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Episode one of Uzumaki was supposed to be a crown jewel in the offering for the Anime Fall 2024 season this year. Delayed a few times, the series production labored to finally bring this anime adaptation of one of legendary horror mangaka Junji Ito’s most popular works to life. Airing on Adult Swim, we were given the green light to prepare for a visual feast for old and new fans alike. The first episode aired to good fanfare: introducing teens Shuichi, Kirie, and the madness of the spiral that overtakes their town and the people within it. I loved the high-quality animation, the music, and the creepy, atmospheric look of the series and how I looked forward to watching more.
And then I watched the second episode and as goes the title of one of my favorite albums by The Roots, Things Fall Apart. I was looking forward to watching this episode as I figured that it would be the one to tackle the iconic hair spirals that Kirie falls victim to as more and more spirals start manifesting in the town. That much proved to be true with an unfortunate truth: the drop of quality of the animation dropped tremendously making fans question (and meme endless, online), what happened, here?
Spoilers Big and Small, Up Ahead!
@zoros110cm the first episode was godly bro what happened
#uzumaki #uzumakimanga #uzumakianime #junjiito #junjiitocollection #animation
Animation Blues?
Episode two of Uzumaki brought the jokes and memes on social media as the animation was noticeably and laughably bad. A general consensus online that started to circulate that even fan created projects have looked more decent and polished. Toonami co-creator and Uzumaki executive producer Jason DeMarco did address the animation quality and fan backlash online as first spotted and reported by CBR:
“It’s fine, we knew this would happen. I can’t talk about what went down but we were screwed over and the options were A) Not finish and air nothing and call it a loss, B) Just finish and air Ep 1 and leave it incomplete or C) Run all four, warts and all. Out of respect for the hard work, we chose C.”
DeMarco continued, “After waiting so long, it makes sense people would be mad. Unfortunately, I can’t tell them who to blame it on…but someone is definitely at fault here, and we all just had to do our best when things imploded. Maybe others would have made different choices. We did the best we could with what we had.”
“But again, a lot of [people] worked very hard on this show, and I didn’t think the actions of just one or two people should be the reason it never saw the light of day. Maybe that’s the wrong choice, I truly don’t know. But those people have a right to be annoyed and disappointed.”
Game Rant’s reporting of the sudden decline of quality in the series via episode two of Uzuamaki featured some of my favorite tweets documenting the bizarre pieces of animation and very noticeable–stop and stare parts of the episode, seen here. Speculation abound leading to many of us wondering if severe budget constraints, outsourcing some scenes overseas to cut costs and meet deadlines–already a problem as the project was five years in delays–a serious issue that would soon plague the entire series and the end result.
CBR also reported a change in directors and animation studios with Episode 1 being directed by Hiroshi Nagahama (Mushishi, The Flowers of Evil) and animated by studio Fugaku. Whereas Episode 2 was directed by Yuji Moriyama and animated by studio Akatsuki. It makes me wonder between the delays how long the production really took. As Gizmodo reported, “Moreover, eagle-eyed fans registered that much of Uzumaki‘s promotional material centered solely on the show’s premiere episode, with very few showcasing scenes from the limited series’ other three episodes.” It makes me wonder between the delays how long the production team went between doing work on the episodes and when the hand-off was during the COVID-19 pandemic (early) days?
Spiraling Out, I mean Crashing Out
My question with what the second episode of Uzumaki gave us, why would people return for more? Why keep eyeballs on this series when Fall Anime Season fan fave Dandadan had just started to great fanfare and reviews? Why would Uzuamki be a series to keep on the radar of an anime fan’s streaming list when a new offering of Shojo and Josei anime adaptations and titles like Nina the Starry Bride, How I Attended an All-Guy’s Mixer and Yakuza Fiancé would be easier to jump into and enjoy? But I did return to watching this adaptation of my favorite Junji Ito’ manga for the next two episodes without much glee or satisfaction, sadly–if only to satisfy my completionist spirit when it occasionally comes to anime.
Episode 3 of Uzumaki had an edge over the previous with a slight improvement animation wise over episode 2, but the pacing of the episode dragged on. I really found it hard to be excited to watch and keep focused on the happenings in the episode but did my best to carry on, regardless of the padding out of the original source material–the manga. Episode 4 of Uzumaki, while not as great as the first episode, showed glimpses that the animators and team that handled the first episodes had hands in the last. Showing some stiff and awkward scenes here (please tell me the tornadoes made you giggle too?!) and there, the very last episode helped attempt to bring back the standard of the first episode and wrap up the story. There were some really cool visual effects included in this last episode that helped push the narrative into its final scenes along with more strange and terrifying happenings.
Over-Hyped and Over-Hated?
What do we, as the audience, take away from this dismal showing of this long-awaited adaptation?
What did this adaptation of Uzumaki do right or well enough?
First and foremost, it gave a solid first episode that introduced the lore and creepiness of the source material well. Secondly, the attention to detail regarding body horror (yes, even the episodes that made it ridiculous to watch) worked in its favor. Lastly, the soundtrack and the sound design was masterful, and this was the one consistent part of the creative process that stayed true, in my opinion.
Having Colin Stetson’s talent on this haunting and steadfastly creepy musical score is the perhaps, the most positive part of watching what this series literally descended to and visually illustrated the horror of the story. If you adored the soundtrack like I did, you can find it online via YouTube and Spotify and even pressed to vinyl (with some really neat packaging) as well.
Uzumaki may have started off, in my own words, as an unsettling and darkly picturesque adaptation, but it quickly dissolved into a disappointing mess of animation and awkwardness. At only four episodes, it should have been an easier task versus a momentum regular season or cour of an anime in the likes of twelve episodes or more. I don’t know how to feel that as anime became even more popular globally during COVID-19 crisis, the production of the adaptation of this long-awaited series spiraled into a forgettable, near mediocre mess.
There were a host of anime series, films that were impacted by the health crisis (Here’s a list back in 2020 from Crunchyroll for example) but Uzumaki’s failure to have a consistently solid showing makes me just feel incredibly sad. The thing is I’m not even mad anymore, just disappointed and wondering what could have been and what we could have had. It makes me wonder what is the state of animation outside the United States and what this means for partnerships and collabs between such adored giants like Adult Swim and Toonami and Japanese animation studios to come, like Lazarus?
I really, really wanted this to be the one to break the “Junji Ito Adaptation Curse” especially as Ito-Sensei is only growing older. Plus, we’re all much more aware of how fragile the health and lives of creatives are, especially living through the pandemic years. When it comes to creatives and artists of the Asian Diaspora — particularly Japanese creatives who make manga, the world has lost several greats. In recent years we’ve lost Kazuki Takahashi (Yu-Gi-Oh!), Mia Ikumi (Tokyo Mew Mew), Motoo Abiko (of Fujiko Fujio fame, one of the creatives behind Doraemon), Kentaro Miura (Berserk), Leiji Matsumoto ( Galaxy Express 999), Hinako Ashihara (Sand Chronicles) and even Akira Toriyama (Dragonball).
I really want a win for him in the realms of an anime adaptation. Sadly, this won’t be it. My hot take is that this anime adaptation of Uzumaki was over hyped and thus over-hated. Yet, I cannot even blame fans (and haters) for feeling let down for this was supposed to be the chosen one–the adaptation to break “the curse.”
I’ll forget Uzumaki, in time (It won’t be hard!), and I’ll return to Junji Ito’s manga as there’s still years of his work for me to devour. I’ll get back to dreaming that one day, the curse will be broken, and fans can rejoice of a faithful, stunning, consistent adaptation that will make us all proud and emotionally invested–the right way for such an incredible source material. Until then, we wait. I truly feel like I was baited and hooked for a series adaptation that did not live up to what we all hoped it would be or what was promised. Shame, but I’m not spiraling out over it anymore or longer than I have to.
WHEW. This was hard to write. Have thoughts? Feel Bamboozled? Join us in the comments section for a group therapy session.
Love anime? So do we! See what else we have to offer on the site via anime here!
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The post ‘Uzumaki’ Series Results in Being Fumbled and Forgettable appeared first on Black Nerd Problems.
Episode one of Uzumaki was supposed to be a crown jewel in the offering for the Anime Fall 2024 season this year. Delayed a few times, the series production labored to finally bring this anime adaptation of one of legendary horror mangaka Junji Ito’s most popular works to life. Airing on Adult Swim, we were given the green light to prepare for a visual feast for old and new fans alike. The first episode aired to good fanfare: introducing teens Shuichi, Kirie, and the madness of the spiral that overtakes their town and the people within it. I loved the high-quality animation, the music, and the creepy, atmospheric look of the series and how I looked forward to watching more.
And then I watched the second episode and as goes the title of one of my favorite albums by The Roots, Things Fall Apart. I was looking forward to watching this episode as I figured that it would be the one to tackle the iconic hair spirals that Kirie falls victim to as more and more spirals start manifesting in the town. That much proved to be true with an unfortunate truth: the drop of quality of the animation dropped tremendously making fans question (and meme endless, online), what happened, here?
Spoilers Big and Small, Up Ahead!
@zoros110cm the first episode was godly bro what happened
♬ original sound – EliaZ
Animation Blues?
Episode two of Uzumaki brought the jokes and memes on social media as the animation was noticeably and laughably bad. A general consensus online that started to circulate that even fan created projects have looked more decent and polished. Toonami co-creator and Uzumaki executive producer Jason DeMarco did address the animation quality and fan backlash online as first spotted and reported by CBR:
“It’s fine, we knew this would happen. I can’t talk about what went down but we were screwed over and the options were A) Not finish and air nothing and call it a loss, B) Just finish and air Ep 1 and leave it incomplete or C) Run all four, warts and all. Out of respect for the hard work, we chose C.”
DeMarco continued, “After waiting so long, it makes sense people would be mad. Unfortunately, I can’t tell them who to blame it on…but someone is definitely at fault here, and we all just had to do our best when things imploded. Maybe others would have made different choices. We did the best we could with what we had.”
“But again, a lot of [people] worked very hard on this show, and I didn’t think the actions of just one or two people should be the reason it never saw the light of day. Maybe that’s the wrong choice, I truly don’t know. But those people have a right to be annoyed and disappointed.”
Game Rant’s reporting of the sudden decline of quality in the series via episode two of Uzuamaki featured some of my favorite tweets documenting the bizarre pieces of animation and very noticeable–stop and stare parts of the episode, seen here. Speculation abound leading to many of us wondering if severe budget constraints, outsourcing some scenes overseas to cut costs and meet deadlines–already a problem as the project was five years in delays–a serious issue that would soon plague the entire series and the end result.
CBR also reported a change in directors and animation studios with Episode 1 being directed by Hiroshi Nagahama (Mushishi, The Flowers of Evil) and animated by studio Fugaku. Whereas Episode 2 was directed by Yuji Moriyama and animated by studio Akatsuki. It makes me wonder between the delays how long the production really took. As Gizmodo reported, “Moreover, eagle-eyed fans registered that much of Uzumaki‘s promotional material centered solely on the show’s premiere episode, with very few showcasing scenes from the limited series’ other three episodes.” It makes me wonder between the delays how long the production team went between doing work on the episodes and when the hand-off was during the COVID-19 pandemic (early) days?
Spiraling Out, I mean Crashing Out
My question with what the second episode of Uzumaki gave us, why would people return for more? Why keep eyeballs on this series when Fall Anime Season fan fave Dandadan had just started to great fanfare and reviews? Why would Uzuamki be a series to keep on the radar of an anime fan’s streaming list when a new offering of Shojo and Josei anime adaptations and titles like Nina the Starry Bride, How I Attended an All-Guy’s Mixer and Yakuza Fiancé would be easier to jump into and enjoy? But I did return to watching this adaptation of my favorite Junji Ito’ manga for the next two episodes without much glee or satisfaction, sadly–if only to satisfy my completionist spirit when it occasionally comes to anime.
Episode 3 of Uzumaki had an edge over the previous with a slight improvement animation wise over episode 2, but the pacing of the episode dragged on. I really found it hard to be excited to watch and keep focused on the happenings in the episode but did my best to carry on, regardless of the padding out of the original source material–the manga. Episode 4 of Uzumaki, while not as great as the first episode, showed glimpses that the animators and team that handled the first episodes had hands in the last. Showing some stiff and awkward scenes here (please tell me the tornadoes made you giggle too?!) and there, the very last episode helped attempt to bring back the standard of the first episode and wrap up the story. There were some really cool visual effects included in this last episode that helped push the narrative into its final scenes along with more strange and terrifying happenings.
Over-Hyped and Over-Hated?
What do we, as the audience, take away from this dismal showing of this long-awaited adaptation?
What did this adaptation of Uzumaki do right or well enough?
First and foremost, it gave a solid first episode that introduced the lore and creepiness of the source material well. Secondly, the attention to detail regarding body horror (yes, even the episodes that made it ridiculous to watch) worked in its favor. Lastly, the soundtrack and the sound design was masterful, and this was the one consistent part of the creative process that stayed true, in my opinion.
Having Colin Stetson’s talent on this haunting and steadfastly creepy musical score is the perhaps, the most positive part of watching what this series literally descended to and visually illustrated the horror of the story. If you adored the soundtrack like I did, you can find it online via YouTube and Spotify and even pressed to vinyl (with some really neat packaging) as well.
Uzumaki may have started off, in my own words, as an unsettling and darkly picturesque adaptation, but it quickly dissolved into a disappointing mess of animation and awkwardness. At only four episodes, it should have been an easier task versus a momentum regular season or cour of an anime in the likes of twelve episodes or more. I don’t know how to feel that as anime became even more popular globally during COVID-19 crisis, the production of the adaptation of this long-awaited series spiraled into a forgettable, near mediocre mess.
There were a host of anime series, films that were impacted by the health crisis (Here’s a list back in 2020 from Crunchyroll for example) but Uzumaki’s failure to have a consistently solid showing makes me just feel incredibly sad. The thing is I’m not even mad anymore, just disappointed and wondering what could have been and what we could have had. It makes me wonder what is the state of animation outside the United States and what this means for partnerships and collabs between such adored giants like Adult Swim and Toonami and Japanese animation studios to come, like Lazarus?
I really, really wanted this to be the one to break the “Junji Ito Adaptation Curse” especially as Ito-Sensei is only growing older. Plus, we’re all much more aware of how fragile the health and lives of creatives are, especially living through the pandemic years. When it comes to creatives and artists of the Asian Diaspora — particularly Japanese creatives who make manga, the world has lost several greats. In recent years we’ve lost Kazuki Takahashi (Yu-Gi-Oh!), Mia Ikumi (Tokyo Mew Mew), Motoo Abiko (of Fujiko Fujio fame, one of the creatives behind Doraemon), Kentaro Miura (Berserk), Leiji Matsumoto ( Galaxy Express 999), Hinako Ashihara (Sand Chronicles) and even Akira Toriyama (Dragonball).
I really want a win for him in the realms of an anime adaptation. Sadly, this won’t be it. My hot take is that this anime adaptation of Uzumaki was over hyped and thus over-hated. Yet, I cannot even blame fans (and haters) for feeling let down for this was supposed to be the chosen one–the adaptation to break “the curse.”
I’ll forget Uzumaki, in time (It won’t be hard!), and I’ll return to Junji Ito’s manga as there’s still years of his work for me to devour. I’ll get back to dreaming that one day, the curse will be broken, and fans can rejoice of a faithful, stunning, consistent adaptation that will make us all proud and emotionally invested–the right way for such an incredible source material. Until then, we wait. I truly feel like I was baited and hooked for a series adaptation that did not live up to what we all hoped it would be or what was promised. Shame, but I’m not spiraling out over it anymore or longer than I have to.
WHEW. This was hard to write. Have thoughts? Feel Bamboozled? Join us in the comments section for a group therapy session.
Love anime? So do we! See what else we have to offer on the site via anime here!
Want to get Black Nerd Problems updates sent directly to you?
Sign up here! Follow us on Twitter, Facebook, YouTube, Twitch, and Instagram!
The post ‘Uzumaki’ Series Results in Being Fumbled and Forgettable appeared first on Black Nerd Problems.
Months ago, I wrote a primer guide introducing audiences to Look Back once the trailer for its animated adaptation dropped.
Look Back follows the coming-of-age tale of Ayumu Fujino, a super confident girl and her shut-in classmate, Kyomoto. The two first cross paths over a friendly rivalry that started in elementary school upon discovering their shared love of manga creation, which eventually blossoms into camaraderie as they mature into their young adulthood.
As for my favorite Tatsuki Fujimoto manga, I could not wait for the animated adaptation that brings a tale on growing up, maturity, and cherishing those we call friends. I knew that I wanted to go watch and review it, so off I went Sunday night to do just that.
Spoilers big and small up ahead!
I was so looking forward to watching Look Back in theaters, and the first five minutes or so cemented that it was in fact, a great idea on my end. Opening to artist Ayumu Fujino and her artwork by way of her four panel manga strips, audiences get to see her short manga animated on the big screen! Seeing those comics come to life visually stunned me and caught the theater by surprise as laughter could be heard around the room. I LOVE the artistic flair that is added to certain scenes through the film as decided by the animation team, like exploring the emotions of Fujino in the scene where she walks home in the rain after first meeting Kyomoto.
Let me set up the scene for you: Fujino–after giving up on manga- has met her then-rival, found out that she was looked up to and seen as a mentor, even referred to as Sensei-teacher by the then shut-in but incredibly talented student. She leaves the girl feeling validated and almost marches home with glee, stomping and jumping in puddles–her body language really alive on the screen and the animators took time to emotionally express the culmination of her younger self’s victory. It is an impressive animation segment of the story where I believe Studio Durian asked themselves: How can we extend the scene from the few pages in the manga and make the audience feel a part of this character’s emotions?
The music in Look Back is composed by Haruka Nakamura (composer, producer and multi-instrumentalist based in Tokyo, Japan) who some anime fans may know for his work on a Nujabes tribute and for Trigun Stampede. Here, his dedication to the piano in the making of the soundtrack for the film gave me a new appreciation of the musical instrument and how at home it sounded in all the music I heard for the film. Look Back’s title song, “Light Song” with vocals by Urara (which is included in the film trailer) sets a nostalgic tone for the film which tonally feels appropriate and helped make it a song I wanted to listen to again and again.
Sometimes when fans talk about adaptation in anime, some of the finer points of the original work gets lost in the sauce–to much disappointment from fans everywhere. While watching the film in theaters, I was happy to see the motifs and visuals from the manga: see the back of Fujino at her desk over the years, starting in elementary school, later with Kyomoto at her feet at her own desk. Seeing the windows, doors and the two girls together in their youth, especially with the overly confident Fujino leading the way for her friend through crowds and streets helped me place the story beats in my head as I watched them along with others in the dark theater.
Seeing such attention to detail in the four panel comics and the montages of the girls creating manga and enjoying themselves included in the movie reminded me that this was an adaptation made with much respect to Tatsuki Fujimoto and his widespread, critically acclaimed manga that the film adapts. I am obviously a big fan of this adaptation, and I’m placing it on a personal list of ‘anime adaptation done right’ in my head–glancing at social reveals that many fans feel the same. The film also holds a pretty decent surprise via Rotten Tomatoes, as well.
Actress Yumi Kawai, perhaps best known for her roles in Plan 75 (2022), Desert of Namibia (2024) and Shigatsu ni nareba kanojo wa (2024) stars as the voice of the more confident Ayumu Fujino. Mizuki Yoshida is perhaps best known for her acting in Alice in Borderland (2020), The Lump in My Heart (2022) and Mayhem Girls (2023) accompanies Kawai as her best friend and creative collaborator on screen as the more timid Kyomoto.
While most fans make take to their more explosive and confrontational scenes in the film, I think both actresses really show us their mettle in the quieter scenes like when Mizuki Yoshida (as Kymototo), thanks Yumi Kawai as (Fujino) for getting her– a shut in student out that room– and into the world. Such quieter and more subtle scenes like this in the film help flesh out the friendship of the girls and the years that bond them together.
The animated credits, that I highly suggest that you sit through, is a subtle and moving part of the story–even if it serves as an animated end-cap. Paying attention to the voice acting talent section will reveal a surprising and beloved voice acting talent credited! (Big Hint: I’m high-fiving my fellow The Vision of Escaflowne fans!) The credits also serve as a quiet time for reflection for viewers seeing that solo character coming back to her desk and working, having a piece of their former friend with them.
Look Back’s North American film distributor included a wonderful surprise after the film (as they are known to do, we love GKids extras!) I was able to watch a prerecorded, subtitled Q&A with director Kiyotaka Oshiyama and two of the main voice actresses of Kyomoto (Mizuki Yoshida) and Fujino (Yumi Kawai). The director who also wrote the screenplay elaborated on taking his time on adapting the original and stopping and coming back to the project to give it his best effort when he felt it wasn’t quite heading in the right direction.
My fellow audience members in the theater got to watch him talk about the care and consideration that went into respecting and adapting the original source material in detail. With the animation, he spoke about the free reign they, as a team, had in making certain scenes ‘pop.’ My fellow BNP contributor Mikkel reminded me of Oshiyama saying that as a director, he went back and made sure the animators didn’t erase their sketch lines because he wanted that imperfection included in–this just stands as an incredible glimpse into the process of making this film and how aligned the creative team were in honoring Fujimoto’s manga.
Watching the segment with the voice actresses talk about their roles revealed so much like Yumi Kawai’s admission that this was her very first voice acting role and the actress favorite lines in the film! I was moved by them admitting their nerves and working around trying to best present the characters’ (voices) for the film. It is my hope that this special is accessible to viewers everywhere once the film hits streaming services and DVD.
Look Back isn’t a long film, the run time is maybe a few minutes short of an hour–and it doesn’t need to be longer, to be a stand out film that emphasizes friendships, connections and creative outlets. When I think back on this film, I know that I highly recommend it to others. If I could paraphrase what I wrote in the Black Nerd Problems Discord: I wanted to watch this again the next day–everyone should bring tissues whether you watch it in theaters or wait for it to be on streaming services.
Seeing Fujino back at her desk and the changes she makes through the film alone, then with Kyomoto and then alone again helps me process their story of pride, validation, creativity. and the heart-breaking tragedy that separates them. I am reminded of why I loved the manga in the first place. This brilliant coming-of-age story that dared to stand out and becomes a great force to recognized with here on the big screen, animated. Look Back is a delightful, heart-breaking film adaptation dedicated to the main core of its source material: focusing in on art, artists, and the pursuit to make and the sacrifices made in that pursuit.
LOOK BACK from Kiyotaka Oshiyama based on the manga by Tatsuki Fujimoto in theatres starting October 4
See screening times, additional cast information and more of the GKIDS website.
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The post REVIEW: ‘Look Back’ is the Stand Out, Coming-of-Age Adaptation We All Need to Watch appeared first on Black Nerd Problems.
Every year, there’s typically a few holiday movies released to get us excited for Christmas. Lately, some have taken different approaches in a creative way like Violent Night, Spirited, and Candy Cane Lane. Red One pairs Dwayne “The Rock” Johnson (Callum Drift) and Chris Evans (Jack O’ Malley) on a mission to save Santa Claus (played by J.K Simmons) after he is suddenly kidnapped by Gryla (Kiernan Shipka).
I’ve long thought Simmons was born to play J. Jonah Jameson in the Spider-Man flicks, but I could have been wrong as he is the perfect Santa Claus. He exhibits charisma, charm, and a great amount of warmth that is different from previous actors who have donned the red suit. The clock is ticking as Drift must find Saint Nick and bring him back to the North Pole before it’s time to set out to deliver presents. He enlists the help of O’Malley as he is the world’s most notorious bounty hunter and can track down any and everything. Lucy Liu plays Zoe, Callum’s director, and aids the duo along their path to save Christmas.
While it is a Christmas movie, there are several layers to unpack with a heartwarming message within its core. O’Malley has a son that he has been quite distant and unavailable for. As an avid gambler leading a rough around the edges lifestyle, he felt it best to allow the young boy to take on his mother’s new husband as a father figure. As the film goes on, he begins to see the importance of being present regardless if he thinks he’s a good fit as a dad.
It’s important to note that Red One knows exactly what it is and doesn’t try to be more than that. Does it have wild moments and characters? Yes. Are there aspects of the film that could have been left out entirely as it didn’t contribute much to the story? Yes. Going into this film, you have to know you’re in for a fun ride full of holiday themes with an entertaining cast, and that is exactly what a Christmas movie is. Did they check off all the boxes without being a duplicate of previous films? Yes.
One thing that worked really well is the amount of hilarious comedic moments, and, as a personal fan of Evans, I was quite surprised to see how funny he can be. This is one of the first times we’ve seen him in a role that portrays him as up to no good and somewhat sleazy, which adds to the “deadbeat” dad storyline.
We need more roles like this for Evans. He shined in the film, when ironically it is Johnson who is heavily marketed as the main focal point. This type of character isn’t super new to Evans as he tapped into his funny side years ago in Losers, Fantastic Four, and What Your Number?
Johnson has some moments himself as well as he has just resigned at the commencement of the film as Santa’s right-hand man. We go the whole film without knowing why until the very end when it is revealed, and it is a bittersweet moment.
There are some things that didn’t work but ultimately don’t take away from the joyfulness of Red One. For starters, some of the moments that include Saint Nick’s brother, Krampus (Kristofer Hivju), are a bit drawn out and could have been concluded. It’s a solid addition to the story seeing how that is a legit nod to Santa actually having a brother.
Shipka as Gryla is a terrifying villain who plays like Scarlet Witch but with a Christmas agenda. There’s a moment when she embodies Ted (Nick Kroll), and it was an unbearably drawn-out cringe moment that I truthfully couldn’t wait to be over.
The last piece that didn’t work is the chemistry between Evans and his son, Dylan (played by Wesley Kimmel). I couldn’t place my finger on what the true issue was, whether it was Evans not coming off as a dad or if the kid being as old as he was didn’t translate, but regardless, it was a missed unfortunately.
Watching this play out in IMAX was a thrilling treat, especially given the fact that at its initial announcement, the film was supposed to be released on Amazon’s Prime Video streaming platform (I’m still curious about that switch up because the press run has been a lot and quite exciting to watch). One thing is for certain: this film isn’t for critics, it’s for the audience to enjoy especially the kiddos. Red One will be one of those entries on Rotten Tomatoes where the audience score will shine while it potentially gets torn up on Tomatometer.
Regardless, it’s truly a blast of a film with its funny moments, holiday cheer, and over-the-top action sequences that make it fun for the whole family. It’s the perfect film to take the out-of-town fam bam to when they come in for Thanksgiving to get everyone excited for Christmas.
Red One will be released in theaters November 15, 2024.
The post Review: Dwayne Johnson and Chris Evans Delivers in the Holiday Action Comedy ‘Red One’ appeared first on Black Girl Nerds.