Annie H.

I went into ‘Hellboy: The Crooked Man’ with low expectations and an open mind, knowing that with its small project status, zero marketing, and direct to VOD release (with a few limited theatrical releases in some countries), it’d be unfair to judge it on how well it compares to the Guillermo del Toro films. Considering the elephant in the room that is the film’s significantly low budget of $20 million, which is less than one third of what the 2004 Hellboy film had to work with 20 years ago, and less than the reported cost of one episode of the recent ‘She-Hulk’ show, the main thing I’d say about 'The Crooked Man' is that it tries its best to deliver a love letter to the comics with whatever resources it got.

This is a project that Hellboy creator Mike Mignola is directly involved with, both as part of the executive producers team and as a co-writer of the script, and consequently, the movie in many ways does carry the spirit of the books as he gets his chance to bring the character to the screen the way he wanted. The film’s tone is significantly different to all previous Hellboy movies, making a complete turn towards the indie horror genre, with a hint of b-movie on the side, which admittedly is something that mostly works in its favour. Based on the 2008 ‘The Crooked Man’ comics with a story taking place during the 50s, the film is an overall faithful adaptation, with a few additions surrounding Hellboy’s origins and the newly-introduced Bureau for Paranormal Research and Defense special agent, Bobbie Jo Song.

It’d be a lie to say that the very limited budget of ‘The Crooked Man’ doesn’t become obvious very soon, mostly when it comes to the special effects. From dimly lit scenes, to showing things from a certain angle, to things happening off camera, the film tries every trick in the book to find a workaround to its budgetary restrictions, and in all fairness, it actually succeeds more often than it fails. That said, there are moments, especially during daylight scenes, that the fact that you are watching a man wearing a red skinsuit and a gigantic prop hand becomes a little too hard to ignore.

At the same time, Jack Kesy delivers a solid performance in the lead role. His Hellboy is rather different to Ron Perlman’s charismatic and snarky version, but with his dry wit, brooding and no-nonsense personality, and his softer side also coming through the cracks, this does feel like a comic book accurate depiction of the character. I just wish the film took more chances to showcase Hellboy’s vulnerability and distinctive sense of humour as well.

All in all, ‘Hellboy: The Crooked Man’ is a pretty OK film and makes an enjoyable watch, especially if you hold any love for the comics or the indie horror genre. It has some legit fun moments, it’s a self-contained story without attempting to do any more than that, and it’s clearly a project that tries to honour its source material as best as it can. Sometimes it gets a little cheesy, not all characters get their chance to shine, but it manages to tell a Hellboy story in a way that feels reminiscent of the books. I might be off here, but I feel that people coming from the comics might have an easier time digesting this film, compared to those who solely know the character through GDT’s adaptations.

I won't claim that 'Hellboy: The Crooked Man' is a flawless film, but between a blockbuster that looks down upon its source material and attempts to reinvent it coming from that angle, and a small project that genuinely, if sloppily and imperfectly, tries to pay homage to the comics it is based on, I'll personably always pick the latter.

‘Terminator Zero’ has certainly been a pleasant surprise. Created and produced by Mattson Tomlin, co-writer of 2022’s ‘The Batman’, and directed by Masashi Kudô, it works perfectly as a standalone, self-contained story in the Terminator universe that doesn’t revolve around the Connors, and doesn’t even require much knowledge of the lore to be enjoyed.

The show consists of only 8 episodes that are 25-ish minutes each, so it can be pretty much binge-watched as a film. It introduces a brand new story and characters, taking place in Japan, switching back and forth from the present time of 1997, a day before Judgment Day happens, and 2022. It’s action-packed and gory and fun, while it also takes the franchise to interesting new places. The story explores philosophical themes and raises compelling questions, dabbling in existentialism and at times even in spirituality, in ways not seen in previous installments.

The animation is also gorgeous, the characters are diverse and unique, the way time travel is explored is pretty much what someone would expect from a Terminator story. Another big plus is that, while the show is brutally violent and features several instances of nudity, it never feels cheaply exploitative or sadistic. It is well-worth a watch, it’s one of the best installments in the franchise, possibly the best thing to come out since T2.

‘Batman: Caped Crusader’ carries the spirit of ‘Batman The Animated Series’, but doesn’t quite capture its heart.

I was really looking forward to this show, and after finishing watching all 10 episodes of the first season, it has ended up being a bit of an interesting mixed bag for me. I really wish the promos and the marketing had done a better job at communicating that ‘Caped Crusader’ is a complete reimagining of most characters, apart from Batman, instead of focusing on the character of Penguin alone, because that would certainly help someone knowing what to expect going in. The show is not so much the spiritual successor of ‘Batman TAS’ but more of a completely new thing, taking place in a 1940s noir Gotham city, with most characters being given completely different backgrounds, origins, and motivations. And honestly, ‘Caped Crusader’ works better if you approach it not expecting to see the same characters as you know them from most of their comic book iterations.

The show definitely has more than a few positive elements: more diversity, characters being openly queer, Barbara and Jim Gordon being Black. Plus, it's a pleasant surprise to see diverse body shapes, especially among female characters in a Bruce Timm production. It was also nice seeing Renee Montoya and Barbara Gordon take so much center stage, even if Barbara isn’t Batgirl (yet?) in this version, and she is now a lawyer, she is still given a lot to do. Giving these two characters the spotlight is certainly one of the highlights of the show.

One has to respect that ‘Caped Crusader’ is very much doing its own thing, and taking a bold approach in reimagining some of the core elements of the Batman mythos. The show exists in its own 40s noir continuity, and makes a clear effort to reinvent most villains in a way that fits that narrative, with some legitimately interesting takes on the characters. Clayface and Harley Quinn specifically have some significant changes to them and their backgrounds. For Harley in particular, it’s interesting seeing her existing in this universe independently of the Joker, being motivated by something else completely. At the same time, not all changes work so well. This version of Selina Kyle, for example, which goes for the spoiled rich girl angle, is probably the most unlikeable depiction of the character I have ever seen. She mistreats her maid (and keeps her unpaid while she spoils herself and her cats), she lacks any sort of sympathetic personality traits, and she steals someone’s cat for no reason then abandons it on a rooftop to run from Batman. Generally, even her fondness of cats overall seems shallow and weird, rather than genuinely affectionate.

The show also pretty much goes for a version of the Batman who is in his early crime-fighting stages, and goes out of its way to highlight that he still has a lot of anger issues and he has not found his heart and his empathy just yet. Which is not a new approach, but the more human and vulnerable version of Bruce/Batman that Kevin Conroy so excellently portrayed is undeniably a more layered and intriguing depiction of the character. There’s only so much a story can do with a monotone, brooding Batman. Hamish Linklater and the rest of the cast all deliver some great performances as their respective characters, but not every character feels as deep and nuanced as the ones in the original Batman TAS. It’s the reason why both Barbara Gordon and Renee Montoya shine in the show, because they are the characters acting as the heart of the story against a one-sided, often unempathetic Bruce.

Perhaps my biggest gripe with the show is the way it changes Bruce’s relationship with Alfred, in order to highlight his coldness and how closed up he still is. I just cannot get behind a Bruce Wayne who calls Alfred “Pennyworth” instead of using his first name, in the same way a superior officer would address a subordinate, and is mostly impersonal and even abrasive towards him, no matter what plot point this eventually serves. It just taints the very specific fatherly bond between the two characters, removing something that should have been there from the start. The relationship between Bruce and Alfred works better when Alfred is established as the catalyst who has helped Bruce keep hold of his human, kind side because he was the one being there for him during the worst events of his life. Any other dynamic just doesn't have the same impact.

‘Deadpool & Wolverine’ is everything you’d expect from a Deadpool film, plus one bit superhero satire and one bit genuine love letter to all the Marvel comic book films that preceded the MCU and helped pave the way, even those projects that never actually came to be. The movie is basically a salad of nods to the original comic book material, tongue-in-cheek jokes, 4th wall breaks, and character cameos, that somehow mixes surprisingly well and delivers a perfectly enjoyable result.

It’s clear that both thought and effort went into securing those character cameos, and it’s impressive how they managed to keep them secret before the film’s release. As expected, for its biggest part, the film doesn’t take itself too seriously, which allows the movie to get away with quite a few things. After all, you can’t complain that a plot device is a MacGuffin if the film calls it a MacGuffin first. All in all, the majority of the jokes land, the chemistry between Hugh Jackman and Ryan Reynolds undeniably works and carries the plot, and when things do get serious it still manages to deliver a solid story.

Despite the film never pulling any punches when it comes to calling out the shortcomings of some of the more recent MCU projects, it’s pretty clear that it holds only love for its source material, the characters, and the creators that brought them to life. Something that becomes evident by all the nods, references, and credits it features.

I don’t think that the question whether or not it will “save the MCU” is fair for any Marvel project, because no film or show can guarantee what comes next beyond telling its own story. And above all else, ‘Deadpool and Wolverine’ is a Deadpool film. It’s violent, it pokes fun at itself, it’s often nonsensical and irreverent. It also has its serious and genuinely touching moments, but it can’t, it won’t, and it never set out to deliver the epicness and emotionally impactful story of ‘Avengers: Endgame', and if you go into the film expecting that, then that’s on you (though I would suggest that you may want to give the recent X-Men ’97 cartoon a chance, in order to satisfy that itch).

It may or may not be Marvel Jesus, but it definitely delivers some solid fun.

That was a very Doctor Who season finale, with a very Doctor Who way of wrapping things up. Some deus ex machina moments, some answers finally revealed, some mysteries still remaining unanswered to build hype for the Holiday special, and lots of nods to classic Who in-between. Not a perfect episode, it does require some suspension of disbelief and to not analyse how things came to be too much, but overall solid. It did not pack the same punch as some of the strongest episodes of this season, and some of the build-up didn't lead to a satisfactory payoff, but the performances from both Ncuti Gatwa and Millie Gibson were once again brilliant and very emotional, making up for some of the weakest parts of the finale.

I reckon the way Ruby's mystery was resolved isn't going to be everyone's cup of tea, but it's one of the things about the episode that I rather liked. As a resolution it doesn't answer all the question surrounding Ruby, and even creates new ones given certain things that happened during this season, but considering how there were only a handful of routes that specific plot point could have taken, the reasoning behind what happened is at least convincing enough and fits well with the themes of the show.

X-Men '97 stuck the landing and then some, and that feels like an understatement. "Tolerance is Extinction Part 3" was unbelievably good. What a way to wrap up a season, and what a way to revive a show! Every character got their moment to shine, every detail and plot point served a purpose. The show managed to bring back a cartoon from 30 years ago, update it, modernise it, make it relevant to younger audiences and current social issues, while also maintaining its heart intact in a way that immediately feels familiar to everyone who's grown up with it.

In a way, it feels that the show has grown and matured along with its original audience. Now tackling more serious issues, not holding back on the commentary, exploring trauma, grief, the anger caused by injustice, and remaining true to the X-Men's history as an allegory for the prejudice experienced by marginalised groups, while also understanding how crucial the 'found family' theme that defines the bond that holds those characters together is.

Every nod and Easter egg comes from a place of loving and respecting those stories and the artists and creators who over the years shaped those characters. All episodes were filled with references that comic book fans would recognise, but not once did it feel gimmicky or cheap. The season finale perfectly wrapped the main storyline, but also opened the way for what comes next, and season 2 cannot possibly arrive fast enough.