Movie Trailer Reviews

Director Josh Cooley's (Toy Story 4, Inside Out) Transformers One weaves the vast (and varied) backstorys and lore into a top-tier re-introduction that sweeps away all previous attempts to repackage this longstanding property. And the best part? This orign story blends unique characters and set peices into a engrossing friends-to-enemies journey into exciting, yet familiar, galaxy-spanning territory. Live-action could never. Seriously, Transformers One follows best friends, a low-ranking minors, Orion Pax (Chris Hemsworth) and D-16 (Bryain Tyree Henry) as they uncover their society's hidden history and the real reasons for its class divisons. Each revelation sets the duo on collision course with their enemies, and each other.  Whether you're steeped in the lore, a fan of the live-action franchise, or a coming in with zero knowledge, Transformers One is a vivid adventure certain to capture - and keep - your attention until the credits roll. Listen and Ro and DPalm discuss how Cooley - and this suprisinging fitting A-list voice cast - perfectly threads the action-comedy needle turning an epic bromance gone wrong into an incredibly immersive parable about liberation, friendship, and the cost of losing faith.  Transformers One released in theaters September 20, 2024 and arrives on VOD and digital Tuesday, October 22, 2024.    Like what you hear? Subscribe so you don't miss an episode!   Follow us on Twitter: @TheMTRNetwork Our shirts are now on TeePublic:  https://teepublic.com/stores/mtr-network   Want more podcast greatness? Sign up for a MTR Premium Account!

Quick Take: Deadpool and Wolverine is the unlikely team-up that makes all Deadpool's most fervent wishes come true. From the irreverent fourth-wall break that sets the stage for both the rather straightfoward quest to come and hyper-meta poke at the superhero character's past as prologue.  Longtime collaborators Ryan and Reynolds and director Shawn Levy enter the MCU with a song in their hearts and sway in their hips. If you're expecting being under the Disney mantel to tone down the violence, raunchiness, or Deadpool's sexpest ways, go on ahead and put that notion aside. Reynolds and the rest of the writing team cagily stare the Disney "no-no" list in the face then kick it in the shin. Despite some pacing issues, unfortunate visual ticks, and more than a few songs that stay past far past their usefulness, Deadpool and Wolverine tells a slippery story that underutilizes its original ensemble choosing instead to traverse the multi-verse as only Deadpool can. The narrative holding this buddy comedy being suprisingly straightforward it refuses to abandon the cheekiness what this franchise is best known for. So, if you're looking for a Deadpool adventure that's unabashedly madcap and makes the most of its leads then you're in the right place.  ♦♦♦ Director: Shawn Levy Writers: Ryan Reynolds, Rhett Reese, Paul Wernick, Zeb Wells, Shawn Levy Starring: Ryan Reynolds, Hugh Jackman, Emma Corrin, Matthew MacFadyen,  Runtime:  2 Hour 7 Minutes Synopsis: Deadpool's peaceful existence comes crashing down when the Time Variance Authority recruits him to help safeguard the multiverse.   Deadpool & Wolverine opeans nationswide (US) theaters July 26, 2024 Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.com/stores/mtr-network   Want more podcast greatness? Sign up for a MTR Premium Account!

Quick Take: Furiosa: A Mad Max Saga is both the origin story Citdal renegade, Furiosa, and volatile trek across the wasteland.  The fifth installment revolves around laying the ground work to how, the Furiosa of Mad Max: Fury Road came to be and the unveiling of the major settlements across the wasteland. Furiosa throttles down the action, just a notch, to make room to understand the true dysfunction of this dystopian hellscape. In typical George Miller fashion, chronology matters less than the homeretic journey through the world of Max. It's bold, violent, and emotionally complex. The trails and tribulations of Furiosa are equally matched by the havoc and upheaval between the wasteland factions. Buckle up because Furiosa: A Mad Max Saga's one hell of a ride.  Director: George Miller Writers: George Miller, Nick Lathouris Starring: Anya Taylor-Joy, Chris Hemsworth, Tom Burke, Alyla Browne Runtime: 2h 28m Synopsis: Snatched from the Green Place of Many Mothers, young Furiosa falls into the hands of a great biker horde led by the warlord Dementus. Sweeping through the Wasteland, they come across the Citadel, presided over by the Immortan Joe. As the two tyrants fight for dominance, Furiosa soon finds herself in a nonstop battle to make her way home.   Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.com/stores/mtr-network   Want more podcast greatness? Sign up for a MTR Premium Account!

Richard Donner's The Omen (1976) follows American diplomat Robert Thorn (Gregory Peck) as he investigates his adopted son’s, Damien, background once tragedy befalls those close to him. Thorn's quest for answers ultimately leads him to Italy and the unsettling revelation that his son may be the Antichrist. Sadly the subsequent installments never quite duplicated the impact of the first chapter in this genre-disrupting religious horror saga. So he idea of a compelling legacy-prequel seems like a non-starter. Well, director and co-writer Arkasha Stevenson would like a word. Because, The First Omen is an absolute master class on how to create a stunning in-canon prequel to a horror classic. Fresh Eyes Brings Fresh Perspective on the Horrific Stevenson's feature debut follows Margaret (Nell Tiger Free), a young American novitiate, as she arrives in Rome, Italy (1971) to complete her probationary period at a Roman orphanage before taking vows. For those new to the Omen universe, this prequel is a fresh-eyed, gnarly lure into the dark and twisted world of religious horror and one of the foundational storylines in the genre. Margaret encounters Carlita (Nicole Sorace), a troubled orphan, living in practical isolation. Reminded of her own turbulent childhood, she befriends the young girl in the hopes of acting as her champion. As increasingly disturbing happenings swirl around Carlita, Margaret stumbles into a dark and gruesome unfolding conspiracy. Just as Margaret connects with Carlita, a rogue priest (Ralph Ineson) approaches, demanding her help. He's on the hunt for proof of a plot by a corrupt sect within the Church. Margaret soon second-guessing herself. Nowhere is safe. Unlike in The Omen, the women carry the bulk of the plot development. Tiger Free's Margaret is a convicing mix of ingénue and fervent acolyte. Shifting the story progression to her point of view adds layers to the terror of being in a new city, trying to integrate into an established social dynamic and feeling unsettled by a sense of danger dogging your every step. Stevenson relies less on the obvious jumpscares and more on discomfort, paranoia and the pay off is utterly next level.  The First Omen breathes menacing new life into religious horror  Under Stevenson's direction The First Omen comfortably resides at the intersection of fanatical secret societies and unholy dark arts. From the period-accurate production design and costuming, to the religious iconography and symbolism deftly sets the stage for a harrowing spiral into the heart of darkness with precision. Cinematographer Aaron Morton employs an earthy color palette and savvy use of light, shadow, and scene staging ably assisting Stevenon’s unabashed commitment to blending its paranoid-thriller and supernatural horror roots into a trauma-inducing story. Through a combination of awkward physicality, unworldliness, and bouts of inexplicable agitation Tiger Free creates a captivating picture of a woman pushed to the absolute brink.  There's an increasingly demented energy of danger driven by the score and sound desighn that, alongside her character development, that acts as razor then thin tether to realty and a visually entralling fever dream.  Listen as Ro and special guest Richard Newby discuss (spoiler-free) the thematically rich and incisive allegories baked into The First Omen.  The First Omen opens in theaters, April 5, 2024 Director: Arkasha Stevenson Writers: Tim Smith, Arkasha Stevenson, Keith Thomas Starring: Nell Tiger Free, Tawfeek Barhom, Sonia Braga, Ralph Ineson, Bill Nighy Runtime:  2 Hours Synopsis: A young American woman is sent to Rome to begin a life of service to the church, where she encounters a darkness that outs her own faith in jepardy,  Like what you hear? Don't miss an episode. Subscribe today. Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.

Quick Take: Dev Patel's directorial debut, Monkey Man, is a full-throttle, heartbreaking, brutal quest for vengeance. Patel and his co-writers weave ancestral lore and a biting challenge to the socio-political status quo into a underdog tale that wears its cinematic influences and cultural aesthetic on its sleeve. What starts as tale of a street-smart grief-striken man living only for revenge slow morphs into the journey of a man who learns to stand for something greater than himself. Monkey Man pulls no punches and takes no prisoners. Although far from technically flawless and clearly not attempting to reinvent the revenge tropes, in Monkey Man Patel firmly establishes his ability to straddle the line of action star and beguiling leading man with an almost supernatual grace.  Come for the fights and stay for the intense character arc.  Listen as Phenom and Ro discuss (spoiler-free) just how brash Monkey Man is from start to finish.  Monkey Man opens (wide) in theaters, April 5, 2024 Director: Dev Patel Writers: Dev Patel, Paul Angunawela, John Collee Starring: Dev Patel, Sharlto Copley, Pitobash, Vipin Sharma, Sikandar Kher, Sobhita Dhulipala, Ashwini Kalsekar, Adithi Kalkunte, Makarand Deshpande Runtime:  1 Hour 53 Minutes Synopsis: After years of suppressed rage, Kid discovers a way to infiltrate the enclave of the city’s sinister elite. As his childhood trauma boils over, his mysteriously scarred hands unleash an explosive campaign of retribution to settle the score with the men who took everything from him. Note for podcast episode: Monkeypaw Productions and Jordan Peele came on board towards the end of shooting.  Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.com/stores/mtr-network   Want more podcast greatness? Sign up for a MTR Premium Account!

Director: Denis Villeneuve Writers:  Denis Villeneuve, Jon Spaihts, Frank Herbert Starring: Timothée Chalamet, Zendaya, Rebecca Ferguson, Javier Bardem, Josh Brolin, Austin Butler Runtime:  2 Hour 46 Minutes Synopsis: Paul Atreides unites with Chani and the Fremen while seeking revenge against the conspirators who destroyed his family. Kriss, Ro, Brandon review Dune Part 2. Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.com/stores/mtr-network   Want more podcast greatness? Sign up for a MTR Premium Account!

Quick Take: Madame Web should've been a fun and fantastical origin story for a dynamic comic character with real spin-off potential. Instead it’s a mishmash of barely interesting plot points, disjointed visual trickery, and underwhelming performances. More than anything else, Madame Web proves it’s not enough to throw all the “expected” set pieces in a movie, you actually need to know what to do with them. ** Official Synopsis: Cassandra Webb develops the power to see the future. Forced to confront revelations about her past, she forges a relationship with three young women bound for powerful destinies, if they can all survive a deadly present. Director: S.J. Clarkson Writers: Matt Sazama, Burk Sharpless, Claire Parker, S.J. Clarkson Starring: Dakota Johnson, Sydney Sweeney, Isabela Merced, Celeste O'Connor, Tahar Rahim, Mike Epps, Emma Roberts, Adam Scott ** Madame Web, Sony’s third standalone spin-off of a Marvel comic character, opened the door for the studio to fully reimagine the origins of its titular character and set the stage for robust worldbuilding in its Spider-Man Universe. The Cassandara Webb of the comics is an elderly woman, with a neuromuscular disease, connected to a life support system that resembles a spider web. She’s fully in control of her clairvoyance and precognition.  Webb’s an exceptionally powerful mutant and infrequent supporting character in the Spider-Man comic book series. There’s very little known of her beginnings. When carving a lane for future stories, it doesn’t get much better than having firm grounding in source material but an otherwise clear field to play.  There’s something to be said for nostalgia in movie styling (we won't talk about those reshoot blunders). Setting a story in the recent past opens the way for the sleight-of-hand of soft revisionist storytelling often beneficial when telling a story with supernatural elements. For audiences, everything feels familiar and contemporary but the edges are just blurry enough to make way for a world full of magic, mystery, and untold danger existing alongside the mundane. What Madame Web gets right(ish) is blending an intentionally pulp-esque vibe into a recognizable version of the contemporary New York City circa 2003. The story moves at a digestible (and thankfully relatively quick) pace of a thriller. So it’s a shame that absolutely nothing else; not direction, editing, character arcs, visual effects, cast performances, or story direction, amounts to more than a “comic movie” checklist neither the screenwriters nor the director knew how to navigate. The movie opens with a flashback, because of course it does, of a pregnant Constance Webb (Kerry Bishé) deep in the Peruvian Amazon in 1973. She’s on the hunt for a spider said to have miraculous healing properties. She’s whip smart, driven, and desperate. So desperate she misses all the glaring red flags that her impatient head of security, Ezekiel Sims (Tahar Rahim), isn’t really there to protect her waving in her face. Through hamfisted dialogue, a lore info-dump about a secretive indigenous people with powers, known as Las Aranas, (that would’ve carried more weight as naturally occurring revelations), and scenes of a furtive tent search practically lifted from Tomb Raider, it’s obvious Sims’ intends to acquire the spider for his own ends. The action sequences that follow shortly after the expected doublecross are a reminder that staging and filming action and stunts is a skill not all directors possess. Director S.J. Clarkson relies on quick cuts, odd camera angles, and bouncing shots of rustling foliage and blurred glimpses of people leaping from great heights to simulate action and fast-moving “spider people” traveling through the trees coming to the rescue. It’s the first sign, of many, that Madame Webb’s practical and visual effects are a detriment to an already poorly conceived storyline. And although the flashback is a smart entry point for Webb’s origin story,

Director: Todd Haynes Writers: Samy Burch, Alex Mechanik Starring: Natalie Portman, Charles Melton, Julianne Moore, Gabriel Chung, Andrea Frankle Runtime:  1 Hour 57 Minutes Synopsis: Twenty years after their notorious tabloid romance gripped the nation, a married couple buckles under pressure when an actress arrives to do research for a film about their past. 2023 was really the year of the terrible parent when it comes to movie. In May December, Julianne Moore and Natalie Portman have a "terrible off" to see which one plays the worst person. Charles Melton's character unfortunately is the one taking the brunt of just how terrible those other characters are. This is a very solid film that's bound to make your skin crawl because of just how realistic it is. The gaslighting and victimization that Julianne Moore's character Gracie does in this film is top notch. You're definitely going to need to take a shower after this one. Listen as the crew review May December. Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.com/stores/mtr-network   Want more podcast greatness? Sign up for a MTR Premium Account!

Director: William Oldroyd Writers: Luke Goebel, Ottessa Moshfegh Starring: Thomasin McKenzie, Shea Whigham, Anne Hathaway, Sam Nivola Runtime:  1 Hour 37 Minutes Synopsis: A woman's friendship with a new co-worker at the prison facility where she works takes a sinister turn. Who doesn't love a "leave them crazy white women alone" film? Eileen is a great film that uses the alway fantastic Anne Hathaway perfectly by pairing her up with Thomasin McKenzie who does a great dead-face, on the cusp of crazy (right about to head over the deep end) young woman looking to impress. Eileen is short, simple and hits all the right notes. Listen as the crew review this film.   Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.com/stores/mtr-network   Want more podcast greatness? Sign up for a MTR Premium Account!

Director: Ava DuVernay Writers: Ava DuVernay, Isabel Wilkerson Starring: Aunjanue Ellis-Taylor, Jon Bernthal, Niecy Nash, Emily Yancy, Finn Wittrock, Victoria Pedretti Runtime:  2 Hour 15 Minutes Synopsis: The unspoken system that has shaped America and chronicles how lives today are defined by a hierarchy of human divisions. The review crew discuss the latest film from Ava DuVernay, Origins.  Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.com/stores/mtr-network   Want more podcast greatness? Sign up for a MTR Premium Account!

Director: Paul King Writers: Simon Farnaby, Paul King, Roald Dahl Starring: Timothée Chalamet, Gustave Die, Murray McArthur Runtime:  Hour Minutes Synopsis: With dreams of opening a shop in a city renowned for its chocolate, a young and poor Willy Wonka discovers that the industry is run by a cartel of greedy chocolatiers. The crew review their second musical of the year, Wonka.  Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.com/stores/mtr-network   Want more podcast greatness? Sign up for a MTR Premium Account!

Director: Takashi Yamazaki Writers: Takashi Yamazaki Starring: Minami Hamabe, Ryunosuke Kamiki, Sakura Ando Runtime:  2 Hour 4 Minutes Synopsis: Post war Japan is at its lowest point when a new crisis emerges in the form of a giant monster, baptized in the horrific power of the atomic bomb. The Crew reviews Godzilla Minus One. Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.com/stores/mtr-network   Want more podcast greatness? Sign up for a MTR Premium Account!

Director: Sean Durkin Writers: Sean Durkin Starring: Zac Efron, Jeremy Allen White, Harris Dickinson, Maura Tierney, Holt McCallany Runtime:  2 Hour 12 Minutes Synopsis: The true story of the inseparable Von Erich brothers, who made history in the intensely competitive world of professional wrestling in the early 1980s. The Iron Claw has an absolutely fantastic cast and set of performances and tells the very tragic tale of the Von Erich family. This is definitely a heartbreaking story but it's also a script that doesn't do the full story justice. There's a lot of focus on the tragedy that seems to follow this family around but does so by sacrificing a lot of the context and story. To be fair that context would probably make the story even more heartbreaking but it would have taken the Iron Claw from a good movie with great performances, to a great movie with even greater performances. This is the difference between a film that gets award season buzz for an actor (e.g. Zac Efron) and a movie that gets the full award season push for being an all around great film.  Listen as Ro, Brandon and Kriss dive in more about The Iron Claw. Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.com/stores/mtr-network   Want more podcast greatness? Sign up for a MTR Premium Account!

Director: Yorgos Lanthimos Writers: Tony McNamara, Alasdair Gray Starring: Emma Stone, Mark Ruffalo, Willem Dafoe, Ramy Youssef Runtime:  2 Hour 21 Minutes Synopsis: The incredible tale about the fantastical evolution of Bella Baxter; a young woman brought back to life by the brilliant and unorthodox scientist, Dr. Godwin Baxter. Kriss, Ro & Brandon discuss and review the film Poor Things. There's a lot to really enjoy about this film, chief among them is Emma Stone once again showing what an outstanding actress and performer she is. It's not a slight to the other performers in this film to say that Emma Stone carries this film because the story truly revolves around her character, Bella Baxter. But what Emma Stone is asked to do and is able to do is what makes this film. Not too many actresses could have pulled this off and she does it in a brilliant way. This film isn't perfect but is definitely a great modern telling of the story of Frankenstein (or rather the aftermath of the Frankenstein story) that is worth checking out.  Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.com/stores/mtr-network   Want more podcast greatness? Sign up for a MTR Premium Account!

Director: Bishal Dutta Writers: Bishal Dutta, Ashish Mehta Starring: Megan Suri, Neeru Bajwa, Mohana Krishnan, Betty Gabriel Runtime:  1 Hour 39 Minutes Synopsis: An Indian-American teenager struggling with her cultural identity has a falling out with her former best friend and, in the process, unwittingly releases a demonic entity that grows stronger by feeding on her loneliness. Kriss, Ro and Brandon discuss the film It Lives Inside. While 2023 has been a good year for horror films, It Lives Inside represents the rare miss of a film that should have been and could have been so much more.  Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.com/stores/mtr-network   Want more podcast greatness? Sign up for a MTR Premium Account!

Director: Michael Mann Writers: Troy Kennedy Martin, Brock Yates Starring: Adam Driver, Shailene Woodley, Giuseppe Festinese Runtime:  2 Hour 4 Minutes Synopsis: Set in the summer of 1957, with Enzo Ferrari's auto empire in crisis, the ex-racer turned entrepreneur pushes himself and his drivers to the edge as they launch into the Mille Miglia, a treacherous 1,000-mile race across Italy. Once you realize that Michael Mann was a producer on Ford v Ferrari, the "I can do it too" mentality that oozes out of Ferrari makes sense. The problem is, all the charm and intrigue that Ford v Ferrari had is completely missing from Ferrari. Adam Driver is a great actor who is routinely misused by directors and scripts and Ferrari is no exception. Christian Bale and Matt Damon played well off of each other in Ford v Ferrari and made for a compelling story. In Ferrari, Driver is not only boring but Penélope Cruz is criminally underused, leaving Driver without a strong second to play off of. That then leads to the second issue which is there are about 3 different direction this film could have gone which would have made for a great movie and instead it attempts all three directions half heartedly. The best direction this film could have stuck with would have been to follow Cruz's Laura Ferrari and made a much more interesting movie. Instead she's presented as a bitter woman who just can't understand why her great man of a husband is in love with another woman and fathered another child. There j The other surprising thing about this film is how bad it looks in some action scenes. The crashes in this film are supposed to be big and draw you in. Instead, they're almost comical in how poorly they're shot. Even without looking hard, you can see where stunt drivers have been replaced with crash test dummies or poorly used effects to show gruesome after effects. It's all just very poorly done. Ferrari is a forgettable film. Honestly, in the end just go rewatch Ford v Ferrari if you want this type of film. Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.com/stores/mtr-network   Want more podcast greatness? Sign up for a MTR Premium Account!

Director: Blitz Bazawule Writers: Marcus Gardley, Alice Walker, Marsha Norman Starring: Fantasia Barrino, Taraji P. Henson, Danielle Brooks, Colman Domingo, Corey Hawkins Runtime: 2 Hour 20 Minutes Synopsis: A woman faces many hardships in her life, but ultimately finds extraordinary strength and hope in the unbreakable bonds of sisterhood. Ro, Kriss and Brandon review the 2023 adaptation of The Color Purple. There is a wild  swing in opinions and views on this film. It's definitely a "your mileage may vary". Listen as the crew gives their opinions (and jokes) on this film.  Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.com/stores/mtr-network   Want more podcast greatness? Sign up for a MTR Premium Account!

Director: Hayao Miyazaki Writers: Hayao Miyazaki Starring:  Runtime:  2 Hour 4 Minutes Synopsis:  Already acclaimed as a masterpiece in Japan, Hayao Miyazaki’s new film begins as a simple story of loss and love, and rises to become a staggering work of imagination. Already acclaimed as a masterpiece in Japan, Hayao Miyazaki’s new film begins as a simple story of loss and love, and rises to a staggering work of imagination. Coming after the maker of Spirited Away and Princess Mononoke announced his retirement, The Boy and the Heron is an especially precious gift, and possibly the final film we will see from one of cinema’s greatest artists. As a boy, Miyazaki read Genzaburo Yoshino’s novel How Do You Live? and embraced it as his favourite. This film was initially announced as an adaptation of that book, but Miyazaki uses it instead as one of many layers in a dazzling tapestry that draws even more upon his own youth. During the Second World War, young Mahito Maki (Soma Santoki) suffers a heartbreaking family tragedy and must move immediately to the countryside, where his father (Takuya Kimura) works for a family making planes for Japan’s military, as Miyazaki’s own father did. Isolated, Mahito begins exploring the mysterious landscapes and encounters a grey heron, persistent in its presence. The boy also happens upon an abandoned tower. Curious, he enters. From there, The Boy and the Heron expands into a wondrous, often-startling phantasmagoria. Visually, the film shows Miyazaki at the height of his powers, filling the frame with gorgeous compositions, vibrant colour, and arresting movement. As it draws you deeper into its mysteries, The Boy and the Heron becomes richer, stranger, and more profoundly beautiful. This is a singular, transformative experience in film, and not to be missed.   Everyone knows that Kriss doesn't watch anime but thanks to the Toronto Film Festival and the pre-festival buzz that Hayao Miyazaki's latest Studio Ghibili film was receiving, Kriss added The Boy and the Heron to his TIFF coverage list. And the film did not disappoint. Even for those that do not typically gravitate to anime or Studio Ghibili films, this film will definitely be relatable in its themes around grief, finding oneself and what it means to be a "good person". Another thing that works very well for this film is the time period around when this film takes place. Set during the Pacific War during World War 2, there are a lot of subtle (or not so subtle depending on one's understanding of history) that set a much darker and grim tone for this film. That understanding of some of the background action and characters only serves to make The Boy and the Heron even more of an intriguing and engaging films. Image credit: Courtesy of TIFF There have been a lot of great animated films this year but The Boy and the Heron might be one of the best looking films of the year. Audiences should definitely seek out IMAX showings of this film where possible. Even without IMAX, the film is absolutely stunning and pushes the bar higher for what audiences should demand from animated film visuals. The Boy and the Heron has received a lot of pre-festival buzz and it's all well worth it. Listen as Kriss, Ro and Brandon discuss The Boy and the Heron and dive deeper into the film and what makes it so good. The Boy and the Heron is now playing in US theaters. Follow more of our Toronto Film Festival 2023 Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.net Follow us on Social Media: MTRNetwork MTRNetwork @InsanityReport @TheMTRNetwork

Director: Cord Jefferson Writers: Cord Jefferson, Percival Everett Starring: Jeffrey Wright, Tracee Ellis Ross, John Ortiz, Erika Alexander, Leslie Uggams, Adam Brody, Keith David, Issa Rae, Sterling K Brown Runtime:  1 Hour 57 Minutes Synopsis: Starring Jeffrey Wright in one of his most beautifully nuanced performances, American Fiction is both a wickedly smart satire about the commodification of marginalized voices and a bittersweet portrait of an artist forced to re-examine the terms of his integrity. Thelonious “Monk” Ellison (Wright) is a respected author and professor of English literature. But his impatience with his students’ cultural sensitivities is threatening his academic standing, while his latest novel is failing to attract publishers; they claim Monk’s writing “isn’t Black enough.” He travels to his hometown of Boston to participate in a literary festival where all eyes are on the first-time author of a bestseller titled We’s Lives In Da Ghetto, a book Monk dismisses as pandering to readers seeking stereotypical stories of Black misery. Meanwhile, Monk’s family experiences tragedy, and his ailing mother requires a level of care neither he nor his trainwreck of a brother (Sterling K. Brown) can afford. One night, in a fit of spite, Monk concocts a pseudonymous novel embodying every Black cliché he can imagine. His agent submits it to a major publisher who immediately offers the biggest advance Monk’s ever seen. As the novel is rushed to the printers and Hollywood comes courting, Monk must reckon with a monster of his own making. Adapted from Percival Everett’s novel Erasure, Cord Jefferson’s directorial debut is a wildly entertaining send-up of our hunger for so-called authenticity. Featuring stellar supporting turns from Issa Rae and Erika Alexander, and a string of cheeky cameos, American Fiction is a timely reflection on the fictions we tell ourselves about race, progress, and community. Out of all the films at the Toronto Film Festival, American Fiction seemed like the one that would be a setup for disappointment.      Several big name actors (Jeffrey Wright, Sterling K Brown, Issa Rae, etc). It just reeks of the type of film to draw an audience in but disappoint them. Thankfully, Cord Jefferson does not fall into the trap and makes a very smart, nuanced film that is both funny, serious and insightful all at the same time.  American Fiction succeeds where other films like it have failed because it does not try to run away from the point it's trying to make by trying to over-explain its point or cater to the wrong audience. It's a very refreshing take on black art and black family. While some will look at the obvious, over-the-top and quite frankly, funny plot of the film, there is a very nuanced, subtle plot that revolves around the complexities of a black family. American Fiction tackles topics like: Black families and acceptance (or not) of homosexuality in their family Black male anger that is directed inward instead of expressed safely How the "Black experience" can be the same regardless of income and social status Respectability politics in Black Art and so many more issues This is the film that so many think they're making when they want to tackle some of these concepts but fail. American Fiction manages to sneak in a lot of complex issues while masking it under superficial which is very meta for the plot of this film. This is definitely a must see film. Follow more of our Toronto Film Festival 2023 Reviews and Coverage on our Press Page Page: https://press.mtrnetwork.net Follow us on Social Media: MTRNetwork MTRNetwork @InsanityReport @TheMTRNetwork

Capsule Review: Napoleon is unimaginative, uninspired, and unrelentingly dry. The score and sound design are masterful, but Scott expects them to do too much work in this inert bolder of a story. It's doesn't even give good costume drama - and I say that as a lover of costume dramas.  Listen as Ro chats with Kriss about how Ridley Scott tricked her into watching a film that turns pivotal historical characters into Looney Tunes caricatures and makes such a criminal waste of Vanessa Kirby that Ro demands Scott fight her.  Director: Ridley Scott Writers: David Scarpa Starring: Joaquin Phoenix, Vanessa Kirby, Tahar Rahim Runtime:  2 Hours 38 Minutes Synopsis:  [Alllegedly] based on the true story of Napoleon Bonaparte, primarily depicting the French leader's rise to power as well as his relationship with Empress Joséphine Napoleon opns in theaters November 22, 2023 Like what you hear? Subscribe so you don't miss an episode! Follow us on Twitter: @Phenomblak @InsanityReport @TheMTRNetwork   Our shirts are now on TeePublic.  https://teepublic.com/stores/mtr-network   Want more podcast greatness? Sign up for a MTR Premium Account!