Parade Picks

MISSION: IMPOSSIBLE – THE FINAL RECKONING

A Review by Alexander Hall – ‘The Parade Movie Guy’

****

‘MISSION ACCOMPLISHED’

The most recent 007 movie betrayed the entire Bond franchise by killing off James Bond.  And the last Indiana Jones film concluded with Indy being punched in the face by his goddaughter.  Whereas MISSION: IMPOSSIBLE - THE FINAL RECKONING, or MISSION 8 for short, ends the ‘Tom Cruise Era’ of missions appropriately.  They got it right!  Fan loyalty was clearly the directive!

All threads come together nicely, not just as a strong rewarding conclusion to the previous movie, MISSION: IMPOSSIBLE – DEAD RECKONING (Part I), but for the entire series.  Lovers of all the MISSION movies will also be pleasantly raised-up by how creatively and emotionally MISSION 8 links most of all to MISSION 1.  There is a fantastic convergence of legacy story threads in play, thus making MISSION 8 less predictable than it might have been.  Hats off, or should it be ‘masks off’, to Tom Cruise and writer/director, Christopher McQuarrie, for ending this phase of missions boldly and memorably.

At the start of MISSION 8, things pick up where they left off in MISSION 7.  Ethan Hunt (Tom Cruise) must stop ‘The Entity’, a ‘super rogue AI’, that is gradually taking control of all the world’s nuclear launch programs.  Aiming to control The Entity is human, Gabriel, the rollover villain from MISSION 7, charmingly and slyly played by Esai Morales.  In brief, Hunt, and his crew set-out to defeat The Entity via manipulating Gabriel in a complex but followable chess match of tactics, all aiming to save the world from AI destruction and enslavement.

Much of the first-third of MISSION 8 sets-up the second and third acts in a slightly drawn-out manner, overusing ‘flashbacks’ and ‘flash forwards’.  However, the mid-section, takes a more fluid pulsating hold, involving Ethan Hunt sneaking into a sunken Russian nuclear submarine to retrieve the original ‘source code’ needed as part of The Entity’s downfall.  Gripping and enthralling, this sequence reaches a filmmaking standard at the level of James Cameron with AVATAR 2.  How Cruise’s crew produced the submarine gag is mind-boggling!  As a bonus, MISSION 8’s final section does not disappoint, escalating with numerous ‘ticking clocks of danger’, leading to the grand conclusion.

Regrettably missing from MISSION 8 is the glitz and sexiness personified by the likes of actresses, Maggie Q and Paula Patton, in the earlier MISSION movies.  Part of that allure were the cocktail parties with leggy heroines in slitted skirts and heels beating up bad guys.  But, unfortunately, we now live in more introverted cinematic times.  Everyone in MISSION 8 appears to be dressed constantly like matching combat soldiers which becomes boringly androgynous.  A more festive ending with Ethan Hunt and his team partying rejoicingly in swimsuits on an island beach would have added a needed dash of flamboyance, but maybe next time. 

Nicholas Barber’s BBC review for MISSION 8 stated that the film was the “feel-bad film of the summer”, but perhaps this is unfair, even though events throughout the story are consistently sombre.  Realistically though, important current events are addressed, such as the threat of ‘radical AI’ taking control, brainwashing generations, and the nuclear threat that is worryingly more in the news these days.  So, Cruise and his team clearly decided to back-up the more serious tone of the final movie by limiting the ‘comic book’ components that had surfaced in the past.  Think about it, how many times can Ethan Hunt survive a catastrophic car chase without even a bruise or neck whiplash?

All-in-all MISSION 8 follows a daring path, saying something unexpected, rather than just existing for the sake of making more money.  Sadly, the world is not the place it was when MISSION 1 came out in happier 1996 – the time of Euro ’96 football, Mr Blobby, and the Spice Girls.

What’s next for the MISSION movies?  Well, Tom Cruise has expressed in red carpet interviews that ‘THE FINAL RECKOINING means final’.  More than likely, this means ‘final for this format’.  All of Hollywood and the global movie industry will be shocked if Cruise does not come back for more missions, even if it is just as ‘the voice’ on the ‘mission message’ at the start of each story – “Your mission, should you choose to accept it…” etc.  Either way, TOP GUN 3 will come first, so we have much to look forward to in the career of the ‘million-dollar smile kid’ known as Tom Cruise…

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THE RETURN

Directed by Uberto Pasolini

A Review by Alexander Hall – ‘The Parade Movie Guy’

*****

A RIVETTING AUTHENTIC ODYSSEY TO LIVE FOR!

In an age of over-hyped bloated Oscar-nominated movies, such as THE BRUTALIST and OPPENHEIMER, it is refreshing to view a historical period drama with a more streamlined point-to-point narrative while being fully effective.  THE RETURN is indeed a return to quality authentic filmmaking of ‘story’ over ‘visual indulgence’.  It reminds us of the golden era of British and European cinema of the 1980s.  Those who have seen A ROOM WITH A VIEW, HOPE AND GLORY, CINEMA PARADISO, or JEAN DE FLORETTE will fully understand this comparison.

And what better material to draw from than Homer’s epic classic poem, THE ODYSSEY.  Here, in THE RETURN, we are treated to witnessing the mythic warrior, ‘Odysseus’, who fought in the lengthy ‘Trojan War’ (containing the infamous ‘Horse of Troy’), concluding around 1180 BC, finally arriving back home.  On the island of Ithaca, Odysseus’s former castle abode is now under siege.  Conniving greedy suitors are all after the hand of Odysseus’s influential wife, Queen Penelope.  Evading re-marrying through a degree of trickery, she still hopes for her husband’s return.

However, Odysseus is not the man he once was, now emotionally scarred by war and his own misgivings.  Initially, out of fear, he is unable to make his ‘identity’ known to his wife and son, Telemachus, who was too young to remember his father before he sailed for Troy.  But what eventually unfolds, as Odysseus tiptoes through the stages of revealing himself, is a truly gripping tale of post-war self-resurrection on his part.

What is also compelling about THE RETURN, drawn directly from THE ODYSSEY, is how it is the wise, worn, veteran, Odysseus, who has the ability to re-claim his throne, not the supposed younger, sharper upstarts.  Experience over ambition is ultimately the greatest weapon!  For fans of THE ODYSSEY, the ending in the new film with Odysseus’s brutal redemptive ‘attack on the suitors’ is no disappointment! 

Ralph Fiennes, coming off the back of hit, CONCLAVE (2024), plays Odysseus with hypnotic, restrained calm and coolness.  Gradually, he unleashes his inner menace in riveting manner.  Credit to Fiennes and his fitness team for the esteemed actor’s physical muscular transformation thanks to hours in the gym matched with a strict influential diet, no doubt.  Odysseus is now more ‘Rambo’ than Homer could ever have imagined!

Juliette Binoche, as Queen Penelope, is also completely in control of her performance.  The seasoned star conjures the right balance of worry, trepidation, and patience needed to chart the path of her character’s difficult emotional journey.  It is nice to see the well-matched Fiennes and Binoche back on-screen together for the first time since THE ENGLISH PATIENT back in 1996.

Adding to the striking visuals and tone of THE RETURN are the spectacular organic Italian and Greek exterior locations.  Every frame on camera oozes with ‘under your fingernails’ grit of how the world must have truly felt back in ancient times.  This is real filmmaking, on location, braving the elements, in foreign lands, not forged within the walls of a comfy London ‘greenscreen stage’.

Also riveting throughout THE RETURN is music composer, Rachel Portman’s, form-fitting score.  Listening to the film’s main track playing solo over the end credits is highly recommended, rather than making the usual bolt to the exit doors.

At the helm of THE RETURN, as director, also one of the writers and producers, is Italian-born London-based, Uberto Pasolini.  Having begun his own odyssey under the wing of legendary British producer, David Putnam (CHARIOTS OF FIRE), back in the late 1980s, Pasolini has been involved in several prestigious projects over the years (directing three previous films).  For one thing, he produced the global smash, BAFTA-winner, THE FULL MONTY (1997).  Now, all the hard work and experience has paid off for Pasolini.  Hats off to him!

With those involved in making THE RETURN, one’s hope was for a high standard film, but what has made port is a production that goes beyond that.  Perhaps simply starting with a great story and a good script is the secret…

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SNOW WHITE

A Review by Alexander Hall – ‘The Parade Movie Guy’

‘NOT AS MUCH OF A WHITEWASH AS EXPECTED!’

Sadly, for the past couple of years, since production began, Disney’s new SNOW WHITE has drawn a weight of negative attention.  More concerns than a poisoned apple!  Gossip aside, taking the movie at face value, SNOW WHITE is not an outright disappointment.  In fact, in some ways, it is a fun and frolicky adventure fairy tale that youngsters will enjoy!

Much of the general SNOW WHITE storyline that we all know is in place: Snow White becomes the envy of her stepmother, the Evil Queen, forced to flee deep into the woods where she discovers ‘seven dwarfs’ (though never referenced as dwarfs) who help her on a path to salvation.  Snow White herself has some uplifting interactions with the dwarfs and the forest’s furry animal residents.  She hits some high notes with new and classic songs alike.  And the dwarfs singing their expanded ‘Heigh-Ho’ anthem deep in the mines is an entertaining highlight.  Overall, SNOW WHITE is artistically polished and produced…in a quirky pantomime-like manner.

What lets down SNOW WHITE is an obvious misconceived set of creative choices.  Rachel Zegler, who plays Snow White, is clearly a talented performer, seen at her exotic best in Steven Spielberg’s WEST SIDE STORY (2021).  However, it feels like the movie’s writer and director could not decide (no doubt pulled in different directions by ‘politically correct’ pressure and obligations) to make Snow White either a cute damsel in distress saved by the dwarfs and a Prince, or a tough modern loner warrior chick.  So, she sort of ends up stuck in the middle, marooned in mismanaged potential.

In fact, in this new incarnation, Snow White is not saved with a kiss by her Prince…but by an earthy male ‘forest bandit’ who she then drops after the finale.  Her priorities are evidently modern…but not warm and fully embracing for audiences.

Perhaps the most notable head shaker is the absence of the seven dwarfs in SNOW WHITE’s title, especially as the movie is based mostly on the original Walt Disney animated masterpiece SNOW WHITE AND THE SEVEN DWARFS of 1937.  Additionally, the dwarfs really only appear in the movie as mid-section comic relief, not having a key role as expected.  There is no epic exciting finale chase, like in the animated movie, with the dwarfs chasing the Evil Queen up a mountain to her death.  No, it is Snow White who confronts the Evil Queen, defeating her with a barrage of ‘wordy social justice statements’ instead.  Clearly the narrative aim was to not have Snow White outdone – only she can be the heroine.

Another issue is how the dwarfs were brought to life via computer animation, not played by accomplished genuine dwarf actors.  Seeing as every other human character in SNOW WHITE is played by a human it seems an odd mismatch.  Again, a sign of the film’s creative voices’ conflictions.  The thinking must have been to avoid ‘offensively’ casting dwarfs to play dwarfs instead replacing them with stylized computer renditions – by this way avoiding calling them dwarfs.  All this unnecessary social micro-management could have easily been avoided – just tell the story as it is known well!

In addition, star Rachel Zegler unwisely decided to support SNOW WHITE’s production and marketing by mocking the quaintness of the original animated movie.  And she slung abrasive ‘personal political statements’ online, rather than having Disney’s economic needs at heart.  SNOW WHITE’s low global box-office was no doubt affected by all these accumulated polarizing influences.

As said, nit-picking and rotten apples left at the door, SNOW WHITE achieves its goal and purpose of providing a couple of hours of worthy escapism.  Just don’t feel too bewildered when the finale illustration of Snow White appearing in the signature ‘closing storybook’ shows her standing victoriously proudly alone.  Nowhere in sight is a Prince, forest bandit, dwarf, boyfriend, husband, family, or children.  Was the need for being so modernly independent really worth it in the end?

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A MINECRAFT MOVIE

A Review by Alexander Hall – ‘The Parade Movie Guy’

****

MINECRAFT MANIA PACKS A PUNCH!

Upon reading this review, A MINECRAFT MOVIE has already become the biggest grossing movie worldwide of 2025 in less than two weeks of release.  Plus, claimed the largest ever ‘Saturday’ and ‘Sunday’ USA opening for its studio, Warner Bros. Pictures – bigger than BARBIE and any BATMAN movie.  ‘Minecraft Mania’ is huge!

Over the past year, chats amongst the movie and gaming communities were whether A MINECRAFT MOVIE could live up to the expectations of hailing from the ‘highest selling video game in world history’ (first released in 2011).  Plus, reactions to the movie’s initial ‘teaser trailer’, sprung at the end of 2024, had many cringing at the sight of hyper Jack Black as ‘Steve’, the beloved central everyman ‘miner’ character from the original game.  Plus, many shuddered upon seeing former BAYWATCH: HAWAII hunk, Jason Momoa, appear with a funky haircut, wearing a pink jacket!

Memories of other computer game/comic book/toy flops also came to mind – SUPER MARIO BROTHERS (1993), HOWARD THE DUCK (1986), and MASTERS OF THE UNIVERSE (1987).  Would A MINECRAFT MOVIE join the ranks of these well-known duds?  Was this going to be the next titanic stinker like THE MARVELS (2023)?  Was potential doom on the cards for its cast?

The answer to all these questions…is a big boisterous booming NO!

A MINECRAFT MOVIE is a sensational smash hit, knocking the block off all negative assumptions.  Firstly, the box-office numbers speak for themselves.  And, somewhat surprisingly, all the cast bring their A-Game of self-confidence performing inside a crazy make-believe world.  Jack Black is never better as the sugar-rushed Steve.  Momoa stuns in a career-defining ‘out-there’ performance.  And sidekick, actress Danielle Brooks, plus the kids, Sebastian Eugene Hanson and Emma Myers, are all charmingly excellent.

For lovers of 1980s cinema, elements of WAR GAMES (1983), TRON (1982), THE GOONIES (1985), come into play within A MINECRAFT MOVIE.  This is not an unofficial homage to these childhood favourites, but the new film totally re-captures the essence of the ‘can do’ ‘win-win’ ‘must-do’ mentality of the 80s.  It is back!  And greatly needed in modern self-absorbed downbeat 2025.

But what is key is that A MINECRAFT MOVIE stays loyal to the fun and fantastic creative nature and emphasis of the game.  Warner Bros. and their producing partner, Legendary Entertainment, had the ‘fans first’ in mind, rewarding them with a chalice to cherish.  This is no woke catastrophe like SNOW WHITE (the seven dwarfs oddly not mentioned in the title).  A MINECRAFT MOVIE successfully focuses on simple, sometimes thinly rendered, but important themes of friendship, the need for fair healthy creative expression, self-redemption, and simply being cool without guilt.  Everyone works together in the movie, regardless of age, gender, or appearance – they are all in it together!

At numerous screenings for A MINECRAFT MOVIE in the USA, teen gamers in attendance have routinely been quoting aloud lines from the movie drawn from the original Minecraft game.  Popcorn wars have broken out to celebrate the event.  In Utah, honouring the famous “chicken jockey” line, one guy brought a ‘real live chicken’ into a screening’!

This is a moment – a movement of gamers and a specific demographic, male and female, coming together to appreciate their childhood inspiration!  A joyous occasion uniting kids back into cinemas after the imperial social absurdities of the past five years.

Most impressively, A MINECRAFT MOVIE is utterly believable.  This is thanks to its brilliantly designed and realized organic sets and computer-generated environments.  Credit to the film’s American director, Jared Hess, known for quirky comedies (NAPOLEON DYNAMITE).  With immense self-assurance and creative flair, he handles it all brilliantly.

The project was mostly filmed at Auckland Film Studios, New Zealand, and local locations – former home to Peter Jackson’s LORD OF THE RINGS films, plus currently for James Cameron’s upcoming AVATAR sequels – proving how in some capacities Hollywood has left Hollywood.

If you are wondering what the actual story is for A MINECRAFT MOVIE, well, that would be a shame to give away as a spoiler.  In the end it is a game.  And must be experienced to fully understand and absorb the effect of the outpouring of ideas, inspiration, and love from the movie.  The answer is to clearly be part of ‘Minecraft Mania’ yourself.  To miss out is to miss being part of history…

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FLOW

Animated Adventure

A Review by Alexander Hall – ‘The Parade Movie Guy’

CAPTIVATING FOR ITS SHEER ORIGINALITY AND SIMPLICITY!

With FLOW winning the Best Animated Feature at this year’s 2025 Oscars’ ceremony in Hollywood, that alone signifies the legitimate and deserved recognition that this unusual project is receiving.  And a trustworthy reason for seeing the film!  Plus, for fans of animation across the board, FLOW is a must-see addition to one’s viewing resume of all styles in this exciting always evolving medium.

Clearly, FLOW is not the standard ‘animal animated adventure’ done brilliantly in the past by ‘vintage’ Walt Disney, Pixar Animation, and Dreamworks Animation, to name but a few.  Here, there are no cutesy animals chatting and joking.  These instead perform imaginative yet more human actions, such as ‘Kung Fu Panda’ fighting off his enemies – CHOP-POW!

FLOW is more a semi-documentary-style tale about a group of animals.  A cat, a golden retriever dog, a capybara (large rodent), a lemur, and a secretary bird unite on an unmanned ‘ark’ sailboat in order to prevail during a global biblical-scale flood.  Survival and working together, despite one’s differences, is the broad theme and purpose of the storyline.  Plus, standing up for each other, even when one’s own ‘breed’ acts in a threatening manner.  Though all admirable themes, keep in mind that this is as broad as the movie goes.  Simple to say the least, though the plot is not without merit.

In addition, the animation style of FLOW is far from the sharp slick computer-generated style of 2023’s mega-hit THE SUPER MARIO BROS. MOVIE.  Nor is this the crossbreed of traditional hand-drawn-style 2D and 3D CG animation used in the sensational PUSS IN BOOTS: THE LAST WISH (2022).  FLOW, which also stars a cat, who only speaks in ’mews’ and ‘whines’ (no PUSS IN BOOTS one-liners here), has been fashioned with 3D animation that is not always ‘fully rendered’, thus creating a distinctly layered unfinished organic quality to the characters and environments.  

While children will likely find the artistically conjured world of FLOW captivating, adults potentially will also respond to the more mature themes and realities on display.  Uncertainty, environmental dangers, and destroyed economic infrastructure are all in play.  These are not necessarily comforting themes to digest, but important ones.

However, one of the hopeful effects of FLOW’s distinctive style is that it will impress on cinemagoing children to ‘concentrate and analyse’ the storyline better than they might in a more festive commercial ‘popcorn’ animated yarn.  A lesson in the importance and benefits of having to fully focus is not a bad trait, rather than be governed by constant hype.  Or lazy distractions such as endlessly glancing at a smartphone for a fix.

For the animation movie industry, it is inspiring to see the likes of FLOW coming out of territories other than the dominant Hollywood.  In this case, an ambitious small creative team spread across Latvia, Belgium and France is responsible for FLOW, spending an impressively low 3.5 million Euros on the budget, making more than $36 million worldwide so far.  Not a bad take-home, hopefully opening the door for more similar projects to come, though unlikely FLOW itself with have a sequel…or a toyline!

Coincidentally, FLOW shares the recent era of impressive, animated movies with the excellent THE WILD ROBOT, costing $78 million, made by Dreamworks Animation.  Both have storylines revolving around how animals respond to environmental dangers caused by either nature, humans, or technology.  All valid educational points worth making in a balanced manner.

To think that Walt Disney’s breakthrough animated feature SNOW WHITE AND THE SEVEN DWARFS came out in 1937, almost 90 years ago, it is comforting to know that with FLOW, the animation medium is continuing to break new ground not just sailing the same seas over and over again…

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SEPTEMBER 5

A Review by Alexander Hall – ‘The Parade Movie Guy’

*****

CLOSELY BEHIND DUNE: PART II AS BEST MOVIE OF 2024

The XX Olympiad, otherwise known as the Munich 1972 Summer Olympic Games, are infamously marked as a tragic event.  ‘Black September’ terrorists ambushed members of the ‘Israeli Olympic Team’ inside the Olympic village, later taking several hostages to a nearby airport, killing nine athletes, a trainer, and a referee during the brutal nightmare.  The sport’s television crew of the American news network, ABC, in Munich, covered the story for the world, seen by over 900 million people.

SEPTEMBER 5 tells the extraordinary story of how the TV sport’s crew, not a proven ‘news team’, were unexpectedly drawn into this terrifying situation.  There were two aims. The crew wanted to show the global viewers directly how the Israelis were suffering, but also some had a desire for acclaim.  An intriguing conflict of ‘moral conscience’ and ‘opportunity seeking’ is at the heart of this horrific episode.  Most captivating is witnessing how the TV crew ingeniously utilised their primitive studio technology, by today’s standards, to capture the shocking events at hand.  It is compelling insight into how, even in times of terror and grief, human beings can hurdle tough challenges and succeed.

Without question, SEPTEMBER 5 is easily one of the best movies of 2024, closely behind DUNE: PART TWO and KINGDOM OF THE PLANET OF THE APES.  Interlopers and over-hyped monstrosities such as THE BRUTALIST and EMILIA PEREZ, come nowhere near.  Whereas SEPTEMBER 5 draws the audience along with a clear streamlined compelling insightful narrative, other so-called recent movie masterpieces fail miserably while being shockingly praised.

Thankfully, SEPTEMBER 5 also gets ‘back to basics’, by telling its story in real time, not being annoyingly too clever for its own good using flashbacks and too many plot threads that tend to choke many movies these days.  Looking back at last year’s Best Picture Oscar winner, OPPENHEIMER, which was far too long, bloated, and stylistically stale, SEPTEMBER 5 puts Christopher Nolan to shame.

Swiss Director, Tim Fehlbaum, at the helm of SEPTEMBER 5, unquestionably has his own unique filmmaking style which makes him a standout.  He is above the current crowd, particularly those in Oscar contention.  However, Fehlbaum’s imaginative and artistic quilt-like approach to connecting shots and scenes, not just relying on random camera footage pieced together predictably in the editing room, reminds one of the legendary director Steven Spielberg’s brand of efficient imaginative direction.

Coincidentally, Spielberg’s own excellent MUNICH (2005), an earlier rendition of the Munich Games attack that focused on the secret Israeli hit squad who hunted down the Black September masterminds, firmly feels like a close ancestor to SEPTEMBER 5 in style and execution.  One is not sure if this was an intention of Director Fehlbaum.  If so, he fills Spielberg’s shoes better than most in the movie game right now.

Casting across the board is fantastic and feels authentic on camera.  American, Peter Sarsgaard, as Roone Arledge, who ran the ABC Sports operation in Munich, usually plays slippery characters memorably.  Here he has never felt more suited to the role.  British Actor, Ben Chaplin, is the Jewish American sports journalist, Marvin Bader (later to become a titan of ABC Sports Olympic coverage).  He supervises the decision making inside the traumatized yet focused Munich sport’s studio.  Chaplin, no relation to Charlie, brilliantly inhabits the role with gravitas and chameleon-like qualities.

A standout is German Actress, Leonie Benesch, the initially timid translator who was the glue between the English-speaking TV sport’s crew and the German crews, news and police, at ground zero of the Munich massacre.  Her presence is nicely handled.  It intriguingly shows the challenges for a skilled woman inside a competitive all-male TV crew of the 1970s, without bashing viewers on the head with a cliched ‘feminist’ plot thread.

To think that SEPTEMBER 5 has been overlooked in the both the Oscar Best Picture, Best Director, Best Actor and Actress Nominations (while WICKED was), and more shockingly no Editing or Cinematography nod, is a disgrace.  More for the reason that lesser but more over-hyped work containing ‘trendier themes’ have filled the spots.  Regardless, the educational, while also highly entertaining, SEPTEMBER 5 is a must-see movie for these reasons and all the above…

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CAPTAIN AMERICA: BRAVE NEW WORLD

A Review by Alexander Hall – ‘The Parade Movie Guy’

‘A RED HULK WORTH WAITING FOR!’

If you are a fan of MARVEL superhero movies, seeking an escape for a couple of hours to enjoy big-screen simplistic popcorn entertainment, then CAPTAIN AMERICA: BRAVE NEW WORLD is the movie for you.

This is not breakthrough high standard storytelling or filmmaking, rather more the synthetic generic style of the ‘last’ MARVEL superhero movie – whatever it was!  Nor is it of the exemplary quality of earlier MARVEL adventures from their ‘Phase 1’ era, such as IRON MAN (2008), THOR (2011) and the first CAPTAIN AMERICA movie in 2011.  But on a basic level, there are enough cheap thrills in the new movie to keep one from leaving the cinema mid-way.

In all great adventure movies, an impactful hero is needed, played by a charismatic actor or actress.  Here, Anthony Mackie is ‘Captain America’, having inherited the identity, responsibilities, superhero suit, and most importantly ‘vibranium shield’ from former original ‘Cap’, Steve Rogers.  This took place in the earlier smash-hit, AVENGERS: ENDGAME (2019).  Though Mackie exudes some charm, he generally feels like he only inhabits his limited screen space.  He does not fully connect with the audience.  The impressionistic skills of someone like Robert Downey Jr. or Eddie Murphy are just not quite there.

Opposite Mackie, also receiving top billing, is legendary actor, Harrison Ford.  He plays gruff, but in charge, ‘President Thaddeus Ross’, formerly ‘General Ross’.  Ford replaces the late great William Hurt who appeared as Ross in several earlier MARVEL movies.  As expected, thankfully, Ford brings a degree of needed gravitas and catchphrase ‘smirks’ to the story, even though he is a degree shaky on his feet at times.  But full kudos to Ford for his determination to keep rewarding audiences with performances at the ripe age of 82.

The much-teased pay-off at the end of CAPTAIN AMERICA: BRAVE NEW WORLD, when President Ross finally mightily turns into the iconic rampaging ‘Red Hulk’, is definitely worth sitting around for.  Nothing beats a good old ‘Hulk slam’!  Ford rarely plays aliens or mutant beings, so seeing him transform into this type of persona is fun.

However, the supporting cast around Mackie and Ford are barely worth mentioning, but for veteran, Carl Lumbly (anyone remember the TV show CAGNEY & LACEY?), as reformed former ‘super-soldier’, Isaiah Bradley.  Who cast this movie is the big question?  Much of the supporting cast feel miscast or flat or exuding a lack of acting chops or both.  If you look back at the original SUPERMAN from 1978, every single main part, small part, bit part was carefully chosen with thought and finesse.  Hollywood is definitely losing its grasp of the phrase, “it’s all in the details”.

The storyline for CAPTAIN AMERICA: BRAVE NEW WORLD is somewhat hard to retell, due to its patchy framework: The President of the United States is targeted by a secret villainous mastermind to make him angry, thus turning him into the Red Hulk as a form of vengefully discrediting him.  And Captain America must stop The President from harm and harming others.  Is that a Plot?  Probably the best solution is to not try and figure it all out but just enjoy the movie for what it is, munching on snacks and sipping sodas as a distraction to the confusion.

In the post-credit’s scene of CAPTAIN AMERICA: BRAVE NEW WORLD, we are teased with the revelation that ‘another’ alien from outer space will soon attack Earth in a further sequel.  How many times cans this type of storyline be regurgitated?  Worth considering is that new inspired MARVEL Studios leadership is surely needed, enlisting fresh new writers outside Hollywood conventions.  This could allow things to be reinvigorated, rather than beating the same drum over and over…

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