Zootopia 2 - A Fine Film but Not-So-Fine-A-Follow-Up

 

Playing in Theaters 

Rent on Apple TV and Amazon Prime

        The first Zootopia, released back in 2016, was a monumental achievement in narrative animation. Set in a world populated by anthropomorphic animals (a classic Disney staple), the film offered rich layers of engaging storytelling, a profound narrative, and delightful entertainment, complete with three-dimensional characters, clever dialogue, stunning visuals and action scenes, and mature themes such as systemic racism and drug abuse. Sure, many of its familiar elements had been done before in any number of buddy-cop films, but they hadn't been played with in this particular context. It's awe-inspiring when you remember the film was produced by Disney, the studio I refer to as the biggest @$$#ole in Hollywood. Still, this is a solid example of why it is essential to separate art from the artist; art must be judged on its own merits, not on the creator. 

Zootoipa remains a fantastic film, and I proudly declared it my favorite film of 2016. 

Now, nearly ten years later, Disney has finally released the long-awaited sequel, and while aspects of it were enjoyable and witty in their own way, I am sorry to report that this is not the sequel that Zootopia deserved. Yes, it has a decent story with amazing animation, and the two lead characters are still charming and engaging for many reasons, but the choices in the narrative and thematic elements leave a great deal to be desired, especially given the pedigree of its predecessor. 

Taking place about a week after the events of the first film (already not off to a good start), the story follows our beloved unlikely duo, Judy Hopps (Gennifer Goodwin) and Nick Wilde (Jason Bateman), at the beginning of their partnership in the Zootopia Police Department. While they’re both excited in their own ways about their partnership, they also have a few underlining issues they have yet to resolve with each other and themselves; causing tension and uncertainty amongst themselves and their peers. In an effort to prove themselves, Judy and Nick discover the presence of something that, apparently, hasten’t been seen in Zootopia for a century: a Snake. 

According to history, Snakes and other reptiles were deemed dangerous and untrustworthy, and were cast out of Zootopia; forced into hiding or exiled to other lands. However, upon meeting the snake, a blue viper named Gary (Ke Huy Quan), who has infiltrated their world, Judy and Nick discover clues leading to a massive conspiracy pertaining to the Zootopia’s history and what really caused the distrust and displacement of reptiles. Complicating matters even further, Judy and Nick have been framed for an attempted murder and conspiracy to conspire with the Snake, and are forced to go on the run. With no back up and few resources, the two must solve the case and determine what really brought the Snake to their shores, and in the process, find out what their partnership is really meant to be about. 

On its own merits as a film, it’s okay: the story is good, the message is relevant, and Judy & Nick remain an engaging duo with witty banter and solid chemistry. If nothing else, you want to root for them, both as individuals and as partners, and you want to see their relationship grow. However, as a follow up to the first film, it is a massive disappointment! 

Setting aside a few narrative continuity errors, the second film fails to maintain the sense of balance and nuance promised by the first film. Instead of expanding the more mature and interesting elements indicated in the first film, the sequel opts to downgrade to typical western animation tropes of moving too fast, oversimplifying things, repeating exposition already established for the audience members with a seven-second attention span, and overtly placating to the younger members of the audience. And before you say it, no, I do not believe that it gets a pass by simply being a Disney film; they introduced these nuances in the first place and we should expect them to follow up on it by taking more risks. Then again, Disney has NEVER been known for taking risks, so I guess I’m the one getting a pie to the face for expecting it. 

Zootopia 2 is not necessarily a terrible film, but it is also not the follow-up to the previous masterpiece that we deserved. It is yet another sad reminder of the kind of cowardice and artistic risk aversion that plagues modern Hollywood, especially at Disney! If you want to see a proper sequel to the first film, check out Browntable’s Return to Zootopia fan film on YouTube; it is by far a superior exploration of the mature and nuanced themes presented in the first film, and is a much more interesting exploration into Judy and Nick’s relationship. 

Watch Zootopia 2 for the pretty animation (and occasionally funny sight gags) and not much else! 

Ladies & gentlemen, I am TheNorm; thank you all for reading. 

Send Help - Girl Boss Done Right (mostly)

 

Playing in Theaters 

        One aspect of society, by and large, is the unfortunate and impractical enforcement of “male privilege:” the notion that men are automatically elevated to high positions of authority simply because they are male. This is a real issue that still plagues many aspects of society and business, and should have died out by now, but that’s neither here nor there. Still, it would benefit more people to take a moment and reevaluate their place in the world from time to time. 

Such is one of the many messages and themes from todays subject, Send Help, a horror-themed survival thriller about, among other things, sexism, power dynamics, and the consequences of refusing to adopt, adapt, and improve. Not to mention a clever exploration into moral grey areas, which I always appreciate. And it doesn’t help that it’s also a better example (mostly) of how to do girl bosses. 

The story follows a middle aged woman named Linda (Rachel McAdams), who works in the strategy and planning department of some unspecified corporation, and has been the backbone of the company for years. The original CEO of the company had promised her a Vice President position once the torch had been passed down to his son, Bradly (Dylan O’Brian), an insufferable frat boy who snubs Linda out of the promotion, in favor of one of his old fraternity buddies. As Bradly heads overseas to secure the final details of a deal with another company in Thailand, Bradly decides to bring along Linda, recognizing that her work is still needed (and will be subsequently stolen as her work has been before). 

However, things take an unexpected turn, when the private jet crashes into the Ocean, killing most of the passengers, save for Linda and Bradly, leaving them stranded on a deserted Island. Fortunately, Linda happens to be a huge fan of the classic reality show, Survivor, with dreams of becoming a contestant, and has prepared herself for outdoor survival skills; including building shelter, getting water, and gathering food. Meanwhile, her one companion on the Island, Bradly, has a severe injury to his leg, and isn’t able to do much, relying upon Linda’s skills to keep them both alive. Still, Bradley refuses to accept the situation, and insists upon maintaining his false sense of power and control, causing tension between the two survivors. 

As they spend more time on the Island together, and slowly come to terms with their situation, will they learn to work together properly, or will the need to maintain male privilege overcome the greater needs of the situation? 

For the most part, this film is a solid story, with textured character brought to life by two excellent actors, revolving around a witty and clever script that succeeds in being gripping, provocative, and occasionally funny. Then again, this being a Sam Raimi film, a little bit of humor is to be expected. 

Yes, you read that correctly, our good old horror buff, Sam Raimi, directed this little film, and it shows in all the best ways. While the film does include many of Sam Raimi’s signatures (including some of the more grotesque and exaggerated), it also has his signature storytelling talent. Sam Raimi succeeds in reminding audiences that story and characters are always more important than anything else in a film. The way he guides the cast through the whole ordeal is masterful and witty. When you see Linda close the plane window because of something outside of it, you know this is a Sam Raimi film through and through. 

The cast is absolutely remarkable. Rachel McAdams and Dylan O’Brian have stupendous chemistry, and bounce off each other incredibly well. They both also succeed in carrying the weight of the film on their shoulders, since they are almost entirely the only ones on screen. Rachel McAdams is especially phenomenal for portraying a character who is both sympathetic and terrifying at the same time. Without spoiling anything, her character has a backstory that both justifies her actions and causes one to question her sanity a little bit. It’s a wonderful case of understanding someone without entirely agreeing with them; something we need so much more of in our movies. 

The only issue I have with the film is that it is yet another case of “men are evil; women are good” trope that has oversaturated the feminist movement in films these days. While I am a feminist and do understand the issues with male privilege, I cannot stand this narrative choice of rendering all men as incompetent and evil, while all women are smarter and more capable; it only adds to the anger and resentment rather than offers any kind of middle ground for proper solutions, and it bothers me (both as a feminist and as a man) that too many writers are relying upon this aggressive and impractical narrative tool. Yes, narrative liberties and empowerment fantasies are understandable, but would it really hurt to at least have one male character in these stories who isn’t cartoonishly evil?

Which leads me to the MVP of the film, Dennis Haysbert, who not only has as much of an awesome screen presence as say Morgan Freeman, but is also the only male character in the film who isn’t a sexist, misogynist, evil dude-bro like the rest of the male characters; offering at least a little bit of representation for the “real” men that do exist. Aspiring screenwriters, take note! 

Despite this annoying narrative aspect, Send Help is a fantastic film that tackles so many real-world issues wrapped up in a neat story about survival, strength, and the importance of reevaluation. If you can handle the occasional gross-out moments, of which there aren’t too many, then please give this film a shot. It’s a silly little horror-ish film that has a lot to say, and it deserves your attention. 

Ladies & gentlemen, I am TheNorm; thank you all for reading. 

The Rip - A Huge Waste of Your Time

Streaming on Netflix

        January is considered by the Hollywood system as the dumping ground: the time of year when not many people are likely to spend money at the movies, so they put out the things they have no faith in doing well at the box office. With that in mind, one would think that streaming services like Netflix would be immune to such a practice, since their revenue system doesn’t depend upon box office returns. However, as Netflix and other streaming platforms are slowly becoming the new Hollywood, it seems they are adapting the same annoying practices and habits that made people turn away from Tinsel Town in the first place. 

Today’s subject, The Rip, is a prime example of a dumping ground movie, along with being a massive disappointment, especially given the pedigree of everyone involved. You have a star-studded cast, an interesting idea for a story, and a talented director who deserves to be taken more seriously than he is. Sadly, despite all of those promising elements, The Rip is a repetitive,  dull, aimless, slog of a film with stock macho characters, adolescent dialogue, lazy action scenes, and probably the ugliest cinematography I have ever seen! And this was filmed on one of Sony’s best cameras! 

What passes for a story (inspired by true events) follows a group of Miami cops who specialize in hunting down Cartel stash houses and seizing their assets for evidence. One night, their leader receives a tip about a stash house worth a little over $100K. Once they enter the house and find the hidden stash, they discover it’s worth significantly more; as in enough to fear for their lives more. As they proceed with their duty, counting the cash on sight before handing it over to their superiors, some of the crew begin to question their partners motivations and actions, building up to an eventual showdown between Cartel enforcers, corrupt cops, and the struggle to maintain audience investment. Guess which one they loose first? 

On the surface, this sounds like a great idea for a film: you’ve got a group of people who have reasons to doubt each other handling a dangerous task in a confined space with a massive ticking clock over their heads, while contending with determining who is trustworthy, and rather or not any of their struggles are worth their lives. It’s a classic story about duty, corruption, temptation, and justice; one that has been done many times over and with better execution than this train wreck! 

The writing is on par with a teenage boy in a creative writing class trying to sound edgy by throwing in as many “F” bombs as possible; the characters, despite being brought to life by admittedly energetic performances, are one-dimensional with little to no texture to them; and the director, Joe Carnahan, seems to have left his skills at the door; the same guy who delivered amazing and entertaining action classics such as 2010’s The A-Team and The Grey. 

And then there’s the cinematography. Photographed by Juanmi Azpiroz, The Rip appears to have fallen into the same trap as many modern digitally captured movies: relying too much on the sensitivity of the camera sensor to recover details in dimly lit environments rather than properly lighting dark scenes. As a result, many of the shots in the film look as flat and bland as any other modern digitally captured film taking too much advantage of High Dynamic Range. This is not meant to imply that these technological advancements in cameras are terrible or impractical, not at all; merely that they are rarely (if ever) utilized properly in modern cinematic executions. 

Plus, I don’t know if this is because of the improper use of High Dynamic Range, or due to the extreme compression of streaming (likely both), but there were far too many instances of shots struggling to distinguish shadows from dimly lit skin tones, resulting in some kind of magical black sludge constantly appearing and vanishing on everyones heads. It just goes to prove that even films captured with the highest amount of data are still subject to the computers inability to calculate an images true black value; something that typically isn’t a problem with properly lit scenes. 

The Rip should have been so much better than it is! It’s disheartening to begin the new year with such a dull, lazy, mishandled mess of a film, especially since we’re already dealing with so many others in real life; they don’t need to invade our entertainment as well! While the film gains a few bonus points for having a relevant story and professional performances (mostly), nothing else here is worth anyones time. This is yet another piece of white noise to play in the background while folding laundry, just don’t play it if you have kids in the house. 

Skip this one entirely! 

Ladies & gentlemen, I am TheNorm; thank you all for reading. 

TheNorm's Most Anticipated Movies of 2026

 

    Hello, my beautiful readers. I hope you all have fun and safe plans for New Year's. I know I won't, but I'll enjoy getting the time to finally sleep in for a while. 

    After releasing my Worst Films of 2025 list, I realized I wanted to end the year on a more upbeat note. Then I realized something: I don't think I've ever listed things I was most looking forward to in the New Year. So, that is precisely what I'll do now.

This is TheNorm's Most Anticipated Movies ot 2026

#5

The Legend of Aang

    I mentioned once or twice on the blog that I am a HUGE fan of Avatar: The Last Airbender. In fact, I remember dedicating an entire entry to what makes it so special. While the spin-off sequel series, The Legend of Korra, is also great in its own right, and the less said about the live-action Netflix series, the better, I have been anticipating this new project from the creators for a long time. 

    Apparently, it was initially slated for release this year but was delayed for reasons I don't recall. But, if the Cinema Gods have anything to say about it, we may be fortunate enough to finally have a new film about our beloved band of misfits in the New Year. Let's just hope the Sokka still has his signature sense of humor 😊.

#4

The Odyssey 

    Christopher Nolan remains a fascinating figure in the world of modern Cinema. While his approach to filmmaking and storytelling is undeniably incredible, there are times when it rubs me the wrong way. Still, Nolan is one of the few figures in the Hollywood system who has the clout and talent to deliver what many of us Cinema enthusiasts prefer (practical effects, real exotic locations, etc.), and this looks as if it's going to deliver the goods once again. 

    Rumor has it that they built a full-scale Cyclops for the film! 🤩

#3

Masters of the Universe

    I have come to fear most modern adaptations of my childhood entertainment, as many of them either try too hard to come off as more "mature" to appeal to "modern audiences," *cough* Michael Bay's Transformers *cough*, or they wind up made by people who don't understand or appreciate the silliness of it all. While it is true that many of the movies and cartoon shows people of my generation grew up watching were primarily intended to sell us toys, there was still something emotionally resonating with the stories and characters presented that spoke to us in some way. 

    Now that we're getting a brand new film adaptation of one of my favorite childhood cartoon shows, made by some of the most prominent and talented creative minds from LAIKA Studios (Travis Knight and Chris Butler, late of Paranorman and Bumblebee), and featuring costumes and production design ripped straight out of the original cartoon rather than being reimagined, how can I not be excited? 

    There's still not enough known about the movie to be entirely excited, but there is enough to have me curious and hopeful. May the power of Greyskull be with this one! 

#2 

Supergirl

    The introduction to this iteration of Supergirl, as revealed at the end of Superman, left me curious and worried at the same time. Typically, I'm not a fan of converting some characters into irresponsible jerks in some way, because, at least most of the time, the storytellers forget to instill some level of humanity and tangibility to the character, resulting in an unlikable jackass who drags the plot along, leaving audiences frustrated at a lack of reason to care. 

    However, with all the DC Movies scripts moving forward requiring the approval of James Gunn himself, and this upcoming movie under the direction of Craig Gillespie, late of the Fright Night remake and Lars and the Real Girl, I am confident this will likely become an exception that proves the rule. I trust the storytellers involved to deliver something with heart and the right amount of mischief for a fun, emotionally resonant experience. Plus, let's face it, Supergirl has needed a brand new movie since 1984! 

#1 

Disclosure Day 

    Steven Spielberg and Aliens; need I say more? 

    The Hollywood legend has had a long and proud history of making movies about UFOs, Alien life, and first-contact concepts, with E.T. being the arguable landmark of his relationship with the genre. The use of animals in this upcoming movie has me especially excited. I enjoy movies that make use of animal symbolism and presence in some way. I wrote two whole books about a girl and her Fox friend (shameless plug) and am currently writing the third. 

    There is no doubt in my mind that this is likely to be an experience that we may have seen before, but with a fresh perspective that hasn't been explored yet. I am counting the days! 

    There you have it. Please let me know in the comments below which movies you're most excited for. I wish you all a safe New Year's celebration, and I'll see you all in 2026. 

Ladies & gentlemen, I am TheNorm; thank you all for reading. 

TheNorm's Worst Movies of 2025

 

    As promised, it's now time to take a look at some of the movies this year that left us empty, frustrated, and contemplate how badly we wasted our time. Let's not dwell on them any longer than necessary, shall we? 

#5

Safe House (2025)

    There are too many movies in existence that share the title of Safe House, and only one of them is actually any good; this ain't it! Everything about this film is depressingly lackluster, inexcusably lazy, and indifferent to its own incompetence. You know, like modern government! 

    The characters are one-dimensional, the direction is flat, the action scenes are repetitive, and the films' attempt to keep their own pulse going with little explosions every ten minutes is torture in itself! This is the equivalent of prompting an A.I. bot to make a movie that combines elements from Die Hard and Tom Clancy's work, but without anything that made those works memorable and appealing, like textured characters and sharp writing. 

    As I said in my review, this movie is nothing more than noise filler for when you're folding your laundry. Skip it entirely and put on anything else. 

#4 

Fountain of Youth 

    I like treasure hunt movies, I like John Krasinski and Natalie Portman, and I am always excited about new stories in this seemingly underutilized genre. Still, I absolutely loathe Guy Richie's Fountain of Youth. Never have I experienced a treasure-hunt movie that felt as dull, empty, and devoid of charisma as this two-hour waste of time. No one is likable, there are no emotionally resonating stakes, and the action scenes and story all suffer because of it! 

    Avoid this slog of a film and go watch any of the Indiana Jones movies or play one of the Uncharted games. They have charming charisma and characters you actually care about. 

#3

The Last Rodeo

    When it comes to concepts of faith and religion, I return to the words of George Carlin:

    "Religion is like a lift in your shoe: if you need it, okay, just don't make me wear your shoes if I don't want them." 

    My issue with many "faith-based" movies is not so much what they decide to preach (although I do have issues with a lot of it, but that's a discussion for another time); it's their lack of understanding of basic filmmaking and storytelling that bothers me the most. The vast majority of films in this sub-genre are under the impression that if they mention their chosen deity enough times, throw in a few scenes with a sacred text, and have someone accept a religious icon of some sort, then that's enough to make a compelling film; it is not, and most critically thinking audiences are left feeling robbed of their time. 

    The Last Rodeo is no exception to this problem. It does the barest of minimal effort to pass as a film with what it thinks is a compelling story, so it can push a preachy concept mistaken for a satisfying character arc. Combined with amateur adolescent writing and unintentionally funny soap opera-style acting, you've got a recipe for disaster. 

    Angel Studios, don't quit your day job! 

#2

Captain America: Brave New World

    Sadly, Marvel Studios has been in a downward spiral post Avengers: Endgame, and nowhere is that more apparent than with this monstrosity of fan-service cameos, future movie build-ups, and insulting failures to recreate the magic of its predecessor, Captain America: The Winter Soldier. While I have enjoyed the Marvel roller coaster for a long time and still love many of the movies it has produced, this latest offering has officially solidified the feeling that the ride is finally over; any attempt to recreate the experience again will only feel like lazy nostalgia bait, which is precisely what Marvel appears to have resorted to as evedinced by their latest trailer for the upcoming Avengers: Doomsday. 

    The entire movie feels like it's on fast-forward, the villain's plans make no sense, the script spends more time building up plot elements and potential characters for future movies, and Anthony Mackie's talents are utterly wasted with no real development for his character or the weight of him becoming the new Captain America, which, again, has been unneccecarilly rendered mute by Avengers: Doomsday! 

    This may not be the first Marvel movie to make me feel as though my time was unnecessarily wasted, but it is the one that has proclaimed it the loudest. Captain America: Brave New World is a colossal disappointment and an unfortunate sign of Marvel Studios' future. Not even the once-reliable Russo Brothers can save this upcoming trainwreck, especially if their offering outside of Marvel Studios is any indication. 

    Speaking of...

#1

The Electric State

    While Netflix may be where most of my favorite movies appeared this year, it is also the place that houses the absolute worst movie I have ever forced myself to sit through in 2025. The only word that best describes this dying star of a movie is insulting: it's insulting to our intelligence, insulting to the source material, and insulting to the very essence of Cinema! 

    Nothing in the film is compelling or emotionally resonant, yet it deludes itself into believing it is. Everyone is horribly miscast, especially Millie Bobby Brown, who does not yet possess the necessary range to take on a leading role, and, once again, Chris Pratt demonstrates his one-note persona that only works for his portrayal of Star Lord. Everything the film presents has been done before (and better), no longer compelling, or is the manifestation of what corporate suits mistakenly take for deeply philosophical. 

    If this movie were a person, it would be that one guy in your office who constantly tries to suck up to the boss, sacrificing his own identity in favor of what he thinks will carry favor and make the apathetic overlord of the company happy. If you want to see what it looks like to set three hundred million dollars on fire, look no further than Netflix's The Electric State! 

    And that concludes our wrap-up for 2025. Here's hoping that 2026 offers something truly special and worthy of our time. 

Ladies and gentlemen, I am TheNorm; thank you all for reading. 

Happy New Year! 

TheNorm's Top 5 Movies of 2025

 

    Season's Greetings, my beautiful readers! I hope you all had a wonderful time with family and friends, and that your neighbor didn't realize you were regifting them the same blender they gave you two years ago. Oops, was that my out loud voice? 

    Anyway, as the year comes to a close, it's now time to take a look back at some of the offerings from the world of Cinema, to remember the ones that made us laugh, smile, and cry for joy. We will also be looking at the movies that made us angry, frustrated, and bored, but that's for a later entry. 

    This is TheNorm's Top 5 Movies of 2025

First, here's an honorable mention. 

Hit-Man

    *This film was originally in my #5 spot, but it was brought to my attention that it was actually released in 2023. I first saw this film in 2025 and didn't look up its release year. Still, this is a great movie that deserves your attention, so I'm going to keep it on the list.*

    I've said it before, and I'll say it again: a movie is only as good as the script, and this underrated gem on Netflix has one of the most well-developed and intelligent scripts I have seen in any movie released this decade (so far). It features interesting characters brought to life by engaging performances, witty, charming dialogue, and a story that tackles complex moral concepts in a clever, entertaining way. In short, it is a film with heart and brains to match! 

    If this ever gets a release on physical media, not only would I buy it, but I encourage you to do the same. This is a worthy title for anyone's collection. 

Okay, on with the actual list 😂

#5 

Sinners

    For some reason that escapes me, I didn't get around to writing a proper review of this film, but rest assured, it is well worthy of your time and deserving of all the accolades it has received. While some may be turned away from the film because it's a vampire movie (which is understandable), those who don't mind stories about the creatures of the night will be in for a bloody treat (pun somewhat intended). 

    Writer and director Ryan Coogler, late of Black Panther and Creed, further demonstrates his storytelling prowess and passion for Cinema. That same passion is clearly felt by everyone involved in the production, especially the cast, who all deliver some of the most surprising and delightful performances you'll ever see. And, of course, how can we not mention Michael B Jordan with his superb dual role? 

    But the highlight of the film is the cinematography. In addition to featuring one of Ryan Coogler's signature long takes (possibly the most fascinating and creative of his career so far), the movie makes the most of its IMAX presentation. Even though I wasn't fortunate enough to see it in theaters, the IMAX impact can be felt in the images, especially toward the end, where the hero delivers one of the most cathartic and satisfying final acts against the evils of racism I have ever seen. 

    Those who have issues with graphic violence in movies may want to take warning, but be assured it is all in the greater service of the story and isn't there for its own sake. If you don't mind things getting a little dirty, this is a must-watch! 

#4

The Thursday Murder Club

    You would be forgiven for assuming I was a Netflix fanboy (I assure you, I am not), but it just so happens that many of the films I enjoyed the most this year were on the platform. Regardless, The Thursday Murder Club is a true gem that is well worth the price of admission. Featuring a star-studded cast that bounces off each other with enthusiasm and joy, a script crafted with maturity and charm, and an overarching theme of it never being too late to find your people, nor too late to find a new fascination in life. It's a remarkable story about the underrated and underspoken joys of getting old. Yes, it still sucks in many ways, but that shouldn't deter any of us from still seeking out something new and exciting. Life is short; make the most of it. 

#3

Good Boy

    Despite not being an adamant horror fan, I have come to enjoy the genre in recent years, especially those that show genuine enthusiasm for what makes it truly fascinating and worthy of our attention. Good Boy, despite its scary nature, is not only a prime example of the power of horror storytelling but also an unexpected beacon of hope for independent filmmakers. 

    A horror story told exclusively from the perspective of a dog. That is almost all that needs to be said about it! The dog doesn't die; that is the one thing about the film I can happily spoil. 

    The film stars the director's dog, Indy, who was completely unaware of the filming process, showcasing the power of judiciously edited juxtapositions. The exploration of how dogs can sense things we humans cannot is an underexplored one that shines through in the story. Not to mention, the cinematography is absolutely gorgeous, once again demonstrating how to properly light dark scenes with contrast rather than relying on the sensor's dynamic range. Plus, the film does not overstay its welcome with unnecessary padding; it tells the story in the proper amount of time. 

    Even if you're not a fan of horror, this film is a must-watch for many different reasons. 

#2 

K-Pop Demon Hunters

    I cannot remember the last time I saw a movie that embraced its own "rediculiousness" with so much earnest enthusiasm, heart, and charm. Not to mention a story about empowered women that's not yet another round of overpowered-girl-boss schlock seen in every release by Disney from the last decade. As a feminist, I want to see more women in lead roles in stories, but not at the cost of their humanity, flaws and all. K-Pop Demon Hunters is a fantastic story about shame, flaws, friendship, and self-acceptance. 

    The music is catchy, the action scenes are astonishing, the characters are incredibly likable with charming personalities to boot, and their friendship feels genuine and relatable. Plus, unlike other films I could mention, K-Pop Demon Hunters is not "ashamed" or "embarased" of its concept; it wholeheartedly embraces everything it has to offer, and it's having a blast with it all; and because the film is having so much fun, we, the audience, are also having fun! 

    It's the simplest thing that too many other storytellers overlook entirely: there are NO bad ideas for stories; only bad executions of ideas. 

    If you haven't seen this movie yet, you need to rectify that ASAP. 

#1

Superman (2025)

    I have never been more excited, more enthusiastic, or more proud to be a Superman fan! This is the movie I have been waiting for for as long as I can remember. While the Christopher Reeve classic from 1978 will always hold a special place in my heart, and the animated film Superman Vs. The Elite remains my personal favorite; this brand-new film from James Gunn has earned its place on my list of best Superman stories ever told. 

    In an age when too many people seem to forget or ignore what makes Superman a relatable and human character, it is refreshing and, dare I say, life-affirming to finally have a brand-new film that not only recognizes what makes Superman such a compelling character, but also inspires the very same level of hope and kindness with its story. James Gunn's Superman is exactly what we needed in the modern age, not just for superhero fans, comic book readers, etc., but people as a whole!

    James Gunn has done what many of us thought impossible: he saved Superman! And for that, I tip my hat. 

    Thank you, Mr. Gunn. I look forward to seeing what else you have in store for us all.  

    And that concludes the best films of the year. Tune in soon for the next part of the list, where I discuss some of the worst stinkers offered up this year. You're gonna need to wash your hands afterwards, believe me. 

Ladies & gentlemen, I am TheNorm; thank you all for reading.