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    Movie Review

    Jumanji: The Next Level earns another high score in comedy

    Alex Bentley
    Dec 12, 2019 | 2:01 pm
    Jumanji: The Next Level earns another high score in comedy
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    Movies based on video games have been notoriously bad over the years, with very few managing get across what makes video games appealing. So, naturally, it took a movie about a fake video game, Jumanji: Welcome to the Jungle, to succeed where so many others had failed. Now the makers of that 2017 film are hoping that lightning can strike twice with Jumanji: The Next Level.

    The four unfortunate teenagers who got sucked into the video game in the first film do so again after Spencer (Alex Wolff) unadvisedly goes back into the game to search for extra meaning to his life. In the midst of a rescue mission by his friends, the game glitches, grabbing not only Martha (Morgan Turner) and Fridge (Ser’Darius Blain), but also Spencer’s grandfather, Eddie (Danny DeVito), and his friend, Milo (Danny Glover).

    That glitch mixes up their characters, with Eddie becoming Dr. Bravestone (Dwayne Johnson), Milo becoming “Mouse” Finbar (Kevin Hart), Fridge becoming Professor Oberon (Jack Black), and Martha remaining as Ruby Roundhouse (Karen Gillan). The switched personalities offer plenty of opportunities for the actors, especially Johnson and Hart, to act completely unlike their normal selves.

    In fact, the plot of the film — which involves something about the characters having to recover a stolen jewel in order to defeat the game — takes a backseat to the humor that comes from having each of the actors/characters in the game take on the personalities of the actors/characters outside of the game. That sentence can make things sound complicated, but it works like a charm in the context of the film.

    Having Johnson and Hart act like old men who now have the physical gifts of younger men is the gift that keeps on giving. You’d think that Johnson scrunching up his face or Hart talking slowly would get old, but those and other “older” traits, combined with the physicality of the action scenes, works every time.

    Gillan and Black get in on the fun to a lesser degree. Their less distinctive non-game counterparts are not as entertaining, but each of them knows how to amp things up to keep the movie humming. Late movie appearances by Nick Jonas, Awkwafina, and a majestic black horse only make the proceedings more fun.

    Writer/director Jake Kasdan and co-writers Jeff Pinker and Scott Rosenberg, each of whom worked on the first film, have a knack for keeping the pedal to the metal without ever going off the road. They mix together clever twists, new elements, and callbacks, including a fantastic nod to the original 1995 film, for a result that works extremely well.

    Johnson has made a number of questionable decisions in his acting career, but being part of the growing Jumanji franchise is not one of them. Jumanji: The Next Level disproves the law of diminishing returns with sequels thanks to a bevy of humor, action, and actors exploring their full capabilities.

    Jack Black and Karen Gillan in Jumanji: The Next Level.

    Jack Black and Karen Gillan in Jumanji: The Next Level
    Photo by Frank Masi
    Jack Black and Karen Gillan in Jumanji: The Next Level.
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    Movie Review

    Film sequel Avatar: Fire and Ash is a technical and visual feast

    Alex Bentley
    Dec 18, 2025 | 3:15 pm
    Oona Chaplin in Avatar: Fire and Ash
    Photo courtesy of 20th Century Studios
    Oona Chaplin in Avatar: Fire and Ash.

    For a series whose first two films made over $5 billion combined worldwide, Avatar has a curious lack of widespread cultural impact. The films seem to exist in a sort of vacuum, popping up for their run in theaters and then almost as quickly disappearing from the larger movie landscape. The third of five planned movies, Avatar: Fire and Ash, is finally being released three years after its predecessor, Avatar: The Way of Water.

    The new film finds the main duo, human-turned-Na’vi Jake Sully (Sam Worthington) and his native Na’vi wife, Neytiri (Zoë Saldaña), still living with the water-loving Metkayina clan led by Ronal (Kate Winslet) and Tonowari (Cliff Curtis). While Jake and Neytiri still play a big part, the focus shifts significantly to their two surviving children, Lo’ak (Britain Dalton) and Tuk (Trinity Jo-Li Bliss), as well as two they’ve essentially adopted, Kiri (Sigourney Weaver) and Spider (Jack Champion).

    Miles Quaritch (Stephen Lang), who lives on in a fabricated Na’vi body, is still looking for revenge on Jake, and he finds help in the form of the Mangkwan Clan (aka the Ash People), led by Varang (Oona Chaplin). Quaritch’s access to human weapons and the Mangkwan’s desire for more power on the moon known as Pandora make them a nice match, and they team up to try to dominate the other tribes.

    Aside from the story, the main point of making the films for writer/director James Cameron is showing off his considerable technical filmmaking prowess, and that is on full display right from the start. The characters zoom around both the air and sea on various creatures with which they’ve bonded, providing Cameron and his team with plenty of opportunities to put the audience right there with them. Cameron’s preferred viewing method of 3D makes the experience even more immersive, even if the high frame rate he uses makes some scenes look too realistic for their own good.

    The story, as it has been in the first two films, is a mixed bag. Cameron and co-writers Rick Jaffa and Amanda Silver start off well, having Jake, Neytiri, and their kids continue mourning the death of Neteyam (Jamie Flatters) in the previous film. The struggle for power provides an interesting setup, but Cameron and his team seem to drag out the conflict for much too long. This is the longest Avatar film yet, and you really start to feel it in the back half as the filmmakers add on a bunch of unnecessary elements.

    Worse than the elongated story, though, is the hackneyed dialogue that Cameron, Jaffa, and Silver have come up with. Almost every main character is forced to spout lines that diminish the importance of the events around them. The writers seemingly couldn’t resist trying to throw in jokes despite them clashing with the tone of the scenes in which they’re said. Combined with the somewhat goofy nature of the Na’vi themselves (not to mention talking whales), the eye-rolling words detract from any excitement or emotion the story builds up.

    A pre-movie behind-the-scenes short film shows how the actors act out every scene in performance capture suits, lending an authenticity to their performances. Still, some performers are better than others, with Saldaña, Worthington, and Lang standing out. It’s more than a little weird having Weaver play a 14-year-old girl, but it works relatively well. Those who actually get to show their real faces are collectively fine, but none of them elevate the film overall.

    There are undoubtedly some Avatar superfans for which Fire and Ash will move the larger story forward in significant ways. For anyone else, though, the film is a demonstration of both the good and bad sides of Cameron. As he’s proven for 40 years, his visuals are (almost) beyond reproach, but the lack of a story that sticks with you long after you’ve left the theater keeps the film from being truly memorable.

    ---

    Avatar: Fire and Ash opens in theaters on December 19.

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