Mary Shelley’s 1818 novel “Frankenstein” has always felt like the perfect material for Guillermo del Toro. Now the Oscar-winning filmmaker is bringing to life his extraordinary vision of Shelley’s celebrated classic. Del Toro puts together an exceptional cast along with a team of amazing artists and designers to create a profoundly fresh retelling of “Frankenstein” while also capturing what has made it such a beloved and timeless story.

For decades del Toro has longed to make his own Frankenstein movie. He was finally given the means by Netflix following the massive success of his Academy Award winning “Pinocchio”. Del Toro’s approach to “Frankenstein” is much the same as it was for “Pinocchio”. By that I mean he not only looks at the well known core of the story, but also the depths of the source material that has yet to make it on screen. And of course we also get del Toro’s unique sense of the dark and fantastical which is what ultimately gives the movie its distinct identity.

Del Toro opens his film with a stunning prelude that highlights the kind of eye-popping practical effects work woven throughout the entire production. In 1857, a Danish ship finds itself trapped in thick Artic ice while on an expedition to the North Pole. As night falls, an explosion in the distance grabs their attention. The Captain (Lars Mikkelsen) leads a detail of men to investigate the site where they find a severely injured man. A loud unidentifiable roar sends the frightened men retreating to the ship. Once back, the captain takes the injured man to his quarters. The stranger introduces himself as Victor Frankenstein (Oscar Isaac).

As the creature (a sublime Jacob Elordi) wreaks havoc amid the terrified crew, Victor begins telling his story to the Captain. Through exquisitely crafted flashbacks he shares about his troubled childhood under the rule of a cold and overbearing father (Charles Dance). And he expresses his immense sadness at the loss of his mother, who died while giving birth to his younger brother William. That loss triggered an obsession in young Victor who pledged to one day conquer death.

Years later in 1855, we see the brilliant yet vain Victor defending his attempts at reanimating the dead during a disciplinary hearing at Edinburgh’s Royal College of Medicine. After he brings part of a corpse to life, the repulsed professors expel him from their ranks. But he impresses Henrich Harlander (Christoph Waltz), a wealthy arms broker who offers him unlimited funding, starting with securing an abandoned coastal tower to serve as Victor’s laboratory. Through del Toro’s beautifully twisted lens we see Victor bring his grotesque creation to life and soon after face the consequences of playing God.

From there the perspective shifts to the creature. While Victor’s tale is one of genius converging with madness, the creature’s story is more of a heart-wrenching tragedy. Elordi brilliantly captures his character’s traumatic evolution, where childlike innocence transforms into pain-filled maturity. Just as del Toro vividly reveals Victor’s profound arrogance and recklessness, he equally conveys the creature’s emptiness and despair. The ugliness he encounters leaves him dejected and hopeless, eventually fueling a vengeful fury within him which only adds to the tragedy.

To no surprise, “Frankenstein” is a feast for the senses. Whether it’s the intensely detailed sets, the gorgeous vistas, or the meticulously designed costumes, there’s never a moment where there’s not something for our eyes to admire, especially as captured by DP Dan Laustsen. The sound design is equally captivating, as is composer Alexandre Desplat’s score which oscillates between ominously Gothic to emotionally tender. As for the violence, it’s fittingly gruesome and in-tune with the gloriously dark vibe del Toro is going for.

The performances are nearly as captivating. As mentioned, Elordi impresses in a role originally planned for Andrew Garfield. But the 28-year-old Australian makes the character his own. Isaac is just as good, furiously teetering between brilliance and insanity. Waltz is his usual sturdy self while Mia Goth is compelling as Harlander’s niece, Elizabeth. The grizzled Mikkelsen is a nice fit for as the sea-weary Captain Anderson. And Felix Kammerer is solid as William although his character sometimes gets lost within the story’s many moving parts.

“Frankenstein” is a symphony of creative energy emanating from a filmmaker with a deep and obvious passion for the classic tale he’s retelling. Del Toro’s passion project honors the very best from Shelley’s beloved work. But as with most inspired filmmakers, he adds his own distinct spin which manifests itself in the soulful storytelling and the visionary craftsmanship. His imagination soars throughout his richly textured world. His heart finds empathy and humanity in the story’s darkest places. And his longstanding affection for myth and the macabre is on full display, pleasing GDT fans everywhere.

VERDICT – 4.5 STARS

2025 hasn’t been the best year for superhero movies. Yes, I know we’re still drowning in the flood of unbridled (and often wildly hyperbolic) adulation for James Gunn’s “Superman” reboot which has certainly raked in the money at the box office. But while some fiercely defend Gunn’s overstuffed and underdeveloped concoction, neither it or Marvel’s two early 2025 releases (“Captain America: Brave New World”, “Thunderbolts*”) have come close to matching the genre in its heyday.

That brings me to the latest film from this inexhaustible genre, “The Fantastic Four: First Steps”. As most people know, this isn’t the first attempt at bringing Marvel’s First Family to the big screen. Roger Corman’s doomed 1994 project aside, most will remember director Tim Story’s 2005 film “Fantastic Four” followed by its 2007 sequel “Rise of the Silver Surfer”. Both had their strengths, but neither film is especially memorable. Then there was 2015’s “Fantastic Four” – a disastrous attempt at a reboot that is best forgotten.

So considering the rocky history of the Fantastic Four on the big screen and the MCU’s rockier post-Endgame track record, it’s easy to see why some would be skeptical of “First Steps”. But it quite honestly thrills me to say that this new iteration of the classic First Family is easily the best we’ve been treated to. Even more, “First Steps” is the best Marvel movie in years and a nice reminder of the MCU’s glory days. Don’t get me wrong, the movie has some issues. But considering the shaky state of the MCU, this was an exciting step in the right direction.

While I’m not a big fan of the multiverse crutch which the MCU seems fully committed to, here it allows for a story that feels refreshingly self-contained and detached from any interconnected baggage. That immediately gets the movie started on the right foot. But perhaps most surprising (and satisfying) is how “First Steps” brings to mind what was once great about the MCU. Its distinct style helps to give the film its own identity. And while it bypasses the conventional origin story, “First Steps” does a great job introducing these characters and their world.

Set on Earth-828, Reed Richards (the current everywhere man Pedro Pascal), his wife Sue Storm (Vanessa Kirby), Reed’s best friend Ben Grimm (Ebon Moss-Bachrach) and Sue’s brother Johnny Storm (Joseph Quinn) are four years into their time as the Fantastic Four. Since an accident in space left the four with their own unique special powers, they have invested their new abilities into protecting mankind which has made them the toast of an adoring New York City.

In the movie’s early moments, Sue gets some wonderful news. After trying for two years, she reveals to Reed that she’s pregnant. As the family and the city celebrate their soon-to-be new addition, the mysterious Silver Surfer (Julia Garner) appears as the herald for Galactus (Ralph Ineson), a cosmic planet-devouring entity tortured by an insatiable appetite. Silver Surfer proclaims that Earth has been marked for destruction which sends the city into a panic.

Reed, Sue, Ben, and Johnny vow to protect their world. They head into space, following a trail of missing planets across different star systems, eventually encountering the massive Galactus. Reed attempts to negotiate and Galactus gives him one option – he will only spare Earth if Reed and Sue pledge to him their unborn son. They reject his offer and barely escape with their lives. Shortly after Sue goes into labor and delivers baby Franklin on the trip home.

Upon arriving to Earth, the team is greeted by an anxious and frightened public who quickly turn on their once beloved heroes after hearing of their failure. But with the arrival of the terrifying Galactus looming, the desperate yet determined Fantastic Four scramble to come up with a plan. And as with any good team, it will take all of them committing their power, bravery, and sacrifice if they’re to have any chance at saving their son and their planet.

In many ways, director Matt Shakman keeps things noticeably simple and his movie benefits greatly for it. Unlike so many recent superhero movies, he and the screenwriting team of Josh Friedman, Eric Pearson, Jeff Kaplan, and Ian Springer tell a tighter, more focused, and more human story where the characters are the centerpieces, their relationships are authentic, and the personal stakes are through the roof. Meanwhile they exist within a visually stunning world, flavored by a rich 1960s retro-futuristic aesthetic. There’s always something to admire on screen.

Meanwhile Galactus makes for a formidable villain. Interestingly it’s not because he gets a well-told backstory or is given some well-defined motivations. Galactus has very specific reasons for what he does which (unfortunately) are mentioned rather than explored. Still, his sheer size and scale make him a petrifying threat. Shakman does a good job relaying his enormity which is especially effective on the big screen. There are some size consistency issues, especially later in the film. But for the most part Galactus delivers as he needs to.

The movie has a few issues – some minor holes in the story, a shaky vision of Silver Surfer, and occasional instances of wonky CGI. But as a whole, “The Fantastic Four: First Steps” is the Marvel movie I’ve been wanting for years. Pascal, Kirby, Moss-Bachrach, and Quinn have great chemistry and are key reasons why the themes of family, devotion, and sacrifice resonate so strongly. Best of all, “First Steps” looks and feels different than any of the more recent MCU assembly line productions. It hearkens back to the ‘good old days’ when MCU movies felt special and left you excited for more. And for the first time in a while, I find myself excited for more.

VERDICT – 4 STARS

You don’t have to be a hardcore Formula One fan to enjoy “F1”, the latest big budget blockbuster from director Joseph Kosinski. In fact, you could say “F1” uses car racing much like “Top Gun” used flying fighter planes. And much like “Top Gun”, Kosinski’s film features its own perfectly cast A-lister who brings some notable star wattage to an already brilliant movie.

There’s no denying that “F1” sticks close to a tried and true blockbuster formula. But who cares when it’s executed this flawlessly? Kosinski directs with such energy and confidence. And while the script may hit some familiar dramatic beats, screenwriter Ehren Kruger fully immerses us in the world of Formula One Racing. He does so while creating compelling characters and dodging many of the usual pitfalls that can come with sports related movies.

Much of the film’s success starts with its star, Brad Pitt. Bursting with charisma and personality, Pitt gives a terrific performance playing a race-car driver named Sonny Hayes. Sonny once had a bright future as a young driver in Formula One. But his reckless reputation and a nasty wreck ended his once promising F1 run. That was three decades ago. Since then, Sonny has been driving cars in a number of smaller circuits.

After winning an IMSA series race, Sonny is visited by his old friend and former teammate, Ruben Cervantes (Javier Bardem). Ruben owns a struggling Formula team called APX Grand Prix. As they enter the second half of the season, APX hasn’t scored a single point. And with only nine races left, Ruben needs a win or he could potentially lose his team. He recently lost his best driver, and his #2 is an extremely talented yet inexperienced and immature rookie named Joshua Pearce (Damson Idris) who could use a little guidance.

A desperate Ruben offers Sonny a seat on his Formula One team – an offer which Sonny initially turns down but ultimately accepts. But he’s greeted with skepticism from a Ruben’s established yet frustrated team, especially young Pearce who’s determined to be the team’s new #1 driver. With the prospect of losing their jobs looming over them, the APX team is forced to hang their hats on a driver some say is over the hill and washed up.

“F1” has numerous things going for it starting with the exhilarating racing scenes. Everything from the cinematography, editing, and sound design adds to the electricity. Even Hans Zimmer’s pulse-pounding score feeds the white-knuckle energy that can be felt in every rev of the engine, every pop of the exhaust, and every screech of a tire. It’s especially kinetic on the big screen which is where everyone should watch it.

The collection of characters add to the fun starting with Pitt, whose effortless charm and old-fashioned star power has a Paul Newman-like draw. Idris is a good foil, playing a character who proves to be more than some shallow hothead. Bardem fits nicely as an antsy team owner while Academy Award nominee Kerry Condon gets a good role as the team’s technical director and Sonny’s potential love interest. And since the film was shot during the 2023 and 2024 F1 seasons, a number of real-life drivers, team owners, and commentators make appearances.

“F1” is an impressively balanced feature that will appeal to every audience. Whether you’re a die-hard Formula One fan or an uninitiated newbie (like me), Kosinski’s throwback summer spectacle taps into what makes going to the theater special. While it’s hard to call its story original, it is consistently entertaining, from its propulsive start to its satisfying finish. And having Brad Pitt in his charismatic groove is the icing on the cake. “F1” is in theaters now.

VERDICT – 4.5 STARS

Those of us who enjoyed the two Nicholas Cage led “National Treasure” movies from the mid-2000s will find a lot of similarities in the latest Guy Ritchie feature, “Fountain of Youth”. Ritchie’s latest hearkens back to an era of big studio features like those silly but fun Cage movies, Brendan Fraser’s “The Mummy” film series, and even the beloved “Indiana Jones” franchise.

“Fountain of Youth” is a smile-inducing callback to those action-adventure movies that audiences once loved. They were the kind that gave us easy-to-like characters on wildly entertaining adventures. And they were infused with just as much humor as action. Sadly these features seemed to have aged out as cinema grew more serious-minded. Now Guy Ritchie attempts to tap back into what made those tentpole movies successes. And he does so with modestly satisfying results.

“Fountain of Youth” certainly has the ingredients for success starting with its cast. The infinitely likable John Krasinski, the talented and daring Natalie Portman, the incredibly versatile Domhnall Gleeson, and the hard-working and effortlessly alluring Eiza González all provide the energy and charisma a movie like this needs. The problems come with the storytelling. There’s nothing egregiously wrong with the story itself (written by James Vanderbilt). But it’s almost mechanical in how it plays out, adhering so stringently to a formula that it can’t help but feel too familiar.

Krasinski and Portman play estranged siblings, Luke and Charlotte Perdue. Their father, an esteemed archeologist, died a year earlier and the brother and sister haven’t seen each other since. While Luke is off in Bangkok stealing a priceless painting from a criminal organization, Charlotte works as a curator for a London art gallery. She’s also making her way through an ugly divorce with her ex-husband (Daniel de Bourg).

One day Charlotte is surprised to find Luke in her gallery. Their lukewarm reunion hits a snag when Luke swipes a Rembrandt painting from its display. Charlotte chases after him only to learn she was being lured to his hideout. There she’s greeted by Luke, their father’s old crew (Laz Alonso and Carmen Ejogo in thankless roles), and a billionaire named Owen Carver (Gleeson). Luke reveals that he’s been tracking notes left by their late father that may reveal the location of the legendary Fountain of Youth.

Carver, who is dying of liver cancer, has agreed to fund their efforts. But Luke need’s Charlotte’s help piecing together and solving the final clues. After a little persuasion she eventually agrees and the group sets off on their globe-trotting adventure. But getting where they need to go won’t be easy. Hot on their heels is Interpol led by Inspector Abbas (Arian Moayed). Also following them is a mysterious woman named Esme (González) from a secret society dedicated to keeping the Fountain’s location hidden.

Ritchie takes his audience around the world, making stops in Thailand, England, Ireland, Austria, Vatican City, and Egypt. To their credit the locations look tremendous even if the stops there aren’t all that memorable. The movie also features some terrific production design that helps set the stage for some of its impressive set pieces. Arguably the best takes place on a segment of an old sunken ship that is brought up to the ocean’s surface. And of course there is the big action-packed finish that looks a bit better than it plays.

But even though the cast seems invested and are giving it their all, their characters and their storylines are captive to a recycled framework that keeps the audience stuck in overly familiar territory. Ritchie plays it relatively safe and by-the-books which may disappoint those looking for more than the movie promises. At the same time, it’s an easily digestible and moderately entertaining adventure that can be enjoyed by the entire family. That alone scores it points, especially in our current era of movies. “Fountain of Youth” is now streaming on Apple TV+.

VERDICT – 3 STARS

Back in July of 2021, Netflix made the audacious choice to release a slasher movie trilogy over the course of three weeks. The movies were inspired by the popular Fear Street book series from author R.L. Stine. Unfortunately, the quality of the three films ranged from so-so to all-out terrible. Overall the trilogy wasted a really cool idea that had the potential to stand out from the many movies that clearly inspired it.

For better or for worse (depending on your opinion of the previous movies) the Fear Street film franchise hasn’t gone away. “Fear Street: Prom Queen” is a new standalone installment with very little in common with its predecessors outside of taking place in the same cursed town and once again disappointing in its execution. It’s a woefully unoriginal slasher that offers no tension, no scares, no humor, and no distinct flavor of its own.

The story is as cliche and conventional as can be. With Shadyside High School’s senior prom only days away, the candidates for prom queen are preparing for their big night. Among them are three Mean Girls from a pampered and popular clique who call themselves the “Wolfpack”. Then there’s the pot-selling rebel who’s only entered to stir things up. Then we have our protagonist, Lori Granger (India Fowler). She’s your prototypical inoffensive good girl who is easy to like and root for.

Pretty much all of that is revealed through a drawn-out opening info-dump. From there the film tries to give the soon-to-be fodder some semblance of personality. Sadly it doesn’t work. Outside of Lori, the movie is littered with uninspired characters, from the thinly sketched teens to the dimwitted adults. They’re neither interesting or amusing which makes caring about what happens to them all but impossible.

Everything leads to prom night where the candidates for queen (and any unfortunate soul with them) become the target of an ax-wielding masked killer in a red rain slicker. The kills that follow are fittingly bloody and gruesome with some being outlandish enough to qualify as comically entertaining. But the semi-inventive hacking, impaling, and disemboweling can only carry the movie so far. And while director Matt Palmer clearly has a love for the genre, he desperately needs more to work with.

“Prom Queen” doesn’t even make the most out of its ripe 1980s setting. Aside from the soundtrack (which features great tracks from Duran Duran, Laura Branigan, Billy Idol, and more) and a few cool references (“Phantasm II”, Fangoria magazine, etc.), the movie could easily be set in modern day. It’s one of the many frustrations that steadily mount as the movie mercilessly makes its way to its ludicrous finish. “Fear Street: Prom Queen” is now streaming on Netflix.

VERDICT – 1.5 STARS

I am loving this Josh Hartnett resurgence. After some strong work in the underseen indie “Ida Red” and Guy Ritchie’s “Operation Fortune: Ruse de Guerre”, Hartnett really grabbed attention in Christopher Nolan’s “Oppenheimer”. He followed it up with a really good turn in M. Night Shyamalan’s “Trap”. Those are four dramatically different performances in four dramatically different movies. You can make it five with his latest, “Fight or Flight”.

Directed by James Madigan, “Fight or Flight” is a gleefully bloody action movie infused with a healthy dose of comedy. Its story (written by Brooks McLaren and D.J. Cotrona) sees Hartnett playing a former Secret Service agent named Lucas Reyes. After a violent encounter put him at odds with the CIA, Lucas has been off the grid in Bangkok, living out of a Tuk Tuk while drinking himself to oblivion.

Meanwhile Intelligence Director Katherine Brunt (Katee Sackhoff) finds herself in a pickle. Her agency has been hunting an extremely high-value target known around the world as “The Ghost”. They finally get a beat on the Ghost in Bangkok about to board a plane out of the country. With no assets in the area, a desperate Brunt contacts Lucas. She offers him a clean slate and his old life back if he will get on the plane, identify the Ghost, and escort the target to the United States.

Reluctant but equally desperate, Lucas agrees to the assignment. He boards the double-decker jet and settles in for the 16-hour flight to San Francisco. Once in the air he immediately begins looking for the Ghost. But he quickly learns he’s not alone. In fact he’s 40,000 feet in the air on a giant plane filled with assassins and bounty hunters intent on killing both him and the Ghost. As you can probably guess, things kick into gear from there.

It doesn’t take long for Madigan to crank the action up to ten. At the same time he leans into the absurdity of story, never taking things too seriously and delivering plenty of well-timed laughs. The story itself is pretty basic and you wont be a bit surprised by where things go. But it’s the action and the humor that drives the movie and both hit their marks.

Hartnett is especially fun, rocking frosted blonde hair, wearing an array of goofy clothing, and sporting a world-weary attitude that’s a perfect fit for his character. And not only does the 46-year-old actor have the charisma, but he shows off action-star physicality that I wasn’t expecting. Sackhoff is fittingly stern and authoritative while Charithra Chandran brings plenty of energy in what could be a breakout role.

“Fight or Flight” doesn’t do anything especially original when it comes to story and at times it can be needlessly crude. But the cast is on point, the action choreography is kinetic, and the movie ends on a deliciously gory note that fully embraces the nuttiness of it all. As for Hartnett fans, they will find another wildly different performance from a capable actor who clearly doesn’t mind challenging himself. “Fight or Flight” releases in theaters on May 9th.

VERDICT – 3.5 STARS