How to Be Normal and the Oddness of the Other World is a 2025 drama directed by Florian Pochlatko in his directorial debut. The film stars Luisa-Céline Gaffron, Elke Winkens, Cornelius Obonya, Harald Krassnitzer, and Fanny Altenburger. When a young woman, Pia (Gaffron), is released from a psychiatric hospital, she moves back in with her parents as she tries to rebuild her life and find balance.
Out of all the entries I received digital screenings for, this was somewhere towards the bottom of the list. From the image below to the concept, it didn’t sound all that interesting to begin with, but I was completely wrong. This is why I always encourage everyone to watch anything and everything as much as I do. Even if you don’t like something, I believe it still gives you something to talk about with others. I can honestly see this being mixed with viewers, but grow a deeper appreciation for over time.
To my surprise, this also has a filmmaking perspective, much like one of the other Berlinale entries, Hysteria, did. Except this time, this is a lot more meta. As someone who went to school for film and loves film, I can understand why they made this so meta. By the end of the film, you can even understand why this approach is necessary. I was in complete awe by how cinematic the film can look as we are seeing things from the main character’s perspective. She wants her life to mean something, and in doing so, she sees her life as a movie. I guess you could say she has the main character syndrome. The tone does reminds me a lot of I Saw the TV Glow. For that, I’d be very interested in seeing the reception for this one.
Luisa-Céline Gaffron is truly remarkable as Pia. She shows so much confidence through her performance. It’s clear she has a lot of trust in writer & director Florian Pochlatko. No matter what the actress & director does next, I WILL be watching. I also believe the film does an incredible job at making us care for someone where there might be a stigma of. There’s plenty of callbacks to other films as well that will make cinephile excited.
Overall, I was quite surprised by How to Be Normal and the Oddness of the Other World. If you are looking for something deep in meaning, I highly recommend you seek this one out. Luisa-Céline Gaffron is truly the beating heart of the film that is fully realized by Florian Pochlatko’s masterful direction. I have no idea when this will become more available. When this does, I’d recommend seeing it ASAP.
Written & directed by Mehmet Akif Büyükatalay, Hysteria is a German thriller. The film stars Devrim Lingnau, Aziz Çapkurt, Serkan Kaya, Nicolette Krebitz, Nazmi Kırık, and Mehdi Meskar. When a burned Quran is found on a film set, the production takes a dark turn that throws the crew into turmoil. Intern & 2nd assistant director Elif (Lingnau) is thrown into a game of accusations, lies, and secrets.
This entry of the Berlinale film festival was one of my most anticipated. The film’s events take place on a film set, which sounded intriguing for me. The main character is also in a position that I used to work in and still feel very passionate for. The film also has plenty of religious themes with a horror undertone that sounded perfect for what kind of movie I was looking for. Dark and spooky film set movie with heavy themes? Sign me up.
First off, Devrim Lingnau carries this film on her shoulders. So far, the film festival has not disappointed with giving us strong female characters. Lingnau brings so much anxiety to her performance that you feel it with her. The rest of the cast along with Lingnau is quite impressive from the way they deliver their dialogue to the way they present their fear. It also helps that filmmaker Mehmet Akif Büyükatalay uses the horror tones to explain how dangerous hysteria can be.
The film’s pacing may not be for everyone. The third act can even feel a little redundant, but it ends on a powerful note that is open-ended enough to leave us with a lasting impression. From the visuals to the tones, this is an eerie slow-burn that will get under your skin. When I think of how powerful movies can emotionally and mentally, this is the kind of movie I think of.
Overall, Hysteria was one of my most anticipated of the festival, and so far, it’s the best one. Filmmaker Mehmet Akif Büyükatalay gets their point across thematically while Devrim Lingnau and the rest of the cast deliver solid performances from start to finish. I can’t wait to see what a broader audience thinks of this one.
The Good Sister is the second film to premiere at the Berlinale film festival. The film is written by Sarah Miro Fischer & Agnes Maagaard Petersen, and directed by Fisher. The film also stars Marie Bloching, Anton Weil, Proschat Madani, Laura Balzer, and Jane Chirwa. Rose (Bloching) is close to her older brother, Sam. When a woman accuses Sam of rape, Rose is asked to testify in the investigation against him, testing both their relationship and her moral integrity.
When I initially got asked if I wanted to screen the Berlinale films ahead of time, I was hesitant at first as it was right around such a busy time for me, both personally and professionally. I knew nothing of the films nor anyone who made or starred in the film. Yet, I decided to say yes, because I love international films and they tend to really resonate with me. I am so glad that I did, because the festival is currently 2 for 2 right now.
The film takes a unique approach with its story. It’s only about 90 minutes long, and yet, the first half makes it seem like this will be a completely different story. I didn’t know anything about this going in, but with a brisk runtime, I was expecting something simple. Just when the big revelation hits, you fully realize what you are watching.
The second half does an incredible job at making you look at the first half differently. Not only does the first half set the groundwork, but it makes you revisit certain scenes that were not at all what you thought they were. It creates a very haunting experience that is quite unsettling. With only 90 minutes, I still wish we got more that could have made it intense. I am not asking for it to be exactly like Anatomy of a Fall, but the themes are there that make you question what exactly happened. I wanted more of that. I could see a much longer, detailed movie.
Nonetheless, the film is still carried by a phenomenal performance from lead actress Marie Bloching. When she is first introduced, she is already navigating a new change in her life. When the reality of her brother’s accusation hits, she has to overcome another change – one that does question who exactly she is. Bloching’s performance gives her character realism through her actions as she has to wrestle with what she does and the repercussions of it.
Just as the film was wrapping up, I really wanted it to end where it did and it did. The open-ended conclusion won’t be for everyone. I love endings like this as it makes you question what happens and your own morals. It wouldn’t have been possible without Bloching’s incredible performance and Fischer’s impeccable direction. I also have to give props to Anton Weil who played the brother, Sam. His character goes through a complete meltdown that is portrayed accurately.
Overall, I can easily see The Good Sister being widely talked about as it becomes more available. The way the film wrestles with morals will leave viewers pondering long after watching it. Marie Bloching gives a tremendous performance that makes me want to see whatever she does next, and Sarah Miro Fischer proves to be an effective director with grounded stories to tell. The pacing may not be for everyone and the short runtime may leave viewers wanting more, but what they accomplish here is commendable work.
The Gorge is a new film from director Scott Derrickson & writer Zach Dean. Viewers might be familiar with Derrickson’s work on horror films such as Sinister & The Black Phone, while viewers might be familiar with Dean’s work on films such as The Tomorrow War & Fast X. The film stars Miles Teller, Anya Taylor-Joy, and Sigourney Weaver. When two highly-trained operatives are appointed to posts in guard towards opposite side of a secretive gorge, they must work together to keep the secret in the gorge.
The concept around this film was intriguing, but I can’t say I was looking forward to it. I love the cast and I especially love Derrickson’s works. When I saw that I had the opportunity to see it early, I knew I had to see it ASAP. To be honest, I also kind of needed to see it due to the hectic week that I am having. I completely understand why Apple TV+ is releasing this on the streamer over a theater rollout. The film isn’t perfect, but this would have been so much fun to see in the theater.
The first act, which accounts for about the first hour of the film is strictly dedicated to developing the two main characters played by Miles Teller & Anya Taylor-Joy. These two have amazing chemistry together. It’s such an intriguing concept to have them separated for so long, but still see each other. That’s what makes their encounter where they truly meet each other so special. I believe some viewers may be turned away by how long this takes. Like I said, it takes about an hour to get through this. I suppose it’s fitting for the Valentine’s Day weekend that may appeal to a larger audience.
After the first act is when the film kicks into high great. There’s also a lot of intrigue and buildup to the second act that makes it all pay off. I honestly thought the film actually took place in the apocalypse. Instead, the second act feels like the apocalypse where you spend time in this new world for 45 minutes that goes on longer than what it feels like. The second act is a lot of fun. When you are familiar with Derrickson’s work, he’s able to effectively display the horror genre to this. He does a great job at blending the genres, but its during the second act is where the film shines the most. The creatures are mainly CGI, but Derrickson does a great job making them look life-like with the movie’s stars.
Then, there’s the third act that feels like it goes on longer than it needs to. It tries its best to tie itself up properly without the need of a sequel. I personally don’t think it was all necessary, especially when the film feels like it already ends at the end of the second act. It’s like “oh, we’re still going. Got it.” Look, it’s still a lot of fun that somewhat makes up for paying for the subscription service.
Those are my collected thoughts on each act, but there are both pros and cons throughout the film. The exposition and character development can be a bit awkward at times. The green screen is just about as good as what you would think for a streaming movie. The collection of different genres, while fun, can be exhausting by the end.
If you were to ask me to rewatch it, I probably would. Teller & Taylor-Joy carry the film. It’s fitting to have these characters be these two highly-trained operatives. The film has more than enough buildup that makes you care about what happens to them when things go south. The mystery is done incredibly well. This is the kind of movie you need to go 100% blind into. I can see this easily be a big hit for the streamer that may just put confidence in them again to start putting their movies back in theaters.
I am not joking when I say the music reminded me so much of Nine Inch Nails I couldn’t believe I was right when I saw that Trent Reznor & Atticus Ross composed the soundtrack. How do these guys do it? They consistently make energetic soundtracks that are fitting for the tone. They do it so much that I wouldn’t be surprised if they were doing it in their sleep.
Overall, The Gorge was a surprisingly good time even with its flaws. I loved the main duo between their amazing chemistry and dedication to the action. The film does have a little bit of everything that I think will appeal to a larger audience, but I’d be interested to see if everyone will like that. The way the film plays out will keep viewers at least inrigued by what could happen next.
Directed by Josh Ruben & written by Phillip Murphy, Christopher Landon, and Michael Kennedy, Heart Eyes follows a masked maniac with glowing, red, heart eyes who returns every Valentine’s Day to terrorize unsuspecting couples. The film stars Olivia Holt, Mason Gooding, Gigi Zumbado, Michaela Watkins, Devon Sawa, and Jordana Brewster.
I can’t say I was looking forward to a slasher anytime soon. I enjoyed them a lot more when I was a teenager, but in recent years, I have found them to be too bleak for my taste. To my surprise, this one was fun from start to finish. Due to how light-hearted and comedic it can be, I am not surprised to see where this isn’t for everyone. Coming from writer Christopher Landon as a writer, I am also not surprised by its tone. The film’s tone is what works best for the film.
Olivia Holt & Mason Gooding star in the lead roles, and I have not seen such strong chemistry between two leads in quite a while. They are so likable & charming. The casting department did a superb job putting these two together. Under Josh Ruben’s direction, he creates a foundation between the two before chaos ensues. That’s what helps us feel even more gravitated towards what happens to them. There’s a surprising amount of development between the two that may not be for anyone who wants straight up slasher, but to me, it helps it stand out amongst the rest of the slasher movies. I know what I said about slasher movies being bleak, and I did not feel this way at all.
It was refreshing to see Jordana Brewster & Devon Sawa here. Viewers might be most familiar with the two from Fast & Furious and Final Destination, respectfully. It’s nice to see Brewster have a big role outside of the popular franchise, and it’s nice to see Sawa in another horror movie. The Fast & Furious reference was also hilarious. I had that spoiled to me beforehand unfortunately, and I wish that wasn’t the case. This is the kind of movie that you need to go blind into.
As for the big twist, it’s unique, but it’s also somewhat predictable. When you go into a slasher movie wondering who the big killer is, you’re looking at everyone as a suspect. The film makes it clear with some big hints as to who it can be, but it also makes you second guess yourself, similar to how My Bloody Valentine did. It leads into a cliche third act where the villain speaks their motives before following through with their plan. I am tired of that trope where the villain has to explain everything, which gives the heroes plenty of time to overcome the villain. On the other hand, I thought it was quite fun. It felt like a homage to a lot of other 90’s slashers.
Speaking of homage, this is a film that respectfully homages other great slashers before it. There is a shot similar to The Texas Chainsaw Massacre that you may have seen in the trailer. One of the main reasons I try to avoid trailers as they spoil too much. On the other hand, I guess it’s a good way to convince people to see this. There’s also another scenes where the Heart Eyes killer is chasing Olivia Holt’s character, and the music choice reminded me a lot of Psycho. The film also acknowledges other romantic movies which can make it even more comedic and light-hearted.
There is a convenient plot hole that I know I am reading too much into. Without giving much away, the start of the film makes it clear that the killer has attacked other parts of the country. As it so happens, the same killer has attacked places that Mason Gooding has been to. First off, I have no idea how the killer made that work to set Gooding up. Second, you’d think Gooding’s character would not want to be romantically involved because of this. I honestly thought at one point it might be someone Gooding has a connection with, but that’s not the case. In the end, I think the film does a good job at explaining the motives, even if I would have liked to have seen the conception of this killer explored more.
From what I have seen, this film hasn’t been doing quite well. That seems to always be the case for any movie opening Super Bowl weekend. Maybe it will do better over Valentine’s Day weekend. If it does, I’d love to see a sequel of this that further explores the origins of the killer in other parts of the country. If not, I like how the film ends with something conclusive.
Overall, Heart Eyes exceeded my expectations to deliver something fun & unique with two charismatic leads and respectful homages to the genres. The tone may not be for everyone, but for someone who needs that, I can appreciate it even more. It’s far funnier than I could have ever imagined. I won’t be upset if a sequel ever happens, but I’m also satisfied with what we got here.
Directed by Christopher Andrews in his feature directorial debut, Bring Them Down follows two shepherding families who become hostile towards one another. The film stars Christopher Abbott, Barry Keoghan, Nora-Jane Noone, Paul Ready, Aaron Heffernan, Conor MacNeill, Susan Lynch, and Colm Meaney. The film premiered at the Toronto International Film Festival on September 8, 2024, but it jsut released this past weekend by Mubi.
I didn’t know much about this going in, which can be a blessing and a curse. I like going in not knowing much, but sometimes, it can be confusing as to what’s going on. The start of this film is vague, but it’s completely intentional. It’s slow, which may not be for everyone, but it establishes from the get-go that these people are neither good or bad. It’s about 20 minutes in is where I was locked in.
Just as the inciting incident occurs is where the movie really takes off. The first act follows Christopher Abbot’s perspective that ends on a note where you are not sure what’s going to happen next to him. The second act then follows Barry Keoghan’s perspective to fill in the gaps. This structure doesn’t do anything extraordinary for the plot, but it manages to make its point clear with how these two characters are neither bad or good. They are just a byproduct of their environment where they are just living in their family’s shadows.
The film works through its two lead actors, Christopher Abbott & Barry Keoghan. These two actors say so much with their facial expressions & actions over their words. It is sort of comedic how the film is mostly in English, but there are still subtitles, because of how thick everyone’s accents are. Maybe it’s a good thing that these two guys do so much with such little dialogue. The pair truly give terrific performances. It sort of feels like these two actors have done these types of roles before elsewhere, but their performances are fitting for this type of story. The supporting characters are great as well even if they more or less only serve as plot devices to help makes it message clear.
The film is in doubt what others would consider a slow burn. That may not be for everyone, but if you are looking for something deeply thematic that leaves you pondering on the film’s messages long after, I believe this is one worth watching. I was on the fence of where I was before the third act. Much like the beginning, the vagueness with the ending works better in the film’s favor. Everything is left to the viewer’s interpretation, leaving you thinking about your own morals if you were in the situation.
On a visual level, the film looks great. The film is slow to the point where it leaves you thinking about the mindset of these characters. When the film picks up, it pays off in these grand and nail-biting sequences where anything is possible. The film also captures the landscape in a beautiful way with wide shots. We get a clear idea of what this place is like and where everything is located. It’s abundantly clear writer & director Christopher Andrews was inspired by The Banshees of Inisherin thematically & visually with Barry Keoghan being the through line. Now, I need Keoghan to finish out his Banshees trilogy.
Overall, Bring Them Down offers a lot thematically with two incredible performances that help elevate it. I could see where the slower pace may not be for everyone, yet I promise you leaving thinking longer after watching it. I’d love to see what writer & director Christopher Andrews does next. In the meantime, seek this one out either in theaters or when it eventually comes to Mubi.
Paddington in Peru is the third installment in the Paddington franchise that started in 2014 and comes 7 years after the second entry. This entry find Paddington traveling to Peru with the Brown family to find his missing aunt. As they search for her, they soon find themselves in a greater mystery with antagonist foes trying to get in their way. The film stars High Bonneville, Emily Mortimer, Julie Walters, Jim Broadbent, Carla Tous, Olivia Colman, Antonio Banderas, and Ben Whishaw as the voice of Paddington under new direction from Dougal Wilson in his feature directorial debut.
If you know me, I am a huge fan of the first two Paddington movies. They took me completely by surprise. As much as a third one sounded appealing, I also had my reservations much like everyone else when Paul King & Sally Hawkins were not returning. Paul King directed the first two and Sally Hawkins was the heart & soul of the first two as Mary Brown who was the sole reason why Paddington has a human family. The third entry is nowhere near as good as the first two, but it’s still a solid addition in this franchise.
What director Dougal Wilson does so well is respecting the legacy of the first two films. Immediately, the film throws you back into that silly, sarcastic off-beat humor. It’s not quite as good as the first two, but it enjoyable. I could see viewers being turned off by this as it’s not the first two. I am coming at this from the perspective that there are new people involved who did the best they could, and I’d say they did an admirable job.
If things were any different, Colin Firth would have been the voice of Paddington from the get-go. It feels like everything worked out, because Ben Whishaw jumps back into the voice of Paddington like he never left. It’s impressive how he can still put in so much life in this character, especially after such a long wait for this one. His voice establishes a youthfulness to the character, all while still making him incredibly likable for viewers of all ages.
I would have liked more of Paddington’s arc in the beginning to double down on the conclusion’s themes. Without giving anything away with the conclusion, I believe the film could have started with Paddington having a sort of identity crisis. That would have made his journey even more impactful.
The film also has to deal with overcoming Sally Hawkins’ departure and having Emily Mortimer taking over her role. I am never a fan of actors replacing other iconic characters. If Hawkins could never come back, I would have been okay with the first two ending there. Hawkins brought so much soul to the first two movies, but Mortimer manages to take on the role gracefully. She has the same mannerisms that made me forget there was ever a difference. There is just one particular scene involving a flashback to when the character first met Paddington. It’s awkward, because they can’t show Hawkins. I would have been okay without this flashback.
As for the other characters, I have mixed feelings. Hugh Bonneville has one of the best stories as he has to prove that he has to be more fearless. It’s funny and entertaining, and I love how the films continue to raise the stakes for the character, yet it still feels similar to what we saw in the last entry. The film can even be redundant with Paddington having to get to his aunt. We got that with the last film. Instead, to get around Sally Hawkins’ departure, I think the film could have picked up after the last one and have Paddington and his aunt traveling to Peru. That would have been different and exciting. The middle portion also has a bit too much exposition that does feel forced to help us better understand what’s going on. Maybe that’s the film trying to overcompensate for what they lost, but it’s still entertaining nonetheless.
It’s quite clear the films don’t really know what else to do with the kids of the family anymore. Believe it or not, they are still played by the same actors of the first two. Judy Brown barely has a presence an Jonathan Brown serves more of a plot device more than anything else. It does feel like the film tries to rely on giving us what we saw before to keep within the same tone. Instead, it doesn’t give the characters the proper development that made them so compelling.
Viewers might also be mixed on the villains played by Olivia Colman & Antonio Banderas. They are both great in their roles as they embrace the insanity of their characters. It can be too much for viewers. I am not sure why the film wanted two villains as it doesn’t quite give them enough purpose for the story. Again, I still think they did a great job with what they are given.
Where I felt like the first two acts were passable, the third act not only gives us a lot of adventure, but it also gives an emotionally charged & impactful ending. Instead of going for bleak, it honors the journey that started from the first one. It reminded me why I became a fan in the first place.
Overall, Paddington in Peru was a great time through its flaws. It’s difficult to strike gold twice, but striking gold three times is nearly an impossible feat. Still, the film honors what came before to give us something that feels conclusive if they decide to end it here. If you are a fan of these characters or adventure films, I think you’ll have a good time. Just don’t expect a flawless masterpiece like the first two are.
Companion is a 2025 horror comedy starring Sophie Thatcher, Jack Quaid, Lukas Gage, Megan Suri, Harvey Guillén, and Rupert Friend. It’s crazy how there are two official synopses for the film. I am going to give you the better one. A billionaire’s death sets off a chain of events for a group of friends during a weekend trip to his lakeside estate. Boom! There you go. That’s exactly how mysterious the movie should have been promoted. While there are surprises, this is also a great example as to the marketing revealing too much. Similar to producer Zach Cregger’s latest film, Barbarian, this is a film best going into completely blind.
I’ve seen where this has been at the top of a lot of people’s most anticipated lists of the year. That’s crazy when we are only in January. With an IMAX run, it went to show how much promise there was in the film. I can’t say the IMAX screen enhanced the viewing experience, but the idea of such premium format helps heighten the importance of seeing the film. Given the surprises and the qualities this film holds, this feels like an event worth seeing in the theater.
Actress Sophie Thatcher has been absolutely crushing it since her theatrical debut in 2018’s Prospect when she starred opposite Pedro Pascal. Since then, she has been more recognizable in works such as The Boogeyman, MaXXXine, Heretic, and Yellowjackets. She has a likable presence that reminds me a lot of Anya Taylor-Joy just in their tone and their mannerisms. Thatcher puts on an acting class in her performance here. Considering this had more spoiled in the promos that what it deserved, I am going to treat this as though it hasn’t been spoiled. When we get to the reveal of who Thatcher’s character really is, you begin to realize just how locked in she is. There are moments that require her to consistently change her language and actions that is truly unbelievable to witness. Just one of the several instances where my jaw was on the floor.
My jaw was also on the floor with the amount of twists and turns that occur. The first act of the film does feel choppy with characters acting and talking in an unrealistic fashion. At first, it felt like the direction didn’t know how to create a realistic setting. When the main reveal occurs, you begin to see things differently. When the real nature of who these people are revealed, my jaw was once again on the floor. I don’t think I audibly gasped like that since Parasite.
By the time, we get to the middle portion of the film, everything is at a 10/10. The cinematography invites you into the isolation of the situation. The editing helps give each character the proper amount of screentime. The sound design transitions in and out perfectly. The visuals and makeup are also outstanding. Everything looks great. It’s clear this idea was born out of the pandemic, and what a more fitting way to do that by integrating themes that are relevant to today.
As much as this is Thatcher’s film, the film also spends a considerable amount of screentime with each character. Quaid has a meaningful character arc that tackles the nice guy trope. Lukas Gage is an easy standout. Between his work here and in Smile 2, the guy is going places. It’s also great to see Harvey Guillén getting such a strong role outside of television. Give him more roles! Megan Suri, a name I was not familiar with, does some great work. As for Rupert Friend, he effectively makes use of his time by creating a memorable character.
What’s so great about the storyline with these side characters is that it makes you rustle with their ideology. At first, I questioned why they could like each other given what we found out about these characters. Then, it becomes fitting, but it also makes you question who the real villain is. Anxiety will make you do crazy things. When more and more is revealed, you realize how easy it can be gaslit. This is a great film that helps you realize to always trust your gut.
The third act leans into some cliche, predictable plot points. It’s clear the film lingers on longer than it needs to. The situation just sort of drags. Character’s stories abruptly stop, the villain talks way too much about his plan before following through on his plan, and it’s clear the film is going to give you a happy ending. I loved how the film followed through on its themes where it made me say “good for her.” It just didn’t need to take the cliche route. For a film that was mostly unpredictable, I do wish the third act continued being unpredictable until the very end.
Overall, Companion is the first great movie that I think will satisfy nearly everyone. It is best seen in theaters, knowing as little as possible. Sophie Thatcher is a star in the making with a performance that will show why she deserves more roles. The film also has an impressive supporting cast that are so good at being unlikable. The film has many technical achievements that enhance the viewing experience. Definietely a movie you need to see as soon as possible.
Dog Man is a new 2025 animated superhero comedy film based on Dan Pilkey’s children’s graphic novel series from the same name. It serves as a spin-off and and story within a story of 2017’s Captain Underpants: The First Epic Movie. The film has an ensemble cast that includes Pete Davidson, Lil Rel Howery, Isla Fisher, Poppy Liu, Stephen Root, Billy Boyd, and Ricky Gervais. This is not only Universal’s second movie to come out this year, but it’s also the second one to have “Man” in the title. What’s more ironic is that I am giving them both the same score.
I can’t say I was looking forward to this at all. I knew nothing about it and nothing about interested me. I even had an invite to go see this early at a press screening, but tapped out the night before because of how tired I am. I felt like it wasn’t worth it. That says a lot when I saw every Universal movie that I have been invited to for the last year. I even saw Migration, which happened to be the movie that put me on the map for Universal’s screener list, so I am eternally grateful. This… was just not it. I am glad I didn’t sacrifice my sleep to see this.
With a 72% on Rotten Tomatoes and hearing the laughs surround me in the theater, I know this is going to be a hit. The film has a $40 million price tag attached to it, and I am already seeing where the film will make $30 million in its opening weekend. That’s great! Even if movies are not for me, I am glad that there are movies that help keep the theater business thriving. In recent years, it makes sense for studios to capitalize on family friendly movies as they almost never fail.
What I did like about the film is how it wears its heart on its sleeve through its humor and themes. The humor has a sarcastic tone that reminded me of DreamWorks’ original works with some strong scenes that stood out. I didn’t quite understand the sarcastic tone as it almost felt out of place, but there are some standout moments that did make me chuckle. The film even manages to have some meaningful character arcs with Petey (voiced by Pete Davison), having the strongest one that will connect with families.
Maybe I saw it in the wrong format, but I felt like my head went through blender after I saw it in Dolby. I know someone else who also watched it and enjoyed it in the same format. I think I am just more easily overstimulated. I don’t need loud noises and the plot changing every 5 minutes to be entertained. As someone who was not familiar with this property at all, I didn’t see the point in it at all. This was supposed to be a Captain Underpants spin-off, but you’d never know it. Considering it’s been 8 years since that movie, it’s hard to believe why no one thought it would be a good idea to have a connection to something that is far more popular.
The origin of how Dog Man becomes the titular character is not only dark, but it doesn’t make any sense. What we know about these characters before they have to become the same person is simply bizarre. So, they both died and became the same person? I know it’s a kid’s movie, but what a strange concept. They literally tie on the head of a dog of a human, but also give the character dog arms. This sounds like a concept better suited for a Tim Burton stop-motion picture. Once again, I am not familiar with the material its based off. Instead, it would have been better if there was no origin and we just saw this character as it was to begin with. Petey is already a cat. Why couldn’t we get the same thing with a dog? At least the dog could have a voice.
Since the film resolves around a character that mainly makes dog noises, it’s harder to relate to the character. Due to this, the film has Pete Davidson & Lil Rey Howery talking a LOT. I don’t mind Davidson and I really like Howery. It’s within the script and the direction that makes them be consistently loud and obnoxious for little to no reason. Sitting right next to a speaker throughout with everyone consistently yelling was not enjoyable.
The film also has multiple storylines going on at the same time. It feels like it’s changing every few minutes that it made me forget what happened moments earlier. Instead of trying to be exciting, it comes off boring and lifeless. I will say I like the animation, especially when it mimics its comic book style. When the plot changes every so often, why should I care though? I don’t even think the kid version of me would have enjoyed this.
I am not meaning to sound harsh. This is a film that has substantial potential. I love this type of humor. It reminds me of DreamWorks and Illumination’s earlier works. Similar to Despicable Me 4, I don’t need the plot to consistently change throughout. It feels like I got whiplash. It’s the equivalent of doom scrolling on TikTok. I think the film could have been better had it slow down in its pacing. The film is moving so quickly. By the time it gets to its third act, it stretches out for about 30 minutes to meet a reasonable runtime.
Overall, Dog Man will win over families and fans of the material, but this one is not for me. I don’t think I could recommend this to anyone who is neither familiar with the material nor anyone who doesn’t like genre. For me, there was plenty of missed potential that could have been better capitalized had it slow down the pacing and give the film more of a purpose. I don’t need to be overstimulated to be entertained. Maybe watching this in a quieter setting would make me appreciate it more.
The Creative Cinematic Collection 
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