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    Movie Review

    Sonic the Hedgehog speeds to the front of video game adaptations

    Alex Bentley
    Feb 12, 2020 | 2:50 pm
    Sonic the Hedgehog speeds to the front of video game adaptations
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    Movies based on video games are notoriously bad. This Vulture headline following the 2018 release of the reboot of the Tomb Raider series — “All 33 Video-Game Movies, Ranked from Least Bad to the Absolute Worst” — underscores that point. Only films that play off the video game aesthetic — the Jumanji series, the upcoming Free Guy — seem to work.

    The latest movie to take a video game character from the arcade to the big screen, Sonic the Hedgehog, is no masterpiece, but it has enough going for it that it could arguably vie for the title of best video game adaptation ever. In this story, Sonic (voiced by Ben Schwartz) is an alien creature who was transported to Earth by magical rings that let him escape danger whenever it draws near.

    He lives in the wilds of Montana, unbeknownst to anybody but Crazy Carl, the local kook. But when he inadvertently unleashes a massive electrical burst, he grabs the attention of local sheriff Tom Wachowski (James Marsden), as well as government official Dr. Ivo Robotnik (Jim Carrey), who’s sent to investigate the mysterious disturbance.

    The film, directed by Jeff Fowler and written by Patrick Casey and Josh Miller, goes above and beyond expectations by delivering a coherent storyline with emotions that go more than skin deep. Sonic’s plight — he’s essentially banished from his home planet and lives for years alone in a cave — grabs at the heartstrings right from the start. Tom is also given a nice backstory with his professional ambitions and marriage to local veterinarian Maddie (Tika Sumpter).

    Sonic and Tom’s unwitting friendship is naturally played for laughs, but the filmmakers for the most part keep things on the up-and-up, eschewing the ultra-lowbrow humor that populates many movies aimed at children. That’s not to say that the comedy is all that sophisticated, but none of it will make adults groan or feel bad for finding it funny.

    There was much hue-and-cry over the look of Sonic when the first trailer was released in April 2019, bemoaning his weird eyes, teeth, and toned body. After a complete reworking of the character, he comes off much better, with big, expressive eyes (though not as big as the original character), regular teeth, and a normal body. It’s his speed that’s most impressive, and the film does a great job of showing it off, including a couple of scenes that echo those of Quicksilver in recent X-Men movies.

    Aside from his current Showtime series Kidding, Carrey has been in the Hollywood wilderness for a while. He’s back as his manic best here, almost matching Sonic for sheer energy. While he’s not everyone’s cup of tea, there are few who can equal his ability to entertain just with his body movements and facial expressions. Dr. Robotnik is supposed to be over-the-top, and Carrey is the ideal actor to portray him as such.

    Schwartz, perhaps best known for playing Jean-Ralphio on Parks and Recreation, has an extensive voiceover filmography, and he does a great job at making Sonic relatable and fun. Marsden and Sumpter, as well as co-stars Adam Pally and Neal McDonough, give the film more acting talent than it actually needs, elevating even relatively mundane scenes.

    A mid-credits stinger strongly teases a second movie is already in the works, and it’s hard to be mad at the filmmakers’ chutzpah. Sonic the Hedgehog is a much better movie than expected, and if they deliver anything near this level the next time around, moviegoers will have much to cheer.

    Tika Sumpter, James Marsden, and Sonic in Sonic the Hedgehog.

    Tika Sumpter, James Marsden, and Sonic in Sonic the Hedgehog
    Photo courtesy of Paramount Pictures and Sega of America
    Tika Sumpter, James Marsden, and Sonic in Sonic the Hedgehog.
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    Movie Review

    Iranian film It Was Just an Accident is a thriller with deep meaning

    Alex Bentley
    Oct 31, 2025 | 2:02 pm
    Mohamad Ali Elyasmehr, Majid Panahi, and Hadis Pakbaten in It Was Just an Accident
    Photo courtesy of Neon
    Mohamad Ali Elyasmehr, Majid Panahi, and Hadis Pakbaten in It Was Just an Accident.

    American filmmakers, for the most part, enjoy luxury and freedoms when making movies in the United States that filmmakers in other countries could only dream of. Not only does Iranian writer/director Jafar Panahi not have millions of dollars with which to make his films, he also has to deal with a government that has previously arrested him for being critical of their policies.

    And yet he persists, returning to the screen with the taut It Was Just An Accident. The film begins with a kind of misdirect, showing Eghbal (Ebrahim Azizi) and his family driving home at night, during which they strike and kill a dog. That accident sends Eghbal into the orbit of Vahid (Vahid Mobasseri), who works at a business that helps repair Eghbal’s car.

    Recognizing the distinctive sound of Eghbal’s prosthetic leg, Vahid believes him to be the same man who kidnapped and tortured him and others in a recent government arrest spree. Desperate to confirm his suspicions, Vahid kidnaps Eghbal and takes him to a series of people who were also imprisoned under the man they named “Peg Leg,” including Shiva (Mariam Afshari), a wedding photographer; Golrokh (Hadis Pakbaten), the bride being photographed; and more.

    Most filmmakers have the ability to use sets and take as much time as they need - within reason - to get the shot they need. Panahi employs a type of guerrilla filmmaking rarely seen these days, stealing shots in broad daylight while trying not to gain the notice of Iranian authorities. The daring nature of the making of the movie infuses the story with an extra tension that elevates what is otherwise a relatively simple story.

    The film puts the audience directly in the shoes of the various characters as each of them wrestles with the complicated feelings arising from their actions. As they were all blindfolded while imprisoned, they can’t be 100 percent sure they have the right man, and debates/arguments between the characters keep viewers guessing as to who he is and what they will do with him. Even if he is who they think he is, will enacting some kind of revenge on him soothe their consciences?

    Through it all, the idea that a former political prisoner is making a film about former political prisoners who are engaging in conduct that could get them arrested again - just as Panahi is doing with his film - makes this meta filmmaking on another level. The simplicity of the story belies the complexity underscoring the entire film, and it delivers one of the most impactful endings of any recent movie.

    While a few of the actors have acted before, including in previous Panahi films, most of them are making their first appearance in a movie. Despite this lack of experience, each of them does well, especially Mobasseri and Afshari, who share a number of heated scenes that bring out the best in both of them.

    It Was Just an Accident is the type of film that constantly keeps the audience on their collective toes, never knowing where it will head next. And that’s even if you didn’t know the details of how and why it was made; once that is discovered, it becomes something much deeper and more important than most other movies that will be released in 2025.

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    It Was Just an Accident is now playing in select theaters.

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