Tag: 4DX

Geekscape Reviews ‘Bad Boys For Life’ In 4DX

by Josh Jackson

I’ll be honest. Despite being a big fan of the original Bad Boys films, I was heading into Bad Boys For Life with low expectations. It felt like a sequel that was far too late, hitting theaters 17 years after its predecessor, (which came out nearly a decade after the original in its own right). Its leads don’t carry the same star power either, with Martin Lawrence largely being out of the mainstream while Will Smith’s drawing power being hit or miss as of late. Explosion expert and car wash enthusiast Michael Bay was away from the director’s chair, replaced by the duo of Arbi and Fallah of Black fame. To make matters worse, cynicism towards these nostalgia sequels was at an all time high after dreadful attempts by the Rambo and Terminator franchises. I mean it’s named after a 20 year old song! And you know what? I was wrong! Bad Boys For Life doesn’t miss a beat, feeling like a natural progression from its prequels as opposed to feeling like a yesteryear cash grab thanks to its charismatic leads.

Bad Boys For Life follows Miami detectives Mike Lowrey (Smith) and Marcus Burnett (Lawrence) as they approach the twilight of their careers. Happy with his life with his growing family, Marcus is ready to hang up the holster. Mike on the other hand, has only grown his legend in the years between films as the quick witted, bombastic and reckless detective who refuses to admit that his age is starting to catch up to him. This difference between the partners creates a rift, with Mike wanting Marcus to ride with him until the end. Unfortunately, neither ends up having a choice when a ghost from the past begins an assassination spree targeting people related to Mike’s arrests. It becomes a race against time both figuratively and literally as the titular bad boys need to track down the younger, faster and stronger assassin before he gets to them first.

To further the theme of the inevitably of aging comes AMMO, a new police task force designed to take down the most dangerous criminals before they have a chance to become a threat. Led by Rita Secada, (Mike’s ex girlfriend played by Paola Nunez), the technologically advanced squad is rounded out by the exceedingly attractive trio of Dorn, Kelly and Rafe, (Alexander Ludwig, Vanessa Hudgens and Charles Melton). Naturally, the two sides clash when it comes to Mike’s guns blazing style of police work compared to the new tech focused group, but thankfully, any distension between the two doesn’t last long and is quickly replaced with mutual respect, creating an interesting dynamic between the characters involved. One of my concerns going in was that the cliche of the veterans versus the upstarts was going to drag down the film. This never happens, with each cast member having enough time to shine without becoming overbearing.

But make no mistake. Despite the heavy involvement of AMMO, this is still a Bad Boys movie. Which means Mike and Marcus are all over it with their trademark banter and over the top action. As mentioned, Michael Bay is not directing, but you couldn’t tell from how wild the scenes get, (aside from a few not-so-subtle nods that I won’t spoil here). The film features so many high speed car chases, city spanning gun fights and explosions that it almost feels like they were making up for lost time. Watching it in 4DX amplified this experience, with me feeling like I’d be thrown from my chair thanks to the aggressive motion through the seats. There weren’t many other effects used aside from the occasional smoke or spray, but they really weren’t needed when the action scenes maximized their effectiveness. There are long stretches where the effects aren’t used, but when they are, you’re definitely getting your money’s worth.

Lawrence and Smith feel right at home, reminding us why we fell in love with this duo in the first place thanks to countless laugh out loud moments between the two. But the film ends up being surprisingly touching, showing the bond they have developed after nearly two decades of being partners. This idea of bonds and legacies extend to the villains, who have more depth than the typical over the top comic book antagonist we’ve come to expect from movies like this. That’s not to say there isn’t a fair share of campyness to the bad guys, but their ties to Mike end up being a driving force of the narrative. This leads to a high stakes climax that manages to be as emotional as it is action packed. It took me from thinking the movie would be unnecessary to wanting to see this franchise continue. They prove throughout that there’s more life in this series than we gave it credit for.

Ironically, despite leaving us wanting more, the film’s biggest flaw is that it gives too much this time around. Clocking in at over two hours, there are long stretches of the film that don’t add much to the plot and were seemingly put in to pad its run time. If it was going to be that long, they could have used the time to better bridge the gap between films given that there are some important characters who are barely mentioned or hand waved in passing. Lastly, the epilogue feels unearned, forcing an excuse to develop a sequel as opposed to showing us why it’s needed. Well.. aside from the obvious need to turn everything into a cinematic universe these days, but that will be a discussion for another time.

With that said, Bad Boys For Life is a pleasant surprise that will surely please both fans of the prequels or action loving audiences who want to turn their brain off for a few hours. Lawrence and Smith steal the show once again, proving why they were both considered box office superstars of the 90’s while the new elements built around them only added to the film. With a deeper than expected plot, some strong twists and more action than we could handle, (especially in 4DX), the third Bad Boys has the distinction of being the first big surprise of 2020.

Final score: 4/5

Geekscape Reviews ‘Frozen 2’ In 4DX

by Josh Jackson

Back in 2013, Frozen unexpectedly became a worldwide phenomenon and audiences refused to let it go. Disney had a new cash cow on their hands, keeping the property alive over the last six years through animated shorts, Broadway plays and video game tie-ins to keep Anna and Elsa active in the public consciousness. Despite this, an eventual follow-up would have some pretty big snow boots to fill with the task of somehow building on what many feel to be a transformative approach to Disney’s princess stereotype. Much like the original film however, Frozen 2 manages to subvert expectations once again by being more than a simple cash-in. Let’s be honest; Disney could have released anything with the Frozen name attached and surely could have rode off into the sunset with hundreds of millions of dollars in hand. Instead, Frozen 2 grows up with its audience, treading the path of a completely different genre while tackling some pretty dark themes, showing that the house of mouse isn’t afraid of gambling with one of their most popular franchises. And the film is better off for it.


Anna and Elsa find themselves on a new adventure away from their kingdom.

Taking place about three years after true love between siblings put an end to the kingdom of Arendelle’s eternal winter, Princess Anna, Queen Elsa, Anna’s boyfriend and official ice salesman of the kingdom, Kristoff his reindeer Sven and Olaf, the living snowman / walking toy advertisement have spent that time living openly as a family. While Anna hopes this period of freedom with her sister and the rest of her loved ones will never end, inevitable change is on the horizon. Kristoff is trying and failing to find the right time to propose to the princess while Elsa can’t help but feel like something’s missing in her life, which is only complicated by a mysterious spirit that echoes in her ear. The echo leads her to an enchanted forest with deep ties to the kingdom’s past, inadvertently puts the kingdom in danger, (something Elsa is seemingly making a habit of), when a group of elemental spirits is accidentally released. To right this wrong, the royal family decides to lead by example by traveling deeper into the forest and bringing balance back to nature. But will Arendelle’s past catch up to its royalty, what ties does it have with their parents’ accidental death and will their connection to Elsa’s powers once again separate the sisters?

If the original Frozen could be called a modernized fairy tale, Frozen 2 takes a completely different route as a full on adventure movie. Taking us out of the kingdom and into the larger world both increases the scope of the story while allowing the characters to take on some exciting new roles throughout the course of the film. Elsa’s plot is the most familiar, who once again finds herself trying to right the wrongs that she inadvertently created, but with the theme of self discovery constantly hovering in the back of her mind. While she had her own message of acceptance in the original movie, she finds herself constantly struggling with the idea that being comfortable isn’t necessarily what is right. As her journey towards the truth behind her powers comes closer to its conclusion, the looming idea of her having to choose her true self over the family she’s grown to love is an inevitable cloud that adds gravity to the narrative as the film progresses.


Elsa’s journey of self-discovery compliments some of the best 3D animation put to film.

Anna on the other hand, was separated from her sister for so long up until the end of the first film that now she never wants to be away from her sister’s side to the point where it’s clear she’s clinging way too hard. When the deep love they share for each other breaks down into co-dependency, the younger sibling is constantly in over her head in her attempts to prove she’s just as capable as her sister more out of fear of losing her than doing what’s best for herself or her family. This constant need to stay by her sister eventually alienates her would-be fiance, who was a constant, mostly equal partner in the first film. Finding himself routinely ignored and cast aside, the question as to whether or not there’s enough room in Anna’s heart for him begins to weigh down on the mountain man. This is all while Olaf’s own coming of age begins to shape, with him absorbing as much information as he can, (and being sure to recite it), while learning that perhaps grown-ups don’t have all the answers.

All these plot points are tied into some incredibly adult and increasingly dark themes, ranging from self discovery and learning to let go, (no pun intended), to the breakdown of relationships, the death of loved ones, crippling depression, (to the point where a character contemplates being ready to die, no joke), and learning to live for yourself instead of in the service of others. Even Olaf isn’t afraid to grow up with the audience, surely mimicking many a child who went through the phase where they’re questioning everything between the two film’s release dates. All of these concepts are neatly wrapped in a fun adventure story, with some of the best 3D animation I’ve seen to date. From the effects with each of the elementals to the breathtaking Show Yourself musical number, the animation here blows the first movie out of the water, which is impressive since I think it still holds up pretty well. The sheer emotion on the character’s faces make you feel for them so deeply at a human level, (a hard task to accomplish when their eyes are about half the size of their heads.)


Scenes like Elsa’s battle with the Nokk highlight an exceedingly beautiful film.

This blow away animation is only further enhanced by watching the film in 4DX, which I found added greatly to the immersion factor thanks to its various effects. Snow is a given, with points where the theater would be sprinkled with flakes whenever the ice queen herself shows off her power. With the elementals coming into play however, water and wind especially stand out throughout the film’s run time, helping you feel like you’re on this adventure with the cast. If you decide to go this route, bring a jacket. The effects manage to emulate the film’s namesake by making the room noticeably cold thanks to the water and wind.

As expected, Frozen 2 doesn’t lack in huge musical numbers helmed by its talented voice cast. With Evan Rachel Wood joining in as Anna and Elsa’s mother in flashbacks, Kristen Bell, Adele Daz… erm… Idina Menzel and Josh Gad all shine once again. Even Jonathan Groff, a musical veteran in his own right who was woefully underused in the first film, makes up for it this time with an incredible power ballad that manages to be both hilarious and heavy at the same time. With that said, if you’re a fan of musicals, you might be disappointed in the fact that the film is really top loaded with music. The pacing feels noticeably off, with the first half hour constantly bombarding you with music, followed by the latter portion of the movie foregoing its musical roots in favor of the adventure story, which still ultimately feels rushed once it reaches its conclusion. Certain plot threads, namely Kristoff and Anna’s relationship troubles, are also lost in the shuffle, being largely forgotten about in the second half until they’re resolved in a way that feels completely unearned. It’s crazy to say this since the film is already lengthy for an animated film at about 1:45, but it really could have used another 10 minutes or so to flesh out its ambitious to-do list.


Anna showing off her Z-Crystal collection.

Is Frozen 2 as good as its wildly popular predecessor? Only time will tell how audiences react to it after it has time to settle. For my money, it’s a hard question to answer since the sequel is a vastly different movie in its own right, which Disney should be commended for when this could have easily been a success without taking any risks. What I can say is that this follow-up is a visual marvel, an emotional roller coaster and a musical triumph that finds a different way to subvert all expectations with heavy themes and self-referential humor throughout. Certain plot points aren’t fleshed out as much as they should be and the pacing feels off at points as it rushes towards its conclusion that feels a little too neat compared to its increasingly bleak narrative, but overall, it’s safe to say that we have another hit on our hands. Now get ready to get those songs stuck in your head all over again. The Panic at the Disco cover is a banger.

Final Score: 4.5/5

Geekscape Reviews ‘Terminator: Dark Fate’ In 4DX

by Josh Jackson

The Terminator franchise has had as many form changes as a T-1000 over the three decades its been around, oftentimes being ill received. After the first and especially the second film became pop culture phenomenons, helping solidify Arnold Schwarzenegger’s position as an action movie icon in the process, future projects failed to gain ground regardless of quality. From the critically panned sequels to the highly rated but never watched Sarah Connor Chronicles TV show, the next attempt at reviving the series is looking to pull from its most successful period. As a direct sequel to T2, Dark Fate brings back Arnold’s Terminator and Linda Hamilton’s Sarah Connor with a new cast to defend against the latest time traveling threat. On paper, the idea has potential, but unfortunately, Dark Fate manages to feel like the biggest retread yet, with questionable decisions that risk bringing down the series’ best films in the process.

Picking up a few years after Terminator 2, Sarah and John Connor are still on the run from potential Skynet threats, but are living in relative peace now that the impending Judgment Day has come and gone without incident thanks to the events of T2. However, that doesn’t mean the future is safe, with a new threat called Legion rising to take Skynet’s place as the cause of the technological apocalypse. In the present day, a new savoir who leads the fight against Legion in the future, Dani Ramos, (Natalia Reyes), is being hunted down by the Rev 9, (primarily in the guise of Gabriel Luna). This Terminator that takes on the liquid properties of the T-1000 while having a skeleton body like the T-800, both of which can act independently. With Grace, an augmented soldier sent from the future, (played by Mackenzie Davis) as well as a battle hardened Sarah Conner arriving to protect Dani from this advanced threat, its a renewed battle between man and machine as the fight for the future begins again.

If that premise sounds familiar, than it’s because it’s almost beat for beat the plot of Terminator 2. Outside of the first five minutes, an event that will surely be seen as the most shocking and divisive moment of the two hour run time, you can probably guess what’s going to happen before the scene hits the screen assuming you’re an avid T2 fan. Replace John with Dani, Grace with the T-800, the T-1000 with the Rev 9 and early 90’s Sarah with 2019 Sarah, and you’re pretty much getting the same film. When we heard the movie would be a direct sequel to the franchise’s best film, surely no one would have expected it to be an inferior xerox copy of it. But yet, here were are.

That’s not to say that the movie doesn’t have its fair share of highlights, especially in 4DX. Dark Fate does a great job using technological advancements to create some very innovative battles that are visually pleasing to boot. While never reaching the tension that the T-1000 did in the past, the Rev-9 does a great job of being terrifying, creating a sense of dread as he gets closer to his target. In 4DX, the audience really feels the action as the seats rock with every destroyed set piece, smoke rose with every explosion and every impact landing right in their backs. The performances all around are strong, with Linda Hamilton in particular bringing weight to this latest version of the hero that kicked the franchise off. You can hear the determined, yet weathered and tired tone of her personality at this stage as she struggles to find meaning in a life without Judgment Day. Not surprisingly, when Arnold eventually joins the cast, he highlights each scene he’s featured in with an interesting take on this version of the titular character. Without spoiling it, audiences should be pleasantly surprised with how charming a killer robot from the future can be.

With those highlights aside, it’s hard to find much enthusiasm for Dark Fate as it not only feels pointless, but renders the plot of the past films as irrelevant as well. What was the point of developing a plot that’s so close to its predecessor? What was the point of protecting John and Sarah all those years ago if a near identical future was going to play out anyway? What are the odds of ANOTHER tech company creating ANOTHER AI that goes rogue AGAIN and decides to send ANOTHER robot to the past to kill ANOTHER savior in the past? These are the questions I found myself asking after I walked out of the theater. It’s enjoyable aspects aren’t strong enough to offset the fact that it manages to both be a pointless addition to the franchise while also rendering the best parts of it moot. It’s impressive in a twisted kind of way.

All in all, Terminator: Dark Fate is destined to join the long list of sequels that would be best forgotten. Its controversial opening scenes set the tone for what was surely meant to be a hard reboot to carry the franchise into the future, but ends up destroying what people loved about it to begin with. Strong performances from Hamilton and Schwarzenegger and some impressive action choreography aren’t enough to save it from its own extinction, sending the once beloved franchise reeling back to the drawing board. Like its protagonists, the future isn’t looking bright for this one.

Final score: 2/5

Geekscape Reviews ‘Maleficent: Mistress Of Evil’ In 4DX

by Josh Jackson

I’ll admit, I wasn’t the biggest fan of the original Maleficent. Despite a fantastic performance by Angelina Jolie, the half remake, half rewriting of the animated Sleeping Beauty often felt like a film caught between two masters. And yet, trying to both recreate the Disney classic while creating its own sympathetic portrayal of one of the company’s most purely evil villains ensured that it didn’t succeed at either goal. Even then, I was optimistic heading into Mistress of Evil. With the remake aspect out of the way, the filmmakers have the chance to craft their own story with this unique portrayal of the titular character without any surprise changes to her characterization getting in the way. It ultimately does a good job of continuing the story of this heroic evil mistress, (however that works), but clumsily stumbles on its way to get there.

Taking place five years after the death of King Stefan, Maleficent has crowned her adopted human daughter, Aurora, (reprised by Elle Fanning), as the queen of the Moors. As the land where all manner of monster, fairy and magical creature presides, the new queen has no problem with coexisting with her subjects, all of which are under the watchful eye of her overprotective mother. Her parental instincts kick in at full force when Prince Philip returns (in a manner of speaking since Harris Dickinson is taking the reigns from Brenton Thwaites), with a marriage proposal. With Aurora accepting, Maleficent reluctantly agrees to the union despite maintaining a strong distrust for humans. Proving her right is Michelle Pfeiffer’s Queen Ingrith, who is using this marriage bonding the human world and the Moors as an opportunity to further her own dark ambitions.

Like the original, Jolie shines as Maleficent, who manages to maintain an air of fear and respect around her despite being shown as a big sweetheart by the end of the first film. In a film named Mistress of Evil, she never does anything to earn her the title as one of the characters who is completely altruistic throughout its entire run time. Despite being understandably wary of the intentions that her human counterparts have for her and her daughter, she never acts in a way that isn’t justified, making it easy to sympathize with her need to protect her land and family. When things inevitably go south for her leading up to the second and third acts, there wasn’t a time where I wasn’t rooting for her to get back at the bad guys, which is largely in part to Pfeiffer’s performance. Queen Ingrith is easy to hate.

What’s odd about this film though, is that Maleficent is strangely absent for a large portion of it. This story is mostly about the relationship between Aurora and Philip and the political ramifications of their union. These characters are fine for what they are, but they’re both held back by a case of “stupid character syndrome”, where they make obviously questionable decisions for the sake of moving the plot forward. I didn’t buy for a second that Aurora would trust complete strangers, one of which was obviously antagonizing her mother, over the woman who raised her for most of her life. Just like I didn’t buy that it would take so long for the creatures of The Moor to realize something was shady with Queen Ingrith considering the events that took place in the first act of the film. I can’t give too many examples without going into spoiler territory, but one of the most frustrating parts of Mistress of Evil was how contrived the process felt when moving from one plot development for another. What’s even more confusing is that this movie goes out of its way to explain how Maleficent was given her reputation as an evil being, essentially calling the animated Sleeping Beauty a lie spread to sully her reputation. But you know who should believe that lie least of all? Probably her surrogate daughter.

However, as frustrating as the plot developments can be, nothing was worse than the underground society of fairies that aid Maleficent in her time of need. Their leader, Conall, (who commands the screen thanks to Chiwetel Ejiofor’s performance), expands the world even further by explaining the history of Maleficent’s kind and how they were driven into hiding by humans. But before these revelations can go anywhere interesting, it’s thrown aside almost as quickly as its introduced, leaving us with wasted potential as the fairies inevitably march off into battle against the humans. What ensues is an extended battle scene where some shocking developments, but ultimately falls flat when the conclusion in no way fits the events of the war. Topping it off is Jenn Murray’s Gerda, Queen Ingrith’s right hand woman. I’ve never seen someone be so stoic while overacting so much, which distracted me throughout the film, but her final scenes are so over the top that I couldn’t wait for her to be gone.

One major positive of the final battle, and the movie as a whole, was the use of 4DX. The effect did a great job of immersing the audience in this world with its abundant use of aroma, bubble and water effects throughout, bringing this magical world to life. Even though the love story takes center stage, there’s a surprising amount of action throughout, making good use of the format. It creates an experience that’s easy to become immersed in as the fantastic costume design, set pieces and visual effects pop even more thanks to the physical interaction that 4DX provides.

All in all, Maleficent: Mistress of Evil is an improvement on the original that comes across its own share of stumbles. Jolie commands the screen as expected, but her character is oddly absent through most of the film in favor of Aurora’s love story, which isn’t nearly as compelling. Some glossed over story beats, annoying antagonists and an unsatisfying conclusion take away from the overall package, but the Maleficent character carries the movie well enough to make up for its flaws when she’s on screen. Overall, fans of the first will get their money’s worth, but it’s nothing you need to rush out and watch. You might be better off catching up on a few z’s until the home release.

Final Score: 3/5

Geekscape Reviews ‘Zombieland: Double Tap’ In 4DX

by Josh Jackson

When 2009’s Zombieland first released, it caught audiences by surprise with its dry humor, quick wit and charismatic cast. Or maybe it’s because it managed to find humor in the ultra violent horror subgenre that often takes itself way too seriously. Regardless, both fans and its creators longed for a sequel. 10 years and a slew of Oscar nominations and wins later, Zombieland: Double Tap brings its original cast of Jesse Eisenberg, Woody Harrelson, Emma Stone and Abigail Breslin together to pull us back into the zombie apocalypse. But are they able to capture the same magic that the first one did amidst all the blood splatter?

Stone and Eisenberg return as unlikely love interests. Spoiler alert: relationship drama abound.

Taking place in real time, Zombieland: Double Tap reacquaints us with Tallahassee, Columbus, Wichita and Little Rock ten years after we last saw them. After becoming squatters in the abandoned White House, the group has lived comfortable, relatively normal lives, (or at least as normal as you can get when surrounded by zombies). However, the only thing worse than the fear of immanent death is complacency as Little Rock begins to feel smothered by her surrogate father and longs for life with people her age. Meanwhile, Columbus’ attempt to marry Wichita, (an odd priority during the zombie apocalypse), gives her a case of cold feet, so her and her sister hit the road in search of something new. Wichita eventually returns when she gets the same ghosting treatment from Little Rock, so the three remaining survivors leave the safety of Washington DC to bring their youngest friend back to safety… But not without Columbus’ new fling, Madison, (Zoey Deutch).

As soon as the film starts, it’s clear that the actors haven’t missed a beat. It’s easy to see how much fun the stars are having playing off each other while gunning down waves of zombies, and thankfully, the script gives them plenty to work with. Eisenberg’s Columbus plays to his strengths as a nerdy, uptight and lovable dork who constantly reminds anyone who will listen of his list of rules to survive the zombie apocalypse. As the anchor of the cast, the majority of his screen time is shared with Harrelson’s Tallahassee and Stone’s Wichita, who’s respective southern machismo and cynicism bounce off surprisingly well with Eisenberg’s performance. Yet, it’s Madison, the newcomer to the cast, who steals the show here. The dumb blonde trope is played out to death, but Deutch’s performance makes the most out of what she’s given, with her stereotypical airhead persona turned up to 11 in the face of the death and destruction that only a zombie wasteland can deliver. From the moment she says she survived by hiding in a Pinkberry freezer, it was obvious that she was going to be a standout.

Zoey Deutch’s Madison steals every scene she’s in.

What’s really great about Double Tap as a whole is its seamless ability to blend horror and action within a comedic frame. While laughs are the main goal for the film, it’s not without its tense, even scary moments that makes you fear for the safety of these characters who might otherwise be one note archetypes, largely because they’re able to elicit a reaction nearly the entire time they’re on screen. Whether it’s the lovable badass vibe Tallahassee gives off to the tension between Wichita and Madison that goes way better than anyone would have expected, it doesn’t take long to develop a bond between the characters and the audience. Even Little Rock, who was the weakest character of the group, draws sympathy for wanting something resembling a normal life, even if she makes some dumb decisions while pursuing that goal. Even then, she, nor the rest of the cast cease being the seasoned survivors that they are. Between all the laughs, each character gets a fair share of action, reminding you that they’ve developed into seasoned zombie killers over the last 10 years.

Knowing that, this movie is still a comedy first and foremost. The pace felt a little off, especially in the exposition heavy first half where it felt like nothing of importance was happening for long periods of time. Eventually, the jokes about rules or how dumb Madison was started to wear a little thin, but never enough to take me out of it. Magnifying these pacing issues was a long gag with Luke Wilson and Thomas Middleditch that goes on way past the point of where the joke stops being funny, which was only mildly amusing to begin with. While never too disappointing, the film would’ve improved with some more fat trimming in the middle.

The showdown between Tallahassee and Luke Wilson’s Albuquerque is one of the weaker parts of Double Tap

What was disappointing however, was that due to the nature of this pacing, the 4DX was rarely used. Outside of a few big fight scenes towards the end of the film that last long enough to almost make up for its scarce usage, it felt like I was watching a standard showing. Even when used, the variety of the effects was lacking considering there’s very little that can be done with a literal wasteland as the environment. We got a short burst of snow at the very beginning, smoke, seat movement and water spray to simulate zombie blood, (which was admittedly a creative use of the effect), but considering how few action scenes used the features, I wouldn’t go out of your way to see it in a format outside a standard screening… Even if a 4DX joke in the film had our screening roundly laughing at being mocked for smelling the film.

Zombieland: Double Tap delivers in every way that the original did, with its fair share of action, well scripted drama, plenty of heart and a little bit of suspense to round out its comedic nature. Those looking to make the most out of the 4DX format might be a little disappointed by the limited action scenes, while some drawn out gags make the film feel a little longer than it should, but overall, this sequel is everything it should be. Carried by its talented leads, it offers so much while always staying funny, which is more than can be expected from a movie of this kind. If you want a fun, lighthearted zombie flick in time for Halloween, then your first rule should be to go see Double Tap!

Final Score: 4/5

Geekscape Reviews ‘Abominable’ In 4DX

by Josh Jackson

Following in the footsteps of a movie as popular as How to Train Your Dragon is a tough feat. Following the conclusion of one of Dreamworks Animation’s biggest film franchises, Abominable tries to capture its own brand of magic with a heartfelt coming of age story that’s brought to live by the immersive 4DX format. Thankfully, it mostly succeeds as it treads familiar territory rounded out by some of the best visuals I’ve seen in an animated film this year, making it a worthwhile film for kids and kids at heart.

Abominable follows Yi, (vocied by Chloe Bennet of Agents of S.H.I.E.L.D. fame), a teenage girl who is having trouble coping after the death of her father. Drowning herself in multiple jobs to save money for a trip around the world that she never got to take with her dad, she finds herself distancing herself from the rest of her loved ones, including her mother, grandmother and her childhood friends Jin and Peng. This is fine by Jin, who grew up to be more obsessed with his self image than maintaining his friendships, leading to both becoming estranged. Elsewhere, an animal testing lab has lost track of a yeti that they had under captivity, which eventually seeks refuge in Yi’s secret hideout. After protecting the newly named Everest after its home, from its captors, Yi embarks on a journey with her friends to return the yeti to its mountain, reminding the kids about the importance of familial support along the way.

Plot wise, Abominable manages to hit all of the beats you would expect from a movie of its kind. By managing to tug on the heart strings without ever becoming too much of a downer, it does a good job of presenting the difficulty of coping with tragedy around the idea of drifting apart from the people you need the most. This is driven home by strong performances from Bennet and Tenzing Norgay Trainor’s Jin, with Albert Tsai’s younger Peng keeping the group together with his lighthearted comic relief. Surprisingly, none of it becomes overbearing and manages to come off as natural as a road trip with a yeti can be, even when the jokes don’t always hit as well as you’d like. Even though the movie rarely surprises, it still has its moments of subverting expectations by teasing cliches before going in the opposite direction, which was very much appreciated when family movies often can be telegraphed from the very early moments of the film.

Another example of subverting expectations is with Abominable‘s villains, made up of Burnish, (Eddie Izzard) and Dr. Zara, (Sarah Paulson). The former is a disgraced explorer who wants to restore his reputation by proving the existence of yetis at any cost, acting like an evil version of Hugh Jackman’s character in Missing Link while the latter is a Zoologist under his employ who wants to make sure the animal is treated humanely. Yet, as the movie progresses, these characters are progressively given both subtle and not-so-subtle wrinkles to their personalities that give them more depth, providing one of the bigger surprises of the movie. Even then, seeing the villains on screen is almost always a treat since the goons have some laugh out loud scenes.

But naturally, the star of the show is Everest, who’s journey home takes center stage alongside Yi’s personal growth. Without saying a word, the yeti manages to show so much emotion throughout as its bond with the kids continues to grow. Its fear, trust, loyalty and eventual confidence feel earned, helping the audience attach itself to the bond these characters create. With that said, the highlight of the movie is when Everest performs its nature bending magic, creating some of the most visually striking moments I’ve seen in a film this year. From the silly giant blueberry scene seen in most of the trailers to the breathtaking ride on the wave of flowers, moments like these are almost worth the price of admission alone. The fact that a touching story with some heavy themes without ever getting too dark comes with the package really helps Abominable stand out.

Abominable is visually striking at times.

These effects are even more immersive once the 4DX format comes into play. Admittedly, the screening was in a smaller theater than normal, but the effects seemed stronger than in any film I’ve seen before, all of which for the better. Wind and cold were used to their full potential, making me wish I had packed my winter clothes as the characters climbed Mount Everest. Snow rained down on the theater once in the mountains while the room was engulfed in a flowery smell as the characters raced through fields. We could feel the action and chase scenes as our chairs rocked with each big bump and turn, helping the movie reach an extra level of immersion that improved the movie more so than any other I’ve seen in the format. If you have the option to see it in this way, then I can’t recommend it enough, which feels like an experience in itself.

Abominable‘s only glaring flaw is its lack of cohesiveness with its setting. Not many films of this kind take place in Shanghai, but from the way it’s presented, you might think it was Times Square or any other major metropolitan city, (complete with a visible McDonalds in the background). The film quickly abandons the city for smaller villages as the kids globe trot on their way to Mount Everest, but we never get the feel of exploration that we should normally get with a plot of this nature. Aside from that and the predictability of the plot, these are small nitpicks in what is otherwise an excellent animated film.

Abominable manages to stand on its own as an animated film that goes above and beyond its expectations, providing a predictable story about family and loss that plays up its story beats as well as they could be, all while throwing in a few surprises here and there. Visually, the film is an achievement, further enhanced by the immersive 4DX format. Ultimately, the movie is only held back by a lack of cohesiveness with its settings, but as a whole, I can’t recommend it enough. Whether or not Abominable is the next big Dreamworks franchise is yet to be seen, but I’m hoping to return to this world if it can manage to be as fun as it was the first time around.

Final Score: 4/5

Geekscape Reviews ‘Rambo: Last Blood’ In 4DX

by Josh Jackson

The first Rambo film was kind of a revelation for me. I didn’t jump on that bandwagon until late, so the only thing I knew about it was that it starred Sylvester Stallone mowing down bad guys with giant machine guns. When I finally got around to watching First Blood for myself, I was shocked to find how the franchise would eventually abandon the heart of the first movie and lean into the ultra violent stereotypes of war veterans that the original was trying to warn against. Nevertheless, the sequels were mindless fun if nothing else, and I expected no more from Last Blood, the latest in Stallone’s greatest hits tour after building up good will with audiences through the Creed films and to a lesser extent, 2008’s Rambo. But even with these lenient expectations, Last Blood ended up being pointless at best and disheartening at worst, with a bloody finale that fails to make up for the dreary bulk of the film.

Back to basics.

Some time between the fourth film and now, John Rambo seems to finally have found peace. Now living on his father’s ranch with its caretaker and her granddaughter, Gabriela, he’s spent the last 10 years as a surrogate father to the girl while handling the typical ranch chores. You know, training horses, tending to the land, building underground death tunnels… It seems like after so long, the combat veteran finally has his chance to live a simple life. That is until Gabriela tracks down her absentee father and decides to sneak away to Mexico for answers as to why he left, which goes about as well as one would think. When she ends up kidnapped by a cartel, it’s up to Rambo to use his expert tracking and combat skills to rescue the only family he has.

Don’t get me wrong. At no point would I consider Last Blood a good movie per se, but the first half definitely landed in the “so bad it’s good” category. The overly telegraphed foreshadowing held up by an incredibly campy script was only made better, (by which I mean worse), by the often dry performances by the actors. This was amplified by some hysterically strange cinematography that felt straight out of the made-for-Redbox bin, (just try not to laugh when Gabriela confronts her father). But again, Rambo hasn’t been a serious movie since its early 80’s debut, and the camp just made the wait for the eventual violence spree even more sweet. Aside from some gruesome stealth scenes leading up to the big rescue, the movie strays away from the action the series has become known for for most of its run time. But that’s okay, because the bag guys are established early as terrible people that you want to see punished, so when Rambo finally comes face to face with the gang, you know it’s about to go down.

Sergio Peris-Mencheta as Hugo Martinez, one of the few highlights and an expert at making you want to see his shit kicked in.

Except… It doesn’t. It’s impossible to illustrate how much of a downturn this movie takes without spoiling its biggest twists, so if you want to completely avoid spoilers, just know that you can shut off the movie half way through, fast forward to the last 20 minutes and know that it’s peaked. Being as vague as possible, Rambo, a character who’s known for his meticulous planning, puts himself in a position to completely fail. And fail he does, completely sucking the air out of an already thin film. Going from bad in a campy way to just bad, the joyless twist renders the rest of the movie pointless. We see Rambo films to see him mow through armies of bad guys, not go completely brain dead for the sake of the plot. When he finally gets his hands on the bad guys, there’s no reason to care. And the fact that it ultimately ends with the implication that there might be another film renders the “Last Blood” portion of the title as meaningless as the second half of Stallone’s latest.

Admittedly, the climactic action scene is fantastic, even if it’s too little too late. Viewing the film in 4DX made the scene come alive even more, feeling every explosion, gun shot and trap as it happened on screen. Serving as a mix of classic Rambo, Saw and Home Alone, watching the cartel mindlessly run to their deaths in so many creative ways helped the film deliver on its reputation of over-the-top action. At times, it was hard to tell how they were even killed, but it was so wild that I can’t knock it for that. Figuring out how it was playing out was part of the fun! Prior to the climax, there was some creative uses of the 4DX medium, such as scents curing breakfast or ranch scenes alongside the typical bumps while characters drove, but the effect didn’t stand out until the end where it made sure you felt everything the characters did in powerful ways.

Rambo and Gabriela (Yvette Monreal) having a moment.

It’s hard to recommend Rambo: Last Blood considering how much of a drag it is. By taking a hard turn from campy fun to a cynical, over-dramatic narrative, it makes it nearly impossible to find enjoyment from a film that was not that good to begin with. Even those who are just in it for the action are going to have to wait until the last 20 minutes to see that promised delivered, which doesn’t make up for the hour-plus before that. If you’re going to see it just for that, you might as well go all out with 4DX to distract yourself from the plot, but for those who wanted a proper sendoff for the character, what you’ll end up with is a pointless entry that fails at following up on the story focused original AND the action heavy sequels. If nothing else, it serves as an exercise showing how to use 80 minutes to advance absolutely nothing about this character. Rambo deserves better, but like Last Blood‘s finale, it might be too little too late.

Final Score: 2/5

Geekscape Reviews ‘Spider-Man: Far From Home’ In 4DX

by Josh Jackson

After the traumatizing events of Avengers: Endgame, it’s hard to imagine a state of normalcy in the Marvel Cinematic Universe. As phase three comes to a close, Spider-Man: Far From Home had the unique challenge of trying to restore the lighthearted, action packed status quo that these films are known for while helping Peter Parker, (once again played by the charming Tom Holland), grow in a post Iron Man world. If you’re wondering where they could possibly go from here, you’re going to be pleasantly surprised.

Peter and MJ are on full display this time around.

Taking place in the aftermath of the snap, (or The Blip as its being called), Peter’s classmates coincidentally faded to dust at the end of Infinity War, ensuring that Ned, MJ and Flash would stay at Peter’s side as he returns to his high school life. After fighting for the fate of the universe, there’s nothing more that our friendly neighborhood Spider-Man would enjoy more than to take a break and enjoy his overseas class trip with his friends, all while trying to win the heart of his equally quirky classmate, (reprised by Zendaya with more screen time to match her dry wit first seen in Homecoming). However, Nick Fury has other plans, as the head of S.H.I.E.L.D. seeks the hero’s assistance to fight off a group of elementals that are terrorizing the region. Fighting alongside Mysterio, the hero from another universe, Peter finds himself trying to live up to the legacy that Tony Stark left behind while wanting to enjoy life as a normal teenager.

Far From Home manages to hit all of the familiar beats that have become synonymous with the MCU in excellent fashion. From the witty one-liners to the lighthearted humor, the dialogue between Peter and his friends serves as a nice contrast compared to the no-nonsense Fury. Yet, it’s Jake Gyllenhaal’s take on Mysterio that really steals the show, bringing sincerity and gravity to Quentin Beck that makes me hope he sticks around in this franchise. He brings the character to life in a way that blew away my expectations, especially considering the background of the character in the comics. If I had one complaint about his character and the movie as a whole, I would have preferred that Beck stayed more of a Spider-Man focused character rather than being tied to events of the past. Still, the way he’s implemented into the MCU is clever, helping the events of the film wrap up phase 3 in a way that links it to the history of these films.

When it comes to the action, Far From Home is easily one of the most exciting films in that regard, which is high praise when directly following a film like Endgame. As seen in the trailers, the battles with the Elementals are stunning as it is. Sandman from Spider-Man 3 back in the day was a visual marvel, so seeing effects like these consisting of water, fire and wind with 2019 technology is as amazing as it sounds. This is all amplified by the 4DX effect, which was the best use of the technology that I’ve experienced so far. Taking full advantage of the nature of the Elemental fights, water, mist, wind and lighting effects created an incredibly immersive experience. This is in addition to the sway of the seats that synced up with Spider-Man’s swinging, feeling like you were moving with the wall crawler.

Jake steals the show as Mysterio.

It’s hard to believe, but as great as the Elemental fights were, they managed to be upstaged only a few minutes later. Without spoiling the movie, there are a few late-film fight scenes that rival the infamous Scarecrow hallucination fights from the Batman: Arkham Asylum video game. As a visual mind trip that looks like something you’d expect out of Doctor Strange as opposed to Spider-Man, these scenes show the kind of controlled insanity that a film of this magnitude can pull off. And somehow, they manage to be scary, heart-wrenching, tense and thrilling all at once. If there’s one thing that you’ll be talking about when leaving the theater, this will be it. Well… That and the shocking post-credit scenes that you’ll ABSOLUTELY want to stay for.

The Elementals blew us away, especially in 4DX.

With blow-away visuals, charming humor, characters that pull you in thanks to some highly skilled actors and an ending that will completely turn Peter’s world upside-down, Spider-Man: Far From Home is a can’t miss film, especially in 4DX. While I wish that the eventual villain would have been more centralized around Spider-Man, they way they’re written works in a way that this can be easily forgiven. When you think the tank has to be running low in a post-Endgame world, Marvel finds a way to close the chapter on phase 3 while building a high amount of anticipation for what phase 4 has in store. If you haven’t seen it yet, do yourself a favor and do it now. Then wait patiently like the rest of us to find out what this universe has in store for us for the next 11 years.

Final Score: 4.5/5

Geekscape Reviews ‘John Wick Chapter 3- Parabellum’ In 4DX

by Josh Jackson

In a sea of sequels, shared universes and decades old franchises often dominating the box office, the original ‘John Wick’ seemingly came out of nowhere to become a surprising success. Focusing on an over the top approach to the action genre that relied on creative fight choreography and unapologetic brutality rather than an overabundance of special effects, its charm was in its simplicity. Building on its predecessor, ‘John Wick 2’ exchanged some of the basics for a wealth of world building that broadened the scope of this world of assassins. Picking up immediately after the conclusion of the second film, ‘John Wick 3- Parabellum’ sees the legendary hitman in a state of vulnerability. With only an hour until a massive bounty is placed on his head, John sets to dig deep into his history in order to find a way to undo the hit on him before someone cashes in on his misfortune. Of course, he does this in some of the most violent and exciting ways possible.

Death by horse is just one of many ways Wick fights off his assailants.

Oftentimes, sequels do their best to get the audience caught up on the events of the previous films in case this is the first time experiencing the series. ‘John Wick Chapter 3’ is not one of them. Literally beginning immediately after John broke a cardinal rule among assassins for the sake of revenge at the conclusion of the second movie, it might be hard for new viewers to become fully involved in the events of the third considering how very few of the previously established details of this world are explained. With that said, if you’re fully caught up, (as you should be), what we get is the third chapter of what feels like one extended movie.

If I had one criticism about the second film, it was that it focused so much on exposition that the simplistic charm of the action from the first ‘John Wick’ was not as present. ‘John Wick 3′ finds a happy medium between the two, spending time expanding on John’s past through old associates played by Halle Berry and Anjelica Huston while finding a perfect balance between story and action in between. The film’s pacing is one of its strong points, never focusing on one aspect of the film for too long while keeping the audience on its toes. In that respect, it was fun to see the reprecussions that John’s actions have had not only on himself, but on the associates that helped him along the way. Returning characters played by Laurence Fishburne, Ian McShane and Lance Reddick all have expanded roles this time around, interacting with the world of assassins and the ruling High Table in ways we haven’t seen before. Yet, it’s Mark Dakascos’ as John’s main rival, Zero, who steals the show as the leader of a ninja clan who can be menacing in one scene, then laugh out loud hilarious in the next.

No action franchise is complete without a hall of mirrors fight.

More so than any one actor, the action scenes are still the star of the show. Just when you think these fights can’t get any more over the top, ‘John Wick Chapter 3′ consistently finds new ways to deliver. If the delivery of the promised pencil scene in the second film seemed incredible, John has so many more tricks up his sleeve. A horse, a book and a ball biting dog are just some of the creative ways that the hundreds of enemy assassins are taken down throughout the movie, with plenty of Wick’s trademark head shots to go around. Paying homage to Keanu Reeves’ past films, there are also plenty of winks and nods to his most popular work, showing how the fan service goes beyond the violence.

With a film that’s executed as well as this one was, it’s hard to find any glaring complaints. If there was one that I could find however, it’s how much time this movie spends setting up future events that are left as dangling threads by the time the credits roll. Much like the second film, an even wider scope is teased in terms of how much influence these assassins have on the world. For example, Said Taghmaoui’s Elder is shown briefly as someone of great influence, but that influence is hardly felt as he ultimately has no strong effect on the plot. Will we see him and the ever present High Table in future installments? Naturally, especially since the High Table’s presence has been so strong without ever being seen for two movies now. Yet, so much of the payoff isn’t resolved, making parts of the film feel inconsequential for the story being told in this particular chapter. Let’s hope the eventual delivery is worth the wait.

John Wick and dogs. Name a more iconic duo.

Experiencing John Wick is enough of a ride in and of itself, but watching it in 4DX promised to add to that. For those who are unfamiliar, 4DX is a film format, sometimes in 3D, where the theater itself moves and responds to the action on screen. Much like an interactive video ride like ‘Star Tours’ or ‘Transformers: The Ride’, each bump, gunshot, sharp turn and punch John takes is felt in the theater via rocking and moving seats. Hits in the back meant the seat would respond in kind, and scenes with water had light mist and rain coming down on the audience. This made for an even more exciting time, making it feel like the audience was in the movie at points. One problem though, is that the rides mentioned are about three to five minutes long. Will this experience hold up for a two hour film? That idea was exemplified by when the immersion was broken when the seats would sway when nothing was happening. The opening scenes when the camera would pan around landmarks or buildings, resulting in the seats rocking, was a glaring example. As the saying goes, less is more. With that said, 4DX was a great way to watch ‘John Wick’, but with the premium price tag and the chance that all the movement could distract from the film for the amount of time it’s active, this format feels more like an acquired taste. However, if you’re like me and love interactive rides, it’s definitely worth checking out. With a movie like ‘John Wick’ where there’s no shortage on action, you’ll be sure to get the most out of the experience.

On paper, ‘John Wick’ is a really basic concept. What makes the series so memorable however, is its complete willingness to lean into how over the top action movies can be and getting the most out of it. ‘John Wick Chapter 3’ knows exactly what it is and never tries to be anything more than an insane action movie. Yet, it manages to get more and more ambitious as the film progresses with its trademark violence and nearly mute hero. With plenty of setup to steer us towards the already announced fourth chapter, all of the beats it hits throughout are an absolute blast to watch. If you want to shut your brain off for two hours and watch an all-star cast fight off hundreds of goons in some of the most creative and violent ways possible, then there’s no better theater ticket to buy than one for this third film. At this point, it’s hard to imagine how much farther the envelope can be pushed. If ‘Chapter 3’ is anything to go by, it’ll be a high bar to clear.

FINAL SCORE: 4/5