EAGAN AT THE MOVIES
Reviewing Movies Because We Care
Since 2010, and Still Unpaid!
The Strangers - Chapter 3 by James Eagan ½ out of ★★★★★
Image: When your franchise just won't die, so it looks like you gotta take matters into your own hands.
Revealing the backstory and identities behind the titular "Strangers" from "The Strangers" franchise was already a fairly bad idea from the start (With the whole point from the beginning being that we don't know who or why these masked murderers are doing what they do). It also doesn't help that someone came up with the bright idea to stretch this slasher story out over the course of three movies, with the reveals of the three killers only getting more and more disappointing. It's fitting that the third unmasking is by far the most unsatisfying and laziest one yet because, well, just look at this movie!
Following up seconds after the events of the previous chapter, "The Strangers - Chapter 3" opens with "Maya" (Madelaine Petsch) having killed one of her masked pursuers, revealed to be the local waitress, "Shelly" (Ema Horvath), leaving two more to still try and hunt her down. With it turning out that the town sheriff, "Rotter" (Richard Brake), is also in on the killers' schemes (And keeps the whole town in a state of isolation due to always covering things up), Maya is captured and to her shock, isn't immediately killed. With one of their own down, the killers decide to force Maya to replace her, intending to drive her mad and bring out that lust for blood that they have. However, with the arrival of Maya's sister, "Debbie" (Rachel Shenton), everyone's plans become derailed, resulting in a meandering finale that couldn't be any more uninteresting if they intentionally set out to make it so.
Directed by the returning Renny Harlin ("Die Hard 2", "A Nightmare on Elm Street 4: The Dream Master"), with a screenplay by Alan R. Cohen and Alan Freedland, "The Strangers - Chapter 3" commits the most brutal and confounding murder yet......Itself. I mean, my expectations were low, but even I'm a little shocked. Not so much that it's bad, or even that it's the worst entries in the series. I'm shocked at how they apparently didn't give a rat's ass about this last movie. There's not giving a sh*t, and then there's just taking a literal sh*t because your brain couldn't process doing anything else at the moment. The many plot points and proposed character arcs that have been dragged out over the course of these three films collapse on their faces with humiliatingly bloody splats. From repeating locations, awkwardly placed flashbacks, and too many unfilled holes in the story, Harlin just seems to be going through the motions by this point. It seems whatever passion that was once there at the beginning of this trilogy (Along with what could have been an interesting take on the slasher genre) has vanished completely.
Madelaine Petsch remains completely innocent, even when the film frustratingly gives her so little to do now. Spending most of the film with her expressive face covered or just as a tied up accessory, Petsch's poor back can't take much more having to carry this series. The film suddenly decides it wants to have some supporting characters, who all do nothing, while Gabriel Basso (as "Gregory", a still antagonistic local, who...does exactly what you expected him to do since the last movie) continues to be pretty terrible, with the movie giving him too much screen time. One of the stronger performances comes from Finn Cofell (as a younger Shelly in a flashback) perfectly emulating Ema Horvath's expressions and body language, and it's always fun to watch Richard Brake do what he does best, which is being creepy (He easily might be the only character with a semi-interesting motivation). The Strangers themselves have only gotten less scary with each movie, with the characters feeling like discount versions of some of horror's more iconic killers. I get that this whole experiment was meant to rank them up with the other frightening cinematic villains, but all it did was remove what drew people to them in the first place.
"The Strangers - Chapter 3" is what happens when a franchise basically raises its hands in surrender before running itself dead on into the blade as if it knows it's beyond redemption and that the cold embrace of death is the only possible way to salvage some dignity. A stretched out predictable plot, with zero scares, boring characters, and the ongoing, slow realization that everything leading up to this has been a mistake from the very beginning, this concludes one of the most misguided trilogies in recent memory. And even then, it couldn't even do that right. After all this time spent with the Strangers, you'll no longer be begging for your lives, but rather for them just to gut you and be done with it already. The time wasted is more torture than the actual torture. 1/2 Star. Rated R For Gory Images (Although It's Actually The Least Bloody Of The Films, With No Creativity To The Deaths), The Sight Of A Judge Waving His Finger At A Future Serial Killer Like He's A "Naughty, Naughty Boy", And For Convincing Us That For At Least A Split Second, This Whole Endeavor Could Have Been A Good Idea.
Send Help by James Eagan ★★★★ out of ★★★★★
Image: When she says to stop trying to make "Fetch" happen, you better freakin stop trying to make "Fetch" happen!
Sam Raimi has, after a good decade or so, been fully unleashed once more. Sure, he got to push some limits with "Doctor Strange in the Multiverse of Madness" (Definitely the first and last time Marvel ever makes a surprisingly legit, somewhat bloody horror movie), but it's been years since he was allowed to return to his gory, goofy, R-rated roots.
"Send Help" follows "Linda Liddle" (Rachel McAdams), an incredibly awkward and possibly unstable, yet thoroughly capable employee for a high-end company, who was promised a promotion to Vice President because of all her hard work (Which is implied to have been more than essential to the company's success). However, following the death of the old boss (Played by an amusing "blink and you'll miss" cameo), the boss' spoiled, sexist, obnoxious son, "Bradley Preston" (Dylan O'Brien), assumes control of the company. Bradley proceeds to ignore what his father promised Linda and instead promotes his frat buddy, along with mocking Linda at every turn in a cruel, demeaning fashion.
While on a business flight to complete a company merger, the plane crashes and leaves only Linda and a wounded Bradley alive, stranded on a deserted island. Linda, who as it turns out is a massive fan of "Survivor", has kind of been dreaming of a situation like this her entire life, takes charge and proves to be an incredible survivalist. With that said, Bradley still thinks he's the boss in spite of his injuries and slowly starts to learn the hard way that the tables have turned between their power dynamics. As tensions start to rise and everyone's sanity starts to dwindle, Linda and Bradley will soon face dangers not just from the elements, but from each other.
Directed by Sam Raimi (The "Evil Dead" films, the original "Spider-Man" trilogy, "Doctor Strange in the Multiverse of Madness", "Drag Me to Hell"), with a screenplay from Damian Shannon and Mark Swift ("Freddy vs. Jason" and that "Friday the 13th" movie with the line "You got perfect nipple placement, baby!"), "Send Help" is the kind deranged genre hybrid that's actually a bit of a shock to see in mainstream theaters right now. It's classic Raimi on display, who seems to be thoroughly savoring his free reign. From a distance, it looks like a survival thriller, but once you get up close you realize that this is an old fashioned, no punches pulled, gross out horror-comedy. And when I'm talking about comedy, it's the goofiest kind. Harkening back to his "Evil Dead 2" or "Army of Darkness" days, Raimi goes for broad brutality, where things can get horrifically violent in a cartoonish sense, with the fact that if say someone got an anvil dropped on their head, the head would fatally splatter all over the place in gory fashion. The film's sense of humor never relents and even flourishes in these moments of cinematic cruelty, along with borderline juvenile grossness. It's so over the top though, and masterfully done, making for some heinous hilarity (Such an a completely unnecessarily repulsive sequence with a boar that got some of the loudest reactions from my audience). This also allows Raimi to embrace all his odd filmmaking trademarks, such as weird camera angles, non-traditional editing choices, and effects that look fairly cheesy, though are nonetheless gruesome.
More than anything though, this is one Hell of an uproarious showcase for Rachel McAdams and her impeccable acting chops, going from comedic to genuinely terrifying within seconds. On one hand, it's hard to believe that even a severely dressed down Rachel McAdams wouldn't turn a few heads, yet does establish that her character has absolutely no self-confidence and even fewer social cues. It makes it more fitting that she starts to gain confidence (And of course, look more beautiful) the longer she's on the island. The character takes some complex turns, with McAdams throwing everything she's got into her performance. Meanwhile, Dylan O'Brien is perfectly easy to despise through and through, and appears to be having a blast. While Linda is clearly going down a dark path, there is a sick joy in knowing that Bradley does have so much of this coming. Because of this, you can kind of tell where the film is going, though the film's big pay off is still pretty hilarious and is bound to get audiences who are looking for a devilishly appealing bit of sadism something to applaud over.
Purely campy from start to finish, "Send Help" is Sam Raimi's triumphant return to horror, with a crudely sinister sense of humor and Rachel McAdams' unrelenting performance. It's shamelessly violent and wickedly distasteful, yet diabolically funny, with Raimi's giddily grisly direction making for a revenge story that you know is likely very, very wrong. However, you can't help but feel that it's so right at the same time. Hey, if you support women's rights, you gotta support their wrongs too. 4 Stars. Rated R For Horrifyingly Bloody Violence, Voracious Vomiting, Sensitive Male Appendage Endangerment, And A Satisfying Editing Cut Involving A Golf Ball That Rivals The One From Last Year's Superman. You Know Which One I'm Talking About.
Mercy by James Eagan ★ out of ★★★★★
Image: Mercy? More like Mommy! Am I right? Eh? I'll show myself out...
Ever wonder what last year's "War of the Worlds" would have looked like with an actual budget? Yeah! Never crossed my mind either!
Set just a few years into the future (Apparently all we get are hot AI ladies and flying police motorcycles), "Mercy" opens with Los Angeles police officer "Christopher "Chris" Raven" (Chris Pratt....Lotta Chris) being forced into the "Mercy Program", where an AI judge, "Judge Maddox" (Rebecca Ferguson), allows the presumed guilty to prove their innocence in ninety minutes. If the suspect fails, they are immediately executed (Don't be giving Donald Trump any ideas now!). Chris has been accused of murdering his wife, "Nicole" (Annabelle Wallis), with there being plenty of evidence to convict him as it is, with Chris' alcoholism, estrangement from his family, and emotional distress only further affecting his life. In true "OJ" fashion (So he claimed), Chris is determined to not only prove to Maddox that he didn't murder his wife, but also catch the real killer. With Maddox supplying Chris with the resources to state his case, it's soon revealed that something even bigger, and a whole lot more convoluted is actually going on.
Directed by "Screenlife" filmmaking lover, Timur Bekmambetov ("Wanted", "Abraham Lincoln: Vampire Hunter", along with producing Screenlife films like "Searching" and "Unfriended"), with a screenplay by Marco van Belle, "Mercy" is, all jokes aside, a pretty fun idea that could have made for a possibly compelling short film. At exactly a hundred minutes though, it's a dull, moronic, and genuinely confused misfire that normally would be the worst thing you've ever seen if it wasn't for the fact that there are genuinely capable people onscreen and behind the camera. However, while that means that the film isn't near as bad as last year's "War of the Worlds", it shares many of the same issues and arguably lacks the memorable level of badness because there was too much money thrown at it. Bekmambetov isn't a bad director ,and there are moments where his competence comes through (Like the use of holographic screens to emulate the Screenlife effect), but it's a glossy finish that's applied to such a bland, green screen heavy setting. You can only do so many quick cuts of the same shot, and only the best of the best can really make it seem exciting. It's a rough concept that can either work or make things even more of a slog. The effects aren't terrible (You can see the $60 million all on the big screen), yet they also add such an overproduced feeling to something that comes across as cheap. The script seems to want to incorporate plenty of relevant themes and topics, such as AI, the police, rampant crime, and the Justice system, though doesn't have the slightest idea what to say about any of it. You really can't necessarily say it's pro-AI (Or anti-AI) or even that it's blatant propaganda for cops, because that would require actual intelligence. It's just not smart enough to be "Pro" or "Anti" anything.
Chris Pratt, who has lost a lot of goodwill with the people lately, is pretty uneven here. I will say that a lot of it isn't really his fault. It's just not a remotely likable character and the perceived suspense about his guilt or innocence is undermined by the film's predictability. You know exactly what this movie is going to do with him (And that it doesn't have the balls to take the riskier, more interesting route). When your lead character is shown to be an abusive, morally corrupt a-hole from the start (And not nuanced way), you don't particularly care if he makes it out of this dire situation or not. Rebecca Ferguson gets her easiest paycheck yet, having to just sit down, be her usual beautiful, graceful self, and say some silly ass dialogue likely over the course of a one day shoot. Other performers like Annabelle Wallis (Who spends 99% of the film being dead), Jeff Pierre (as "Patrick", a man that Nicole may have been seeing behind Chris' back), Kali Reis (as "Jaq", Chris' partner), Chris Sullivan (as "Rob", Chris' friend and AA sponsor), and Kylie Rogers (as "Britt", Chris' heartbroken daughter), are all given shockingly generic roles to fulfill. You know exactly who the villain (Or villains) are going to be from the start, and when it's revealed what exactly is going on, why it's happening, and where it's supposed to be going, it's unbelievably contrived (There definitely had to have been a much simpler way to do this whole evil scheme than whatever the Hell this movie came up with). The film weirdly praises cops, yet makes them look so bad at the same time, along with how the film portrays the inconsistently dystopian state of crime. It only gets further confused the more twists are revealed, likely in a desperate attempt to prevent offending anyone. I get trying to take the middle route, without taking sides and portraying the gray rather than black and white, but all it does is make everything and everyone look terrible. In a way, that makes it more offensive.
"Mercy" for the most part looks fine and has a glimmer of an idea, but is brought down by its own inability to determine what it wants to be or what it wants to say. It's a boring (Which is funny considering most of the film's remaining runtime is literally shown to us onscreen), overly telegraphed, and woefully misconceived flop that's somehow gotten the idea that it's so much smarter than it actually is (And it's even dumber than that). With a complex concept that would be a struggle to get right even in the best and most capable of hands, it feels like poorly programmed software that should have never left initial testing. Neither innocent or guilty. Just incompetent. 1 Star. Rated PG-13 For Sci-Fi Gobbledegook, Hot AI Rebecca Fergusons (Yeah, That Technology Would Be Heavily Abused), And Chris Pratt's Inner Racist Coming Out When He Learns That His Wife Is Having An Affair With A Black Man.
28 Years Later: The Bone Temple by James Eagan ★★★★½ out of ★★★★★
Image: When it's time to get bonin' at the Bone Temple.
How can something be so gruesomely sadistic and cruel, yet be so heartfelt and crowd-pleasingly delightful at the same time? Like genuinely sweet and warm, though harsh and grisly? Bloody, but beautiful? I feel ready to make the world a better place, though embrace the fires of Hell and dance through the coming darkness that awaits us all. Metal as f*ck! Sounds fun, right? That's what a trip down to the Bone Temple does to a guy!
Following directly after the events of the first film (28 minutes later?), "28 Years Later: The Bone Temple" opens with the traveling young "Spike" (Alfie Williams) having come face to face with the fabulously dressed "Sir Lord Jimmy Crystal" (Jack O'Connell), the leader of a bunch of blonde wig and tracksuit wearing, violence loving psychopaths referred to as "The Fingers" (All named Jimmy in some way). With the quarantined Britain having plunged into chaos thanks to the "Rage Virus" turning people into brutally feral zombies (or "Infected"), the Satan worshipping Fingers go around and provide what they call "Charity" (Which means killing people), while Spike ends up being forced to join them to survive. Meanwhile, the eccentric, though kind "Dr. Ian Kelson" (Ralph Fiennes), continues his work in his "Bone Temple" (Which serves as a memorial to those who have perished), where he starts to form a strange bond with an Alpha Infected that he's affectionately named "Samson" (Chi Lewis-Parry), who has become addicted to Kelson's sedation drugs. Kelson senses a form of evolution with Samson, while Jimmy's reign of unrelenting terror slowly makes its way towards the Bone Temple, leading to a savage confrontation that might have lasting effects on the Infected as a whole.
Directed by Nia DaCosta ("The Marvels", "Hedda", "Candyman"), taking over for Danny Boyle, with a screenplay by the returning franchise creator Alex Garland ("Ex Machina", "Civil War"), "28 Years Later: The Bone Temple" was shot back-to-back with the last film, and despite the shift in directors, it feels like a genuine continuation in the sense that both films would feel incomplete without the other. It's amazing that nothing is lost with DaCosta taking over the driver's seat, though she isn't held back by the franchise in any way and brings her own macabre flair. While the first film was about accepting death and acknowledging the unknown, this one is more about the terror and brutality that awaits us on our journeys there. Still utilizing the last film's shaky cam style (Without the use of iPhones this time), DaCosta brings darker colors, atmospheric cinematography, and even a little extra humor without sacrificing any of the franchise's twisted spirit. We get a much more intimate, character driven story that turns the usual zombie apocalypse genre further on top of itself to the point it's ripped apart and turned inside out, becoming a true deconstruction of it.
Alfie Williams is still a very strong young actor, though the film diverts focus away from him (Even if it's still part of his character's ongoing quest). This ends up being Ralph Fiennes' movie, and it's a testament to how terrific (And committed) an actor he is. Kelson in general just makes for a fascinating character, with Fiennes bringing to life his sincerity and gentle side in spite of his somewhat morbid work and what can be seen as insanity from an outside view. His relationship (And unusually heartwarming) chemistry with Chi Lewis-Parry that gives the film a soul to contrast all of the nihilism. Lewis-Parry (Whose performance is equally physical and emotional) is certainly terrifying at first, but eventually reminds the audience of the human being that was once within that Infected, monstrously strong exterior, as well as the one that might still reside within (And yes, Samson's still got that BZC, and it's glorious!). Jack O'Connell (Who is having quite the rune playing some great horror villains) is unhinged in ways that are at times frightening, hilarious, and just plain baffling. Playing the charismatic, though secretly pathetic, cult leader perfectly, O'Connell chews the scenery wonderfully, making for a villain that's easy to despise, though nonetheless a fiendishly joyful to watch. (His major scene with Fiennes is a standout) We also get complex work from the likes of Erin Kellyman (as "Jimmy Ink", a member of the Fingers, that's both a true believer, but at least questions Jimmy Crystal's ramblings) and Emma Laird (as "Jimmima", an especially demented member of the Fingers).
Feeling more like an Act Two rather than a straight forward sequel, "28 Years Later: The Bone Temple" is a descent into the madness of man, where one can only find small seeds of hope and the best of us beneath all the bloodshed. With DaCosta's confident, nightmarishly hallucinatory direction, along with compelling performances from Ralph Fiennes, Jack O'Connell, and Chi Lewis-Parry, the dread is neverending, even when juxtapositioned by some warped levity. Top it all off with some surprise stand up and applaud moments in the film's abnormal last act (People are going to be talking about THAT scene with Fiennes for years to come), we have the first great film of 2026 and hopefully not the final chapter in one of the most profound horror franchises in recent memory. 4 1/2 Stars. Rated R For So Much Grisly, Unforgiving Violence And Gore, Rotting British Teeth, More Teletubbies Lore Than One Would Expect, And A Quick Peek At Voldemort's Elder Wand. Good On Ya Mate!
Primate by James Eagan ★★★½ out of ★★★★★
Image: Ape No Kill Ape. Now Humans, On The Other Hand...
Maybe it's time more people start to realize that despite how cute they look, chimps are freakin terrifying! Sure, they might be related to us on a biological level, yet while we got weaker, lost our sharp teeth, and got loads fatter, they remained thoroughly capable of ripping our faces off (Among other appendages). Evolution truly failed us.
"Primate" opens with "Lucy" (Johnny Sequoyah), bringing her best friend "Kate" (Victoria Wyant), Kate's brother "Nick" (Benjamin Cheng), and their semi-friend "Hannah" (Jessica Alexander), on a trip to Hawaii, where they reunite with Lucy's deaf writer father, "Adam" (Troy Kotsur), Lucy's younger sister "Erin" (Gia Hunter), and their beloved pet chimp, "Ben" (Played in costume by Miguel Torres Umba). When Adam leaves for a book signing, Lucy and her friends are alone to have some "age appropriate" fun. However, Ben (After getting into a fight with a mongoose) becomes infected with rabies and the once adorable family pet now becomes a brutal, intelligent, and bloodthirsty monster with only the intention of literally ripping everyone to shreds with sadistic glee.
Directed by Johannes Roberts ("47 Meters Down", "The Strangers: Prey at Night", "Resident Evil: Welcome to Raccoon City"), who co-wrote the screenplay with frequent collaborator Ernest Riera, "Primate" wastes no time getting down to business, with just enough character, just enough setup, and the quickest, simplest explanation as to why this is all happening in the first place. To be honest, I don't even remember why the family had a pet chimp and it quite frankly doesn't matter. The film knows this and knows that we know this. Roberts sets out to make a dastardly throwback to 80s and 90s horror films that were so gory and unrelenting in their violence that they bordered on exploitation. However, the filmmakers wisely remember why those were popular in the first place. Roberts has also always had an eye for delicious red visuals, even with his mostly weak filmography. He definitely feels unrestrained and relishes in the film's campy sense of cruelty and a refreshing reliance on old school practical effects. The film's opening kill alone sold me, with a character not only getting their face ripped off (In graphic detail), only for the character to keep screaming as we're treated to their new skeletal, skinless exterior. It tells you right off the bat that you're not meant to take any of this particularly seriously and that the kills are going to be especially gnarly. I'm not even big on horror films with excessively gory deaths, yet I can appreciate the despicable charm to how far it's willing to go, with a few genuine laughs along the way.
The characters aren't exactly full of depth and clearly aren't designed to make the brightest decisions (Though there are plenty of moments that are out of their control), but I don't dislike them and certainly don't want them to get killed in such a bloody way, even if that's where most of the fun comes from. Johnny Sequoyah does a fine job, while Jessica Alexander stands out most of all (Getting the film's central terrifyingly macabre set piece involving her character being trapped in a car in front of Ben) and Troy Kotsur (Real life deaf actor, previously getting an Academy Award for 2021's "CODA") gives a more refined performance that cleverly ties in his disability into the suspenseful situation). The real highlight is Ben himself, whose bringing to nightmarish life is an impressive achievement in itself. With Miguel Torres Umba perfectly embodying our killer chimp's unhinged movements, acting more like a maniacal slasher than a rabid animal, he brings genuine terror and some delightful villainy to our main, animalistic monster. From the movements to the expressions, Ben is a pretty remarkable creation all things considered. Sure, you can tell that he's likely just a guy in a suit, yet you'll be surprised how effective he can also be in being quite chilling (And surely would have lacked that extra wow factor if the filmmakers had instead decided to go the CGI route, especially on such a small budget).
Preposterous, over the top, grotesquely violent, and with a sick sense of humor, "Primate" is a malicious romp of menacing monkey business. With some commendable practical effects (And kills so unhinged that it actually catches you off guard in today's more censored age), along with a welcome speedy runtime and so much ape sh*t insanity, I think you might have your new favorite midnight horror watch. 3 1/2 Stars. Rated R For, Well, Hardcore And Unhinged Chimp-Related Deaths, Which Include Head Smashing, Throat Chewing, And Jaw Yanking (Biggest Reaction From The Audience In The Entire Movie)!
Greenland 2: Migration by James Eagan ★★½ out of ★★★★★
Image: "Now say this with me....THIS IS SPARTA!" "This is Sparta!" "NO! THIS IS SPARTAHHHH!!!" "SPARTAGHHH!"
Just in time before Trump invades the real life Greenland. Now that's a Hell of a sequelI don't know what the Hell is going on in the world right now.
Following a decade after the previous film, "Greenland 2: Migration" opens with the world trying to recover from the destruction caused by the "Clarke" comet. Most of Earth has been destroyed, with "John Garrity" (Gerard Butler), his wife "Allison" (Morena Baccarin), and son "Nathan" (Roman Griffin Davis, replacing Roger Dale Floyd), having taken refuge in the Greenland bunker. However, the planet's shifting plates results in the bunker also being destroyed, with the Garrity family, along with whatever few survivors, to retreat to Europe where the comet impact zone has presumably become a source of new life for Earth. The journey proves to be even more dangerous than before, and with John's previous exposure to radiation slowly killing him, he becomes more determined to get his family to safety, even if at the cost of himself.
Directed by the returning Ric Roman Waugh ("Greenland", "Snitch", "Angel Has Fallen"), with a screenplay by Mitchell LaFortune ("Last Breath") and the returning Chris Sparling ("Buried"), "Greenland 2: Migration" is a safe follow up to a better than average disaster flick that keeps things simple and to the point. Perhaps too simple, though one can't necessarily ask for too much. If anything, you're getting more than you should with something called "Greenland 2". Becoming more of an apocalyptic drama, the film more or less rehashes some of the stronger elements from the previous film, coming across as less a sequel, but rather an epilogue of sorts. In that regard, it's fine. Waugh's direction is enough, while the screenplay is equally mediocre. There aren't as many big visuals this time (In spite of a bigger budget), yet it's not without its exciting moments. There is a sense of repetition, with the characters finding a moment of peace, only for it to be interrupted (Almost on cue) by some kind of random disaster. Rinse and repeat. However, it's not like I want any of the characters to die. In fact, everyone is likable thanks to a cast that's giving it their all.
Gerard Butler (Who doesn't even bother trying to have his accent make sense anymore) is really good in these movies, showing a much more vulnerable side to the usual "tough guy" persona, while Morena Baccarin is still allowed to give equal participation and is never sidelined to just being "The Wife" like we normally see in these kinds of movies (Also, she really gives one of the best "Cries" I've ever seen). The both of them work well together, and do find some room for Roman Griffin Davis to stand out (Though the script doesn't seem to know if it wants him to have an actual character arc or not). Any other characters literally come and go, and it's to the point where one could argue that being near these people could be seen as risking death (That's what happens when you're not one of the main characters in a disaster movie).
Somewhat underwhelming, though sincere in its motivations, "Greenland 2: Migration" is a serviceable thrill ride, even if the actual thrills are fairly basic and unremarkable. Thanks to commendable performances from Gerard Butler and Morena Baccarin, there is this extra sense of heart that comes through, adding more gravitas to what's surely meant to be nothing more than a "Watch it on a rainy day" sort of movie (And hey, maybe if the storm is bad enough, it actually might enhance the experience). There are worse ways to start off the new year of movies. 2 1/2 Stars. Rated PG-13 For Mother Nature Being Scary, Gerard Butler's Thick, Indescribable Accent, And The Most Unrealistic Part Of The Entire Movie.....French People Being Nice. Clearly A Fantasy.