Michael Johnson

Dynamite? More Like a Damp Squib: A Review of The House of Dynamite The House of Dynamite doesn't just fizzle out; it actively sabotages its own fuse. The film opens with a genuinely gripping, tense sequence that promises a taut, intelligent thriller. The atmosphere is electric, the stakes feel high, and you're strapped in for a brilliant ride. Then, the ride stops, reverses, and plays the same 10 minutes over again from a different angle. The first time, it's intriguing. "Ah," you think, "a clever narrative device. We're getting the full picture." But the moment the second perspective of the exact same incident began, a sinking feeling set in. This wasn't cleverness; it was a crutch. It was a filmmaker completely enamored with a structural gimmick, forgetting that the gimmick is supposed to serve the story, not be the story. By the third go-around, the film becomes a frustrating, self-indulgent loop. All that initial tension bleeds away, replaced by sheer exasperation. The "different perspectives" add nothing substantial, offering no new revelations that couldn't have been woven into a linear plot. It's the cinematic equivalent of a person repeating a joke three times, somehow thinking it gets funnier. Honestly, why stop there? Why not show us the event from the perspective of the mailman, a passing bird, or an inanimate doorknob? It would have been just as pointless. But the final insult, the true crime of this movie, is its ending. Or rather, its complete lack thereof. After forcing us to re-watch the same setup ad nauseam, the film simply... stops. It cuts to black right before anything of consequence happens, before any plot is resolved, before any character arc completes. It's not ambiguous; it's an abdication of storytelling. It's as if the writers penned themselves into a corner with their own repetitive nonsense and just gave up. "The House of Dynamite" is a con. It lures you in with a fantastic premise and then wastes two hours of your life showing you the same 15 minutes of setup on repeat before fleeing the scene. Unbelievable.

OMG, I can't even with a review. Just watch Flight Risk if you wanna yell at your TV, it's so annoying! So stupid

Oh my goodness, where do I even begin with the new Superman movie? It was an absolute triumph! From start to finish, I was completely captivated by the soaring storyline and incredible performances. This film truly felt like the Superman we've been waiting for, balancing the iconic hero's unwavering sense of hope with fresh, engaging challenges. The plot was wonderfully "Supermanesq," hitting all the right notes of heroism, moral dilemma, and a genuine struggle to reconcile his alien origins with his human upbringing. It felt both classic and wonderfully modern, never shying away from what makes Superman such an enduring figure. And let's talk about the cast! Every single actor delivered a stellar performance, truly bringing their characters to life with depth and nuance. But a special, glowing commendation must go to Nicholas Hoult as Lex Luthor. His portrayal of my favourite bald bastard was nothing short of spectacular! He brought a chilling intelligence and a captivating intensity to the role that made him utterly unforgettable. He truly redefined the character for a new generation. I'm not even going to mention the hairstyle of the green lantern And of course, the inclusion of the adorable dog, Krypto, was pure genius! He added such a delightful and heartwarming element to the film, providing moments of much-needed levity and reinforcing the compassionate core of Superman's character. It was such a smart addition and truly melted my heart. Seriously, if you haven't seen it yet, you absolutely must. The new Superman movie is a joyous, thrilling, and deeply satisfying cinematic experience that will leave you feeling inspired and entertained. It's a true masterpiece for both long-time fans and newcomers alike!

Elio is a film that truly shines, offering a unique and deeply relatable experience that left a lasting impression. From start to finish, I was thoroughly engrossed in its world, and I honestly don't understand the negative reviews it has received. For me, it's a triumph. What makes Elio so compelling is its ability to connect with the viewer on a fundamental level. It masterfully brings out your inner child, reminding you of those early feelings of wonder and perhaps, a touch of vulnerability. More profoundly, the film expertly captures the universal sense of not belonging, that feeling of being an outsider looking in, or that you're somehow different from those around you. This theme is explored with such nuance that it feels incredibly authentic. The narrative beautifully conveys the yearning for a place where you truly fit in, the idea that you might be better off elsewhere. This isn't a feeling of escapism, but rather a hopeful exploration of finding your true home, whether that's a physical location or a state of mind. Elio doesn't just tell a story; it evokes a powerful emotional response, making you reflect on your own journey and your place in the world. For anyone who has ever felt like they're searching for where they belong, or who cherishes stories that encourage self-discovery and embracing individuality, Elio is a must-see. It's a remarkably good film that will leave you feeling understood and perhaps, a little more hopeful.

Alright, let's talk about Jurassic World Rebirth. It’s a film that definitely has its moments, delivering on the promise of more dinosaurs, more mayhem, and some truly impressive visual effects. If you're there for the sheer spectacle of prehistoric creatures running amok, you'll likely find a good chunk to enjoy. The Good, The Bad, and The Stupidity: The dinosaurs themselves are, as expected, the stars of the show. The CGI is top-notch, making these ancient beasts feel incredibly real and menacing. When they're hunting, roaring, and causing chaos, the movie really shines. The action sequences are well-executed, and you get that familiar thrill of being chased by creatures that should be long extinct. However, where Rebirth stumbles, and quite spectacularly at times, is with its human characters. Oh, the humanity! It's truly baffling how often characters seem to defy all logic, standing around in wide-eyed wonder while a raptor sniffs their socks, or calmly sitting in a river that clearly has "giant aquatic predator" written all over it. You find yourself yelling at the screen, "Move! What are you doing?!" It feels less like natural human error and more like a convenient plot device to "thin the herd". It’s undeniably frustrating and takes you right out of the immersion. Unnecessary Baggage And then there's that family. Their inclusion feels like an entirely superfluous subplot, especially the dad sailing his kids and his daughter's boyfriend into what is essentially a death trap. It stretches the boundaries of believability to breaking point, and their presence doesn't add much to the main narrative, aside from creating more opportunities for characters to make questionable survival choices. You just keep wondering, why are they even here? The Missing Monster One of the biggest disappointments for me was the build-up to the "weird last dinosaur" that we barely got to see. After all the hints and anticipation, it felt like a bit of a letdown to not fully unleash that particular beast. It's like being promised a grand finale and getting a fizzle instead of a bang. Final Thoughts All in all, Jurassic World Rebirth is a mixed bag. If you can suspend your disbelief for some truly baffling character decisions and focus on the incredible dinosaur action, there's fun to be had. It's a decent addition to the franchise for those who crave more dino-chasing thrills, but it's held back by some incredibly frustrating writing choices for its human element.

"I'm thinking she's the one." From the moment the first ballet slipper met the first bad guy, Ballerina absolutely pirouetted its way into my heart. This isn't just a spin-off; it's a meticulously choreographed, exquisitely brutal, and utterly captivating extension of the John Wick universe that somehow manages to elevate the already sky-high bar. Seriously, I loved everything about this movie. Ana de Armas embodies the elegance and lethal grace of a top-tier assassin with breathtaking conviction. Every single fight sequence is a masterclass in dynamic action, blending the art of dance with the visceral impact of hand-to-hand combat in a way that feels both fresh and intimately familiar to fans of the franchise. The world-building remains as rich and intriguing as ever, pulling you deeper into the shadowy, high-stakes lives of the Continental's most formidable figures. And speaking of familiar, the return of Keanu Reeves as John Wick himself? Pure cinematic gold. His presence is perfectly woven into the narrative, providing a vital link to the established mythology without ever overshadowing our new lead. It’s a testament to the filmmakers' understanding of what makes this universe so compelling; the subtle nods, the shared history, and the unwavering commitment to a distinctive style. Ballerina isn't just a great action movie; it's a triumph of world-building and character development. It’s got all the slick, stylish violence and intricate lore you crave from the John Wick saga, but with its own unique, balletic flair. Prepare to be dazzled, thrilled, and utterly convinced that the ballet world is far more dangerous than you ever imagined. This one is an instant classic.

"Everything harpoons for a reason." Let's be honest, that line probably hatched over a pint in a pub, and by gosh, it feels like an entire blockbuster was reverse-engineered just to give it a home. And you know what? I'm not complaining. Heads of State is the kind of summer popcorn flick that hits all the right notes. With a cast of genuinely good actors pulling their weight and CGI that's impressively seamless, it's hard not to get swept up in the ride. The storyline, while certainly fantastical, manages to stay just within the realm of believability, never quite jumping the shark. And a huge hat tip to the fight choreography – those sequences were surprisingly grounded and impactful, a refreshing change from the usual chaotic flailing. Ultimately, Heads of State delivers exactly what you want from a summer movie: a fun, action-packed escape that leaves you entertained. It's a testament to the fact that sometimes, all you need is a catchy line and a solid execution to make a thoroughly enjoyable film. Go see it. You won't regret it.

Predator: Killer of Killers carves out a new and compelling niche within the venerable Predator franchise, proving that animated anthologies can offer a depth and scope rarely seen in live-action. It delivers a fresh, R-rated take on humanity's enduring struggle against the universe's deadliest hunter. What truly elevates "Killer of Killers" beyond mere spectacle is its brilliant focus on the origins and backstories of the kidnapped humans. Unlike previous installments where potential prey often served as little more than cannon fodder, here, we're genuinely invested in their plight. The decision to delve into the lives of the Viking raider and her son, the feudal Japanese ninja, and the WWII pilot before their abduction is a masterstroke. We witness their daily struggles, their triumphs, and their tragedies, forging a powerful emotional connection. This investment makes their inevitable encounters with the Predator all the more impactful, transforming what could be just another hunt into a personal fight for survival, revenge, or even redemption. This character-driven approach reminds us that humans, even when facing impossible odds, are not just victims; they are warriors with stories to tell. The animation style, a unique blend of 3D and cel-shaded aesthetics reminiscent of "Spider-Verse" and "Arcane," initially takes a moment to acclimate to, but quickly proves its worth. It allows for breathtakingly fluid and dynamic action sequences, delivering on the promise of brutal, R-rated violence with a stylized flair that live-action often struggles to achieve. Every strike, every dismemberment, every guttural roar feels impactful and visceral. And then there's the final battle. Without giving away specifics, the climax of "Killer of Killers" is a crescendo of ingenuity, resilience, and sheer human will. It embodies the very spirit that resonates so deeply with audiences: humans like to fight back against all odds. It's not just about surviving; it's about pushing limits, exploiting weaknesses, and demonstrating a tenacity that even the most advanced alien hunter might underestimate. This particular confrontation is expertly choreographed, visually stunning, and emotionally satisfying, serving as a powerful testament to the indomitable human spirit. Predator: Killer of Killers is a triumphant return for the franchise, not just because it's visually striking and brutally entertaining, but because it grounds its fantastical premise in relatable human drama. It re-establishes the Predators as terrifying threats while simultaneously celebrating the courage and ingenuity of their prey. Given the strong critical and fan reception, and the clear potential for more diverse historical settings, there's a strong desire for this franchise to continue in this vein. For those of us who yearn to see humanity defy the impossible, "Killer of Killers" is a resounding success and a thrilling promise of future battles to come.

Warfare: Short, Sharp, and Shockingly Immersive Warfare is a punch to the gut. This isn't a sprawling epic; it's a lean, mean piece of filmmaking that throws you directly into the chaos and fear experienced by soldiers on the ground. Its brevity is its strength, offering a relentless and focused immersion that leaves a lasting impact. From the moment it begins, "Warfare" wastes no time in establishing a visceral sense of being there. Whether through claustrophobic camerawork, a deafening soundscape, or raw and authentic performances, the film expertly crafts an environment where you feel every tense breath and every sudden burst of violence. You're not just watching; you're alongside these soldiers, experiencing the confusion, the adrenaline, and the sheer struggle for survival. The film's commitment to immediacy means there's little room for lengthy exposition or elaborate backstories. Instead, "Warfare" trusts its audience to connect with the soldiers through their shared experience in the moment. This stripped-down approach amplifies the emotional impact, making the danger and the stakes feel incredibly real. If you're looking for a war movie that prioritizes a visceral and immediate connection to the soldier's experience over grand narratives, "Warfare" delivers. It's a short, sharp shock that effectively places you in the heart of the conflict, leaving you with a powerful sense of what it might be like to be there. Be prepared for an intense and unflinching ride.

Captain America: Brave New World ultimately falters, delivering a frustratingly anticlimactic conclusion that undermines its potential. While the build-up hinted at a compelling, large-scale confrontation, the film abruptly resolves its central conflict through dialogue, leaving viewers with a sense of unfulfilled expectation. The film's sole redeeming quality lies in the moments leading up to this disappointing climax. For a brief period, it manages to generate genuine excitement and tension, suggesting a thrilling showdown. Unfortunately, this fleeting burst of energy is quickly extinguished, replaced by a resolution that feels rushed and unsatisfying. It's a shame, as the movie seemed poised to deliver a memorable action sequence, only to pull back at the crucial moment. Adding to the overall sense of "meh" is the handling of Harrison Ford's involvement. While it's undoubtedly a draw to have such a legendary actor join the cast, his presence feels strangely muted. Even with his experience, the character's portrayal and integration into the narrative lack the impact one might anticipate. It's a case of a big name feeling underutilised. In essence, "Brave New World" promises a battle it fails to deliver. The film's reliance on verbal resolution over physical conflict leaves a lingering sense of disappointment, particularly for those expecting a more dynamic and impactful conclusion. The anticlimactic ending, coupled with the underwhelming use of Harrison Ford, overshadows any potential merits, rendering the film a missed opportunity.