Author: Chad Liffmann

Film Review: “Zootopia 2”

Fur and scales face off in the world-expanding Zootopia sequel

Nick (Jason Bateman) and Judy (Ginnifer Goodwin) paddle in pursuit in “Zootopia 2.”

Nine years ago we were introduced to the Oscar-winning world of Zootopia, where our own human society, including social stigmas, cultural taboos, and bureaucratic flaws were mirrored by anthropomorphized animalia. Zootopia was an excellent family film with plenty adult-oriented jokes, references, and themes. Zootopia 2 kicks off right where the first film left off, expanding its geographical scope while delivering an abundance of zany animal characters, clever banter, and endless sight gags. Even moments of apparent “sequelitis,” where an original work feels the pressure to replicate its initial success while making things bigger and better, don’t detract from the pleasure of discovering more of Zootopia’s inner workings. With the original film’s stellar voice cast returning, and adding a few notable new characters into the mix, Zootopia 2 is another pun-filled adventure with tremendous heart. Continue reading “Film Review: “Zootopia 2””

Film Review: “The Thing With Feathers”

Cheap jump scares punctuate this grief-stricken slog

Dad (Benedict Cumberbatch) feeling very crow-y in “The Thing With Feathers.”

Sometimes you swing and miss, but at least you swung. The Thing With Feathers is a big swing and a miss. Aiming to entice horror fans with its phantasmagoric plot and cheap jump scares, The Thing With Feathers fails to offer anything more than a singular message about grief being tough to overcome. Despite Benedict Cumberbatch’s (The Roses) efforts to compensate for a shallow script and one-dimensional character, The Thing With Feathers remains a frustrating viewing experience. Continue reading “Film Review: “The Thing With Feathers””

Film Review: “Wake Up Dead Man: A Knives Out Mystery”

O’Connor shines as Knives Out goes to church

Father Jud (Josh O’Connor) and Benoit Blanc (Daniel Craig) inspect the mystery in ‘Wake Up Dead Man.’

They should release a new Knives Out movie every two years…in perpetuity. The casts, the characters, the Agatha Christie whodunnit plots, and Daniel Craig’s disarmingly charming and wise detective, Benoit Blanc, are all batting .1000 across three films and I just can’t get enough. Even Glass Onion, the second Knives Out film and widely considered the weaker of the first two films (now the weakest of the three), is still a hilarious and engaging mystery. The Knives Out film series is written and directed by Rian Johnson (Looper; Star Wars: The Last Jedi), who has an incredible knack for creating an interacting web of distinct characters, twisted murders, and sharp dialogue. Wake Up Dead Man, the latest in the series, continues with all the beloved characteristics that made the original a hit, while adding previously unexplored depth. Featuring a standout performance by Josh O’Connor (Challengers), Wake Up Dead Man is the most dramatic Knives Out story yet and a thrillingly fun watch. Continue reading “Film Review: “Wake Up Dead Man: A Knives Out Mystery””

Film Review: “The Running Man”

Wright’s stylized remake limps to the finish line 

Ben Richards (Glen Powell) is escorted to set in ‘The Running Man.’

The fifth and final Stephen King adaptation of 2025 is about to hit theaters. After The Monkey in April, The Life of Chuck in June, The Long Walk in September, and the HBO series IT: Welcome to Derry, the list comes to an explosive close with a new adaptation of King’s 1982 thriller The Running Man (originally published under King’s pseudonym, Richard Bachman). The 1987 version of The Running Man starring Arnold Schwarzenegger has become a cult classic, commended for its critical depiction of a dystopian American pop culture-obsessed society, as well as for its campy villains and one-liners. The new film is co-written and directed by Edgar Wright (Baby Driver; Hot Fuzz), and sticks much closer to King’s source material than the 1987 film. The new film has many parts that work, and many parts that don’t. The Running Man’s ultimate success lies in some slick action and standout performances, but an indecipherable tone and confounding editing keep the film from achieving blockbuster greatness. Continue reading “Film Review: “The Running Man””

Film Review: “Predator: Badlands”

The Predator franchise hunts for a wild team-up adventure, and finds it

Thia (Elle Fanning) and Dek (Dimitrius Schuster-Koloamatangi) team up in ‘Predator: Badlands.’

Sometimes, the deeper a film franchise explores its lore, the more the lack of mystery renders new entries as overwritten, overexplained, and uninteresting (see Maleficent, Star Wars, Halloween, Alien, etc.). Every bit of old and new intellectual property is vulnerable to this type of universe-building, since there’s a lot of money to be made in juicing a franchise for all its worth. Not all of lore-exploring is bad, however. There are many exceptions, and after 2018’s disappointing Shane Black vehicle, The Predator, the Predator franchise has been successfully growing its cinematic universe since 2022 under the helm of writer/director Dan Trachtenberg (10 Cloverfield Lane, Prey, Predator: Killer of Killers). Predator: Badlands is the most adventurous and (intentionally) funny entry in the series, and it’s also the most distinct departure from the adult-oriented, extremely violent nature of its predecessors. Badlands stretches the tonal scope of what a Predator movie can include and feel like. With 2022’s Prey maintaining the franchise’s grittiness and simple setups (albeit taking place on the Great Plains in the early 1700s), and this year’s animated Predator: Killer of Killers expanding the Predator narrative pallet in inventive and ultra-gory ways, Badlands is an additional and promising franchise track: a character-oriented Star Wars-esque adventure. Continue reading “Film Review: “Predator: Badlands””

Film Review: “Nuremberg”

Emotions are an afterthought in this timely but surface-level historical dramatization

Hermann Göring (Russell Crowe) is on trial in ‘Nuremberg.’

The biggest challenge facing Nuremberg, the historical drama about the post-World War II Nazi trials, is that audiences can take a brief glimpse into today’s newspaper and read about an abundance of unchecked war crimes still taking place across the globe. Despite the precedent of individual accountability that the trials established, history tends to repeat itself. The second biggest issue facing Nuremberg is the script’s lack of emotional sincerity. Attempts at clever scene transitions and a tone aiming for a suspenseful courtroom drama feel excruciatingly inappropriate. Despite a strong performance from Russell Crowe and the film’s timely release, Nuremberg fails to capture the tragedy, the sensitivity, and the momentousness of its subject matter. Continue reading “Film Review: “Nuremberg””

Film Review: “Stitch Head”

Are you ready for (adorable) monsters?

A couple of monsters and Stitch Head (Asa Butterfield) get ready for bed in ‘Stitch Head.’

On the heels of Guillermo Del Toro’s Frankenstein, and just in time for Halloween, comes a whimsical spin on the Frankenstein story, the animated comedy Stitch Head. It’s the first family film of the holiday season, heartwarmingly written and directed by Steve Hudson (True North). Undeniably self-aware and filled with equal amounts of kid-friendly and Monty Python-style humor, Stitch Head brings Guy Bass’s book series to life with charming, colorful vibrancy and carries with it a positive message about friendship and self-worth. Continue reading “Film Review: “Stitch Head””

Film Review: “Frankenstein”

A thematically rich but visually mixed adaptation

Dr. Victor Frankenstein (Oscar Isaac) looks upon his creation in ‘Frankenstein.’

Director Guillermo Del Toro has been waiting to adapt Mary Shelley’s Frankenstein; or, The Modern Prometheus (that’s the full book title) ever since he saw the 1931 film Frankenstein at age eleven. His aspiration should come as no surprise to those familiar with his work — the gothic aesthetic and creature designs in his films have become synonymous with his name, like in Pan’s Labyrinth, Hellboy, and The Shape of Water. Del Toro has finally made his version of Frankenstein, produced and distributed by Netflix. The streaming company’s involvement may or may not have contributed to the film’s decision to include computer-generated (CG) animals, and imbue many of the film’s scenes with what I can only describe as a distracting “Netflix sheen.” The director’s devotion to the source text is commendable and gives the film a deeper emotional and philosophical resonance, even if the end result may baffle viewers unfamiliar with Shelley’s book. Continue reading “Film Review: “Frankenstein””

Film Review: “The Hand that Rocks the Cradle”

The beautiful modern house shines in this otherwise uninspired remake

Polly (Maika Monroe) and Caitlin (Mary Elizabeth Winstead) rock the cradle in ‘The Hand that Rocks the Cradle.’

Another 1990s thriller has been remade (see: Presumed Innocent; Fatal Attraction): the 1992 film The Hand that Rocks the Cradle. Stylishly directed by Michelle Garza Cervera (Marea Alta), the new The Hand that Rocks the Cradle is tense and atmospheric, but bears the brunt of its predictability and slow pace. The original film was wickedly outlandish, helping it achieve status over time as the quintessential “evil babysitter” movie. Unfortunately, the remake lacks the willingness to let loose. Continue reading “Film Review: “The Hand that Rocks the Cradle””

Film Review: “Good Fortune”

Reeves, Rogen, and Ansari quest for wealth in this Capraesque comedy

Arj (Aziz Ansari) and Gabriel (Keanu Reeves) consult outside a Denny’s in ‘Good Fortune.’

Once again this year, audiences are invited to see a new comedy in theaters! Good Fortune is high-concept, taking the sentimentality of ‘30s and ‘40s era Frank Capra films (It Happened One Night; Mr. Smith Goes to Washington; It’s a Wonderful Life) and injecting a comical “what if” scenario and a modern-day setting. The film is also writer, actor, and comedian Aziz Ansari’s feature-length directorial debut. Using Good Fortune’s twist on fate and wealth, Ansari primarily explores the demoralizing nature of gig work and how it perpetuates economic inequality. Good Fortune doesn’t shed new light on existing problems, nor does it offer a realistic solution, but the film’s blunt jokiness and the unexpectedly winning trio at the film’s center give it wings. Continue reading “Film Review: “Good Fortune””