warning! This article contains MAJOR spoilers for Supergirl (2026)! If you haven’t seen the movie yet and don’t want anything spoilers, then you might want to click off the article right now! You have been warned!*
So, uh…..the new Supergirl movie came out this weekend. And just like with every other estrogen-fueled superhero movie that is not about Princess Diana of Themyscira (and even that eventually fell flat on it’s face a few years later with it’s sequel), it has had it’s wide share of controversy. I would go over exactly what *some* of this controversy stirs from but literally just think of any woman-lead ANYTHING that has come out post-GamerGate and you will know exactly what I’m talking about. And as much as folks would love to rally behind this film’s defense, Supergirl (2026) is just not good or interesting enough of a movie to die on it’s hill.
It has received a 54% rating on Rotten Tomatoes, the first project in the DC Universe to receive that rating (The MCU didn’t have a single rotten rated film until Eternals in 2021 btw!), it got a very poor B- rating on CinemaScore (With Superman 4‘s C and Joker: Folie A Deux‘s D being the only two DC films that have received worse ratings), and even the audience ratings on Rotten Tomatoes have been just decent at best (ranged around 75 to 76%). Because of these mixed reviews and poor word of mouth, Supergirl (2026) underperformed in even it’s slimest of expectations this weekend, grossing a dreadful $37 million domestically and only $62 million worldwide, that’s lower than the opening weekends of Morbius, The Marvels, & Joker: Folie A Deux. To put it simply, things are not looking good for Supes’ cousin at all.
So, what exactly happened here? While the stirred controversy I mentioned earlier before is nothing out of the ordinary, not even hardcore DC fans, moviegoers, or actual sane people not brainwashed by Fox News are coming to their (Super)girl’s support! Was it with Supergirl (2026) that is not connecting with anyone? The character has had her success in comics and television but can’t seem to translate that onto to the big screen, with both the 1984 version with Helen Slater and the 2026 version with Milly Alcock being financial bombs.
While I can go into things I pointed on in my review such as the barebone storytelling, uninspired direction, subpar looking visuals, and the main villain with somehow even less charisma and memorability than whatever the hell Christopher Eccleston was suppose to be playing in Thor: The Dark World, the moment that really sealed this movie’s faith for me was with Kara Zor-El’s final decision she makes at the end. It’s a decision that not only contradicts the source material it’s based off of but also contradicts the entire point to Supergirl’s arc in the movie.
In case anyone is unaware, Supergirl (2026) is based off Tom King’s 2021-2022 comic run of Supergirl: Woman of Tomorrow. In that version, we seen a young Kara being striped down from what would you expect from young blooded female superheroes. Instead of being portrayed as the biggest piece of eye candy you have ever seen or the ultimate girl power fantasy, Supergirl is just a girl who lost everything in her life at such a young age. She was raised on Krypton, watched everyone she loved perish away, and now has no one but herself and her lovable dog Krypto. It made for an interesting portrayal that you usual see from older, male superheroes.
Instead of using her superpowers to save as many people as she can and do pure good like her cousin, Superman, she instead uses it to go to red sunned planets to get drunk, party like a punk rockstar, and kick whoever ass gets in her way. That is until she has a come to Jesus moment and is offered a journey with another young girl named Ruthye, to take vengeance against the man who killed her parents, Krem. Kara refuses at first until Krem comes along the way to crash the party and puts a needle right through everyone’s favorite alien dog, Krypto. And just like that, the two go on a quest for revenge, to not only find Krem to put him out of commission but also to uncover the secrets behind this group known as Brigands, a group of space pirates and human traffickers.
It’s throughout the course of the film where you get to see just how Supergirl differs than Superman. Instead of finding family and love like her cousin did, she found only pain and lost. Instead of using her powers for the means of helping others, she uses her powers for the means of helping herself. And as the movie claims, instead of finding the good in everyone, she only she’s the truth. It’s loneliness that trumps togetherness, selfishness that trumps selfness, and being a realist that trumps being a optimist. Regardless of whether or not you think the film and/or comic goes too far with it’s “edgy” portrayal of Supergirl, you can’t deny it does help separate Kara than just being a gender-swapped version of Superman (something which CW’s Supergirl got bluntly excused off as that show went on).
However, the real dealbreaker that seems like was the one element that both super siblings could agree on is to NOT be a killer. While Superman (2025) certainly had a body count of some sort, you never got the sense that Clark Kent would go out of his way to kill someone out of the lime, even his worst enemy. And that is the one element that Kara wants to portray herself has to. Throughout the entire film, she tells Ruthye that killing is not the answer. No matter what Krem could’ve possibly done to take everything away from her, killing him would not bring ANYTHING back for her. Instead of leaving filling out that black hole inside of her, it will only just make that hole bigger forever and consume what good is left in her.
We then come to the final confrontation where Ruthye has Krem exactly where he wants him, he’s on his knees and vulnerable. If there is a more open time to kill him, it’s this one. However, once again, Kara arrives and tells her to spare his life, reminded her again that this won’t change anything and will basically just gives him exactly what he wants. After immense hesitation, Ruthye agrees and spares his life.
It’s that this moment where you expect a slight change from the ending of Woman of Tomorrow. While doing a notable time jump is perhaps out of the question, you can still have Supergirl make a move that leaves a big mark on Krem’s face, a scar that will remind himself of what he did to earn that mark. Whether it’s a cane or not, you can still have Supergirl acts as a mean of revenge that doesn’t take away her arc. However, director Craig Gillespie and writer Ana Nogueira decided to go in a complete different direction have Kara flat out kill Krem herself. Yes, you heard that correctly!
SUPERGIRL KILLS KREM!!!
That’s right! Instead of just giving him a ding to the head while getting the antidote to cure Krypto, Supergirl picks up her sword and kills Krem. Despite the fact that Kara has spent the whole movie preaching to Ruthye about how you can’t kill people because of how wrong it is, she does the dirty deed herself. Not only is that a complete betrayal of the Woman of Tomorrow comic itself, it’s a betrayal of Supergirl’s arc in the movie itself.
Despite what some might claim, NO, Krem is NOT killed in the comic run. Not only was this confirmed by comic writer Tom King himself in 2024, it’s made obvious in the final few pages where Krem is laying on the ground and covering his face after he just got wacked by an older Ruthye’s cane. He didn’t die there nor was he killed by Kara. It was actually Ruthye letting out years of vengeance inside of her and dumping it all over Krem right after he spent 300 years in prison, while Kara watches. Whether you think that’s tacked on or not, it still keeps Supergirl’s characterization consistent by her being as an edgy anti-hero that doesn’t feel the urge or teaches to kill. And the fact that writer Ana Nogueira interpreted that sequence as something different and didn’t even bother to check in with Tom King himself or do a quick google search is baffling to me.
But it hurts Supergirl even more in the movie itself. While Kara doesn’t see herself as being a Mr. (or Mrs.) Goody Two Shoes hero like her cous, Supes, she still draws the line at killing because that is what separates her from being an anti-hero to a straight up villain. That’s why she keeps telling Ruthye to NOT kill Krem, once you start down that dark path, you will never come back from it. It’s what keeps her from being Supergirl to just being Homelander with a vagina (or basically Stormfront). However, in the case of Supergirl (2026), it almost seems like a decision that would be more in line with what Zack Snyder’s version of Supergirl would be like instead of James Gunn.
Now, this is not me trying to defend the actions of Krem himself. He was objectively a terrible person who is the caught of tracking children and young girls alike. He deserved the most cruel and unusable punishment imaginable but I don’t think Supergirl killing him is exactly that. It almost feels like he got exactly what he wanted. Instead of living out the rest of his days in a jail cell, possibly turning into the same depressed and jaded individual that Supergirl herself became at such a young age, he now is left off the hook scott-free. And our main heroine let him do just that.
The only way this could’ve possibly work if we saw a certain change in Kara in the aftermath of her killing Krem. However, instead of seeing a sense of doubt or her being mentally scarred by this decision, she kinda just carries on like normal. She reunites with Ruthye one last time, letting her join along in celebrating the rest of her birth week, and then reunites with Superman on Earth. She doesn’t have a conversation about what transpires or get a hint of how she changed or grew from that experience. It’s back to stage one except she is slightly less depressed and angsty now.
Say what you will about Superman killing Zod at the end of Man of Steel, but at least we were able to get an IMMEDIATE reaction out of him after he did the dirty deed. Literally just SECONDS after he killed one of his own, he screamed in utter pain and agony, almost as if he just killed someone he loved deep down inside. It was then Clark was able to help heal the mental wound inside of him by being closer to his adoptive mother, Martha, and his new girlfriend/partner at the Daily Planet, Lois Lane. I still can’t say I was in love with that decision from Mr. Snyder and Mr. Goyer but you could at least see somewhat of a justification for it given Superman was trying to save literal human lives.
When it comes to Supergirl (2026), Kara killing Krem just seems like a decision that just comes out of nowhere. I don’t know if it’s because they wanted to make that change from the comic to catch people off guard. I don’t know if it’s because they wanted to subvert our expectations by showing how this Supergirl is much different than Superman. I don’t know if it’s because they wanted to show us how Krem basically won because he got Supergirl to break her unwritten rule. And I certainly don’t know if it’s because that’s what Ana Nogueira ACTUALLY thought happened at the end of Woman of Tomorrow so she decides to do the sequence just like that. The fact that I can’t tell you why that decision was made speaks volume to the film’s overall aimless writing and direction.
I’m not gonna act like Supergirl (2026) is the worst comic book movie of all time or even the worst one that has come out recently but it’s this one decision made at the ending with Kara that brings this movie down from being just a simply mid movie to a kinda crappy one. I also believe that is the one decision that is keeping even the most diehard of comic book fans from defending it from the corrupt mainstream media. It showed a fatal understanding of the comic it’s based on and even what the whole film itself stands for.
I’m not saying you have to stay faithful to every comic you adapt to an absolute T or can’t make required changes but you need to at least capture the full hearted spirit of it and why that story has resonated with comic readers all around the world. While Supergirl (2026) can claim it’s honoring it by incorporating certain story elements and characters from the book and bringing in Jason Momoa’s Lobo to steal the show, Kara’s ending actions and the way it’s executed proves that it doesn’t understand the point it’s source material was trying to make nor it’s own point. I don’t think I’ve seen an ending of a comic book movie misunderstood the point of it’s source material THIS hard since The Amazing Spider-Man 2.
I sure do hope that Supergirl (2026) only amounts to a slight bump in the road to whatever DC Studios has planned with their current cinematic universe and beyond. However, if this really is the quality we can expect for projects which James Gunn himself is NOT writing or directing, then we might be back in the same well hole we were in around this time a decade ago with the LAST DC cinematic universe and the ones before that.
This is gonna be a review where the subtitle of the movie is gonna make it sound much worse than it actually is. If you are someone that goes into one of these movies looking for nothing but laughs, stunts, and your favorite MTV cast and crew putting each other up with extraordinary pain for sh*s and giggles, you will get plenty of that with Jackass: Best & Last. However, if you are someone that is looking for brand NEW stunts, brand NEW laughs, and brand NEW ways of your favorite MTV cast and crew putting up with extraordinary pain for sh*s and giggles, you will likely be disappointed here.
Jackass: Best & Last is not so much it’s own complete Jackass movie as much as it is a full presentation special for Paramount Plus with a bunch of deleted scenes from the other Jackass movies shoehorned in. Whether this became a theatrical release because Johnny Knoxville and company couldn’t bear the thought of saying goodbye to his franchise on a streaming service or to follow through on David Ellison’s ill-conceived promise of releasing 30 films a year once it snatches up Warner Bros Discovery is beyond me, but you will find yourself with just as much laughs and giggles looking up Jackass YouTube videos or watching any other Jackass film on Paramount Plus than you would watching Jackass: Best & Last in theaters.
I have no doubt Jackass means much to this cast and crew, especially if putting up with over 25 years of taking shots to the nuts and getting a million different concussions until you’re 50 is anything to go by (which, YES that infamous part of the Jackass Forever trailer DOES get brought back here). And to the film’s credit, the opening sequence with Johnny performing his very first stunt and the end credits that acts as a tribute to the history of Jackass is very well done, making for the only times where bringing back certain scenes from the other movies is justified (Other than that one bit taken out of Bad Grandpa of course! A.K.A. Easily the best of the Jackass franchise).
The rest of the film is either a compilation of cut out stunts from the other Jackass movies that never should’ve been cut out in the first place, member-barries that references other jokes and sequences in this franchise that you’ve already seen before, and new stunts and sequences that don’t feel as fresh because it involves our cast and crew who are clearly growing out their roles of taking so much hurt to their bodies. I certainly did get some laughs along the way but I could have easily gotten as much by just watching other Jackass videos or popping up any other Jackass movie.
I’m not gonna act like every Jackass movie is a masterpiece, except for Bad Grandpa (That is as much of a comedic masterpiece as it gets, but at least each one offers fresh perspectives while unlocking new, creative, and downright STUPID ways of making you belly chuckle and get tears out of you from laughter. Jackass: Best & Last seems to just exist to get one last nostalgic dollar out of you before Johnny, Steve-0, Chris, and Wee-Man become too crippled to even imaging doing dangerous stunts out of a wheel chair.
I get that these guys are getting old and have their limits now but if that was the case, this could’ve easily worked wonders as either a tv special on MTV and/or a streaming special for Paramount Plus. It would given these guys the right amount of length to do their stunts without going too overlong over it and would have easily killed it in the ratings. But because these flicks are as cheap as they come, squeezing in a few extra bucks wouldn’t hurt. Which, hey, in this day and age, I ain’t complaining about theaters getting more movies to play that people want to see but it certainly doesn’t help in the case of Jackass: Best & Last.
Although this is ultimate a negative review for me, I don’t have any strong emotions or ill will to Jackass that this mid final installment will have a lasting impact on me for the near future. Johnny and friends clearly have had the time of their lives putting through pain and scrutiny just for our own amusement. Even if that is incredibly dumb, I tip my caps to them for having the literal balls to go through all of that. However for me, when it comes to Jackass, I’ll just pop in Bad Grandpa and call it a day!
Let’s address the broken record in the home: Toy Story should have ended after 3! That is maybe the one thing on Planet Earth (aside from hating on anything AI-related) that everyone and their grandmother’s toys can agree on. Even if you are someone that likes and/or loves Toy Story 4, there’s not many that claimed they would cry themselves to sleep if that movie never became a reality. They just need to replay the ending of Toy Story 3 to do that. (Can someone grab me another tissue?!) I bring this up because Toy Story 5 is yet another Pixar sequel that is forced to walk the tight rope between being good enough to justify itself as a sequel and being good enough to justify itself as strictly a Pixar sequel.
While I highly doubt that Toy Story 5 will win over every single naysayer out there, it certainly does the best job it can at justifying itself, by providing a refreshing new POV with Jessie as the main Sheriff this time around and answering the question of how toys can possibly hope to survive in the age of technology. It certainly takes it’s time to put all it’s chest pieces into place and you can certainly feel the overwhelming nature of this franchise having so many different characters that it will make your head spin. However, for a fifth film in a long-running animated franchise owned by Disney, it’s certainly no…… Ice Age: Collision Course.
Premise: Set two years after the events of the fourth film, Toy Story 5 follows Jessie (Joan Cusack), Buzz Lightyear (Tim Allen) and Woody (Tom Hanks) as they and the other toys deal with the presence of Lilypad (Greta Lee), a tablet and the new favorite plaything of Bonnie (Scarlett Spears). There is also a side quest featuring an army of factory-sealed, high tech Buzz Lightyear action figures that are looking to fulfill their mission for Star Command after being stranded on a deserted island.
The main thing that Toy Story 5 has going for it is the way it handles it’s toy vs tech premise. In 2026, it is no question that technology has played a role in everybody’s life and has greatly affected how we evolve as human beings. Instead of writing with paper and pencil, we are tapping on iPads and typing on computers. Instead of face-to-face interactions to meet and chat with someone, we are using Zoom and Instagram to do just that. Instead of reading books, we are doom scrolling on Twitter. And of course, instead of kids playing with toys, they are playing with electronics. We might not all like it but that’s the reality of how we operate in the age of tech. And Toy Story 5 is not afraid to showcase that whatsoever.
The film’s overall approach to toys trying to adapt into the age of tech isn’t so much that you had to live with just one or the other but more about how both toys and tech have their merits and it would be foolish to suggest otherwise. In the case of trying to win over Bonnie’s playtime, Jessie and LilyPad have no goal throughout the film other than doing what they believe is best for their kid. While LilyPad wants to help Bonnie find any friend she possibly can, Jessie wants to help Bonnie find the “right” friend.
Co-directors and co-writers Andrew Stanton and Kenna Harris are obviously not blind to our obsession with technology in this day and age and how it has played a major role in our lifetimes. As much as we complain about how the internet and social media has ruined our lives, we really can’t imagine a world without them now because that’s how folks go on with their days. But, just as long as we make sure to make time with the ones we love and make room for others things, tech can still play a good role in our lives if we allow it. Any other film could have easily took the safe route with a whole “tech bad, toys good” message but Stanton and Harris both know that we are beyond that mentality and simply can go back to the days of stones and sticks. We can no longer focus on how life was so much better before tech, we can now only focus on how we can make life better WITH tech.
The other major element of Toy Story 5 is Sheriff Jessie taking the lead this time around. While plenty of purists bark at the idea of a character other than Woody or Buzz taking the main spotlight of a Toy Story film, there’s more than enough justification for Jessie being in the frontline this time around. Even if you complete forgot how the last film left off with Woody deciding to stay with Bo Peep and passing the baton down to his fellow cowgirl, the film makes it clear that Jessie is the one with the biggest connection to Bonnie herself and has to be the one to lead the charge.
Her story ties back to her resonating arc from Toy Story 2, with her yet again fearing abandonment and forgetfulness from her owner, wanting to do everything in her power to make an everlasting impact of her child’s life before it’s too late. She meets up with new friends along the way (the best of which is Smarty Pants, voiced by Conan O’Brien), showcasing how toys and tech can indeed become one of the same and learning along the way that there is absolutely zero shame in that. And yes, without getting too deep into spoilers, the emotional highpoint of the film does indeed serve as a perfect parallel to “When She Loved Me” from Toy Story 2, with Taylor Swift fitting into the shoes of Sarah McLachlan flawlessly.
Oh, and in case if you are wondering about the subplot with the army of the high-tech Buzz Lightyear action figures that were isolated on an island, it’s mostly just an excuse to give Buzz more action in the film and allow Tim Allen to have a bit of extra fun in the voice recording booth. It’s justified itself enough by tying itself back to the the film’s core themes of toys becoming a thing in the past and needing to make the right upgrades in order to survive for the future. Not to mention, having some of the best gags and references to the previous installments in the entire film.
Buzz himself is giving a role similar to Kristoff in Frozen 2, wanting to do everything he can to please the woman he loves most by acting as her deputy while constantly trying to propose to her over and over again until he’s blue in the face. Thankfully, it’s nowhere near as redundant as it was in Frozen 2 and it concludes in a way that will certainly make the die hard Buzz and Jessie shippers lose their minds. (It does make you wonder why it took so long after 3 for Buzz to want to pop the question!) I imagine that will been seen as too sappy by certain people but hey, at least it’s better use for our beloved space ranger than him finding his “inner voice” (Seriously, what was that all about in the last film?!).
And if you are curious to know how they handled our favorite cowboy’s return, well….there’s not much to say really. Woody is easily giving the least important role he has ever had in this series up to this point, given the shaky feeling that he’s only around now for the sake of merchandising. (Even Andrew Stanton himself admitted he had no idea how to bring Woody back). I imagine Josh D’Amaro and Diana Walden couldn’t bear the thought of having to answer to the millions of parents whose children cried in the theaters because Woody wasn’t there.
While there’s an occasional flirting around with the idea of the older western toys being forced to match up with the newer, high-tech toys along with some amusing back-and-forth between him and Buzz, Woody’s role here feels rather superficial. Even the whole “balding head” and “bear belly” stick that the marketing made such a big deal out of doesn’t end up mattering that much, with Stanton and Harris basically gasping at straws with what to do with him.
This ties back to the weakest link of Toy Story 5, which is the overabundance of supporting characters that this franchise doesn’t know what to do with anymore. Much like Toy Story 4, the film’s desire to put the main focus on the handful of characters that drive forward the narrative and brand new characters it introduces means that a good chunk of the toy gang that the audience followed throughout the first three films is left on the shelfs to gather more dust. Even the toys that were introduced last time around such as Duke Caboom, Ducky, and Bunny are given screentime so slim that you can easily blink and you will miss them. (Not to mention, Bo Peep ends up getting sidelined…..again!) If Toy Story 2 was able to keep it’s core focus on Woody while also finding plenty for the supporting cast to do, then what excuse does these last two installments have?
Sure, characters like Hamm and Mr. and Mrs. Potato head are given a couple more lines than last time and there’s a decent laugh or two with Forky and his new “knife” but Pixar, you might want to pump the breaks on adding more toys if you can’t even bother to play with the ones that you already owned. It’s no wonder Bonnie keeps losing you guys!
And while the overall film resolution is satisfying by itself, you can’t help but think they were going for a much bolder and more daring change to the series’ overall status quo but then they just….backs away. Maybe that has to also factor in the massive number of characters now but even I’m now starting to lose track on which kid owns which toy now. I wouldn’t be surprised if Pixar got spooked by folks who cried foul to the ending of the last film and didn’t want to poke that bear again.
When it comes to everything else, it’s all fine and daddy. The animation continues to be stunning and deserving to be seen on the biggest screen possible (especially when it comes to every playtime scene and the 50+ Buzz Lightyear’s in action), Randy Newman proves he’s still got it as the series’ longtime composer and secret MVP, and while you can definitely tell that Hanks, Allen, and Cusack have shown their age as Woody, Buzz, and Jessie respectively, they are still given whatever energy and life they got left into these characters to make them stand out as some of Pixar’s absolute finest creations. Cusack in particular does her duty to make Jessie’s spotlight feel all the more worth it. While the trailers and clips shown off don’t do a good job at showcasing that, the actual finished film does do her justice. Oh, and Greta Lee definitely feels like she is having a LOT more fun here than she did in Tron: Ares.
To the folks out there that see Toy Story 3 as the “true” ending to the series and find any Toy Story installment to come out after 2010 to be an absolute disgrace, you have already made up your mind about Toy Story 5. To the folks out there that acknowledge this franchise has passed it’s peak and just want an excuse to hang out with some of their favorite toys again, you will find quite a bit to like about Toy Story 5. To the folks out there who love Jessie and see her and Buzz as absolute ENDGAME, you will find a LOT to like about Toy Story 5.
Even as Disney continues to squeeze whatever dollar they can into Pixar’s most successful franchise, you can’t deny that the people making these films are doing everything they can to justify themselves to keep the franchise going creatively. And come on, you are flat out LYING to yourself if you think a movie that is basically telling kids to turn off their iPads every now and then and touch some grass is NOT a message that kids and families need in 2026.
In that sense, Toy Story 5 might not be the Toy Story sequel we needed but it is perhaps the one we deserve.
Other comments:
I need a Smarty Pants Disney Plus mini series ASAP! If you did one with Forky, you can do one with Conan O’Brien!
I can’t believe they actually allowed Bullseye to speak but man did they found the perfect voice for him.
I love my boy Andy but Blaze might just be the best human character in this franchise. Bring her back for Toy Story 6!
And yes, they will make Toy Story 6 one day! Just accept it!
I can’t help but wonder how much better this film would’ve been accepted if THIS was the first Toy Story film since 2010 and was the TRUE Toy Story 4. At least you wouldn’t have to come up with a contrived excuse to bring Woody back.
It’s hilarious how two years ago, everybody was opening arms for Shrek 5 and closing arms for Toy Story 5! How the tables have turned!
Also, Shrek 5 looks……well……….yeah!
Gatto will be Pixar’s next masterpiece! Get back to me in nine months and I will say I told you all!
The two films that everyone is talking about at the moment are Obsession and Backrooms! Two films that are not only very good horror film debuts from talented young blood that originated straight from YouTube but they also managed to steal the spotlight away from the latest Star Wars film, The Mandalorian & Grogu! As the newest addition to a galaxy far and away completely crashed and burn at the box office in just it’s second weekend in theaters, Obsession and Backrooms was able to perfectly pick up that slack, with the former gaining some of the best box office legs from any film in recent memory and the latter awarding A24 their biggest opening weekend in their history.
To say this has opened the eyes and ears of the film industry would be a massive understatement! The success of these two films are clearly proving several points all at the same time! Not only is it proving that successful original films are indeed alive and well with a clear audience desire for them but it’s also proves that Gen Z does indeed love going to the movie theaters and are basically the group that is gonna help keep the movie theater going experience alive for the foreseeable future. You just need the right kind of films that is able to perfectly capture the hearts of the right kind of audience and they will show up in drones! While there have been plenty of other examples in recent memory to back up those claims, the success of Obsession and Backrooms is something truly special!
However, there have been a few bold claims that many are saying after these two horror flicks were able to give The Mandalorian & Grogu a run for it’s money this weekend! Not only does this mean that Star Wars as a whole is officially dead but blockbuster flicks based on long-running established IPs are officially dead! Never mind the fact that The Devil Wears Prada 2 was able to secure double the grosses that the original made just a month ago! Never mind the fact that The Super Mario Galaxy Movie is getting so close to a billion dollars that it can TASTE IT! Never mind the fact that the likes of Toy Story 5, Minions & Monsters, Moana (2026),Spider-Man: Brand New Day, Dune: Part Three, and Avengers: Doomsday are still having yet to come out for the rest of the year, short-budgeted horror films made by YouTubers is the ONLY future of filmmaking and Obsession and Backrooms is prove of that! I find that line of thinking to be incredibly flawed!
Don’t get me wrong, Obsession and Backrooms are both INCREDIBLE cinematic achievements for Curry Baker and Kane Parsons! I’m proud of the fact that these films are thriving whereas corporate slop like The Mandalorian & Grogu are being rejected! It’s prove that audiences do indeed have some bit of standards for the quality of today’s films that they chose to spend their hard earned money on, especially in our not practically great economy! But, let’s not get ahead of ourselves here, there is still a big place for big blockbuster films, it’s just that there is now a big place for original and thought provoking films as well!
Just imagine you are an owner of a movie theater right now! Would you be really applauding the fact that a big blockbuster film like The Mandalorian & Grogu is tanking hard at the box office all because previously lesser knowns films such as Obsession and Backrooms is killing it? Do you really want one big film to flop so hard that a couple of other smaller films can fill whatever sinking hole that other film caused? I’m pretty sure your answer is gonna be a clear no!
Movie theaters want and NEED both of these kind of films to succeed. They need the kind of films from beloved and established IPs to do absolute gangbusters at the box office AND they need the kind of lower budgeted and more independently made films released to help fill in that big hole in between each newly released big film that comes out to cover for any potential theatrical drought they might have. While I’m sure movie theater owners are more than happy that Obsession and Backrooms are selling tickets at a daily pace that I don’t anyone could possibly imagine, they would also prefer that The Mandalorian & Grogu would also be a big hit as well as a special icing on the cake.
The big question that everyone is asking after Obsession and Backrooms is what can Hollywood and movie studios learn from this? Should they take more changes with young and famous YouTubers and social media influencers and less on folks coming straight out of film school? Should they pump the brakes on corporate slop and remember to put quality over quantity with their biggest IPs? Should they just give up on big IPs such as Marvel and Star Wars all together because of their recent track record and invest more in originality of any kind? While those are the kind of questions that everyone is asking right now, I think one important one is being left out. That one question being: Why not leave room for more?
Why can’t we have huge blockbuster films that are huge events and potential billion dollar grossers every year AND also have impressive original films from young filmmakers that is also able to make bank at the box office each year? Shouldn’t we be encouraging BOTH of those kinds of films to exist side-by-side each other? It’s not like we have to live with one instead of the another, we can actually live in the best of both worlds for a change. There should be room for both big feature films AND little original films to shine! THAT is the kind of diversity and variety that the industry will need if they are to thrive in the future!
With more and more mergers coming into fruition, more independent films such as Obsession and Backrooms are needed now more than ever! After acquisitions such as Disney buying Fox and Paramount buying Warner Bros, it’s clear that studios are going to put the majority of their focus on pumping out big blockbusters films and less on smaller and more independent films. There will always be one or two of them that will be able to squeeze through the system but for the most part, you are likely to get more Minecraft movies than you would films like Sinners and One Battle After Another. Holes will need to be filled to plug in that gape for fresh and original films to still be able to shine, providing that variety of selected films made for theaters that major studios aren’t bothering to invest in anymore. That is where films like Obsession and Backrooms will be able to come in and why indie studios such as A24 and Focus Features exist.
I have nothing against main blockbuster films being released just as I have nothing against films like Obsession and Backrooms blossoming in theater screens before our very eyes. My question is: Why can’t we be championing both? We should be celebrating when good blockbuster films do well at the box office AND when good independent films do well at the box office as well. We don’t have to cancel one in favor of the other. And I’m sure movie theaters from all across the world would agree with what I just said.
After the success of Obsession and Backrooms and the underperformance of The Mandalorian & Grogu thus far, I do hope this isn’t so much a sign that audiences are tired of blockbuster films and hungry for strictly independent films but more that they are hungry for QUALITY and less on slop. While I know less than stellar films such as Lilo & Stitch (2025) and The Minecraft Movie were able to make big bucks at the box office with Minions & Monsters and Moana (2026) likely to join them next month, the fact that actual great recent films like Sinners, F1, Project Hail Mary, and now Obsessions and Backrooms were able to become the financial smash hits they did should be a statement that quality DOES matter for a film to be successful and not just brand recognition.
The biggest takeaway right now should be that audiences have a desire to see ANY kind of films in theaters that is guarantee to give them their full money’s worth. No matter if it’s a blockbuster or an independent film, audiences still want to go to movie theaters, studios just need to keep giving them a reason to do so. And the fact that it’s been confirmed that the past month has had the highest box office grosses for May since 2019 should speak volume to that!
Tune in next time after the studios learn the absolute WRONG lesson from everything I just said, while giving a blank check to MrBeast to direct whatever the hell he wants and Disney announces The Devil Wears Prada 3 and Toy Story 6 very soon!
Also, I might as well give my mini-reviews for both of these movies!
Obsession– Probably my favorite film of the year thus far! I don’t think I’ve seen a film where the whole message of “Be careful what you wish for!” has been executed this well and scary! The directing by Curry Barker is top notch, the performances are all great, it has a nice blend of horror thrills and laughter that I don’t any other director would be able to combine brilliantly, and the ending still haunts me weeks after seeing the movie. It’s also a nice little subversion to have the main protagonist practically being the villain of the film, being forced to face the consequences of the choice he made strictly for his own pleasure. Inde Navarrette deserves a damn Oscar for her performance and it’s yet another brilliant original horror film to go with all of the other brilliant horror films we have gotten so far this decade! Highly recommended! I give this a perfect four out of four stars!
Backrooms– I’m not quite sure I’m on the love boat with this one but I’m sure as hell on the respect boat. I love the original atmosphere and unique setting that Kane Parsons has created here, making the backrooms itself a fascinating place to explore whenever we are able to get to it. I did wish the overall narrative had more meat to it and Parsons didn’t have to keep coming up with contrived excuses for his characters to keep showing up to the backrooms. And I’m still scratching my head on the resolution to the whole thing. However, Chiwetel Ejiofor and Renate Reinsve are great here and there are still plenty of seeds that have yet to be grown in the world that is Backrooms. I can see this being a series of films that only gets better from here on out. I give this a three out of four stars!
It’s 2008! We are in the middle of a world changing recession, endless war and chaos continues to rage on in the middle east and overseas, and we got a new Star Wars movie in theaters that just so happens to be three to four episodes of an upcoming tv show strung together with it’s entire plot center around rescuing Jabba the Hutt’s son.
It’s 2026! We are in the middle of a world changing recession, endless war and chaos continues to rage on in the middle east and overseas, and we got a new Star Wars movie in theaters that just so happens to be three to four episodes of an up….(oh never mind) tv show strung together with it’s entire plot center around rescuing Jabba the Hutt’s son.
All kidding aside, The Mandalorian & Grogu‘s mere existence as a feature film is quite bizarre. Coming off seven years since the last Star Wars movie released in theaters, with that being the infamous Star Wars Episode IX- The Rise of Skywalker in 2019, the higher-ups at Disney and Lucasfilm thought that the best way to bring the far, far away galaxy back to movie theaters worldwide involves what is basically a handful of reworked episodes of what was suppose to be Season 4 of the hit Disney Plus series, The Mandalorian, over three years after the show ended and over half a decade since it peaked in quality. And much like Dave Filoni’s other theatrically released feature Star Wars film (Star Wars: The Clone Wars (2008) MOVIE), it’s main plot involves the main characters finding and rescuing Rotta the Hutt, A.K.A. the son of Jabba the Hutt. (And yes, you heard that right! Jabba the Hutt had a son! Try sleeping tonight with that knowledge in your head! Lord knows how hard I’ve tried since 2008!)
I wish I can say there is much more to The Mandalorian & Grogu than that but there really isn’t. This is not a film that aims to expand the Star Wars timeline in any meaningful way, introduce new and exciting characters and plot McGuffins that could possibly matter later on down the road, or even try to stand out among the very best or even the very worst Star Wars has had to offer over the past 50 years. It’s only reason for existence is to keep the lights going on at Lucasfilm, please the higher ups at Mickey Mouse with the mere fact that they finally got a new Star Wars movie released after several years, and scratching that extra dollar itch in nonstop Baby Yoda merchandise. While there’s very little in here that will cause an online civil war or trigger “rage bait” culture, there’s nothing here that will get you intrigued when watching it or get you excited what lies ahead for the future of Star Wars.
Premise: The evil Empire has fallen but Imperial warlords remain scattered throughout the galaxy. As the fledgling New Republic works to protect everything the Rebellion fought for, they enlist the help of legendary Mandalorian bounty hunter Din Djarin (Pedro Pascal) and his young apprentice Grogu.
To the credit of Mr. Favreau and Mr. Filoni, The Mandalorian & Grogu does do a pretty good job at standing on it’s own two feet to make it accessible for mainstream audiences. Aside from a occasional reference or two and some mumble jumble about established lore that’s treated more as a throw away line than a necessity, you really don’t need to have seen The Mandalorian or any of the animated series such as The Clone Wars and Rebels to follow what’s going on here. The opening crawl does establish the time period of which the film is set in the Star Wars universe quite well and the gap in between the episodic installments that it’s trying to fill. Context is always key but as someone that has only watched the show one time and haven’t bothered to go back to it since each season premiered, I never found myself lost or confused with what was going on. Just a shame I also never found myself caring about what’s going on.
As stated previously, The Mandalorian & Grogu plays like a compilation of several episodes from the tv show crunched together rather than an actual feature film. For every 30 to 45 minutes of the film, it involves Mando and Grogu going on a mission to achieve an objective, completing that said objective, and getting prepared for what the very next objective awaits. And once that certain section is complete, you get a line of dialogue that was clearly meant to act as the end of an episode, a black screen or screen wipe occurs, and then it’s onto the very next section. It’s even more baffling when the pair technically completes their objective less than an hour of the way through but has to have that objective completely fall apart in nonsensical ways just to justify padding the runtime over two hours. If you thought The Rise of Skywalker felt too much like a plot of a video game, Jon Favreau has come into the clutch just to say, “HOLD MY BEER!”
Granted, all of this CAN be forgiven if the film feels like it’s trying to stand out as it’s own thing and push the property forward in any meaningful way but it’s clearly not. The characters, while look cool and act cute, come off more as action figures and expanded merchandise than actual characters. The action sequences, while competently put together, lacks any stakes or personal investment to get you to care. The story, while nothing that will get anybody worked up over, is without any meaningful themes, arcs, or even lore worthy of making an article on Star Wars Wiki. There’s a huge difference between a swing and a miss and not even bothering to put the bat off your shoulders at all.
For all the faults of the prequel trilogy, sequel trilogy, or Rogue One, they all at least felt like meaningful cinematic events that weren’t afraid to mix up the Star Wars canon and dared to push the series into an actual direction for the future. They had moments that showcased the highest highs and the lowest lows of Star Wars that made them all memorable. And even if some of them contained bad stories, bad characters arcs, and bad moments, they at least HAD stories, arcs, and moments of their own. The Mandalorian & Grogu doesn’t even attempt to reach those highs and lows of the franchise, instead aiming for the absolute bare minimum imaginable.
It’s like Disney and Lucasfilm have become so afraid of it’s own audience that they are scared to do ANYTHING different or meaningful with Star Wars, aiming just to make complete corporate slop to please the masses believing that will be enough. However, if the positive reception of recent Star Wars medium such as Andor, Maul – Shadow Lord, and the recent Respawn games in Jedi Fallen Order and Jedi Survivor are anything to go by, those claims are proven false.
Star Wars fans and audiences DO want good stories, characters, ideas, and expansions of the Star Wars universe. You just need to do it RIGHT and make each individual moment of fan service and character growth feel earned and justified. While most of the other Star Wars properties I’ve mention in this review was able to accomplish that, The Mandalorian & Grogu does not. Which yet again makes you wonder, why did this need to be a movie that just HAD to be seen on the big screen?
I don’t want to sound completely doom and gloom with this review. The musical score by Ludwig Goransson is terrific, completely capturing the sound and feel of not just the show it’s based on but also the world of Star Wars as a whole. He’s able to find that right mix of playing like an expanded spiritual version of John Williams while also providing his own distinct voice to the world of Star Wars, something which Michael Giacchino couldn’t quite achieve with Rogue One. As much as I do love Kevin Kiner’s work in The Clone Wars, Goransson does feel like the man that should be leading Star Wars musical scores going forward.
The opening action sequence with Mando and Grogu does provide that special “Batman meets John Wick” lightning in a bottle that the show was able to achieve with it’s very best set pieces, Grogu and Babu Frik are still cute as ever, and even Rotta the Hutt is able to stand out as being the only character in the movie that has the closest thing to a fully fletch character arc. And as I said before, even if you’ve never seen the show or don’t remember anything about that, you should be able to follow everything just fine, even with characters from the animated series such as Zeb and Embo showing up.
The Mandalorian & Grogu doesn’t so much feel like a movie but more of an obligation. An obligation forced by Disney to get a Star Wars movie out in theaters after seven years just to let everybody know that Star Wars movies are still a thing that is happening on some way, shape, or form. It’s feels like the kind of a movie that gets made JUST so the studios can hold on to the film rights to an IP and NOT because anyone creatively involved had an actual story to tell (Can you guess now why we’ve gotten crappy Spider-Man villain-led movies for the past several years?!).
This is the first Star Wars film that is NOT led by teddy bears or taking place during the holidays where you will wonder what purpose does this serve to the overall Star Wars universe. (Even The Clone Wars movie provided an ill-conceived intro to Ahsoka Tano and Solo filled in oddly answered blanks to Han’s backstory while laying the foundation of more “grounded” Star Wars stories to be told later on down the road.) If the film played out just as several episodes of the show, it MIGHT’VE turned out just fine. But as a feature length film, it stood not chance whatsoever.
Despite all the fan complaining about Kathleen Kennedy throughout the past decade plus with her handling of Star Wars, the newly elected CEO of Lucasfilm, Dave Filoni has not gotten over to a very promising start either with Star Wars films. I might sing a different tune this time next year once Ryan Gosling makes his way to the Star Wars galaxy with Star Wars: Starfighter and once we see a fully realized vision for what the next wave of Star Wars films will be. (That’s not even mentioning how Filoni’s other Star Wars work weren’t know for having the greatest starts either.) As of now, I think I might just be fighting with getting my second season of Maul and my third Jedi game with Cal Kestis and call it a day!
As for The Mandalorian & Grogu, congratulations Gen Alpha for getting your own live-action version of The Clone Wars movie from 2008. I hope you enjoy your stay in the Filoni-verse!
At least Sigourney Weaver got paid for her completely phoned-in extended cameo!
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