Tag: Science Fiction

Spider-Man: Brand New Day (2026) Review

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Quick Synopsis: A forgotten Peter Parker lives completely isolated four years after No Way Home. While working as a full-time, anonymous hero, he faces a bizarre crime wave tied to a psionic threat while dealing with a dangerous physical mutation and reconnecting with a memory-wiped MJ

Online discourse states that superheroes are used as the ideal male fantasy. A strong man who single-handedly defeats evil, gets the girl, and is admired by society, and sometimes he’s rich. In a way, that’s pretty accurate. The male gaze is generally used to discuss how female characters are viewed, but it definitely applies to male ones too. They’re people we’re supposed to envy, people we’re supposed to want to be. So with that in mind, it’s somewhat sweet how one of the most highly regarded superheroes on the big screen began as a teenager full of sarcasm and anxiety. Not including television films, there have been 11 Spider-Man films, and only three of them have really fallen out of favour with audiences or critics. On the other hand, the Marvel Cinematic Universe is in a slump, with recent films not reaching the commercial, critical, or pop culture-penetrating heights of some of the previous. It’s into this pit of uncertainty that SM: BND (Pronounced Sum Bond) steps. The highs of the character and the lows of the MCU mean that expectations are uneven: you can go into this expecting either the next great Spider-Man film or another symptom of Marvel’s current decline

In the end, it’s pretty damn good. Firstly, it feels less gimmick-dependent than the previous three movies. There’s no expectation of a twist or unexpected-but-actually-expected-by-everyone characters. So it’s standing on its own legs for the first time in a while. Much like Peter himself, the franchise has matured into something worthy. Holland and Zendaya have incredible chemistry; even an idiot could guess they’re dating in real life. This is the best work the two have pulled off in this franchise; both giving their characters inner depth and turmoil.

I’ve always rated Tom Holland as Spider-Man; he’s always been the right performer for this iteration, playing him with just the right balance between anger and lightheartedness. BND adds a new level of weariness to his performance. You have the suspicion that his version of Peter Parker does not want to be Spider-Man anymore; he doesn’t get any sense of pride or joy from it. It’s not even a societal need; he does it because he feels he has nothing else to his life now that he no longer has MJ. He feels he has no life outside of Spider-Man. BND doesn’t give us much sense of what he does when he isn’t Spider-Man. We don’t really see a job, a social circle, or much of a life at all. Spider-Man is all he has right now. There’s a real sense of hopelessness to the character that is refreshing to see. Yes, he still makes jokes (this is an MCU film after all; if Stalin was a character in this universe, he’d be making quips as he kills people), but they mask a sense of sadness.

On the downside, the villain is underwhelming. BND does the same thing that a lot of superhero films have done lately; the person you thought was the villain turns out to not be a villain, and they end up teaming up with the hero to defeat a bigger, supposedly more important villain (who was usually someone we thought was a hero). Narratively, that’s risky, because it could mean the actual villain ends up feeling superfluous and defeated too quickly. That’s the case here. I can’t even remember their name; I can’t even remember what happened to them at the end. Were they killed? Arrested? Not a clue. Their impact on this movie is the same as a wasp flying into a cruise ship.

That’s a shame, as there’s a lot of villains they could have worked into this. I’m surprised they haven’t turned Ned into a villain. The mind-wipe would have been the perfect opportunity. It’s established he’s good at science; it would have been easy enough to give him a grudge against Spider-Man. The moment where Peter realises that he has to fight Ned could have been one of the most powerful moments in the franchise, and could have allowed Jacob Batalon to show a bit more range than he’s been allowed to show. It would mean the villain isn’t just someone for Spider-Man to fight; he’s someone Peter has a deeply personal history with. It would also give Peter something he desperately lacks in this film: someone who knows him. Peter has lost MJ, Aunt May is gone, his identity has been erased, and his former best friend doesn’t know him. Making Ned the villain would turn that loneliness into the actual dramatic conflict. Plus, it would write your closing shot for you: Ned and Peter are friends again, Ned unaware that Peter is Spider-Man, they’re joking and having fun, then there’s a look of slight distrust from both of them to the other; MJ sits unaware of the potential problem brewing in front of her.

A smaller issue is the time jump. There’s a montage of Spidey defeating low-level foes, but there’s not enough variety in it to make it feel like years have passed. We see him stopping a few crimes, beating up a few interchangeable villains, and generally doing the same thing Spider-Man has always done, but there’s no real sense of time passing. If you removed that montage and one or two lines of dialogue, you could pitch this film as happening a few months after the events of the previous one and very little would need to change. That’s particularly strange because the film has apparently decided that several years have passed, which should mean Peter has fundamentally changed. Instead, everyone feels more or less frozen in place. Peter has become more miserable, but that’s a development the film could have established without telling us several years have passed. MJ hasn’t meaningfully changed, and the world around them doesn’t feel substantially different. A time jump can be a really useful storytelling device because it allows you to skip the less interesting parts of a character’s life and show us the consequences of that time passing, but here it feels more like the filmmakers wanted the novelty of saying “years later” without actually doing anything with those years. It’s not a huge problem, but it does make the film’s timeline feel strangely artificial.

BND exists in a slightly strange position. As a Spider-Man film, it doesn’t really need to care about the wider MCU. As an MCU film, however, it’s impossible to completely ignore what comes next, especially when what comes next is supposed to be one of the biggest films in the franchise. The problem is that Marvel has spent years training audiences to look for the bigger picture. We’re supposed to notice the references, remember the post-credit scenes and speculate about what everything is building towards. When that build-up suddenly disappears, it becomes noticeable. Especially when they’re still doing the post-credit scenes, only they’re not building towards anything. Vulture still hasn’t reappeared, the beacon sent out by the Ten Rings hasn’t been answered, and Charlize Theron’s cameo in the last Doctor Strange film still appears to have led absolutely nowhere. Side note: that list was originally MUCH longer, but my editor said it was too tiring to read, which kind of proves my point about the MCU’s lack of follow-up.

Obviously, Doomsday could be incredible as a film and as a villain. Maybe the lack of set-up is the point. To be honest, after the Kang issue, I can see why they’d be reluctant to throw everything into one basket. Marvel’s response to that has been weird. It hasn’t really been to course-correct; it’s been to quietly remove the things that were supposed to lead somewhere. But there’s a difference between not revealing your villain and not establishing the world in which your villain exists. Thanos wasn’t properly explained until Infinity War, but we’d already been given reasons to know he was important. The Infinity Stones had been introduced, the Avengers had encountered his influence, and the universe had gradually been moving towards him. If Doomsday is going to be the new centre of the MCU, Marvel has some catching up to do.

Still, that’s a problem for the next film, not necessarily this one. And I think it’s important to separate the two. I’ve spent a lot of this review talking about the state of Marvel, but that’s because BND is arriving at a particularly awkward point in the franchise’s history. It would be unfair to judge it entirely on whether Marvel has a coherent five-year plan, especially when the film itself is actually quite good. When BND is focused on Peter, it works. When it’s asking me to think about where the MCU is going next, it reminds me of everything that’s gone wrong with the franchise.

And ultimately, that’s why Spider-Man has endured. He isn’t the ideal male fantasy I talked about at the beginning. He’s not a rich, confident man who gets everything he wants and is universally admired. He’s a lonely, sarcastic idiot who has been given incredible powers and somehow ended up with even more problems. He loses people, makes mistakes, gets beaten up, and still gets up the next morning and puts the suit back on. There’s something much more appealing about that than watching another superhero who seems to have everything figured out.

That’s what BND gets right. It doesn’t need to make Peter the most powerful person in the MCU, or give him another universe-ending threat to defeat. It just needs to make me care about the miserable bastard underneath the mask. And for the most part, it does. It’s not the best Spider-Man film we’ve had, and it certainly isn’t going to rescue the MCU single-handedly. But it doesn’t need to. Spider-Man has survived three different actors, multiple reboots, a cinematic universe, several attempts at making everything connected, and at least one film where the villain was a man made entirely of sand. He’ll probably survive Marvel’s current existential crisis too.

That being said, I’d still rather have another Spider-Verse movie.

Predator: Badlands (2025) Review

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Quick Synopsis: Cast out from its clan, an alien hunter and an unlikely ally embark on a treacherous journey in search of the ultimate adversary.

They had to know, didn’t they? The writers, the directors, and the studio. When they made a Predator movie about a rookie Yautja being helped and trained by a woman, they knew it would piss people off. Even though it’s obvious that Yautja don’t come into the world as fully trained badasses, the woman was a robot designed by the Weyland-Yutani corporation, and the Predator franchise has always had a slightly matriarchal bent to it anyway. None of that would matter, the internet would see it and go “This film hates men. Woke!” then bitch and complain like the whiny jackasses that they are.

Yet they still made it. I respect that. I’m glad they did, too, as this is a fun movie. Its not quite as violent as it could be, it’s a 12A, and I’m not saying it needs to be an ultra bloody 18 with guts and decapitated heads flying around, but there are moments where it feels neutered slightly, where you can sense it’s deliberately pulling back to make sure it keeps its rating.

Badlands is an incredibly easy movie to like. Part of that is down to Elle Fanning, who plays Thia and Tessa very differently from each other. She’s exceptionally charming as Thea; funny, smart, and able to kill things easily, just what I look for in a woman. Okay, she also has no legs, but I can fix her. Its essential she does a good job, because she’s the most human character we spend time with. Dimitrius Schuster-Koloamatangi (yes, I did copy and paste that) does a good job as Dek; physically imposing when he needs to be, physically vulnerable when faced with a new threat, but he is still playing a character who is obviously not human, so there will be that slight disconnect.

This is as good a time as any to mention the world-building (not in a LEGO way). The film does hold your hand slightly when introducing certain aspects of the planet, but it does in a way that makes sense. Dek is new to the planet, so he doesn’t know the environment (such as the exploding plants, the grass that is like glass, etc), so it’s logical that he’d need Thea to explain it to him.

For all the good it does in building up the world, some of the characters feel underdeveloped. Chief among those is the Kalisk. We’re told it’s a seemingly unkillable apex predator on a planet full of danger. Yet it never really feels like it. It just feels like another creature; there’s nothing particularly awe-inspiring about it.

There’s also an issue with Dek at times. His relationship with Thea reminds me of How I Met Your Mother, where characters would come close to reaching the narrative ending, but the show would get renewed for another series, so the writers had to quickly snap the characters back so they were further away from their goal. There are many instances where Dek learns the same lessons again and again.

There’s a sequence near the end where our ragtag group of misfits take over a base, and it’s brilliant. The tooling up sequence leading up to it? Could be clearer. But the actual sequence itself? Masterful. Expertly shot, creative in terms of deaths, and very funny. Sequences like that are made for the big screen, so see this at the cinema while you can. It ties into the Alien franchise in a way that’s not too heavy on the fanservice. It’s such a smart way to do it, and it shows just how much effort was put in.

M3gan 2.0 (2025) Review

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Quick Synopsis: M3gan comes back, this time as a hero.

This is a terrible horror movie. That’s mainly because it’s not a horror movie. I’m used to horror franchises delving more into action or comedy, but it’s usually a few minutes in and it’s a sign of decline. I can’t remember a time it’s been so drastic as this. There’s no traditional horror movie beats, no shots that fill you with dread or keep you awake at night. What there is, is quips, fights, and weirdness.

On the one hand, the genre switch means that M3gan 2.0 is fun to watch and will appeal to a wide audience while still keeping true to the spirit of the original. On the downside, from the first trailer, where it was made clear that this time she’ll be more heroic and will be teaming up with those who defeated her in the first movie, comparisons have been made to Terminator 2. Those comparisons are much harder to ignore when the change of genre makes the movies even closer. It’s almost begging you to make those comparisons, and when it does, it doesn’t hold up.

On its own merits? It’s a lot of fun. It’s violent, funny, and kind of sweet. It has really good characterisation. Making M3gan a hero could have backfired, but it works wonderfully. That’s helped by the fact that even when she was a villain in the first movie, her entire motivation was doing what she felt she should do to protect a child. So she could easily turn them into heroes without changing their motivation. It feels like the next logical step. Her introduction is a lot of fun, with her controlling the aspects of a smart house to defeat an invading police force, who burst into a house all guns blazing to arrest an unarmed woman and a child, but because this isn’t real life, nobody got shot.

The performances are also key, the main characters from the first film return, and it’s clear they all love playing these characters. There aren’t too many new characters, but those who are introduced fit in perfectly.

Now onto the downsides. There are a few minor ones in terms of tone and consistency, and some moments are just a little bit too much like a video game for my liking. The major issue for me is the villain reveal. I live quite near a 12th-century castle. A castle, which is a crucial part of local and national history. A castle, which is vital to tourism and is a visual centrepiece of the local area. If you visit this town, you kind of HAVE to visit the castle.

That castle isn’t as clearly signposted as the villain reveal in this movie. I guessed it from the character introduction, not only that they would turn out to be the villain, but also their motivations and reasoning. It felt so obvious as the film went on, with a few “but nobody could have known this” about things which he would have known about. It’s so clear that I felt it was a red herring; I didn’t think a movie in 2025 could be this obvious with its twist. I haven’t seen a reveal this obvious since, well, every superhero movie where a character named something like “Evil Von Murderface” turned out to be the bad guy.

In summary, don’t go in expecting scares, and you’ll have one hell of a good time. It has a lot to say about AI, specifically about the role of humanity in controlling it. It’s much smarter than it needs to be, and I will always love that. I will also always love it when, in the final product, an editor takes out a really creepy moment from the trailer.

Alien: Romulus (2024) Review

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Quick Synopsis: A group of disillusioned colonists get set for one big job to earn enough money for their freedom from the corporation that essentially owns them. As you can guess from the title, they meet a Xenomorph.

I managed to catch Covenant at the cinema during its theatrical release, and I wasn’t too impressed by it. Part of me wondered whether that was because I hadn’t seen any of the others. However, just through cultural osmosis, I recognised certain bits of it as paying homage to the original, making it seem like a greatest hits package, albeit one rerecorded by a different line-up because the lead singer fired everybody and didn’t want to pay them royalties so replaced them all with session musicians. By which I mean, I recognised the narrative and visual melodies, but they weren’t as sharp and exciting as I knew they had originally been.

Now, onto Romulus. Romulus VERY heavily leans into the original, taking place between that and Aliens, as well as featuring dialogue that explicitly references the original, just oddly delivered. The Xenomorph in Romulus is the same creature from the original, and there is an android that physically resembles Ash (the android, not the result of fire, or the Pokemon animal torturer). Now I have actually seen the first two films in the franchise, so am more able to spot more subtle references, it wouldn’t be a stretch for me to dislike Romulus as much as I did Covenant. Especially since it was written/directed by Fede Alvarez and co-written by Rodo Sayagues, the team responsible for the “you’ve kind of made a rapist sympathetic” horror movie Don’t Breathe (which I heavily disliked) and its “So you’ve made the rapist the hero now?” sequel Don’t Breathe 2, (which I utterly despised).

I didn’t. I, well I don’t want to say “enjoy”, as it was tense as hell and disturbing, but I was thoroughly “oooo”‘d, and a little bit “aaaaaa”‘d. There are some truly fantastic set pieces in this, full of creativity and intelligence. The use of the acidic blood in some of the scenes is superb, with my personal highlight being when the characters make a zero gravity journey through a corridor whilst the acidic blood floats around them. Some amazing scenes make the best use of gravity mechanics available to the characters. It felt like Alvarez and Sayagues looked at the toys they had to work with in terms of the technology and location developed earlier in the franchise, and then thought of scenes that would make the best use of them.

I haven’t felt this tense (at the cinema at least) since Civil War, which also starred Cailee Spaeny. The Alien franchise has many flaws, but one thing it’s always EXCELLED at has been casting perfect female leads. Noomi Rapace, Katherine Waterston, Weaver etc are all critically acclaimed performers, and I know that Spaeny will get there. She received some acclaim for her role in Priscilla, but that’s not enough. She was incredible in Civil War, to the point where in my review (link here) I specifically pointed out her performance, saying (and I quote):

she is damn near perfect. I want to see what she does next because she is fucking phenomenal in this

I didn’t quite expect her next performance to be this good. It’s genuinely difficult to figure out which of her performances is better. I dunno, maybe her next film will be shit. I’ll just see what she’s in next. *checks*. Knives Out 3. Oh damn, she’s in line for a perfect three-film run.

Romulus isn’t all perfect, some of the fanservice is a little bit too obvious, the final third drags a little bit, and some of the CGI feels a little weird. Those are very nitpicking criticisms though. Overall it’s incredible. There’s so much to like about it. David Jonsson (last seen here in Rye Lane) as a defective droid is great, with the character providing so much tension and humanity throughout, especially with a few of the narrative reveals (essentially the trolly problem) adding some background to humanity’s relationship with androids. The other characters are fine, but aren’t really explored enough, they don’t need to be though. Not everybody is a main character, so it’s fine if some characters are less developed than others.

The location is also a highlight. Much like the other entries in the franchise, there’s a kind of future-retro feel to everything. There’s a lot of future technology, but all the computers etc have all clearly seen better days. It would be much like having a film in 2010 featuring VHS players, but the film itself being released in the 1950’s.

Overall, I loved this movie. It’s cruel, atmospheric, and downright terrifying in parts, absolutely perfect for cinema.

Ad Astra (2019)

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This was the perfect movie for me at this time, it’s just what I needed. The last film I watched was so bad it almost put me off the concept of film, and the concept of enjoying things. This film put me back on track. It’s glorious as fuck. It looks magnificent, there’s not even a single second where you don’t buy into everything you watch on screen. I was sold in the opening scene when a space station blew up and people plummeted to earth (horrific way to die when you think about it by the way) and the way it looked meant this scene which could just look like a standard action scene, instead looked as terrifying as it would be in real life. Really, think of how that scene would play out in most films; it would be loud, lots of screaming, but you won’t feel anything. You’d be very aware you’re watching a movie and that there is no suffering on screen. This is the opposite, you feel everything that happens.

It’s not just the visuals, the sound work is great too. Well not just the sound, the use of silence too. Far too many films are scared of silence or don’t utilise it properly. When it’s used effectively it’s one of the best tricks in a filmmakers arsenal. This is doubly so in two specific genres; horror and sci-fi. The sound of silence can really help drive home isolation and nothingness. We’re so used to some form of background noise that complete silence is incredibly unnerving to experience, in a good way.

Now onto the bad; I felt this movie was lacking emotional depth. There’s a moment at the end which is supposed to be a huge emotional moment but for whatever reason, it didn’t really hit home. I think it might be because the entire film was building towards something happening, and then it did happen it wasn’t executed very well and just seemed kind of bland. Also, the narration was unnecessary.

There were also a few moments where it dragged slightly. Not as much as you’d think though. It’s a long film, and A LOT of the film is just padding, but it kind of works as these are the moments where the film breaths and truly comes into its own. Some of the wasteful scenes do highlight another problem with this film; disposable side characters. Brad Pitt’s character is undoubtedly the main character, but that would be a weird film to watch for two hours, so the film brings in side characters for very brief moments. Sometimes they just tell him “your dad killed my parents” and then help him on his way, sometimes they worked with his dad years before they had an argument and stopped talking, and sometimes they want him to detonate a bomb on a planet to kill his dad. Either way, these characters all only appear for a few minutes and then are never referred to again. Also, it’s kind of weird how his entire character is his dad, even in terms of how other people relate to him. Look at all those characters I just described, they’re all focused around his dad, not him. As such he doesn’t really get chance to develop much of a character, I realise that could be the point to show how we live in the shadow of the sins of those that came before us, but the character spends most of the film on his own, it’s important he is well defined and this just about doesn’t manage it.

So in summary, see this, and see it a cinema, it’s what it deserves. This film is crying out for a big screen and immersive experience. And it’s great to see Tommy Lee Jones and Donald Sutherland again. Side note; Donald Sutherland would be a great voice for an animated movie.