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Movie Review

Jack Black and company revisit familiar ground in Kung Fu Panda 4

Alex Bentley
Mar 7, 2024 | 3:03 pm
Shifu (Dustin Hoffman) and Po (Jack Black) in Kung Fu Panda 4

Shifu (Dustin Hoffman) and Po (Jack Black) in Kung Fu Panda 4

Photo courtesy of DreamWorks Animation

Since Dreamworks Animation made its debut in the late 1990s, it has had some highly successful franchises, including Shrek, Madagascar, Kung Fu Panda, and How to Train Your Dragon. It hasn’t been shy about doling out sequels either, as each of those has received at least three entries. Only Shrek received a fourth film until now when, eight years after the previous film, Kung Fu Panda 4 has finally been released.

As always, it centers on the panda Po (voiced by Jack Black), who’s enjoying his status as the Dragon Warrior. But when Shifu (Dustin Hoffman) tells him that Po is to become the new Spiritual Leader of the Valley of Peace, Po must find someone worthy of succeeding him as Dragon Warrior. A cursory search yields some impressive candidates, but Po is not exactly ready and willing to cede his title just yet.

He’s even less interested when The Chameleon (Viola Davis), a shape-shifter who can literally take the form of anyone she comes across, starts to make plans to summon all the master villains Po had previously vanquished. Using the help of new friend Zhen (Awkwafina), Po sets out to find The Chameleon, with others in his life, like Po’s dad Li (Bryan Cranston), on their own adventures.

Directed by Mike Mitchell and Stephanie Stine, and written by Jonathan Aibel, Glenn Berger, and Darren Lemke, the film has all the hallmarks of the previous three Kung Fu Panda movies. That means that it has plenty of comic hijinks and the occasional whiz-bang fight sequences, but not a lot of surprises. The filmmakers aren’t trying to reinvent the wheel; they’re just looking to deliver a similar experience to what fans of the series have loved before.

While there’s nothing inherently wrong with that approach, it also doesn’t make for a very stimulating watch. Each of the returning characters acts exactly how they’ve acted in the past, even when faced with the new situations and/or new characters. By the time you get to the fourth film, there needs to be something that the audience hasn’t seen before, and there’s precious little that this film has to offer in that regard.

The film’s two major new characters – The Chameleon and Zhen – are a mixed bag. Despite the film being weighed down by Po doing the same old, same old, The Chameleon actually makes for a pretty good villain. Zhen makes for an interesting presence as a character, but the fact that she’s voiced by Awkwafina – who’s been in no fewer than seven animated movies in the past five years – distracts from her story arc.

Black is as good as ever as the voice of Po, even if the character doesn’t get as many big moments as in past films. The key for any good animated character is to be distinctive, so in that way Cranston, Davis, Awkwafina, and Dustin Hoffman work well, even if not all of them are showcased properly. Other well-known names like Seth Rogen, Ke Huy Quan, Ronny Chieng, and YouTuber Mr. Beast don’t make much of an impact.

At this point, a property like Kung Fu Panda is only being made to continue its profitability for its parent company. The fourth film may give young fans some nostalgia for characters they grew up with, but it’s a far cry from the best the animation world has to offer.

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Kung Fu Panda 4 opens in theaters on March 8.

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Movie Review

Andrew Garfield leads peasant rebellion in medieval film The Uprising

Alex Bentley
Sep 10, 2026 | 12:15 pm
Andrew Garfield in The Uprising
Photo by Betina La Plante/Focus Features
Andrew Garfield in The Uprising.

Writer/director Paul Greengrass made his name with a cinéma vérité style of filmmaking that brought immediacy and depth to three Jason Bourne films, United 93, Captain Phillips, and more. In The Uprising, he uses those skills to tell the story of the so-called Peasants’ Revolt in 14th century England.

Greengrass wastes no time starting the main plot as Ploughman (Andrew Garfield) and his fellow villagers object to onerous taxes put on them by the country’s nobility, led by the young King Richard II (Woody Norman), to fund an ongoing war. Ploughman initiates a violent response over the tone-deaf — and unseemly — way the king’s guard go about their business, and the rebellion soon starts to spread across the countryside, with the citizens looking for a degree of autonomy.

The ever-expanding group makes their way toward London to try to make their case to the king himself. Meanwhile, the king’s top advisors, including Archbishop Sudbury (Stephen Dillane) and Treasurer Hales (Tom Hollander), try to usurp power from the inexperienced monarch even as the king’s mother (Katherine Waterston) tries to get him to be more assertive.

The history of the English monarchy is long and lurid, as Shakespeare detailed in multiple plays, including Richard II. Though the events in the film took place almost 650 years ago, it’s easy to see parallels between what the peasants were fighting for and modern-day politics. Greengrass’ storytelling intent is solid, and the righteous anger the citizens feel is initially relatable and palpable.

But the populism theme of the story soon gets bogged down in drudgery and minutiae that is difficult to understand, especially when the details are lost in the thick regional English accents. The leaders of the rebels — including John Ball (Jamie Bell), Wat Tyler (Cosmo Jarvis), and Alyce (Thomasin McKenzie) — are shown doing a lot of planning, but the strong feelings they have about their quest don’t come across well, leaving the audience as passive observers.

When there is action, Greengrass and his team employ a frenetic style that is not great for comprehension. While the gist of what is happening and what side is winning is legible, individual moments go by so quickly so as to be nearly meaningless. Save for Ploughman, any connection that has been made with various characters proves futile, as Greengrass doesn’t seem to have any time for emotion. Scenes that should feel thrilling or heartbreaking instead come off as empty.

Garfield is a two-time Oscar nominee who has done great work across multiple genres. He’s fine in this role, but whether it’s the story, the filmmaking, or something else, he’s not as captivating as usual. The same goes for other strong actors like Bell, McKenzie, Dillane, Hollander, and Waterston, who each seem to be giving their all to their performances but are somehow muted in the process.

Done right, The Uprising could have been a rip-roaring account of people standing up against their oppressors. What Greengrass has made, though, is a film that can’t translate its medieval story for a modern audience and concentrates too much on unexciting elements and too little on thrilling ones.

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The Uprising is now playing in theaters.

movies film reviews
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