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Movie Review

Early Man comes up short of its goal as an animated film for the ages

Alex Bentley
Feb 16, 2018 | 3:50 pm
Early Man comes up short of its goal as an animated film for the ages
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As a British animation company, Aardman Animations naturally makes films that skew toward the mindset and aesthetics of that side of the pond. Some are subtle, some are more overt, but the ones that have been more successful have attempted to make the experience universal.

You would think that their latest offering, Early Man, wouldn't be that provincial, as it promised to tell a story about how people of the Stone Age ran into trouble when the Bronze Age started. Director Nick Park and his team could have mined the anachronistic clash for all sorts of funny moments and interactions, with perhaps a few nods toward more modern jokes.

Instead, the film is almost entirely about … football (aka soccer). There are plenty of gags about issues that early man might face (giant carnivorous ducks, anyone?). However, the bulk of the narrative involves Dug (Eddie Redmayne) attempting to whip his ragtag group of Stone Age people into proper football shape to take on the highly skilled Bronze Age team put together by Lord Nooth (Tom Hiddleston).

It's clear in the way the film focuses on certain aspects of the game — prima donna players, erudite announcers, etc. — that it is aiming at a very specific, European audience. Soccer may be the most popular sport on the planet, but only certain people will be able to relate to the finer points of the movie.

Unfortunately, this single-mindedness has a dulling effect on Aardman's normally reliable general humor. It's still possible to enjoy the dimwitted characters with their signature gap-toothed overbites, and the non-sequiturs that randomly pop up are a delight. But since they're in service of a plot that's less interesting than usual, it takes away from the overall product.

The level of skill it takes to make Aardman's stop-motion animated films remains highly impressive, but the story of Early Man will likely prevent that artistry from reaching as broad an audience as possible.

Dug (Eddie Redmayne) in Early Man.

Dug (Eddie Redmayne) in Early Man
Photo courtesy of Aardman Animations
Dug (Eddie Redmayne) in Early Man.
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Movie Review

Korean monster movie Hope delivers thrills despite its lengthy runtime

Alex Bentley
Sep 9, 2026 | 12:30 pm
Hwang Jung-Min and Hoyeon in Hope
Photo courtesy of Neon
Hwang Jung-Min and Hoyeon in Hope.

Monster movies can take on all sorts of different flavors, from all-out mayhem to quieter ones where the monster can sometimes be the protagonist. The new South Korean film Hope splits the difference to a degree, delivering action-packed sequences while also attempting to understand the non-humans in a way.

The story starts in medias res, with an unseen creature having already done great damage to a huge bull and laying waste to much of a small Korean town. The local sheriff, Beom Seok (Hwang Jung-Min), tries to take control of the situation in the town, while a group of hunters led by Sung Ki (Zo In-Sung) travel into the nearby woods to see what they can find there.

Thus starts a nearly nonstop, 160-minute epic of each side trying (and mostly failing) to defend themselves against gigantic creatures who seem hellbent on destroying everything in their path. It’s not until 40 minutes into the film that the audience is shown one of the monsters in detail, and the less said the better about what it actually looks like, as the mystery behind it keeps the intrigue going.

That initial section of the film is the best, as Beom Seok — eventually joined by deputy Sung Ae (Hoyeon) — goes on a frantic hunt around the town, always just far enough behind the monster to keep from seeing it. The utter destruction he witnesses and his interactions with various locals are intense and oddly funny, with the hectic conversations he has laced with fear and incredulity over how different people choose to act.

Writer-director Na Hong-jin bounces back and forth between the people in the town and the group in the forest, doing his best to maintain the momentum of the first section. This approach works for a while as each group makes their own discoveries about the creatures and has run-ins with them that more often than not are ill-fated. Using a mixture of relatively good CGI, great production design, and an abundance of gore, the filmmaker shows he knows how to make an effective blockbuster-style film.

The trouble is, he doesn’t know when to stop. Somewhere around the two-hour mark of the movie, the story starts to become repetitive and Hong-jin introduces elements that don’t mesh well with what has come before. For some reason, he decides that some of the creatures should speak, a move that is baffling on several fronts. The biggest one is that they are voiced by English-speaking actors like Michael Fassbender, Alicia Vikander, and Taylor Russell, but each speaks a non-human language, rendering their performances moot.

Jung-min puts in a fantastic lead performance, one that requires him to vacillate between abject terror and in-control leadership. In-Sung is almost as good, although his character requires him to play one note over and over again. Hoyeon, who some may recognize from Squid Game, delivers an extra shot of energy when she enters the film, something she keeps going despite her character being forced to say some bad lines.

If Hong-jin had kept the focus Hope a little tighter, the sci-fi thriller might have ended up toward the top of this year’s films. But by choosing to extend the story into territories that don’t add much to the plot or make much sense, the filmmaker puts a damper on what was a fun and brutal monster movie.

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Hope is now playing in theaters.

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