The Thunderbolts - Review: The Elite Level Return of the MCU

Thunderbolts*

The Elite Level Return of the MCU

★★★★☆

A surprisingly moving and refreshing entry that sets a new bar for the Multiverse Saga.

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Companion - Review: A Twisted Parody of Modern Romance

Companion

A Twisted Parody of Modern Romance

★★★☆☆

A fun, entertaining diversion that suffers from an over-revealing marketing campaign.

Directed by Drew Hancock, Companion is a movie unfortunately spoiled by its own marketing material. The first 30 minutes are spent waiting for the narrative to catch up to what the audience already knows from the trailers. Despite this, it remains a mildly interesting story of awakening and survival, functioning as a dark parody of romantic relationship dynamics.

"Perhaps years from now someone will come upon the film and will have no previous knowledge of the plot... and I will envy them." — Ray Manukay

🎬 Production Brief

• Director: Drew Hancock
• Starring: Sophie Thatcher, Jack Quaid
• Supporting: Lukas Gage, Megan Suri, Harvey Guillén
• Genre: Sci-Fi / Psychological Thriller / Black Comedy

Cleverly Spun Dark Comedy

Helping the experience along is an affable cast led by Sophie Thatcher and Jack Quaid. While the central "twist" may be common knowledge for those who followed the press, the film still manages to sprinkle in amusing, clever moments and shocking surprises. The plot deserves kudos for its creative use of black comedy, making it a worthwhile watch for fans of the genre.

💡 Cinephile Fun Facts

• Barbarian Connection: Produced by the same team behind the 2022 horror breakout Barbarian.
• Debut Feature: Marks the directorial debut for Drew Hancock, previously a writer for TV comedies.
• The "Anti-Trailer" Movement: Hancock expressed a desire for audiences to go in blind, despite the high-concept reveals in marketing.

✅ Pros

• Affable and engaging lead performances.
• Creative and effective use of black comedy.
• Still holds a few shocking surprises despite trailers.

❌ Cons

• Marketing campaign spoils the major first-act hook.
• Initial 30 minutes feel redundant if you've seen trailers.

The Full Analysis

Companion is a film that unfortunately suffers from being significantly spoiled by its own marketing material. The first thirty minutes of the movie are spent essentially waiting for the narrative to catch up to what the audience already knows, which creates a uniquely frustrating viewing experience. This is not to suggest that the director or the artists are to blame for this structural drag. A story naturally needs to establish its backstory, and the film attempts to cleverly string the audience along toward a major reveal.

It is easy to envision how impactful and fun that specific moment of revelation would have been if the twist had not been prematurely revealed in the trailer and the surrounding press coverage leading up to the release. One can only wonder what the experience would have been like entering the theater completely blind to the plot. However, that knowledge is already out there, and there is no changing the reality of the modern marketing machine. Perhaps years from now, a viewer will stumble upon this film with no prior knowledge of the plot, and they will be genuinely surprised by the narrative shift. I find myself envying that hypothetical future audience member.

What we are left with, however, is still a mildly interesting story centered on themes of awakening, survival, and a sharp parody of the traditional dynamics found in romantic relationships. The experience is greatly assisted by an affable and talented cast led by Sophie Thatcher and Jack Quaid, both of whom navigate the shifting tones of the script with ease. There are also several amusing and clever moments sprinkled throughout the runtime, along with a few remaining shocking surprises that ensure the overall experience is not a total waste of time.

The plot also deserves kudos for its creative use of black comedy, providing a biting edge to the more conventional thriller elements. While the marketing may have robbed the film of its primary sting, Companion remains a fun and entertaining diversion. It is certainly worth checking out, especially for those lucky enough to have no prior idea of what the film is actually about.

🏆 Final Verdict

Overall, Companion is an entertaining diversion. Check it out, especially if you have managed to avoid the trailers and have no idea what the film is about. You will likely enjoy the ride much more.

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A Working Man - Review: A action collaboration that fails to recapture the magic of its predecessors.

★★½☆☆

A disappointing action collaboration that fails to recapture the magic of its predecessors.

Directed by David Ayer and written by Sylvester Stallone, A Working Man (also known as Levon's Trade) feels like a clumsy, often frustrating knock-off of genre staples like Taken and John Wick. Despite the high-caliber talent involved, including star Jason Statham, the film struggles with an infuriating amount of superfluous backstory and secondary setups that fail to lead anywhere worthwhile.

"Watching this film one is reminded of how tight a film like Taken was with its building, suspenseful action... and how great John Wick was with creating believable, worthy villains."

— Ray Manukay

🎬 Action Assembly

• Director: David Ayer
• Screenplay: Sylvester Stallone (Based on Chuck Dixon's novel)
• Starring: Jason Statham, David Harbour
• Thematic Roots: Vigilante Justice / Retired Specialist

Choreography Without Heart

The film is not a total loss, as David Ayer attempts to "put lipstick and rouge on this mess" with well-choreographed action sequences. However, these moments of entertainment are buried under a journey that can be painful to sit through. Unlike Statham’s previous outing in The Beekeeper, there is simply no heart in the story to make the audience care about the stakes or the characters involved.

💡 Production Trivia

• Stallone/Statham Reunion: This film marks another collaboration between the two action icons following the Expendables series and Homefront.
• Literary Origin: The story is based on the popular "Levon Cade" series of thrillers by comic book writer Chuck Dixon.
• Ayer/Statham Duo: This is the second consecutive collaboration for Ayer and Statham following their success with The Beekeeper.

✅ Pros

• Well-choreographed, professional action sequences.
• David Ayer's visual direction tries to elevate the material.
• Statham remains a reliable, physical presence.

❌ Cons

• Infuriating amount of superfluous, go-nowhere backstory.
• Unintentionally humorous and annoying antagonists.
• Lacks the narrative heart or tension of Taken or John Wick.

The Full Analysis

A Working Man is a clumsy, laughable, and often frustrating knock off of the legendary action films Taken and John Wick. What makes the movie especially disappointing is the high level of talent involved in the production, featuring star Jason Statham, director David Ayer, and a screenplay co-written by Ayer and action icon Sylvester Stallone. One would naturally think that such an assembled powerhouse of talent would produce a more satisfying and cohesive film, especially since it arrives on the heels of the superior and surprisingly enjoyable The Beekeeper.

As for this specific project, there is an infuriating amount of superfluous backstory and secondary set-ups that do not lead anywhere interesting or worthwhile. The film is plagued by some of the most annoying and unintentionally humorous antagonists in recent memory. Watching this movie serves as a stark reminder of how tight a film like Taken was with its building suspense and rising tension, and how masterful John Wick was at creating believable, worthy villains who felt like genuine threats.

Despite these flaws, A Working Man is not a total loss. Director David Ayer clearly tries his best to put lipstick and rouge on this narrative mess, but there is only so much a director can do with such a scattered foundation. While there are some entertaining action moments to be found, the journey required to reach those highlights can be genuinely painful. The action is well choreographed, but that is essentially the extent of its success. There is simply no heart in the story to make the audience care about the stakes.

There is definitely better material available from the collective filmographies of Stallone, Statham, and Ayer. I would strongly recommend seeking out their previous work while trying not to hold this specific movie against them. While the intentions were likely good, the execution leaves much to be desired, proving that even a dream team can occasionally miss the mark.

🏆 Final Verdict

There are definitely better materials available from Stallone, Statham, and Ayer. I'd recommend seeking out their previous hits rather than holding this "disappointing mess" against them. For die-hard fans only.

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The Alto Knights - Review: A Depressing Reminder of a Dead Genre

The Alto Knights

A Depressing Reminder of a Dead Genre

★★½☆☆

A throwback that unintentionally confirms the age of the Mafia film is truly over.

Directed by Barry Levinson, The Alto Knights attempts to turn back the clock to the golden era of gangster cinema. However, the film often feels like a parody of itself, struggling with tired stereotypes and heightened dialogue. Despite the high-concept hook of Robert De Niro playing dual roles, the project serves more as a vanity showcase than a meaningful contribution to the genre.

"The stark digital look makes the characters look like they are all playing pretend and dressing up as gangsters for Halloween or a costume party."

— Ray Manukay

🎬 Film Details

• Director: Barry Levinson
• Starring: Robert De Niro (as Vito Genovese & Frank Costello)
• Writer: Nicholas Pileggi (Goodfellas, Casino)
• Cinematography: Digital / High Definition

The Technical Mismatch

The film’s digital photography does the genre a significant disservice. Mafia stories traditionally require the texture and grain of 35mm film to feel authentic; here, the clean digital look unintentionally highlights de-aging makeup and makes the production feel like a television sitcom. While it isn't "poorly made," it stands as a depressing reminder that the industry has pivoted away from the gritty, criminal character studies of the 70s and 90s.

💡 Cinephile Fun Facts

• Pileggi Connection: The script was written by legendary author Nicholas Pileggi, the man behind the source material for Goodfellas and Casino.
• De Niro's Legacy: This marks another collaboration in the twilight of De Niro's career focusing on his Mafia roots, following The Irishman.
• Dual Role: De Niro portrays both rival mob bosses, Vito Genovese and Frank Costello, who were real-life figures in the mid-20th century.

✅ Pros

• De Niro earns the right to revisit the genre he helped define.
• Competent direction from veteran Barry Levinson.
• Interesting historical context involving mid-century mob rivalry.

❌ Cons

• Stark digital photography lacks the necessary cinematic texture.
• Stereotypical characters and "painfully reminiscent" dialogue.
• Dual casting adds very little to the actual narrative.

The Full Analysis

Gangster films were effectively the comic book movies of the 1970s and 1990s. During those eras, it seemed like every year produced at least one classic Mafia film, and some of the most iconic entries in the genre were released during those decades. The Alto Knights positions itself as a throwback to those stories, but unfortunately, it only serves to inform audiences that the era for such films has passed. The genre now feels like a parody of itself, despite the best intentions and clear ambitions of the production.

Robert De Niro, the signature star of so many legendary Mafia films, tries to turn back the clock here, but his efforts are to no avail. The truth is that there is nothing in this narrative that we haven't seen before, and usually presented much more effectively in previous films. The primary selling point for this movie is the dual casting of De Niro as two different mob bosses. Unfortunately, this gimmick doesn't add much to the proceedings, appearing instead as a mere vanity showcase for the veteran actor. However, it is hard to fault De Niro for wanting to return to this well, as his illustrious decades in the industry have certainly earned him that right.

Ultimately, The Alto Knights reminds the audience that the golden age of the Mafia film is truly over. Everything about the movie feels slightly off, whether it is the reliance on stereotypical characters, the tired and bloody crime scenes, or the painfully reminiscent, heightened Italian mafia dialogue. Director Barry Levinson puts forth a noble effort, but there is no resuscitating a genre that feels this stagnant. Particularly noticeable and awkward is the digital photography, which does the genre a significant disservice by making the movie look like a television sitcom rather than a classic cinematic experience.

The stark digital look unintentionally highlights the actors' ages and the limitations of the de-aging makeup. This genre, perhaps more than any other, requires the classic 35mm film look, as grainy photography adds a necessary texture to the criminal underworld. The digital clarity of The Alto Knights makes the characters look like they are playing pretend or dressing up as gangsters for a Halloween party. It would be wrong to criticize the film as poorly made, but it is a depressing reminder that the industry has pivoted away from the deep, character-driven criminal studies of the past. The Alto Knights should perhaps mark the end of period gangster films until someone can contribute something truly unique to the genre, a feat that is increasingly hard to imagine.

🏆 Final Verdict

The Alto Knights should likely mark the end of the period gangster film. Unless someone can contribute a unique perspective, the genre feels exhausted—a costume party for a style of filmmaking that has moved on.

View original review on Letterboxd

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Havoc -Review :Premium Carnage Without a Compelling Compass

Havoc

Premium Carnage Without a Compelling Compass

★★★☆☆

Breathtaking action and top-tier choreography hampered by a shallow script.

Directed by the visionary Gareth Evans, Havoc delivers exactly what the title suggests: frenzied, bloody action and top-notch fight choreography. While Evans famously turned a paper-thin premise into a masterpiece with The Raid, here the script reaches for complex twists that ultimately feel hollow. Despite an impressive, "premium" feel across every technical department, the characters lack the likability needed to anchor the extravagant gun battles.

"Like the finale of a 4th of July fireworks show, its enjoyable while taking it in. But it's not especially memorable or moving in the long term."

— Ray Manukay

🎬 Action Credentials

• Director: Gareth Evans (The Raid, Gangs of London)
• Starring: Tom Hardy, Timothy Olyphant
• Supporting: Luis Guzmán, Forest Whitaker
• Streaming: Exclusively on [Netflix](https://www.netflix.com)

Brutality Meets Creativity

The film is redeemed by its breathtaking action. Evans showcases a level of brutality and creativity that hearkens back to the heyday of John Woo and Robert Rodriguez. Every stunt and gun battle feels meticulously crafted, making it a feast for action purists even if the narrative remains secondary to the spectacle. It’s a showcase of high-end production design paired with a story that struggles to leave a lasting impression.

💡 Cinephile Fun Facts

• Delayed Impact: Havoc was filmed in 2021, undergoing extensive post-production and reshoots to perfect Evans' complex action sequences.
• Tom Hardy's Physicality: Hardy performed many of his own stunts, bringing the same gritty intensity seen in Mad Max: Fury Road.
• Welsh Connection: Despite its gritty urban American setting, much of the film was actually shot on location in Wales.

✅ Pros

• Elite-level fight choreography and innovative stunts.
• Impressive, "premium" production design throughout.
• Powerful, visceral performances from a star-studded cast.

❌ Cons

• Shallow, uncompelling script with forced twists.
• Characters are hard to root for or connect with.
• Action feels like isolated set-ups rather than a cohesive story.

The Full Analysis

Havoc is the latest high-octane offering from talented director Gareth Evans, featuring an impressive ensemble cast that includes Tom Hardy, Timothy Olyphant, Luis Guzmán, and Forest Whitaker. Supported by top-tier production design, the film delivers a relentless barrage of frenzied, bloody action, extravagant gun battles, and world-class fight choreography. The stunts are undeniably breathtaking, showcasing the kind of physical filmmaking that has become Evans' signature.

Unfortunately, what the film lacks is a compelling script. In the past, Gareth Evans has successfully crafted masterpieces from paper-thin premises, most notably with the action classic The Raid: Redemption. That film is arguably one of the greatest action movies ever made, yet its plot can be summarized in a single sentence: a special forces team is trapped in a building full of criminals intent on killing them. However, the script for Havoc attempts to reach for something more complex, utilizing twists and turns to create depth where there is very little substance.

The characters in this narrative are not particularly interesting or even likable, leaving the audience to feel that every scene is merely a functional setup for the next extravagant action sequence. This shallow storytelling feels especially noticeable because every other technical element of the movie feels premium and polished. If a viewer is looking purely for visceral thrills, the film is redeemed by its creative brutality, which hearkens back to the golden era of John Woo and Robert Rodriguez.

Ultimately, Havoc is much like the grand finale of a Fourth of July fireworks show. It is incredibly enjoyable while you are taking it in, but it is not especially moving or memorable in the long term. The spectacle is impressive, but the impact quickly fades from memory once the screen goes dark. It remains a solid diversion for action junkies, even if it fails to leave a lasting mark on the genre.

🏆 Final Verdict

Havoc is a visceral, temporary high. It excels in the moment but fades quickly from memory. Watch it for the craftsmanship of Gareth Evans, but don't expect a new action classic on the level of The Raid.

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