Wicked: For Good (2025) Review

Title: Wicked For Good
Year: 2025
Director: Jon M. Chu
Country: US
Language: English

Subjectively, I’ve never been a fan of The Wizard of Oz (1939). Despite appreciating its technical achievements, and enjoying Judy Garland in just about anything, the film has always felt a bit too creepy and off-putting for me (the whole “only bad witches are ugly” thing never sat right). Because of that, I spent years avoiding Wicked on principle, even as its Broadway reputation grew louder around me. It wasn’t until the story was finally adapted for film, and after hearing endless praise from friends, that I decided to give it a chance. To my surprise, I absolutely loved Wicked. I couldn’t wait to see Wicked: For Good. 

The story follows the aftermath of the events that shaped Elphaba and Glinda. While revisiting key moments of their intertwined past, the film examines how their choices ripple through Oz, influencing not only their own paths but the fate of the entire land.

Part One concludes on such a powerful, and literal, high note that it's inevitable that For Good  struggles to re-capture same impact. The second half depends heavily on the adrenaline rush from the first half, which works beautifully in a theatre where the intermission is only 15 minutes, but that built-in energy dissipates when there is a full year in-between the two films. It's as though For Good is in the shadow of its predecessor, rather than continuing as a single, running engine. Both parts of Wicked will likely be more successful on streaming and home-video, as it will be possible to watch both films back-to-back. 

This being said - Wicked: For Good is still an enjoyable musical. Ariana Grande & Cynthia Erivo's performances are remarkable; especially with the new ballads No Place Like Home and For Good. Both will likely be nominated for Best Original Song, and I'm certain For Good will win the award. The award-winning production design was impressive here, as well as the cinematography and costuming. Both parts of Wicked are certainly full of great cinematic achievements.

While Part Two doesn't live up to its predecessor (how can you top Defying Gravity!?) For Good is a memorable, worthwhile experience that resonated with me on an emotional level. I hope Erivo and Grande keep making musicals because their first two attempts have been incredibly impressive. 

The Smashing Machine (2025) Review

Title: The Smashing Machine
Year: 2025
Director: Benny Safdie
Country: US
Language: English

Produced by HBO, The Smashing Machine: The Life and Times of Extreme Fighter Mark Kerr (2002) was a landmark documentary released at a time when MMA (mixed martial arts) was still struggling for mainstream legitimacy. It’s almost hard to believe there was ever a “wild west” era for the sport, considering how massive MMA has become today. That’s what makes time-capsule stories like this so valuable; they capture the pioneers before the world caught up.

The Smashing Machine is a story based on the true events surrounding Kerr's life and rise through the MMA world which was unfortunately derailed by his opioid addiction.

The hype around The Smashing Machine was huge; there were standing ovations at Venice Film Festival, and plenty of talk about Dwayne Johnson in contention for a "Best Actor" Oscar for his performance. However, when  it finally hit theatres  the film bombed both critically and commercially. 

Johnson knows acting is more than putting on makeup, right? When you watch the original documentary, or even view real life interviews with Kerr on Youtube, you'll see that Rock doesn't sound, move, or behave like Kerr at all. The performance is essentially "Rock with makeup" rather than a full transformation. It's a really poor job. I doubt he'll even get a nomination. 

A large portion of the film's scenes are lifted directly out of the 2002 documentary, right down to word-for-word dialogue. Safdie's cinematographer, Marceo Bishop, aims for a gritty docu-drama look, but it's often at odds with the film's attempts to tell large-scale storytelling. The screenplay struggles as well. Safdie tries to juggle three stories  (addiction, love, and career) but two of them are resolved fairly abruptly with little payoff. 

The Smashing Machine could have been the next Raging Bull (1980) or The Wrestler (2008) but its execution failed to deliver, despite the hype surrounding it. Hopefully there are better films made about the same period of time, because the story of MMA is fascinating, and deserves to be explored by more creative people. 

Radicalized by the Pandemic

Radicalized by the Pandemic

In March 2016, I was wrapping up a contract designing a user interface for a data-entry system. It was a job that felt like the first real step in my career. When the contract ended, I figured the next step would come quickly. I had a degree, experience, references, and an impressive resume for a recently graduated student. 

At first, my job hunt was strategic. I applied to companies I genuinely wanted to work at - high(er) paying tech companies with an assortment of benefits. I was a little underqualified, but I figured I might as well shoot for the moon. 

The next couple of months I fired off 30+ resumes a day, in addition to weekly meetings with a career counsellor to go over interview preparation. By June I had 2-3 interviews/day, but I kept hearing the same line "You're a strong candidate, but we went with someone who has had more experience."

By September I had given up on my ambitions entirely. No more curated applications. I was applying to Best Buy, Walmart, Safeway - anywhere with a Now Hiring posting on their website. I re-wrote my resume so many times - removing skills so I wouldn't look "too qualified" to stock shelves. Somehow that wasn't enough. I'd show up to minimum-wage interviews and be told I "wasn't the right fit." 

Not the right fit...to stock grocery shelves!?

Then came the employment agencies. These were the people whose literal job was to help me find work, and even they questioned my background.

“Who taught you statistics?”

“I went to university.”

“And how did you get this data analysis role?”

“I applied for it.”

“…Did your dad own the company?”

By March 2017, I was drained, both financially, mentally, and emotionally. Savings? Gone EI? Gone. Welfare? 2 weeks away. I finally got a "desperation" job - something I could have gotten when I was sixteen.

I told myself I was lucky to have ANY job, and I felt like it could be taken from me at any moment. 

....but something unexpected happened. 

The Covid-19 Pandemic

Three years later, the pandemic made everything stop at once. I was laid off, and I felt certain that this time the job market would eat me alive.

I'd watch the news and see CEO's and "leaders" contradict basic safety information. I'd listen to people talk about COVID-19 like it was a cold - brushing off concerns when hospitals were over-capacity with people clinging to their lives in the ICU. I saw people who I once felt inferior to - revealed as clueless, arrogant hypocrites.

Meanwhile, the people being relied upon were the same "replaceable" low wage workers we'd all been told didn't matter and weren't skilled. Cashiers, shelf-stockers, janitors, delivery drivers. They were now "essential" and getting sick so that everyone else could feel safe during the lockdowns. 

For the first time, I saw the system clearly: fragile, performative, dependent on the very labor it refused to value. Entire industries survived only because the Government bailed them out - yet they had spent decades on propaganda, telling workers about "personal responsibility." 

My view on power dynamics shifted. We are told that employers have all the power, and that workers are lucky to have a job, but that view is designed solely to keep workers in line. The reality is that we have the power to make a difference. I can make a difference. 

The pandemic showed that my worth was never determined by whether a hiring manager liked my personality, or if I fit some vague idea of "work culture". These were arbitrary decisions made by a chaotic pedantic system that pretended to be rational. 

The truth is obvious. I...WE hold the real leverage. We offer our skills, our time, our labor. Society can't function without us. WE have strong propaganda telling us otherwise, but an individual's "power" depends on our willingness to participate. WE choose where we offer our labor, and we can end entire companies if we decide. 

Book Group

Around this time, I also joined a local virtual book group. The members were people I had always thought were "above" me (teachers, ministers, organizers etc.), people respected for their knowledge and opinions. I expected to feel out of place. 

Instead, they treated me like an equal. They listened to my thoughts, and when the minister fell ill, allowed me to be in charge of planning group meetings. My ideas mattered. My leadership had weight. It felt empowering and motivating.

Change:

The pandemic, the book group, and these experiences , changed the way I see myself professionally.

I know my skills have real, tangible value. I know that if an employer does not see this value, that's their problem, not mine, and I am not afraid to find work that I genuinely enjoy, which respects and utilizes my abilities. I approach my work with confidence - rather than fear. I think "do I want to be here?" rather than "does this place want me?". My contributions matter. 

YOUR contributions matter. YOU matter. 

“Never doubt that a small group of thoughtful, committed citizens can change the world; indeed, it’s the only thing that ever has.” - Margaret Mead

One Battle After Another (2025) Review

Title: One Battle After Another
Year: 2025
Director: Paul Thomas Anderson
Country: US
Language: English

Never has a future "Best Picture" Oscar Winner been more obvious. Paul Thomas Anderson has made a lengthy career of important, enduring, and captivating films like Boogie Nights (1997), Hard Eight (1996), and There Will Be Blood (2007). The latter of which is often considered the best film of the last 25 years. One Battle After Another is PTA's most expensive production, coming in with a budget of $200 million. While it hasn't made its money back, it proves to be a great critical success with 90%+ of viewers giving positive feedback about their experience. 

One Battle After Another begins with the liberation of immigration camps, and bombing of government property; an announcement of the "motherfuckin' revolution" by a militant group known as the French 75'. Two members, Bob Ferguson  (Leonardo DiCaprio) & Perfidia Beverly Hills (Teyana Taylor) fall in love. Perfidia encounters a deranged white supremacist named Lockjaw (Sean Penn) who finds himself infatuated with her. Lockjaw dismantles the group, but years later he returns to find his daughter. Bob Ferguson must do everything he can to save his daughter. 

Anderson created One Battle After Another, loosely inspired by Thomas Pychon's novel Vineland, from his desire to create a "chase" movie. The film has the suspense of great "chase" films (ex. No Country for Old Men) while also being very funny, and driven by social commentary about the state of America. Sean Penn does a great job at making Lockjaw a Terminator-esque force of nature, while also showing how warped the character's views are. The Christmas Adventurers, a group of powerful white supremacists who accept Lockjaw as one of their own, are portrayed with satire and irony. 

From a technical perspective; I can't see how One Battle of Another wouldn't win at least five academy awards. The score, composed by Johnny Greenwood, adds to the heightened sense of dread as Lockjaw gets closer to his goals. The Cinematography is remarkable; there are several shots I found myself incredibly impressed with, including the rollercoaster-like hill shots during the car chase near the end of the film. The editing keeps the film fluid; at nearly 3hours, One Battle After Another feels like a brisk experience. There are no scenes that feel like they aren't necessary. 

There are few modern-day movies that I can see audiences re-watching 25-30 years from now, but Paul Thomas Anderson's One Battle After Another is clearly one of them. I think this is a film that will be studied in future University classes. This is going to sweep many awards shows. 

Weapons (2025) Review

Title: Weapons
Year: 2025
Director: Zach Cregger
Country: US
Language: English

In Weapons an unthinkable tragedy hits a small town, and the citizens' difficulty with coping - ranging from rage, addiction, nightmares, and obsessing - creates a compelling narrative that Rashomon's itself through the central mystery at play. Split into perspective-driven chapters, the story delivers in becoming increasingly bizarre throughout its run-time. It's a very smart film that relies on atmosphere and intriguing characters rather than shock.

When all but one child from the same class mysteriously vanish on the same night at exactly the same time, a community is left questioning who or what is behind their disappearance.

The emotional turmoil of each character presents a truth; this is how a community of people would react if their kids went missing. We often see this hostility, fear, sadness, and distrust when big loss events (like covid, school shootings etc.) happen. It's far more than allegory for shootings however; the story reminds me of how Stephen King's best novels unfold. We see the failings of our friends and neighbors come to light, and then a supernatural revelation tests their soul. See: The Shining.

Weapons is a deliberate, slow boiling film that has a novelistic approach in the way it approaches characters - and having their stories intersect in an satisfying way. The film has a fairly good tone; its atmospheric horror, but there are funny moments aspersed throughout that relieve some tension. It feels like a Grimm's fairytale in the way it "weaponizes" its magical elements. 

Prior to watching, I heard a lot of great things about Weapons. I was seriously considering watching it in theaters, but I was concerned that it wouldn't meet the expectations I had built up for it. I'm glad to have seen this. It's easily in my top 10 of 2025. 

Shin Godzilla Re-Release (2025) Review

Title: Shin Godzilla
Year: 2025
Director(s): Higuchi & Anno
Country: Japan
Language: Japanese

Godzilla originated as a metaphor for the nuclear bomb America dropped on Japan during World War II. Mutated by nuclear waste dumped into the ocean and powered by nuclear fission, Shin Godzilla's King of all Monsters glows red just under his skin, making him an awe-inspiring sight even after he knocks out the Tokyo power grid. Unlike most other interpretations, this Godzilla evolves into different forms throughout the film; first as a harmless armless creature, and then into a force of nature that can shoot laser beams out of its back.

In Shin Godzilla something has surfaced in Tokyo Bay. As the Prime Minister of Japan pleads with the public to remain calm, a horrific creature of tremendous size makes landfall in the city, leaving death and destruction in its wake.

When it was initially released in 2016 I had a great time with Shin Godzilla. It was far better than the American 2014 version starring Bryan Cranston, as that one had very little actual Godzilla in it. However, I can't help but compare Shin Godzilla to the film that came after it; Godzilla Minus One. I was far more impressed with that version of Godzilla - and I also thought the human element made for an incredibly compelling story. Shin's story is a political satire about how bureaucracy fails us when we need them most, but it's VERY dialogue heavy and feels a bit cold. There are a lot of characters, but few I feel I connected with. 

That being said - it does a great job at showing how inept bureaucracy can be - I laughed when I noticed that a person's title had become so long it filled up the bottom of the screen. There is one scene - which is shown on many of the re-release posters- that is awe-inspiring. When Godzilla takes out the power grid, glows purple, and shoots out his fire breath I really felt impressed. This scene of destruction could be the best in the franchises' history. 

The end conflict is a little anti-climatic, and the dialogue heavy scenes go a bit too long, but I can see why Shin Godzilla has such a large audience wanting to see a sequel. I wouldn't mind this version of Godzilla coming back, but hopefully in a story with a more enticing human element. 

The Naked Gun (2025) Review

Title: The Naked Gun
Year: 2025
Director: Akiva Schaffer
Country: US
Language: English

The comedy team known as ZAZ, a trio that included David Zucker, Jerry Zucker, and Jim Abrahams, had a short but successful series of spoof comedies like Airplane! (1980), Top Secret! (1984) and a television series on ABC called Police Squad! (1982). The television series was so successful that they were able to make the classic Naked Gun Trilogy. This spoof comedy genre started strong, but faded in popularity with time. In the early 2000's, the genre hit rock bottom with films like Not Another Teen Movie (2001) and Meet the Spartans (2008). After a decade-or so- hiatus, audiences are ready to see the spoof make a comeback. Thus we get a Naked Gun reboot of sorts. 

Liam Neeson plays an inept cop who  investigates a recent death that appears to be a suicide, but the victim’s sister, Beth Davenport (Pamela Anderson), thinks otherwise. She’s convinced billionaire Richard Cane (Danny Huston) is behind it. 

I bought tickets to this film out of hesitancy; I was certain it couldn't compare to the original Naked Gun, and could possibly be an awful experience. Thankfully, I was wrong. Liam Neeson has great comedic timing; perhaps even better than Leslie Neilson. Naked Gun feels like more of a passing of the torch, than a cash grab for nostalgia's sake. Writers Dan Gregor, Doug Mand, and Schaffer fill the run-time with clever sight gags and fun word-play - largely avoiding references that would be out of date in a few years' time. This kind of comedy is timeless; the deadpan delivery of the absurd scenarios is quite fun. 

Seriously, Neeson - and Pam Anderson - play foundational roles that bring this film's material up a few notches in terms of my enjoyment of Naked Gun. Their chemistry is undeniable; it is no wonder that they became a couple offscreen. They both deliver their lines with such deadly seriousness; it's as if Neeson thought he was on the set of Taken.

Naked Gun captures the tone and energy of the original film, while also being careful not to be an exact copy. The plot, while a little on the nose in its Musk-esque villain, is certainly relevant to the 2020's. I was very impressed overall. 

 

Thunderbolts* (2025) Review

Title: Thunderbolts*
Year: 2025
Director: Jack Shreier
Country: US
Language: English

Thunderbolts* markets itself as the antidote to superhero fatigue - but it assembles itself very much like Earth's Mightiest Heroes meets Suicide Squad. Here we have a bunch of defective losers who team up to take on a threat bigger than themselves. It would be predictable cookie-cutter stuff if not for the fact the film is far more about their humanity & dealing with emotional turmoil; rather than set-pieces, visual spectacle and action. Rarely does Hollywood tackle such themes in such and honest and humanistic way. 

After finding themselves ensnared in a death trap, an unconventional team of antiheroes must go on a dangerous mission that will force them to confront the darkest corners of their pasts.

My biggest let-down from Avengers: Endgame was how they treated Thor's (Chris Hemsworth) mental health struggles as a joke. The character was clearly struggling with PTSD, and binge-eating to cope as a result - yet anytime he interacted with another character it was to be a joke at his own expense. Thunderbolts* has some humor -  but it grapples mental health issues in a very serious way. It's a pretty heavy film that deals with suicidal impulses; and overcoming overwhelming shame; but it still manages to be an immersive entertaining film that challenges your pre-conceptions regarding mental illness. 

Cinematographer Andrew Droz Palermo, gives the picture an intimacy and naturalness that is absent from most of Marvel films. The score by avant-garde band Son Lu, gives the film a strong soulful presence that will stick with you throughout its run-time. The film's pacing and editing is appropriate for its tone. Though it deals with distressing themes; the film never feels like it slows to a crawl or lingers in one place for too long. 

Thunderbolts* is refreshing; a change of pace from Marvel's over-the-top absurd fares in the last few years. This makes me feel like Marvel can get past its rough post-Endgame lull and give us emotionally complex films that lead up to a big Avengers-like event. 

Superman (2025) Review

Title: Superman
Year: 2025
Director: James Gunn
Country: US
Language: English

First and foremost; I hated Man of Steel and Justice League - and I'm including the Zach Snyder cut. I thought Henry Cavill was a decent actor for the role of Superman, but the writing & directing really ruined the character. Christopher Reeve made Superman an inconic mythical figure that stood for hope and justice; whereas Snyder's Superman was a crying emotional mess that didn't really stand for anything. Thankfully James Gunn is a competent director who has reintroduced a sense of joy, hope, and optimism to the character. This is Superman. 

In this entry, Superman must reconcile his alien Kryptonian heritage with his human upbringing as reporter Clark Kent. As the embodiment of truth, justice and the human way he soon finds himself in a world that views these as old-fashioned.

Superman has an intriguing premise; how would the hero's unshakable morality fit into our politically intense world? In the film Lois Lane (Rachel Brosnahan) questions our hero as to why he intervened in another country. She confronts him with the complex geo-political bureaucracy - and he can't help but see things in black-and-white, "People were going to die!". It's a different take on the a character, adding a lot of depth to a genre that rarely goes so deep. 

The relationship between Lois Lane and Clark Kent/Superman feels very grounded in realism; both actors have great chemistry and the stakes in their relationship feel very tense. Gunn does a great job at giving each side character a good amount of emotional depth. Lex Luthor (Nicholas Hoult) is the definition of a hater; I appreciated that he was an actual despicable villain & I wanted to see Superman defeat him in the end. Too many films nowadays make the bad guy cool; Luthor is just a pathetic hater. 

Despite the themes and relationships being very grounded, Gunn's Superman often deviates from reality and embraces the unorthodox. That part is a little hard to get into without spoiling some of the plot. I did also appreciate the unique cinematography - by Henry Braham. Many of the shots do a great job at enhancing Superman's mythical stature. Overall I was very happy with this entry. 

Fantastic Four: First Steps (2025) Review

Title: Fantastic Four
Year: 2025
Director: Matt Shakman
Country: US
Language: English

The Fantastic Four first debuted in Marvel Comics' The Fantastic Four #1 in 1961. The group, who gained their superpowers after exposure to cosmic rays during a space mission, were created in response to DC comics' incredibly popular Justice League of America. To date, more than 150 million Fantastic Four comic books have been sold, with the first comic going for 1.5 million dollars at auction. Hollywood has tried to capitalize on this team, but with little critical success. Roger Corman's adaptation was dated, even for its time. The 2005 & 2007 adaptations made a lot of money ($500 million combined) but received negative press. The 2015 reboot was neither a critical or commercial success. Hopefully Fantastic Four: First Steps will be a step in the right direction. 

Forced to balance their roles as heroes with the strength of their family bond, the Fantastic Four must defend Earth from a ravenous space god called Galactus and his enigmatic Herald, Silver Surfer.

Fantastic Four doesn't waste time on exposition, and dives into the film's story with precision, narrative drive, and a clear vision for what its end-goal is. This entry is far more focused on exploring personalities - and complex areas of morality, rather than glamorizing their superpowers. Reed - smartest man on Earth - feels a tremendous amount of frustration and inadequacy. 

The film's production design, by Kasra Farahani, is a Jetson's esque retro-futuristic style that evokes creativity and wonderment. This by itself would make Fantastic Four standout amongst every other Marvel movie. The 1960s-style split-screen montages and faux archival footage, in addition to its impressive editing, also add to the film's remarkable style. 

I suppose my main negative criticism of Fantastic Four is that its very much style over substance. It does introduce some depth to our characters, but ultimately I don't think it goes as deep as say, Thunderbolts (2025) was able to accomplish. This is a film that is certainly a visual spectacle, but much of the plot elements are questionable. Depending on your view of the ongoing situation, Fantastic Four can come off as selfish jerks. 

It isn't the best superhero to come out this year - or even this month (see Superman)- but Fantastic Four is a decent escapist movie that is certainly worthy of seeing once on the big screen. I appreciated that this film did something a little different with the material.