ARTaylor

This legacy sequel may not reach the comedic heights of the original trilogy, but it is certainly a worthy continuation and a solid update. It continues the legacy of irreverent and outrageous comedy.

There are plenty of references to the original movies and cast. Callbacks. Easter eggs. Even addressing that one actor infamous downturn into infamy. There's also plenty new material to work with. Like the opening's Mission: Impossible allusion to hybrid cars to tech billionaires and their doomsday bunkers. While maybe not as sharp as South Park, it certainly as the biting wit of the glory days of Family Guy.

Liam Neeson is the perfect person to follow in Leslie Nielsen's footsteps. Very few dramatic actors can deliver over-the-top dialogue with a straight face like Nielsen. Neeson has already proven he can walk that fine line in producer Seth MacFarlane's previous works. He's amazing in the role, brilliantly playing off his action hero persona.

The other standout is Pamela Anderson. The former sex symbol has been going through a renaissance lately, and it's nice to see her moving on as an actress. Like Neeson, she channels Priscilla Presley's performance. She's got great chemistry with Neeson, as evidenced by their real relationship.

All of the cast is good. Paul Walter Hauser is plenty fun after stealing all his scenes in Fantastic Four. Danny Huston once again hams it up as the villain clearly based on a certain South African billionaire. CCH Pounder delivers her usual good performance. Then there's hilarious cameos by Dave Bautista and series staple Weird Al.

In an era when so many franchises are banking solely on nostalgia, it's pleasant to see one use nostalgia to continue the story and build something new.

Considering that the Fantastic Four literally started Marvel Comics and have consistently been one of their top sellers, it's surprising that it took four tries to get a truly good movie. The 1990s Roger Corman movie no one was supposed to see, the two 2000s Tim Story movies that underwhelmed when superheroes first blew up on the screen, and the 2010s colossal disaster from Josh Trank. Pixar's Incredibles proved it could be done when Fox couldn't figure it out. The movie delivers almost everything FF could want at a time when the MCU is really struggling to deliver crowd pleasers. A movie that is one of the finest the MCU has produced.

The movie adapts Marvel's oldest iconic story, the coming of Galactus, and does it perfectly. Galactus is an absolute beast of a villain. Like he stepped right out of the comics. Epic in proportions and motivations. Truly scary when on the big screen and stomping around New York City. The focus on family sets it apart from the numerous other superhero movies out there. Bringing in Franklin adds a new dynamic the other versions could never have achieved. That third act may be Marvel's best that doesn't involve the Avengers. There's so many references and Easter eggs to please longtime comic fans without it being invasive like some recent movies.

The visual design of the movie is spectacular. Not since Tim Burton's Batman has a movie adaptation so fully embraced the the look and style of the comics' original run. The retro-futuristic look really flushes out the alternate universe feel and plays into the classic Jack Kirby design. The CGI all looks great, considering Marvel's recent reputation of half-finished graphics. Though, a practical Thing will always look better than an animated one.

The cast is terrific. Pedro Pascal and Vanessa Kirby are perfect, portraying the characters much better than Ioan Gruffudd and Jessica Alba. They have terrific chemistry and show lots of depth. Joseph Quinn plays Human Torch much different than Chris Evans' version but works very well. Ralph Ineson is perfect as Marvel's ultimate baddie Galactus. Paul Walter Hauser is a lot of fun in his minor part.

Ebon Moss-Bachrach is great with what he's given, but Thing is the weakest link in the cast. It would be near impossible to match the perfection that was Michael Chiklis. What this Thing does is good, but it's not really Aunt Petunia's ever-loving blue-eyed Thing. Gone is his tortured self-image from being transformed into an orange rock monster. They make him reluctant to say his iconic catchphrase. His rivalry with Johnny is toned down to next to nothing. He develops a love interest who isn't his longstanding girlfriend Alicia Masters. Instead, he's just the guy who flies them around, provides moral support, and sometimes smashes things.

Then there's the other major change: Silver Surfer. There's no real reason to go with Shalla-Bal, who was only the herald once in an alternate universe, over Norrin Radd, who has been the iconic character since the beginning. Julia Garner does a terrific job and the character perfectly fits the movie. If it was to add girl power to the movie, there are better ways. All it really seems to do is hint at Johnny's longtime reputation as a ladies man which the Evans version did much better. Why not just give the character fans know and love? It would be like making Thor a woman just because he was transformed one time.

And finally there's Michael Giacchino outstanding score. A great score can elevate any movie and this one does an amazing job. It's fun, exciting, and memorable. The four note tune that represents the team perfectly evokes the iconic John Williams' three-note tune for Richard Donner's Superman.

It's no secret that Marvel, and all of Disney's subsidiaries, have been struggling lately. But Marvel seems to be really trying to get their groove back. This one is a real crowd pleaser and one of the MCU's best movies.

What's so funny about truth, justice, and the American way? That's what James Gunn asks in the latest reboot of DC's Big Blue Boy Scout. He gives audiences a movie that finally brings the legendary character into the modern age.

It's no secret Superman has had a difficult time returning to screens. It's impossible to match the cinematic perfection that Richard Donner and Christopher Reeve achieved. Bryan Singer had a terrific cast but was too slavishly devoted to recapturing what Donner did. Zack Snyder's version completely lacked the charm and personality, too involved in just displaying his power. Gunn seems to understand what made Donner's film so beloved and how to bring it to modern audiences.

Gunn had the unenviable task of trying to start a new cinematic universe. In retrospect, Jon Favreau's Iron Man was a fluke, a movie that was enjoyable on its own while setting up the seeds of the future. So many studios have tried and failed. DC tried and failed several times before finally settling on Snyder's controversial take as the basis. It missed more than hit and finally died a quiet death. Luckily, Gunn's trilogy of Guardians of the Galaxy movies and well-received Suicide Squad demonstrated how crowd-pleasing he could be.

The movie is hardly perfect, but it is a fantastic start to a new universe. It drops into the universe Star Wars style, right in the middle. It's nice not to have to sit through an origin for every single character just for this one story, like Marvel often does. Though there are some stuff I would have liked to see, like Lex being a businessman before being consumed by jealousy or the Boravia controversy not just hearing about the aftermath. Still, the amount of characters the movie introduces and how well everything comes together is nothing short of a miracle.

The cast is terrific. David Corenswet is a terrific Superman, expertly going between the strong superhero archetype and the vulnerable humanity inside. It's the kind of thing that made Tom Welling's version so beloved. Rachel Brosnahan is great as Lois Lane, as assertive as Margot Kidder but more friendly than Kate Bosworth. Nicholas Hoult as Lex Luthor is fine, though lacks some of the depth that Gene Hackman, Kevin Spacey, and Clancy Brown brought to the role. Everyone else is perfectly cast. Though it's the CGI dog Kypto who steals every scene he's in.

The fact that the main message of the story is about hope is a welcome change of pace. The previous DC Universe was so dark and nihilistic, while the MCU seems to have lost its way. Superman has always worked best when he's inspiring others to greatness. Checking in on innocent people in the middle of a fight. Trying not to kill the giant monster. Telling prisoners to rise up together. These are the kind of things that have long defined the character in the comics. It's refreshing to see a hero just being a hero.

The score is wonderful. The best decision was keeping John Williams' iconic theme. There are some things no one should ever mess with and a Williams score is one.

While not the best it could have been, I don't know anyone who likes that origin twist, it is an admirable start for a new series. One that harkens to the character's long history and builds to a new future.