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lord and miller the filmmaking team behind the joke a minute cloudy with a chance of meatballs and the lego movie and who last directed 22 jump street twelve years ago they ve returned to us with their sense of humor intact but proportioned well here as leavening to the stakes that enhance the emotions and the spectacle instead of deflating them it actually cares how nice to find a huge crowd pleaser that valorizes intelligence it watches gosling connecting with extraterrestrial awareness with a sense of awe at mankind s ability to solve problems with hard work and mental energy it s a stark and welcome contrast to those who think we can build computers to replace us consider those who talk endlessly at us about artificial intelligence i cringe even to use the term a deliberately nebulous buzzword meant to obscure all manner of tech company advertising and spin there are those who think an emergent super intelligence is going to bring about mankind s abrupt extinction any day now there are those who think it ll hasten a dawn of a global golden age where no one will work and all disease will be cured those in the middle seem to think it ll just enslave us to super wealthy authoritarians plus ça change a new documentary from daniel roher and charlie tyrell wants to serve as a level headed primer on these issues its feint toward definitiveness is in its direct title the ai doc its quirky subtitle or how i became an apocaloptimist is a signal of its whimsy the movie s a standard issue talking head doc loaded up with little stop motion animations showy transitions and squiggly hand drawn titles and it s wrapped around the personal story of the impending birth of roher s first child he narrates and appears as an on screen interlocutor driven to wonder about these issues because he s worried about bringing a baby into this uncertain future he s suitably curious but the movie is largely credulous mostly confined to researchers and speculators with a late stop at a few ceos who hype up their products and playact concern the movie mostly takes for granted the huge stakes no matter the extremes expressed it doesn t quite understand that the pro crowd and the cons alike are merely falling into a fictional framework call it terminator v star trek instead of actually addressing the reality of the situation he briefly invites on some humanities professors to poke at the bubble let s think about the resources and who benefits from setting the discourse frame at peak freak out about the future that makes it good or ill seem inevitably world changing but they get shuffled off after a few soundbites the movie reaches one of those issue doc call your congressperson qr code endings its ambivalence ends up making the case that ai is like so many problems of our modern day something most people want to regulate but financial pressures means no one will but sure call a congressman about it see how far that gets you posted by the voracious filmgoer at 4 41 pm labels charlie tyrell chris miller daniel roher drew goddard phil lord ryan gosling sandra hüller no comments wednesday march 4 2026 talk to the animals goat and hoppers i bet if you re an aspiring animator looking to innovate these days it s sony where you d want to work they ve had the edge on style and cleverness lately twenty years ago it was just the dense imaginative emotive pixar against the scrappier sarcastic dreamworks now pixar is struggling to find that striking originality and dreamworks is content to play around with textures on simple structures that leaves room for sony to emerge as the new freshness despite lagging behind them for most of this century it helps that at they re best they re a mix of the two competitors the heart with the experimentation the fresh with the sturdy the tangled zippy spider verse pictures are a riotous hodgepodge of exciting comic book logic and the mitchells vs the machines is electric high speed family sentimentality via wild sci fi even the smaller personality driven efforts like lin manuel miranda s cuban kinkajou musical vivo and adam sandler s class pet comedy leo are a more standard cuddlier comfortable match for the talents of their stars and they ve hit pop culture gold with kpop demon hunters blend of catchy songs cultural specificity and genre tropes the studio s willingness to play around with style and tone has become an increasingly reliable force in the family film market their latest is goat a movie directed by bob s burgers vet tyree dillihay and produced with basketball star steph curry it s set in a zootopia ish world that s much like our own but all anthropomorphic animals set in a bustling urban setting composed of painterly backdrops smeary colors and jangled movement their version of basketball is called roarball it s dominated by enormous animals wielding their physicality elephants rhinos ostriches panthers they also have voices with great personality gabrielle union aaron pierre david harbour nick kroll can a scrawny goat caleb mclaughlin make it in the big leagues what do you think the movie is extremely predictable sports movie cliche but it s shot through with a hyperactive hyper modern swagger bumping hip hop inflected scoring and a manic social media flurry of notifications and plot swerves and the wild slam dunk action is a gleefully exaggerated space jam pyrotechnic display of creativity it s every basketball obsessed youngster s wildest cartoon dreams it s quite a contrast with pixar s latest hoppers looks like a pixar movie moves like a pixar movie but feels less than a pixar movie it s technically proficient but just fine it is well structured cutely designed sometimes funny and warmly voiced it has a nice message about getting along and taking care of the natural world and it has a spark of creativity to its concept a college environmentalist discovers her professor has built a machine that allows her to inhabit a robotic beaver and study their environment it also lets her talk to the animals it s hand waved with a reference to avatar of course the kid hijacks it to talk the critters into fighting the materialistic mayor s plans to demolish their dam at its best it has some of the clever rules and escalating action of vintage pixar think of all those movies that end with a mad dash of most of their characters through some complicated world but there s something a little off about this one a kind of haphazardness and shallowness to its world building and a sense of obligation to its complication one gets the sense that everything from its dollops of sentimental familial sadness to its swerves into silliness are a bit schematic and formulaic sure the folks at pixar are still terrific at rendering environments and balancing tones but they can be pretty airless when the edges are all so totally rounded and the fantasy muddled the story at once too familiar and overly complicated and the supporting characters only one pixel deep to be sure hoppers has some warm laughs and silly action and a few genuine dips into nastiness a surprise squishing of a bug is maybe the meanest thing this studio s ever attempted especially as a punchline it s all likable enough and it s certainly no less predictable than goat but it speaks to such a decline in standards grown up audiences used to be able to go to pixar movies to see something that transcended lately if we see a pixar production it s out of habit there are certainly less pleasant ways to pass the time but they ve been so much more posted by the voracious filmgoer at 11 21 pm labels aaron pierre caleb mclaughlin david harbour gabrielle union nick kroll pixar no comments monday february 16 2026 moor drama wuthering heights in charlotte brontë s preface to her sister emily s novel wuthering heights she wrote that it was hewn in a wild workshop nearly 200 years later that wild workshop s product continues to reveal itself as an unexpected book of lurid details and quicksilver emotional turns it has joltingly vivid imagery a ghostly hand reaching through a window a child dropped from a staircase a dog bite these disquieting visuals lead us through the characters tempestuous melodramas in twined temptations of love and revenge these drives are twisted and gnarled into generational trauma it s a story of abusive behavior and addiction with ideas of race and class and gender that are both of the time and astonishingly contemporary and it is told with prose that is both nestled with first person narratives within narratives in traditional romantic 19th century style and swirled with propulsive jangled punctuation and pulsing interpersonal rifts is it a story of damaged people eroding the quality of life for everyone around them is it a stormy tale of endless yearning on the windswept moors isn t it all of the above the book s dark power resonates for its closed loop cycle of dysfunction the first half of the story gives us the younger years of cathy and her father s troubled ward heathcliff they are drawn to each other and doomed to fall apart the story grows only more thorny and layered in the second half of brontë s work which carries the conflicts to a second generation most screen adaptations pursuing simplicity clarity and rounder edges don t bother with that part it s become in most filmmaker s eyes a story of a big dark house and missed connections ghostly desire and thwarted happiness william wyler s 1939 film was glossy black and white melodrama with a stentorian mood and simmering subterranean cruelty andrea arnold s 2012 version was intimate quivering raw and subtextual it takes emerald fennell however to say what if it s a jane austen story if jane austen was a goth girl not even kate bush pushed it that far fennell s adaptation is titled self consciously with quotation marks included making clear that it s simply a wuthering heights not the definitive wuthering heights that sense of looseness helps set the mood the movie s shot in striking filmic theatricality with realistic windy moors contrasted with ostentatiously designed sets for a crumbling gothic manor and its neighboring dollhouse estate at the former lives cathy margot robbie who clearly has quasi incestuous desires for heathcliff jacob elordi he s a scruffy low class orphan who was brought into their house as a boy he took the brunt of her cruel father s beatings that bonded them now they re each well into marriageable age and supposedly around the same age despite the actors being and looking seven years apart the movie mainly revolves around their frisson of taboo chemistry crossing class boundaries and familial ties they re each quick tempered and difficult and she loves to boss him around he s playmate pet and servant for his part he just wants her that s thwarted when rich new neighbors move in and she tosses heathcliff aside for a potential wealthy beau this sets off the stormy bad feelings that swallow up the rest of the movie this is the only through line it s interested in exploring and collapses a small claustrophobic dynamic into its intricately designed grotesques making subtext text enormous piles of empty bottles to denote a character s alcoholism say the film s desire to be an edgy romantic tragedy somehow avoids letting its characters expand beyond the programmatic places for them it s a movie that closes down ambiguities in its main characters while opening up a sense of vagueness in its supporting players the likes of hong chau and alison oliver are making fascinating choices in the margins without ever being allowed to come into focus as fully rounded figures fennell adjusts the character dynamics to fit her usual feel bad vision of the world without even a ghostly chance for reconnection here people make permanent choices to chase revenge and lust and are left only worse off for it she wants to shock and provoke with fluids and teasingly naughty sexual tensions it s of a piece with her clumsy filmography to date her nasty promising young woman s sense of righteous anger is undone by its paradoxically pollyannaish misanthropy her saltburn is a wicked thriller about how the frivolous bourgeoisie needs to watch out for scheming proletariat interlopers that seemed a flaw and deeply unfair but at least it feels like an honest personal statement she does it again here turning the under class into threats her films are increasingly competent in terms of style and design but have remained stubbornly simplistic in their approach to humanity thus this wuthering heights loves a heightened style it swoons with original charlie xcx songs a pulsating sonic highlight to pump up the montage and gaudy fabrics lovingly photographed garish backdrops and snow and skies so false that it feels like vibrant matte paintings and soap flakes it wants to be a tempestuous doomed romance in elaborately appointed lush tableau and the sheer wall to wall design of it all sells quite a bit of its excesses even so the ending is undone by its moment to moment sensations failure to craft real character and not just signifying and posing still i d rather see a marvelous failure than a tepid success what s most astonishing is how brontë s shock effects still seem so elusive on screen and even a would be provocateur like fennell can t locate them its interest in being an aesthetic object leads it to be pretty compelling moment to moment like discussing a complicated book with a reductive but passionate young reader encountering them afresh but it also slowly drifts away from a coherent point finally jamming its way to an ill fitting over the top romantic tragedy conclusion given the mixed messages leading up to it i was continually impressed with it as a work of craft less impressed as a work of acting and least impressed as a feat of writing and directing fennell s wild workshop though opulently stocked with images continues to produce muddled results posted by the voracious filmgoer at 10 31 pm labels alison oliver charlie xcx emerald fennell hong chau jacob elordi margot robbie no comments saturday february 7 2026 the voracious filmgoer s top ten films of 2025 1 it was just an accident 2 the secret agent 3 one battle after another 4 blue moon 5 if i had legs i d kick you 6 splitsville 7 sinners 8 weapons 9 the plague 10 presence honorable mentions 28 years later black bag companion cover up eddington eephus f1 friendship highest 2 lowest kpop demon hunters lurker marty supreme m3gan 2 0 mickey 17 the monkey ne zha 2 on becoming a guinea fowl the perfect neighbor the phoenician scheme predator killer of killers predators roofman the shrouds stiller meara nothing is lost the testament of ann lee twinless the voice of hind rajab wake up dead man warfare zodiac killer project zootopia 2 other bests of 202 5 posted by the voracious filmgoer at 11 08 am labels lists no comments other bests of 2025 best cinematography film lurker marty supreme one battle after another the secret agent sinners best cinematography digital...