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    Movie Review

    Project Power dives deeper than your usual superhero movie

    Alex Bentley
    Aug 14, 2020 | 12:05 pm
    Project Power dives deeper than your usual superhero movie
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    Most movies with characters that have superpowers deal with people who either innately have their powers, like Superman or Thor, or who inadvertently gain powers through experimentation or an accident. The new Netflix film Project Power imagines a world in which getting a superpower could be as easy as taking a pill — and just as dangerous as other illicit drugs.

    Robin (Dominique Fishback) is one of a group of people who’ve been recruited by a shadowy organization to sell a new drug called Power, which claims to give its users temporary superpowers. The trouble is that a user’s power isn’t known until they actually take the drug, and many people have adverse reactions, including death.

    Frank (Joseph Gordon-Levitt) is a New Orleans police officer who’s trying to track down the leaders of the organization. He also happens to be taking the drug as a method of fighting the crime instigated by other users. And Art (Jamie Foxx) is a father on the hunt for his daughter, Tracy (Kyanna Simone Simpson), who was kidnapped by the organization for reasons that become clear as the film goes along.

    Directed by Henry Joost and Ariel Schulman (Catfish, Paranormal Activity 3 & 4) and written by Mattson Tomlin, the film deals with thornier issues than your usual superhero movie. Power as a drug is usually a metaphorical idea, but here it’s a literal one, and the concept is scary to contemplate. Few would be able to resist trying it, and — if they survived — the addiction to the resulting power would be more formidable than almost anything else imaginable.

    The characters at the center of the narrative are relatively principled, as Robin is one of the few dealers who doesn’t partake in the drug, and Frank and Art are trying to stop its distribution despite having both tried it. They appear to be rare individuals, though, with the influence of the organization being wider and more far-reaching than even they suspect.

    The action sequences mostly live up to the idea of ordinary people suddenly developing superpowers, although the impact strangely diminishes when the film goes too heavy with the CGI. One of the best sequences occurs when a woman with ice powers is stuck inside a glass enclosure as she watches a massive fight happen outside. The creativity of what’s shown and not shown during the scene is impressive.

    Fishback, Gordon-Levitt, and Foxx essentially trade off being the lead throughout the film, and each of them does well in their respective roles. Fishback is a rising star thanks to roles in The Deuce and The Hate U Give, and she shows why in this film. Neither Gordon-Levitt nor Foxx go too far afield from their usual roles, but they make the most of their time on screen.

    Project Power is the opposite of wish fulfillment of the idea of gaining superpowers. Instead, it’s a cautionary tale about what can happen if power is unchecked, and perhaps an idealization of some people always being willing and able to do the right thing.

    ---

    Project Power is available exclusively on Netflix.

    Jamie Foxx in Project Power.

    Jamie Foxx in Project Power
    Photo by Skip Bolen/Netflix
    Jamie Foxx in Project Power.
    movies
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    Movie Review

    The Mandalorian and Grogu is not the Star Wars movie fans are looking for

    Alex Bentley
    May 21, 2026 | 11:49 am
    The Mandalorian (Pedro Pascal) and Grogu in The Mandalorian and Grogu
    Photo courtesy of Lucasfilm
    The Mandalorian (Pedro Pascal) and Grogu in The Mandalorian and Grogu.

    At one point in the 2010s, there were plans to release a different Star Wars movie every year, with an “Episode” film (like The Rise of Skywalker) alternating with anthology movies like Rogue One. But when 2018’s Solo underperformed, those plans changed, and the pandemic made any Star Wars movie less appealing, with Lucasfilm shifting heavily toward TV shows like The Mandalorian.

    The popularity of that show in particular has led to the return of Star Wars to the theaters in the form of Star Wars: The Mandalorian and Grogu. The film follows the bounty hunter (Pedro Pascal) and his Force-sensitive adopted child as they travel around the universe, hunting down the remaining members of the Galactic Empire (the film, like the series, is set in the years following The Return of the Jedi).

    The main thrust of the film has the duo, at the behest of Colonel Ward (Sigourney Weaver) of the New Republic, trying to track down Rotta the Hutt (voiced by Jeremy Allen White), the son of the late Jabba the Hutt, who’s supposedly been kidnapped. The discovery of the ultra-buff Rotta sets them down a different path than they thought, one that puts Mando and Grogu in the crosshairs of Rotta’s twin cousins.

    Directed by Jon Favreau and written by Favreau, Dave Filoni, and Noah Kloor, the film is perfectly fine if you consider it to be an extended Mandalorian episode, but at no point does it rise to the level of a great movie experience.

    The film, like the show, is defined by the Mandalorian’s unflappable nature and strict code, as well as Grogu’s mischievousness and unquenchable appetite. Right from the start, the Mandalorian has a “take no prisoners” approach, laying waste to all comers in a PG-13 sort of way. Grogu is mostly along for the ride, occasionally breaking out the Force to help out, but mostly serving as the comic sidekick. Their relationship keeps the film watchable, but only just barely.

    The biggest issue, one which was starting to affect the Disney+ show as well, is that the story never seems to go anywhere despite the fact that its two main characters are constantly on the move. No matter how big or ferocious the opponent they face, the overall stakes are so low as to almost be nonexistent. If Favreau and Filoni (who has a small part in the film) are trying to build toward some larger story, it doesn’t come through on screen.

    The film’s action fits in well with sequences that have been put forth in previous Star Wars films, but to call them “cinematic” would be stretching things. There are all manner of monstrous creatures that the duo comes across in their adventures, but only a few of them are memorable. The most interesting sequence features a snake/dragon hybrid that Mando fights in a watery pit that is reminiscent of the trash compactor scene in the original Star Wars. Much of the rest of the film blends together in a mish-mash of uninteresting opponents.

    For a live action film, there are precious few actors who actually show their faces. The Mandalorian removes his helmet exactly once, making it clear that Pascal is merely providing the voice for the character. White affects a tough voice for Rotta that may be canon, but frankly sounds ridiculous coming from the character’s body and in no way resembles White’s actual voice, which negates his casting altogether. Weaver is close to a non-factor in her small role, but Martin Scorsese is kind of fun voicing a four-armed fry cook/informant.

    The cachet of Star Wars and the fun of The Mandalorian series may be enough for many to enjoy the inoffensive lark that is The Mandalorian and Grogu. But the film does not come close to reaching the heights of the best Star Wars movies, and does nothing to indicate what to expect from the valuable intellectual property going forward.

    ---

    Star Wars: The Mandalorian and Grogu opens in theaters on May 22.

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