Today’s Hot Picks
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Superman
David Corensway, Rachel Brosnahan, Nicholas Hoult, Eddie Gathegi, Anthony Carrigan, Nathan Fillion, Isabella Merced, Skyler Gisondo
Superman must reconcile his alien Kryptonian heritage with his human upbringing as reporter Clark Kent. As the embodiment of truth, justice and the human way he soon finds himself in a world that views these as old-fashioned.
Smurfs
Rihanna, Nick Offerman, Natasha Lyonne, Dan Levy, James Corden, Hannah Waddingham, Sandra Oh, Nick Kroll, Octavia Spencer, Kurt Russell
The Smurf village is full of singing and dancing every day, until Papa Smurf (voiced by John Goodman) is kidnapped by Gargamel and the peace is broken. Smurfette (voiced by Rihanna) leads the Smurfs into the real world and starts their adventure with magic and wisdom.
Ballerina
Ana de Armas, Keanu Reeves, Anjelica Huston, Gabriel Byrne, Lance Reddick, Catarina Sandino Moreno, Norman Reedus, Ian McShane, David Castaneda, Sharon Duncan -Brewster, Anna Parejo, Abraham Popola, Mark Crumb, Robert Mather, Igawa Togo, Caleb Sipierraz
After her father was brutally murdered, the young girl Eve (Ana de Armas) was forced to join the killer organization, where she was trained to be a ballet dancer. At the same time, she received 12 years of devilish training to become a top killer, starting a bloody killing journey against her enemies. Not only did she have to complete the death mission assigned by the organization alone, but she also had to secretly collect information about the enemy who killed her father. The extreme danger of dying at any time and the joint encirclement of various forces made Eve's road to revenge extremely difficult. At the same time, she was targeted by the legendary killer John Wick (Keanu Reeves). The new and old killers met on a narrow road, and Eve had to kill her way out before being caught by John to complete her revenge. The dangerous countdown began, and a deadly fight was about to kick off a bloody prelude...
The Conjuring: Last Rites
Vera Farmiga, Patrick Wilson, Ben Hardy, Mia Tomlinson, Madison Lawler, Orion Smith, Elliot Cowan, Beyoncé Gardeston, Peter White, Kate Fahy
The story is set in 1986, five years after The Conjuring 3. The Warrens have officially retired from exorcism following Ed's heart attack in the third film. They still tour colleges, but even those opportunities are dwindling. Something eventually brings them back. The case at the heart of this one is one of the most famous incidents in the Warrens' careers: the Smalls family haunting. According to the New England Association for Psychic Research (run by Ed and Lorraine's real-life daughter Judy and son-in-law Tony Spera), in the 1970s Janet and Jack Small moved into a duplex on Chase Street in West Pittston, Pennsylvania. In the years that followed, family members, including their daughter and Jack's parents, claimed to have experienced paranormal phenomena, from strange smells and noises to hauntings.
Jurassic World: Rebirth
Scarlett Johansson, Jonathan Bailey, Mahershala Ali, Rupert Friend, Manuel Garcia -Rulfo...
Five years post-Jurassic World Dominion, an expedition braves isolated equatorial regions to extract DNA from three massive prehistoric creatures for a groundbreaking medical breakthrough.
28 Years Later
Jodie Comer, Aaron Taylor-Johnson, Ralph Fiennes, Jack OConnell, Emma Laird, Erin Kellyman, Edwin Redding, Christopher Fulford
A group of survivors of the rage virus lives on a small island. When one of the group leaves the island on a mission into the mainland, he discovers secrets, wonders, and horrors that have mutated not only the infected but other survivors.
Godzilla x Kong: Supernova
Kaitlyn Dever, Jack OConnell, Dan Stevens, Sam Neill, Alycia Debnam-Carey, Matthew Modine, Delroy Lindo
While the film continues the epic behemoth showdown between the previous film, it will also introduce multiple human characters to fight alongside Godzilla and King Kong to fight against a catastrophic threat that could destroy the world.
Predator: Badlands
Elle Fanning, Dimitrius Schuster-Koloamatangi
A young Predator outcast from his clan finds an unlikely ally on his journey in search of the ultimate adversary.
Elio
Jonas Kibreab, Zoe Saldana, Remy Edgerly, Brad Garnett, Jamila Jamil, Shirley Henderson, August Linn
Elio, a space fanatic with an active imagination, finds himself on a cosmic misadventure where he must form new bonds with alien lifeforms, navigate a crisis of intergalactic proportions and somehow discover who he is truly meant to be.
Karate Kid: Legends
Jackie Chan, Ban Wang, Ralph Macchio, Ming-Na Wen, Sadie Stanley, Wyatt Oleff, Shanette Renee Wilson, Joshua Jackson, Aramis Knight
Kung Fu teenager Li Feng (played by Wang Ban) just arrived in New York. He was bullied by the local karate champion for helping his friend out of trouble, so he decided to participate in the karate competition to win back respect. His former mentor Master Han (played by Jackie Chan) traveled across the ocean and brought karate master Daniel (played by Ralph Macchio) to help him. He turned New York into a training ground to start master training for Li Feng. Under the guidance of the masters, can Li Feng integrate the two martial arts schools, win respect with victory and open up his own martial arts?
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The Lord of the Rings: The War of the Rohirrim
After watching it, I felt like I had drunk a bowl of broth that Éowyn handed to Aragorn. The ingredients were the same, but the taste was really not the same. It is an unforgivable mistake to make the protagonist of Helm's daughter, who has no role in the original book and whose name is unknown (in fact, she is an original character). This is not a female power moment - it is equally bad to set this character as a princess who yearns for freedom, an unwelcome bastard, or a hobbit from the Shire, because it should not exist in the first place. The consequence of this is that the sense of fate and heroism in Tolkien's works were directly destroyed, because the tragedy of the severance of the first line of Rohan became "just the death of the protagonist's relatives and friends", and the distant epic myth became a second-rate adventure animation. So we can see that Hareth, who led the guards to defend Edoras until the last man fell, was a reckless man who was shot through the throat after showing off his strength after successfully fighting the mammoth in the movie. Another son, Hama, died by being captured alive and executed in public. The giant eagle that the Lord of the Rings was unwilling to give away can be fed by humans and help transport the nostalgic equipment... These are nothing. The most ooc character is Helm the Hammerhand himself, who was deprived of the protagonist's position. The Rohan are martial but not stupid. Helm is praised first because he is a leader: a resolute leader who can withstand great grief and lead his people to survive in the desperate situation of a long winter, go out alone to kill the enemy until the opponent is terrified, and finally die standing on the eve of victory. So after the war, the Rohan people spontaneously called the Hornburg Helm's Deep. If it was the demented wild man in the movie who surrendered in public on the city wall, was devastated after the death of his son, and finally gave himself up at the beginning of the siege because he couldn't open a door (literally), I'm afraid the first people to overthrow Helm would be the residents of Helm's Deep. In Tolkien's writing, the reason for the defeat in the Battle of the Fords of Isen was that Rohan and Gondor were invaded at the same time as planned, not because Helm was so stubborn and arrogant that he refused to ask Gondor for help as in the movie. The setting of Hera and the short and shy attendant (I really can't remember the character's name) seems to be a replica of the princess and Merry in "The Return of the King", but the strength of the weak should be reflected in wisdom, courage and skills, rather than luck and logic. The soundtrack, storyboards and Eowyn's narration earned me one star, but that's it. The ending song is very nice, but I'm very angry.
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Nobody
"Little People" is a crime action film released in 2021, directed by Ilya Naishuller and starring Bob Odenkirk, Connie Nielsen, Alexi Serebryakov and others. The film tells the story of the protagonist Hutch (Hutch Mansell), a retired agent killer who longs for a peaceful life, but in order to protect his family and children, he has to get involved in gang disputes again. I was deeply impressed by this movie, especially its portrayal and understanding of "little people". People who struggle at the bottom of society are often overlooked, and this movie is a loving tribute to them. The character of Hutch made me see the helplessness and tenacity of an ordinary person in the face of life pressure and danger. Although he was a top agent, after retiring, he just wanted to live an ordinary life. However, for the safety of his family, he had to wield his weapons and become the "nobody" again. The action scenes of the film are very exciting and exciting, which makes people sweat. The acting is also excellent, especially Bob Odenkirk, who successfully portrays a character with both wisdom and courage. In addition, the film's music and photography are also very good, creating a depressing and tense atmosphere for the film.
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Black Bag
It feels like authentic British humor, and it was made by an American director and screenwriter. It's quite surprising to think that the editor of Jurassic Park and the director of Ocean's Eleven were both very similar. Let me tell you some interesting details, including spoilers: - At the beginning, when the male protagonist went to find the informant, the informant was hugged by many women and said that he just cheated accidentally. The male protagonist persuaded him to go home, and the informant actually went back. In the next scene where the informant was about to die, the informant was at home discussing going out with his wife on the weekend to ease the relationship - When the male lead pretended to lose his work badge and went to find the female lead, the female lead's boss was shown in the meeting room for the first time. The old Bond showed his sovereignty by switching the glass. - When the male protagonist said goodbye to the female protagonist on the night of the trip abroad, he first spoke French and then German, because both languages are used in Switzerland. The female protagonist frowned slightly after hearing this, which also showed that she seemed to realize that the male protagonist was checking her out. - In the meeting after the vulnerability incident, Uncle Fa delicately showed the panic beneath his calm surface. If you look closely, his hands were shaking when pouring water, and his reaction after leaving the meeting room was also panic. - The first time the male protagonist went to the river to sort out the situation, he didn't catch anything, and he had no clue. The second time he went with the black agent, he caught a small fish, which corresponds to the black guy. The big boss was not caught, but he was eating a still-living fish, implying that he was the big fish and could survive the best. - The body language of the big devil leaning forward to press the elevator button with old Bond in the elevator is so powerful, it instantly expresses the meaning of dominance
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Joy
What touched me the most in this movie was what the head nurse said: "We are here to provide these women with choices." Whether it is abortion or IVF, it is a choice that should belong to women and is an option that science can provide to them. At the beginning of the year, I interviewed a patient with cervical cancer during pregnancy. For a young woman who is extremely eager to have children, the cruelest thing is to tell her at the same time: Congratulations! There is a new life growing in your uterus, but unfortunately, there is also a tumor in it that will take your life. Many hospitals advised her to stop the pregnancy and treat the cancer as soon as possible, but she was very determined. She told me that she wanted to keep the child no matter what. Finally, only our hospital agreed to treat her. Two department directors performed an operation together, helping her deliver the baby and remove the tumor at the same time. The baby is very healthy and the mother is very happy. The teacher told me that this is very worth promoting. In the past, you would never have thought that women with cervical cancer could still have children. To be honest, I couldn't agree with her at first. I couldn't understand why this woman risked her life to have a baby. I even criticized her recklessness in my heart and thought her persistence was stupid. And although the treatment and surgery were very difficult, I didn't understand why the hospital promoted the practice of giving birth with tumors.
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Transformers One
There was a movie that I watched during the Mid-Autumn Festival. I didn't pay much attention to it at first, thinking that the good reviews were all made up by the so-called media. But after watching it, I felt that it really lived up to expectations. It was the latest "Transformers" animated film "Transformers: Origins". The story type is still science fiction adventure. The imaginative world structure of Cybertron and the robot design that is relatively restored to the old animation can indeed impress many animation fans. However, what I want to say most after watching it is the strong and simple revolutionary issues contained in the film and the dystopian narrative that is closely related to reality. There is no extra human perspective, but the experiences of the Transformers are presented in a revolutionary discourse that is unique to humans . Before becoming the Autobot leader Optimus Prime and the Decepticon leader Megatron, Orion Pax and D-16 were two ordinary miners who had to mine energy in dangerous underground environments every day. Although they are good brothers, their personalities, attitudes and philosophies are completely opposite. Orion Pax is a miner with his own ideas, courage to challenge and break the rules. Although he does not believe in the saying "Are kings, princes, generals and ministers different in kind?" and wants to overthrow it, he is upright in his bones, which also lays the groundwork for him to break the rules and participate in the competition, thus starting a series of adventures and uncovering the conspiracy. D-16 was not yet the leader of the Decepticon faction at that time. He worked according to the routine every day and believed in all the information transmitted to him by his superiors. It was a bit like accepting everything, but at that time, it was still peaceful on the surface. D-16 collected stickers of the original Thirteen King Kong, who were the first to resist the Five-Faced Monster, like a fanboy, especially Megatronus, who later became the Fallen King Kong. However, the blackening of D-16, his believer, cannot be regarded as fate, as it also involves some personality and even external factors, which will be discussed later. By accident, they discovered the secret of the current leader, Yu Tiandi - under the pretext of finding a leadership module, he secretly surrendered to the Quintessence of the Five-Faced Monsters, and even exploited his own people in order to provide energy for the enemy. He ordered his subordinates to intensify energy extraction and continue to exploit the miners. What's even more terrifying is that the Skyrim also covered up the Transformers' early memories (tampering with history). Each Transformer originally had gears and could transform, but in order to consolidate its rule (the key point is to remove the military power and monopolize the military and political affairs. Who would want their own people to have guns, be able to transform, and rebel?), the Skyrim took back the transformation gears (depriving the people of their nature) and unified management (dividing the class, and classifying people by whether they can transform or not). It is not difficult to find that the background description of the origins of the Autobots and Decepticon leaders in "Transformers: Origins" is very consistent with the early revolutionary situation. Internally, the upper class exploited the lower working people to the utmost; externally, they put on a fawning face, ceded land, paid compensation, and sold out the country for personal gain. It is difficult not to associate this narrative system with the history of my country's new democratic revolution. Even Optimus Prime's inheritance of the will of the Thirteen and the battle between Optimus Prime and Megatron are more or less closely aligned with certain nodes in history. Interestingly, the revolutionary process presented in Transformers: Origins also conforms to the stage of the New Democratic Revolution. The railway coal miners' strike and the miners' uprising called by Optimus Prime are very similar, both of which are sparks of revolution that burst out from the working class. Let's look at the ruling class. Transformers: Origins portrays Megatron with a very modern feel. I'm not pedantic, but I claim to be superior; I'm not undemocratic, you see, I even give you the competition to make you happy (although this kind of "nipple fun" is also divided into classes, not everyone can participate). So the Cybertron led by Megatron is not the Big Brother-style 1984, but a brave new world - A treasonous clown maintains the current false prosperity with the principle of entertainment first. This is the simple revolutionary tone of "Transformers: Origins", and what follows is the love-hate relationship between Pillar and his fanboy Megatron. Of course, compared to Zhuzi’s helplessness and the magnanimity of a true leader, the darkening of his fanboy is more interesting. From a justice perspective, both Megatron and Megatron are traitors. One betrayed the original Thirteen, and the Quintessons took advantage of the situation, which was considered treason; the other was more different, he only betrayed his allies (on a friendship level), and his inner persistence remained the same, but it was just more extreme. It is reasonable for Megatron to turn evil. What he had before could not be considered self-awareness, and he was not even as optimistic as Bumblebee, who could still find fun for himself while being locked up alone on the 30th floor underground. You can think of Megatron as a rationalist who has spent the first half of his life pursuing an absolute idea. His thinking is relatively extreme, but the premise of this extremism is his support for absolute justice (obedience) and the betrayal of "absolute justice" (Yu Tiandi). Faced with the hypocritical behavior and treasonous behavior of the upper class such as Megatron, Optimus Prime felt that he needed to awaken the people first, unite all the forces that could be united, and proceed step by step from the bottom up; while Megatron's attitude towards this was "an eye for an eye", the same form of revenge, and he would fight if he disagreed! Although his purpose was also to maintain justice in his heart. This kind of thinking develops to a later stage, once in power, or continues to be paranoid, it will turn into an extreme attitude of "whoever stands in my way will die". In the film, Megatron's final act of abandoning Optimus Prime and slaughtering the former supporters of Megatron are all extreme reactions after his beliefs are shattered. Since everything is fake, I will build a new order on the ruins. What was once promised has become a lie forever. This is the tragedy of the cool movie "Transformers: Origins", and it also echoes the transformation of student movements in the late 1960s and 1970s into terrorism (just look at the attitude of the Japanese right wing towards the Japanese United Red Army). At this point, the reasons for the formation of terrorism are no longer important, and he was exiled along with the Holy Knights. Former comrades parted ways because of the "instigation" of a clown, and took different paths due to different choices. What is even more tragic is that what they advocated is still the same, the thing that truly belongs to the people, which has been manipulated by the upper class and has not been fulfilled so far.
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The Life List
At the beginning of the movie, I was attracted by the unique frosted voice of the heroine. I really love her voice, lazy and with a wise tone, very mellow. The group of pregnant women at the beginning of the movie formed a sharp contrast with the heroine. This feeling is very strange. I can't explain it. It vaguely reflects that her boyfriend who loves games is not her true love. The second love came very suddenly. Both of them fell in love at first sight. They lived passionately every day. She thought he was her true love... But they broke up! Not surprisingly, he gave me the impression of a sophisticated man. He was keen on making friends with people who had common topics and the same dimensions. He couldn't accept the low-level jokes of the heroine's friends (actually, I didn't like that joke either). As expected, she and the lawyer ended up together. It was not surprising, not at all. After all, choosing a tie is something that only close couples would do. The movie hinted at the beginning that they would be together. In addition, the heroine always thought that her adoptive father didn't love her. But I don't think so. Just like her biological father said, the first thing the adoptive father did after driving home was to pick up the young girl and spin her around, but she didn't remember it. At the end of the movie, the adoptive father also described this behavior again. Regarding the relationship between the heroine and her mother, to be honest, it is really warm and heartwarming.
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Last Breath
"Last Breath" is a film based on a real submarine disaster in the North Sea of Scotland in 2012. When experienced deep-sea diver Chris was on a mission in the North Sea, a huge storm caused the ship to drift, and his oxygen tube was cut off, trapping him on the seabed, with only 10 minutes of backup oxygen! In the dark sea storm, the captain, technicians, and the leaders of the diving team Ducan (Woody Harrelson) and Dave (Liu Simu) worked together to launch a thrilling rescue operation. Before watching the movie, S asked me, if the backup oxygen only lasts 10 minutes, why can the movie be shot for 90 minutes? Shouldn't it be finished in 10 minutes? I said, maybe there is a synopsis of the previous story, reminiscing about life, or it is like "24 Hours", shot from one person's perspective. After watching it, I found that these are not all correct. The main reason is that after the oxygen was exhausted in ten minutes, the protagonist still lasted for 30 minutes! I won't spoil the result, you can go and see it for yourself. Although the film is only 90 minutes long, I appreciate the compact rhythm of this purely commercial film. The story is told neatly, without dragging or over-exaggeration, which is enough. The theater also maximized this effect. As soon as the lights were turned off, the music, pictures and photography came out, which immediately made me understand the difference between a movie that can be released in theaters - even a small commercial film - and a streaming network movie like "The Canyons". First of all, the authenticity of the details. Compared with "The Last Breath", "The Canyon" looks like an AI cutout. Although a beautiful interior scene was built, the rest is all cutout CG, which is completely unreliable. It feels like the male and female protagonists are playing the Sims. Such an old tower, but the interior is brand new. There was a blizzard outside, and the heroine came out in shorts, as if there was no use for the blanket on her body that might fall off at any time. Look at the rust, iron cages, and mechanical air pipes in "The Last Breath", and the difference is obvious. The second is the problem of logic. The setting of "The Canyon" is pleasant, especially the uninhabited forest tower in the subarctic zone of the northern hemisphere, which is simply a paradise for I people, but the various story logic loopholes are like a sieve. In contrast, "The Last Breath" is adapted from a true story, and the whole story is very solid. The director also made a documentary for this movie. Chris lasted 30 minutes without oxygen, which is a miracle in itself, but what is more miraculous is that the team did not give up on him. From the captain, the first mate to the technicians, as well as the leader of the diving team Ducan and the silently dedicated Dave, the cooperation, courage and human brilliance of the entire team who never abandon or give up, regardless of the final result, is the biggest miracle. Finally, I would like to use a paragraph to praise Simu Liu. In mainstream North American movies, Simu Liu is almost the only East Asian face who can play the leading role - I am not talking about TV series and movies with Chinese as the main characters. Do you know how difficult this is? Compared with Chen Sicheng's boastful "🍬探1900" which illogically incites national sentiment, seeing more and more Chinese appear in European and American film and television circles is to do things step by step in a down-to-earth manner. To give an inappropriate analogy, if you support not overfishing, then there is no need to yell at your parents at home not to eat fish. Going to the school community to call on everyone not to eat fish is doing things. Simu Liu's emotional acting is actually not very good, but once the action is added, it is very qualified, and he plays the image of a taciturn but brave and kind comrade-in-arms. Simu Liu is really the pride of the Chinese!
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Juror #2
When everyone thought that in his last film, Toki, as the "beneficiary" of the current political context, was going to stage a smug right-wing victory settlement, he actually went the other way and provided some progressive reflections in "Juror No. 2": for example, in the jury, the field where identity politics can be set up the most, the two most "stubborn" defenders of traditional family values (to some extent representing ignorant and stubborn rednecks) are played by black people; and when the defendant uttered the classic scumbag confession "I'm not the guy anymore, I have changed" in the stand, what quickly flashed by was the silent sneer of the two female prosecutors who knew the truth - a typical female subject perspective. In fact, this unprecedented thinking is by no means a trick. As the jury debate deepens, the film seems to be following the classic path of "12 Angry Men" and its many variations (it's funny, the opening scene of the female prosecutor picking up the phone even perfectly pays tribute to He Bing picking up the documents at the end of "12 Citizens"), and the early exposure of the male protagonist's crime breaks this pattern - what Dong Mu tries to do is to put everything in a swaying state. The so-called "rigorousness" has become a prejudice, and the theme of "justice" throughout the film has unexpectedly become a stumbling block to revealing or covering up the truth. This ambiguity takes root and sprouts meticulously all the way until the last scene, when it suddenly changes its form. Through the gaze of the ending, the simple moral binary opposition in "Sully" or "Richard Jewell" is re-exposed. In Toki's values, there is and only one "correct" way of moral narration. On this level, "Juror No. 2" has never hesitated in morality or conscience. This is a firm conscience. For this reason, the skepticism about moral truth in "12 Angry Men" is actually opposed and even abandoned by this film. The last time this kind of complementary and inseparable justice and truth appeared in a concentrated manner seems to be traced back to Fritz Lang (and the day I watched the movie was his birthday). So everything ends with such a gaze that follows the moral values of the black film nearly a hundred years ago. There is no more perfect farewell than this. From the gaze, we see the adhered traditions, ancient ethics and principles, and the fate of this country - after all, don't forget the identity of the male protagonist, he is the most decent conservative white male protagonist in Dongmu's usual narrative, and his evil has been planted from the beginning. Just like the close-up of the scale that appears in the opening animation and runs through the whole film, the old man has completed an atypical patriotic reflection in this way that is consistent with and breaks the self.
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Sonic the Hedgehog 3
When the movie's Easter eggs are released, the concept of similarity becomes a thread from between species to between bionics and species. The appearance of the Easter egg has nothing to do with Sonic, but the image that is quite similar in outline is a robot. In other words, it forms a very obvious representational similarity, which, in Deleuze's words, is a body without organs. Of course, it is to prepare for the fourth Sonic the Hedgehog film, and perhaps also to open up a parallel world, telling a story of alternating cuteness and fear. In "On Cuteness", Inuhiko Shihoda talked about how cute and scary are adjacent in Japanese. Think back to whether this is also true for the movie? Yes, although Dr. Eggman, played by Jim Carrey, and his grandfather have a strong affinity, the audience can still regard them as a control group of a complex relationship that goes on different paths. By the time the third part begins, Dr. Eggman has regressed into a very typical middle-aged otaku. He possesses advanced and cutting-edge science and technology, but the mechanical crab stays on the bottom of the sea and no longer travels. He has given up the idea of ruling mankind, and instead pursues his own inner peace zone. So we see the show he watches, in which brothers compete for the same person but the pictures are in black and white - he holds a very obvious decisiveist idea, if I go out I may hurt others or be killed, so I don't need to go out of this door - what's more, cutting-edge technology has provided him with enough convenience and economic strength to enjoy a lifetime, so why should he pick a fight with the hedgehog? But his grandfather has been immersed in the great grief after the loss of Maria. Of course, there is also the broken belt that imprisoned him for 50 years. In this movie, grandfather is not only a relative, but also means a mark of values, that is, because of the change of time, he no longer belongs to this world, so what grandfather thinks of is the third way besides domination (control) and regression (self-entertainment), that is, to destroy everything. This sounds a lot like what Obito from Naruto did. To be precise, it was the fragmentation of the individual narrative (the death of Lin/Maria) that led to a major upheaval in the grand narrative (the Fourth Ninja World War/the destruction of humanity by super weapons). This is what Dr. Eggman's grandfather and Shadow are doing. It's just that Dr. Eggman's team relied on Jim Carrey's comedic actions - especially the scene where the two danced in the red lasers, and the scene where the two fought with mechanical elephant-like animals - to briefly dispel the otaku logic of "socialization = harm". In this case, decisiveness becomes inevitable, "even if it is wrong and hurts others, you have to choose a certain position." This is what Shat did to Tom. He almost killed Tom by mistake (shown in the Easter egg, wrapped in a bandage), and a similar scene of one party trying to wake up the dead by howling in pain was staged again. The movie was afraid that the audience would not remember this similarity, and deliberately added a similar composition of Shat calling Maria. At the beginning, Shadow also insisted on a decisive stance, seemingly to atone for his sins, and also to make Sonic empathize with his pain. After both sides used emeralds to enhance their combat power, when Sonic was clearly at a disadvantage, he mentioned Tom's name again. This led to Sonic's brief and angry outburst, and he beat Shadow to the moon and back to his original form. Yes, the similarity runs through the whole story. Maria's death was not inevitable, but General Walters (the commander) blocked the explosion caused by the soldier's mistaken shooting - the same is true for Shat, he didn't want to kill anyone except Walters' impressive face. And Tom happened to use technology to change his face to become him - this is another similar manslaughter. Of course, Shadow and Sonic basically look the same and are the same species (hedgehogs). In contrast, Knuckles and Tails are definitely not hedgehogs, even though they are both colorful alien creatures (animals). In his aesthetics of double images, Kilar specifically mentioned that the two parties of imitation have a three-stage relationship. As double intermediaries, the two parties are similar in appearance (hedgehogs of the same species); as double constraints, the two parties are emotionally desireful (if Shat does not accidentally hurt Tom, Sonic will not be able to empathize with him. And from the bottom of his heart, Shat does not want to do this); as a doubled relationship of imitation, if there is no outsider, the internal imitator is unaware (it is also Tom's words at the beginning of the movie that awakened Sonic in revenge). In this process, Tom's voice and face are almost a "ghost" form that frees Sonic to return to Shadow's old ways. Let's talk about Dr. Eggman and his grandfather. The grandfather pretends to be immersed in the parent-child relationship with his grandson to make up for the pain of his close relationship with Maria. The clever point is that the virtual scene technology has actually hinted at all this, and the stone agent, an outsider, has been observing it all the time. The apocalyptic disaster caused by Shadow and Dr. Eggman returns to normal life after their self-sacrificial act. In other words, we can regard this live-action movie as a re-read of the game, as Sonic is a character in the game series. At the beginning of the movie, Sonic and his two friends are competing in a game, a running race - this race is actually to re-emphasize the preciousness of daily life. At the finish line is a "victory declaration" brought by a virtual holographic projection, and it is also a surprise "Earth-birthday" held by his family for him. At the end of the movie, the race is recreated, but their running has no end. "Running", the most common scene in the game, has also become the "psychology" that constantly generates scenes in the movie subtitle animation. Only by running continuously (quite like Forrest Gump) can the world become full in the runner's vision. It suddenly occurred to me that "The Girl Who Leapt Through Time" will be released in China soon. This animated film from decades ago is also coming to the big screen in a running manner. But is this kind of running a "phenomenon" or an "embodied" thing? It's like if the Sonic Team took off the more subjective title of "Sonic", whether it's Knuckles or Tails, they can run, so whether it's a gamer or an otaku, they can all run, right? Running itself is not the ability of otaku to "question society", but the perception after losing this ability - so the change is only in the individual (Sonic's personal growth), not in ideology (in the movie, it is the secret service with weapons of destruction). The more obvious contrast is Jim Carrey, in The Mask in 1994 (the prevalence of fanaticism theory) - The Truman Show in 1998 (breaking through the ideology constructed by the media) - Bruce Almighty in 2003 (crazy deviation and return to daily life) - Eternal Love in 2004 (The Third Retention and the disappearance of daily life) - Mr. Popper's Penguins in 2011 (when cute pets become the main body of daily life) - and now in the Sonic the Hedgehog trilogy, Jim Carrey has gradually given up the weapon of criticism and used the criticism of weapons
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Got Questions? We’ve Got You
Explore common questions about trailers, reviews, and how to make the most of our site.
Where can I find the latest movie trailers?
Check out our “HotTrailers” section for daily updates featuring the newest and most buzzed-about trailers across genres.
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We’re working on it! Stay tuned for our community review feature coming soon.
Why won’t a trailer play?
Sometimes trailers are geo-restricted or pulled by the host platform. If you see this, try refreshing or checking back shortly — we keep them updated daily.
Are the reviews spoiler-free?
Yes — our featured reviews avoid major spoilers, and we’ll always let you know if a review dives deeper.