We’re already midway through the year, and with so many movies I didn’t get to see in theaters over the past few months, I wanted to share my thoughts on them. Compared to last year, I haven’t gone out of my way to see many 2025 releases, especially since taking an unintentional gap between seeing Captain America: Brave New World in February and Sinners in April, as nothing interested me, and I wanted to wait until they hit VOD. With that, let me share what I have to say about Mickey 17, Snow White, A Minecraft Movie, The Accountant 2, and Hurry Up Tomorrow.
‘Mickey 17’
Every cinephile has been waiting with high anticipation to see what project South Korean filmmaker Bong Joon-ho does next, as it’s already been five years since his modern masterpiece Parasite took home four Academy Awards, including Best Picture. Those who know his filmography well will tell you he’s not too keen on subtlety with his messages, but they’ll make for a thought-provoking time. The long-awaited Mickey 17 seems poised to be his biggest work yet for American audiences when adapting Ashton Edwards’ 2022 novel Mickey 7. Expectations were almost high with this one, even after Warner Bros. delayed it for over a year. And though I’m not in the camp of those who loved it (as of right now), I have to give Joon Ho the balls for still putting out an entertaining, if flawed, sci-fi that’s brought to the screen.
What’s the Story: In the year 2054, loner Mickey Barnes (Robert Pattinson) joins a spaceship to escape a loan shark on Earth along with his friend Timo (Steven Yuen). He agrees, without reading, to become an expendable, which requires Mickey to perform dangerous tasks on their voyage to colonize the ice planet Niflheim. Though he’s able to go through a process called “reprinting,” which clones him and restores his memories, he dies from exposure to the air or anything. After an occurrence of not being eaten by inhabited alien creatures dubbed “Creepers,” Mickey 17 finds himself that he’s already reprinted with Mickey 18, where they must not be discovered since “multiples” will be killed.
Mickey 17 is only the second film I’ve seen from Joon-ho besides Parasite, but I understand the familiar beats to expect from his previous works, and you can see there are some shades in here as well if you’ve seen his other English films like Snowpiercer and Okja. The world he sets up here doesn’t sound crazy if it were to happen. As we see, Mickey is basically a human lab rat for the ship’s research on top of being a loser. But it’s also a future where cloning is a reality, only to be used in space after it was considered illegal on Earth. It presents a story like this sci-fi black comedy to explore the ways we perceive the purpose of our lives, as well as how those involved in the wars we’ve fought often don’t receive the appreciation they deserve. Even if it doesn’t always work in throwing together a political satire in the mix, you’re still in awe of the production design and Darius Khondji’s cinematography that lets you know Joon-ho is using that $110 million budget to full effect.
Robert Pattinson continues his post-Twilight career with another memorable performance. Or should I say performances? He’s able to make Mickey sympathetic in that he needs something good in his life. But it’s when Mickey 18 comes in and disrupts everything through their distinctive personalities, with one being tepid and the other more aggressive. Pattinson does this so seamlessly that I forgot he’s playing the same character in the same shot. Even his voice takes some getting used to, but he settles on it well, sounding different from what he did before. The complexity of his character is genuinely intriguing.
Naomi Ackie is equally good as Mickey’s girlfriend Nasha, who is really the one character who gives him purpose. The same can be said with Steven Yeun’s Temo, who couldn’t be more of a douche. What shocked me the most was how I couldn’t get into Mark Ruffalo and Toni Collette’s characters, Kenneth and Ylfa Marshall. Ruffalo’s failed politician seemed to have fun at being a clear satirical take on the idiotic men in our current political climate. Still, it turns into a caricature as it progresses. It’s not as strong as his role in Poor Things, and his and Collette’s scenes tend to take me out and feel as though we’re in a different movie. However, there’s a dinner scene later on with them, Mickey and Kai (Anamaria Vartolomei), that takes its own approach to changing tones, which works.
Where the film tends to struggle might be around that first act. Everything is explained in how the cloning experience is defined, but it starts slowly to get to the point where this current Mickey isn’t a sacrifice, and there’s a lot of voiceover from him that was too much to convey the necessary information. And when it’s a sci-fi that touches on underlying messages of totalitarianism and classism, which isn’t as sharp as one would hope, it’s a vision Joon-ho wants to see for Mickey 17 and not overthink everything inside the world-building. But it almost takes away from feeling fully invested in the stakes both Mickeys face against that goes for a predictable third act, despite the film’s exploration of complex themes.
Expectations varied after Mickey 17 came out, depending on whether fans of the director or those who expected more were disappointed. Of course, this isn’t nearly as great as Parasite, and it wasn’t close to capturing the originality of that. However, I must give credit for still being entertaining for the average moviegoer. It’s a shame that the studio barely invested in marketing, making it one of the year’s earliest box office bombs. Perhaps it was my fault, as I had planned to see it during its opening week in IMAX and didn’t have the energy to catch it after work.
In the end, Mickey 17 won’t go down as Bong Joon-ho’s next fantastic film. But given the strengths to take away from Pattinson’s performances and the fascination of its world-building, it’s not perfect, but it can be considered a sci-fi swing that’s certainly above average.
Grade: B-
‘Snow White’
The thought of waiting a few months after Snow White was released on streaming was already a drag. However, it was only a matter of time before Disney adapted its groundbreaking animated original, which had paid off hugely almost 90 years ago, into a live-action remake. Snow White and the Seven Dwarfs remains an authentic, timeless classic, whereas everything leading up to this Marc Webb adaptation has been controversial, to say the least, and has already garnered an early verdict on where this will end up. Nothing about this reimagining looked pleasing, and given how I like about 30% of these remakes from Disney, I knew what to expect. While Snow White wasn’t the complete disaster everybody claimed to be, it’s still a bad movie that fails to recapture the magic.
What’s the Story: After her mother dies and her father disappears, Snow White (Rachel Zegler) is confined to the palace as a servant while her stepmother, the powerful Evil Queen (Gal Gadot), rules the kingdom. The Queen, who always believed she was the fairest, is shocked when her Magic Mirror declares Snow White as the new epitome of beauty, after witnessing her kindness towards a leader of bandits named Jonathan. When the Queen’s Huntsman is sent to kill her and bring back her heart, Snow White escapes and finds herself in a magical forest. Here, she meets seven dwarfs and together, they rise against the Queen to reclaim the kingdom that is rightfully hers.
The question everyone is asking is this, why do we need another movie about the titular princess? We had two in the same year over 10 years ago, Mirror Mirror and Snow White and the Huntsman. Neither is good, but they at least attempt to put a new spin on their storytelling. This was the studio’s opportunity to take its familiar and oldest IP to a new generation, and it’s evident that a mixture of new and old elements doesn’t work in its favor. Just reading about the constant hate online made it sound as though there’s nothing to like. But there are a few pros. Rachel Ziegler appears to be committed to her role as Snow White. I wouldn’t consider it an outstanding performance, but the West Side Story actress gives her best effort to capture the essence of what makes the character kind and brave. She’s fine in here. And you have to appreciate Sandy Powell’s costume design in bringing these classic outfits to life.
But when you look at Snow White as a whole, it’s not entirely shocking that it’s a retelling devoid of charm to captivate in two hours. Webb’s stylistic touch in this world doesn’t shine through when he tries to convey its messages about kindness and retaining hope to triumph over evil. Not even the musical numbers were appealing, as the staging of the numbers lacked flair whenever the characters sang. And it’s a shame to call the new original songs from songwriting duo Benj Pasek and Justin Paul generic, as if they could have come across as cut-and-paste. Honestly, it is not one of the best efforts from the EGOT winners.
Hearing Gal Gadot was playing the Evil Queen didn’t sit right with me, and it’s a role that was so miscast. I’m not on the hate train like everyone else, but, indeed, Gadot’s hasn’t picked the best projects after the first Wonder Woman. Her performance as the Evil Queen never felt menacing, as if she was determined to be the fairest of them all—the combination of poor line deliveries and a weak singing voice made for a generic moment in her career. The Dwarfs were distracting from the trailers, which made me convinced it was all AI, but they weren’t funny whenever their personality traits were front and center. Why not use real actors to show representation instead of this uncanny valley CGI mess? And there’s not much of an impression from Andrew Burnap’s Jonathan, who’s switched from a prince to a Robin Hood-type thief. There’s missing chemistry with Zegler, and his band of bandits is pretty pointless when a few don’t even speak.
As the underwhelming climax unfolded, I couldn’t help but wonder how the younger generation would react to this. The film, mired in a ridiculous controversy, seems like a rushed release by Disney, eager to move on from its status as a notorious box office bomb. In the end, it’s just another remake that fails to resonate with those who cherished the original, a clear sign of what not to do in future adaptations.
Even when it’s trying earnestly to capture the essence of the original, Snow White is nothing more than another useless remake that stands out among the worst from Disney. Again, it’s not the worst thing ever, though it’s one to be ignored entirely where you’re better off watching better princess remakes ala Cinderella.
Grade: D+
‘A Minecraft Movie’
Hollywood continues to have no shortage of video game adaptations to appeal to a variety of audiences. Surprisingly, some have been hits at the box office and on television. And some missed the mark. If you were to ask me if I had the slightest amount of excitement for A Minecraft Movie, all you’d get out of me is, “Why?” The uber-popular sandbox video game has been around since 2011, to the point that Warner Bros. announced a big-screen adaptation nearly a decade ago. Although I’ve never played it, I already knew it had a sizable fan base that would likely eat this up regardless of its quality. A Minecraft Movie is one of those instances where I entered this world cold, knowing nothing about the references and Easter eggs, and it’s telling that this adventure came out ten years too late.
What’s the Story: As a young boy, Steve (Jack Black) wanted to explore the mines, and he finally does when his adult life isn’t all it’s cracked up to be. Once there, he discovers this orb of Dominance and Earth crystal. When combined, it opens a portal to the Overworld, a colorful cube-like world where Steve made it his home, especially befriending a wolf named Dennis. In the real world years later, former video game champion Garrett “The Garbage Man” Garrison (Jason Momoa) is struggling financially. At the same time, siblings Henry (Sebastian Hansen) and Natalie (Emma Myers) moved to Chuglass, Idaho, after their mother’s death, meeting their real estate agent, Dawn (Danielle Brooks). All of them get trapped in the Overworld, and with the help of Steve, they must find their way back before Piglin ruler Malgosha (voiced by Rachel House) takes control of the Overworld and strips it of its gold.
It’s funny how anything resembling a plot in this movie probably has more to do with what goes on in the actual game, from what I’ve heard. But given how it’s directed by Jared Hess of Napoleon Dynamite and Nacho Libre fame and the collaborative effort of five credited writers, chances are you know what you’re getting into for those two hours. A Minecraft Movie goes out of its way to infuse Hess’s offbeat comedic style into this cultural phenomenon, but it comes across as major fan service with barely any appeal. Maybe it’s because I’m almost 30, but the experience of watching this wasn’t for me and doesn’t live up to the hype around it. We’re watching this group of misfits step inside this imaginative world and find a way back, much like the last two Jumanji movies. To its credit, the environment of the Overworld didn’t look as bad as I thought from the trailers. The designs of the characters looked weird, but it doesn’t seem that money was wasted to make the zombies, Creepers, and Piglins resemble them as closely as possible, almost making up for the bad green screen.
It’s strange how this is the third year in a row that Jack Black has added another video game movie to his resume. This performance as Steve lands right in the middle between his great voice work as Bowser in The Super Mario Bros. Movie and the irritating Claptrap in Borderlands. Like always, Black’s ability to bring the energy to a project like this is needed with Steve knowing how this world works, and he seemed to have a blast, despite him playing himself, random singing and all. That’s not to say he made me laugh (his episode of SNL was funnier than this), but for better or worse, you can go wrong with him. Momoa’s Garrett is nothing special when he is selfish and thinks he’s better than everyone around him.
Everyone else has the expected character development to care about them. Henry isn’t that interesting as a lead character, besides his dreams of being an inventor, and you don’t feel any emotional attachment to his sister, Natalie, since it never takes the time to delve into the rushed realities of growing up. Plus, they didn’t need to bring Dawn since they didn’t give Danielle Brooks enough to do besides weak dialogue. And this did Jennifer Coolidge a disservice by giving her a useless romantic subplot with a villager they cut back to.
You have to wonder if the team wanted to explore its theme of creativity more, since the game is all about it and shows us that everyone has that side of them to reveal who they are. What made other Warner Bros. movies, such as Barbie and The LEGO Movie, succeed with critics is how their messages carry their respective plots, making them relatable to their audiences. Not here when it’s more or less focused on references and unfunny jokes I couldn’t get aside from a couple of chuckles. It all comes together to a climax that bears no stakes, with the typical loud CGI action I feared it would be. By the end, it’s all but frustrating that the passion is missing, making it unenjoyable. What’s worse is that we have another bad movie that has grossed over a billion dollars, which disappoints me for the state of blockbusters we’re currently in.
A Minecraft Movie proves that just because it has success bringing in a huge audience doesn’t mean it’s a good thing when it belongs with other video game adaptations that fail to generate excitement.
Grade: D+
‘The Accountant 2’
Nearly a decade after its release, the unexpected arrival of The Accountant 2 is a pleasant surprise. The 2016 original, while not a disappointment, was a somewhat underrated addition to Ben Affleck’s filmography. The question that naturally arises is whether this sequel can surpass the original, especially with the intriguing addition of a buddy element. The good news is, it not only matches the original but also surpasses it, delivering an action-packed sequel that can be best described as a more intense version of Rain Man.
What’s the Story: When Raymond King (J.K. Simmons) is assassinated, he leaves a message only his former assistant, Marybeth Medina (Cynthia Addai-Robinson), can understand, as his arm is written out reading, “Find the accountant.” That is forensics accountant/hired assassin Christian Wolf (Affleck), whom Medina recruits to help determine who’s behind her mentor’s death and if there are more connections to pinpoint. To understand clearly, Christian asks for help from his estranged younger brother, Braxton (Jon Bernthal), to track down the case with him.
You take the time to rewatch the first and realize very quickly The Accountant 2 goes for a mostly lighter tone that was almost unexpected. That’s not to say returning director Gavin O. Connor throws away the action, but what gives this an edge over the first is Affleck and Berenthal having a blast as these on-screen brothers. We only get a tease near the end once the twist is revealed, a twist that significantly alters the dynamics of their relationship, but this offers more time to improve their chemistry. Because of Christian’s autism, he and Brax are entirely different from one another. Yet, it’s in these smaller moments that not only do they allow friction to occur but also give them time to still care for their strained relationship, given their professions. It’s just amusing to see Christian being more stable and socially awkward, while Brax is crazier. What other movie can you think of where Affleck’s character quickly learns how to square dance in a bar?
I haven’t seen the first since I saw it in theaters, but from what I can recall, it wasn’t heavy on the action, and the sequel probably has the same amount here. Once the kicks in, Connor doesn’t disappoint, especially the climactic gun battle in Mexico that builds the brothers’ teamwork to this. Although I found it strangely enjoyable to see Affleck and Berenthal’s presence more engaging than the central mystery surrounding them. Trying to put the pieces together can sometimes lead to confusion, making certain aspects of the narrative less engaging. But it’s also the villains, particularly Daniella Pineda, who are forgettable and a revelation that’s stretched out to be ridiculous. And its depiction of autism is one I thought about a day later since it feels like these kids at this school helping Christian are superhuman geniuses in some ways through flawless hacking skills, but I had to suspend my disbelief.
Despite its flaws, The Accountant 2 was a good time. I’m excited about the potential for a third movie, especially considering the steady hands of Affleck having a solid franchise behind him. Taking into account the chemistry between him and Berenthal, I’m hopeful that the next installment won’t keep us waiting as long as this one did.
Grade: B
‘Hurry Up Tomorrow’
The announcement that The Weeknd would headline his own movie had some potential to be worth discussing in the long run. Honestly, it took a while for me to get into his music, but I can confidently say he’s a very talented artist whose tracks continue to gain popularity. Hurry Up Tomorrow, a companion piece to his most recent sixth album, didn’t leave me with high expectations from the trailer, but it did build up a sense of anticipation. One could only hope to be immersed in what he’s trying to say visually. However, it’s been a really long time since I called out a movie for being nothing but a pretentiously bad waste of my time.
What’s the Story: Abel “The Weeknd” Tesfaye is on his nationwide tour, where he’s suffering from insomnia and depression. All of this is brought on by a recent break-up with his girlfriend, whom he had disappointed by not answering her phone. Diagnosed with muscle tension dysphonia and still performs onstage off the guidance of his friend/manager Lee (Barry Keoghan), he sees Anima (Jenna Ortega), a fan of the artist, and they go on a journey that Abel wasn’t prepared to wonder where it’ll take him.
The issue with Hurry Up Tomorrow is that it features a singer not known for acting, which leaves many to call them out for staying in their lane. There have been positive experiences that come to mind with David Bowie or Eminem, while it’s a good thing Madonna quit while she was ahead. On paper, you can imagine The Weeknd and everyone behind this wanted to make this his Purple Rain. By that, it failed big time. On a visual level, Chayse Irvin’s cinematography is beautiful, especially during the early concert scenes, and the music, whether the score or soundtrack, was enough to have me listen to it again. Those elements just aren’t enough to save what’s essentially a feature-length music video that bears little of a plot. What I thought would be in the psychological thriller vein is focusing on Abel feeling sad about himself and obsessing over his ex like a stalker. And then it still doesn’t go anywhere with the little time he and Ani had when they first met. Basically, it’s just characters around him telling Abel how great he is and how his music is amazing. This excessive focus on Abel’s ego detracts from the potential depth of the narrative and character development, making the film feel more like a vanity project than a compelling story.
It’s a story that might’ve been personal to The Weeknd, but it could have been adapted to accompany the album, which is worth listening to. Coming from someone who never watched the HBO series The Idol, this is all I’m judging his acting on, and he really didn’t pull off any charisma to make this fictionalized version dull. His performance came across as unlikable and one-note, becoming unintentionally funny during an exchange between him and Ami that went viral online. Ortega is possibly the only actor who’s trying her best, but she, along with Barry Keoghan, is an underwritten character you can’t care about. I’m still wondering why she burned down the house in the first ten minutes, which was probably explained, but I was waiting for something to kick in.
Given that Trey Edward Shults is behind it, this proves how polarizing he remains in the film community. Because I don’t hate It Comes at Night like everyone, but his last film, Waves, got under my skin the more I thought about it. His style isn’t enough to give the material heft until the last half, when it takes a turn reminiscent of Misery, including Ortega dancing to both “Blinding Lights” and “Gasoline” in their entirety, explaining the deeper meaning behind them to Abel. It was at the point where it needed to end. You’re better off listening to the album than indulging in another misfire courtesy of Lionsgate failing to pay off.
Hurry Up Tomorrow gets a lot right visually. Still, there’s no way this is leading to a cult following status when all of what The Weeknd’s saying through a deeply mediocre psychological drama is that you’re just waiting to wrap up sooner rather than later.
DC's Take 