July 25, 2025
You know it’s summer movie season when you spend your time considering the cinematic qualities of films with dinosaurs, killer robots, slasher serial killers and superheroes. No, that’s not all one movie, although…..that would be kind of cool? Instead, we have a number of new releases to cover this week that truly represent what audiences are looking for when they go to a summer movie. Oh, and we have a terrific Western thriller set during the worst of the worst time of the pandemic. More on that later.
I actually had much more planned for this week, as I’ve seen a number of quality documentaries over the last few weeks, but decided to exorcise that section for a few reasons. 1) this post was becoming a little unwieldy in terms of word count (even for this longwinded movie lover); 2) I wanted to give myself more time so I could write about the new Billy Joel documentary, the second part of which debuts tonight; 3) this last week was very busy as we traveled to Wisconsin for a family wedding (a fabulous time) and I made my way up to New Hampshire for the first two Dave Matthews Band shows of my 25th year seeing my favorite artist in concert. Another fantastic experience, including a wonderful tribute by Dave to Ozzy Osbourne on the evening he passed away. Needless to say, I am now even more excited to see the band at the Gorge in about a month.
Ok, back to movies – I’ll devote a full post to those documentaries next week, but we’re going to kick off this week’s report with yet another film about those pesky genetically manufactured dinosaurs.
Honey, We Have That at Home – Jurassic World: Rebirth
It’s been 32 years since Steven Spielberg introduced us to an amazing display of filmmaking by bringing the Michael Crichton novel Jurassic Park to life on the big screen. Seeing (and hearing) those dinosaurs for the first time is truly a magical movie moment that film junkies like me love to feel over and over again. Since then? Well, we had two more sequels over the next eight years (that were fine), followed by a new trilogy from 2015 – 2022 that ranged from “fine” to “bad.” Part of my problem with the last trilogy is my allergy to Chris Pratt, the lead of those films – I just find him too smarmy, similar to my feelings about Ryan Reynolds. I do like Bryce Dallas Howard in those movies, but the biggest issue with every Jurassic installment since the original is that it is so hard to make these stories interesting. Once you’ve seen dinosaurs getting into mischief and chasing people, each film becomes an exercise in “rinse and repeat.” That brings us to the newest chapter.
For starters, I will give Universal Pictures credit for the team they assembled for Jurassic World: Rebirth, which includes director Gareth Edwards (Rogue One), writer David Koepp (co-writer of the original film among a number of other great pictures), and a strong top-line cast in Scarlett Johansson, two-time Oscar winner Mahershala Ali, and Jonathan Bailey (last seen in Wicked.) Take all of those ingredients, add dinosaurs and you have a great movie, right? Well, maybe it’s because I’ve seen too many Jurassic movies, but this one fits neatly into the “fine” category. Better than the last trilogy, but nothing new or groundbreaking that makes it stand out from the early films.
Johansson plays a mercenary weapons expert hired by a corporation to travel to a remote island and obtain blood samples of three dinosaurs to help in their pharmaceutical mission to cure heart disease. She brings along a dino academic (Bailey) and meets up with a former military colleague (Ali) to achieve their mission and cash a big paycheck. Decent premise to start. But here’s the thing – the plot also includes a family sailing out in the middle of the Atlantic Ocean who run into a water-dino and need to be rescued by ScarJo and her team. They all end up on the island, stranded and trapped due to a confluence of events and have to make their way to safety before becoming Dino-nuggets.
Look, the action sequences (the whole reason for these movies) are pretty good and even feature some new takes on “dinosaurs chase people” scenes we’ve seen before. Even though we can kind of guess who is going to make it and who won’t, the film is still fun. But it’s kind of “more of the same” and “we have Jurassic Park at home” vibes for most of the movie. I also couldn’t get past the inexplicable plot of the family sailing out in the ocean on their own – it felt shoehorned into the film so we could see kids in danger. But let’s be honest – we’re not looking for Jurassic movies to be “great cinema.” We want to have fun watching dinosaurs tromping through the jungle chasing terrified people. And with a strong cast at the top of the movie, it’s still a decent time. If you want to see a new dino-story, Jurassic World: Rebirth is now playing in theaters.
Ready to Revisit 2020? – Eddington
Ari Aster is an interesting writer-director, who has had an up and down career so far. His first film, the family grief horror story Hereditary, was a breakout hit after a strong premiere at Sundance. He followed that up with the terrific Midsommar, a disturbing horror movie that showcased the brilliant Florence Pugh. He then made a misguided choice for his third film Beau is Afraid, a bloated three-hour psychological horror movie that felt like Aster trying to prove he could get away with anything after two strong films gave him a blank check. There are some fans of Beau, but I couldn’t get behind it. So, I was on guard heading into Eddington, which was described as a Western thriller set during COVID. I’m happy to report that this is an excellent movie, if you can handle being thrust back into the summer of 2020.
At the center of Eddington, a small-town in New Mexico, is a battle between the sheriff (Joaquin Phoenix) and the mayor (Pedro Pascal) over how the town should be governed. It starts as minor disagreements over COVID policies, but escalates to overarching arguments over government control, leading the sheriff to run for mayor. Things don’t get easier for him after the protests that started in Minneapolis following the murder of George Floyd find their way to Eddington, led by the town’s (all White) high-school kids. As the stakes escalate, we see a town unravel in a way that parallels how batshit crazy everything got for all of us in 2020.
Now, COVID times have been depicted in films over the last five years, but most of the time it’s in an artificial way that doesn’t contribute to the story. You’ll see characters wearing masks or a film with very few characters just talking in rooms and think, “Oh, this must have been made during the early COVID days.” Or, if a story includes a COVID plotline, it’s presented in a bland way to not offend the audience. With Eddington, Aster puts the pandemic smack in the middle of the story, pushing the conflicts to drive the film’s narrative.
It’s not just COVID and the racial injustice protests impacting the residents of Eddington, as Aster also spotlights the insane conspiracy theories that drove some people down rabbit holes online in a search for meaning in the demented times we were living. Speaking of which, the depiction of online phone culture is depicted very smartly on screen. There are no mentions of Republicans or Democrats in this film (although you can guess who is on which side), and there are no “right” or “wrong” sides to take. Aster highlights the absurdity of this time in the world, including some hysterical dark-comedy moments, all wrapped up in a Western drama about small-town conflict.
Phoenix and Pascal are terrific in their roles, as is the supporting cast which includes Emma Stone (a small role as the sheriff’s wife) and Austin Butler (as a conspiracy theory-pushing cult leader). Aster also does a brilliant job bringing the landscape of the New Mexico town to the screen – the film looks beautiful – and I loved the score, which set the tone perfectly, especially during the suspenseful moments. This film certainly will not be for everyone. You might not want to be transported back to 2020 and Aster’s dark comedy style might not be for you, but I found myself loving the story at the center of the film, while also laughing at some of the absurdity we lived through during COVID times. If you are game to give it a try, Eddington is now playing in theaters.
The Novelty Has Worn Off – The Old Guard 2 and M3GAN 2.0
Sequels can be tricky. They are rarely on par with the original film, so you naturally set your expectations low when giving one a try. You are just hoping they can capture some of the magic of the original, without recreating the same exact movie, keep fans on their toes, and wanting more (i.e. a third film in a series.) But it’s very hard to do – not every sequel can be The Godfather Part II, Dune Part Two, or Top Gun: Maverick. More often than not, a sequel feels like reheated leftovers. Sure, it satisfied you for a little bit, but it was nowhere nearly as good as the original meal. I’m sad to say that was the case with two sequels we saw this past month.
First up is M3GAN 2.0, the follow-up to the 2022 hit horror movie about a killer robot modeled after a teenage girl who does anything to protect the girl she lives with. That film was released in January (a great time of year for horror) and benefited from a massive marketing campaign with M3GAN dancing that went viral in the biggest way possible. The new installment features the same creative team – Gerard Johnstone, who wrote and directed the first movie, star Allison Williams as Gemma, the creator of the original robot, Violet McGraw as her niece Cady, and the muscle of Blumhouse Studios behind the picture. They have created a strong record of delivering quality horror movies for the last two decades. The problem with M3GAN 2.0? It’s not scary! No, they decided to take a page out of Terminator 2 by creating a scarier robot and have M3GAN team up with her creator to stop it from destroying the world. It’s much more of an action movie that feels very limp, not as creative as the first film and despite a few laughs, not nearly as funny. Stick a fork in this “franchise” because it’s dead. M3GAN 2.0 is now available to rent on demand.
One of the bright spots in a very sparse 2020 movie year was The Old Guard, which I covered here. It was the rare Netflix film that I actually recommended, mostly because it was a creative story about a group of immortal mercenaries who are able to regenerate and come back to life, even after suffering serious injuries. But eventually their time will run out – they just don’t know when. Charlize Theron led the group of (kind of) superheroes who try to use their powers for good, and meet up with a younger woman who just discovered she has the same superpower.
The first film featured a good story, but The Old Guard 2 felt way too familiar to stand out from the original. There is a character teased in the first movie that plays a major role, as well as a new adversary played by Uma Thurman. I can’t help but feel that the change in director might have played a role in this film disappointing me. The first movie was directed by Gina Prince-Bythewood, who also made the criminally underrated action film The Woman King starring Viola Davis. The sequel was helmed by Victoria Mahoney (no relation – ha!) in her first major film project. One significant mistake she made was underutilizing Uma Thurman (who showed incredible action skills in the Kill Bill films) as she only had one fight sequence of consequence in the movie. Unfortunately, the plot of The Old Guard 2 was more of the same, and while it featured some cool action sequences, it’s not worth investing the time to watch this one. The Old Guard 2 is now streaming on Netflix.
“Nostalgia’s Overrated” – I Know What You Did Last Summer
It’s not often that I include a quote from the movie right off the bat, but when I heard one of the characters say this line near the end of this film (mostly tongue-in-cheek, I think?), it definitely resonated with me. Alas, it seems like ever since the success of Top Gun: Maverick, we will be destined to get several films that serve as “legacy sequels,” bringing back characters or storylines from decades earlier to tell a new (or similar) version of the story. This month’s installment is I Know What You Did Last Summer, which (confusingly) has the same name as the 1997 film about teenagers who are stalked by a terrifying murderer after they accidentally kill someone with their car. Technically there were a few other films in this franchise, but thankfully this new installment mostly references only the original, except for a post-credit scene that may be trying to set up another movie.
Twenty-eight years after the events of the first film, we are once again back in the seaside town of Southport, North Carolina, where we meet a new group of rich twentysomethings, getting together for an engagement party for two members of their high-school friend group. After the party, they head out on the same dangerous road from the first movie and inadvertently cause an accident that kills someone. They decide to bury the secret, use the powerful father of one member of the group to bury any evidence (the quickest “Yadda Yadda” in movie history) and tell no one what happened. Flashforward one year when they are once again reunited at a party where a member of the group receives a card with the message that bears the film’s name. Cue the serial killer disposing of members of the group while dressed up in the same fisherman’s costume from the original film.
As a slasher horror movie, I Know What You Did Last Summer doesn’t offer up anything new. In fact, the characters are somewhat underwritten, the kills are pretty boring, and the plot features some details that left me scratching my head. The actors playing the group of friends were fine, with Chase Sui Wonders (one of the co-stars of The Studio, the best show on television this past year) the standout performer filling the archetype played by Jennifer Love Hewitt in the original. Speaking of which, Hewitt and Freddie Prinze, Jr. reprise their roles from the original in providing some advice to the friends on how to stop the serial killer from continuing the murder spree. It was great to see them both in this movie, but unfortunately they didn’t have much to work with. The final reveal (well, multiple reveals, because you always have to have more than one ending to a horror film these days) felt a little too unrealistic, even for this type of picture. A perfectly fine slasher movie, but probably one you can save for when it comes to your streaming service. If you are so inclined, I Know What You Did Last Summer is now playing in theaters.
It’s a Superhero Summer! – The Fantastic Four: First Steps and Superman
Two major film studios have been facing a crisis in confidence over their comic book movie franchises the last few years. A saturation of content (both in theaters and on television) has left fans bored unless they are seeing something unique that will grab their attention and get them excited about the future. Both Warner Bros. Studios (home of the DC Comics IP) and Disney (home of the Marvel IP) had new films this month in an effort to kick off new phases for their fans. Based on early returns, it looks like both movies will have a successful box-office result. Creatively, I was a little happier with the new take on the Man of Steel, but let’s start with Marvel’s jumpstart to their next storyline phase.
In the opening moments of The Fantastic Four: First Steps, we learn how the superhero family gained their powers four years earlier. During a routine trip to space, they encountered a cosmic blast which gave Reed Richards, his wife Sue Storm, her brother Johnny, and Reed’s best friend Ben superpowers. Since then, they have used their talents to help humanity, gaining unanimous hero status around the world. Thankfully this history is dispensed with pretty quickly (as most Marvel fans already know the lore) and we can jump into a new story for the tight-knit group. They have reason to celebrate as Sue learns she is pregnant, but the festivities are short-lived as they receive an impending threat to the planet, at the hands of an enormous villain, Galactus, who is assisted by Silver Surfer. They then turn their efforts into developing a plan to save the planet after rejecting the proposal from Galactus to turn his attention elsewhere.
The overwhelming positive aspect of The Fantastic Four is the aesthetic and production design, a retro vibe that matches the 1960s setting of the story. It’s not surprising to learn that the movie was directed by Matt Shakman, who helmed the best Marvel television series, WandaVision. The film looks beautiful and makes you want to hang out with this group of superheroes. The lead actors are all likable in their own right. Pedro Pascal (in his fourth movie of 2025 and second this month!) and Vanessa Kirby play the couple anticipating their new bundle of joy, with Joseph Quinn (Gladiator 2) as Johnny and Ebon Moss-Bachrach (TV’s The Bear) as Ben, although he spends most of the film appearing as The Thing, his alter-ego following their fateful trip to space.
With all of that in mind, plus a terrific and joyful musical score, I expected a happy and light superhero movie, even if the plot deals with the end of the world. Unfortunately, the tone of the film feels out of balance with the look and feel we see on screen. All of the characters are deadly serious, apart from a handful of light moments from Johnny, and I didn’t quite believe the chemistry between Pascal and Kirby. As far as the special effects go, I thought the individual superpowers of each member of the team were depicted very well. Richards has unlimited stretching ability, Sue can turn invisible and create force fields around people or objects, Johnny can turn into a human torch, and Ben (The Thing) has incredible strength. The overall action sequences were pretty good when they were doing battle on Earth, but I found the sequences in space to be a little too “CGI-sloppy.” The story itself is pretty good, if not exactly groundbreaking in terms of its themes.
Overall, The Fantastic Four is a pretty good movie, but it didn’t knock my socks off. I suspect audience reactions will be similar to mine and Marvel will have its work cut out for it as it heads into 2026. They have two films on tap next year – the fourth Spider-Man movie with Tom Holland and Avengers: Doomsday. Disney will have their fingers crossed, as they have a lot riding on this relaunch of the Marvel Cinematic Universe. Time will tell. The Fantastic Four: First Steps is now playing in theaters.
Next up is a relaunch of Superman, the new film from James Gunn, who was brought over to Warner Bros. to create a new era for DC Comics, similar to what Marvel did with the MCU. Gunn had a successful run as a producer and director with Marvel and is best known for the Guardians of the Galaxy films. Thankfully, he took the same approach as The Fantastic Four in how he chose to open this new Superman. We don’t spend any time seeing him as a baby on Krypton, getting sent to Earth, being raised in Kansas by his parents, and eventually making his way to Metropolis. We’ve seen it several times on screen – we know the story. All of these facts are laid out in a quick summary on screen as we jump right into the action as we see Superman beaten up after losing a recent battle. Shortly thereafter, we learn that Clark and Lois have been dating for several months and she knows his true identity. Again, we don’t have to waste time wondering when (or if) she will learn of his secret.
Instead of all of this backstory, we get to see Superman facing a crisis when Lex Luthor sets out to destroy his reputation so he won’t stop his plans for taking over a country immersed in a civil war. Throughout the crisis, Superman teams up with other members of the Justice League, saves civilians around the world from the danger they face, and grapples with his relationship with Lois. There is a lot of action throughout the film, but plenty of story to keep it interesting. For the most part, I found the action sequences compelling, with only one sequence (set in a pocket universe) that looked too “CGI sloppy” for my taste. Unlike The Fantastic Four, Gunn has done a great job creating a Metropolis that fits the tone of the movie very well. With all of that said, there is one reason Superman works so well – the casting decisions, and chemistry among the leads.
David Corenswet is terrific as the Man of Steel and is paired perfectly with Rachel Brosnahan as Lois Lane. Their chemistry on screen is palpable, particularly during an extended sequence where she “interviews” Superman early in the movie. It’s not just the steamy stuff – this feels like a couple truly in love even when they are having a casual conversation. Nicholas Hoult (on a very hot streak for an actor that isn’t quite a household name yet) is outstanding as Luthor. He delivers a performance that is the perfect tone of villainy without being too cartoonish, even if the film feels (at times) like a Saturday morning cartoon, which was Gunn’s intention.
All in, this is a strong Superman movie that will likely make people mostly forget about recent iterations since Christopher Reeve brought the role to the big screen in 1978. It’s unlikely anything will top those first two movies, but this is a damn good effort that has me intrigued for what Gunn and the DC Comics team do next. With Marvel’s dominance over the last twenty years, it felt like DC was always the younger brother who couldn’t catch up to his older sibling. With the arrival of Superman, I think we will have a good rivalry between the two studios for the foreseeable future. Superman is now playing in theaters.
That’s all for this week. I hope you enjoyed this look at some new releases and found some movies to add to your watch list. I’ll be back next week with a look at some terrific documentaries I’ve seen this year, most of which are available to watch at home. Thanks for reading and if you’d like to be notified of future posts, you can subscribe below.