Summer 2025 saw the release of three major superhero blockbusters. Two new Marvel films, “Thunderbolts*” and “Fantastic Four: First Steps”, and one new DC film in the form of “Superman”. While the recent Marvel films were received positively by both critics and audiences, both films struggled at the box office by Marvel standards. While not a billion-dollar movie by any means, “Superman” proved to be the most successful comic book movie from a financial standpoint. “Superman” also received positive reviews from audiences and critics alike, hailing a new era for DC Comics. 

While Disney’s superhero movies might not have been the most profitable for the corporation, they do have the only American movie to cross a billion dollars this year, in the form of the live-action “Lilo and Stitch” remake. It is also worth noting that Disney-Pixar’s “Elio” struggled to cross $100 million at the box office. Whereas 2024’s Pixar film, “Inside Out 2,” took a little under three weeks to cross the billion-dollar mark. 

One of the winners of the 2025 summer movie culture is the Netflix original “KPOP Demon Hunters,” which was added to the streamer in June. As it currently stands, “KPOP Demon Hunters” is the second most-watched Netflix movie of all time under 2022’s “Red Notice”. The film has grown so successful that the original songs from the film have made it onto the Billboard Top 200 Charts. 

One of the most fascinating tent-poll blockbusters of the summer is “Jurassic World: Rebirth,” a film that did not resonate with critics and had mixed-to-positive reviews from general audiences. Of the major blockbusters to release in July, it made the most at the global box office. That being said, it is the first film in the “World” era to not cross the billion-dollar mark. 

The biggest success story to come of the summer comes from Warner Bros., which has now had six films in a row be the top movie during their opening weekend. This unprecedented hot streak started back in late March, with “A Minecraft Movie,” and was quickly followed up with “Sinners”. 

“Final Destination: Bloodlines,” the sixth entry in the “Final Destination” franchise, came out in May and breathed new life into an otherwise irrelevant horror franchise. “F1”, the Formula 1 movie starring Brad Pitt, is an exciting original film that has grossed nearly $ 600 million at the global box office. It was also distributed alongside Apple. “Superman” was Warner Bros. July movie that proved to be successful. Finally, “Weapons”, a thrilling new original horror movie, has stayed at the top of the box office for two weeks in a row. 

This raises the question of whether Warner Bros. can maintain this remarkable streak. Later this year, the studio has the final film in the Conjuring franchise, “The Conjuring: Last Rites”, the new Paul Thomas Anderson film, “One Battle After Another”, and “Mortal Kombat 2”. 

While it does seem that the billion-dollar movie might become a thing of the past, Summer 2025 proved to be a decent time for the box office with films resonating with audiences, such as “Weapons”, “F1”, and “Superman”. 

The post The Summer 2025 Box Office Breakdown appeared first on Utah.Film.

We’re seven films into the Jurassic Park/World franchise, and the filmmakers still don’t have any new ideas. “Jurassic World: Rebirth” feels like an excuse to make money without trying, and it deserves to join the fossil record as quickly as possible.

You know things are looking bad when during the opening flashback, a Snickers wrapper can blow up a vent and somehow bring a high-end dinosaur containment facility to its knees. (And yes, the filmmakers make sure we clearly see that it is a Snickers bar). You can argue that the sequence follows a traditional cold open pattern established with the raptor incident from 1993’s first film, but what comes next should assure audiences that Jurassic’s new boss is the same as its old boss.

Fast-forward to the present day, and dinosaurs have been back for over thirty years, but people just don’t care anymore. That sentiment is meta enough, but “Rebirth” isn’t through making excuses. Due to Earth’s various climate issues, the dinosaurs around the world have been dying out, and are only able to survive on a small number of islands near the planet’s equator.

Translation: instead of explore the dramatic possibilities of ancient dinosaurs living alongside modern humans in the 21^st century, we’re going to isolate the action to a small island or sanctuary for logistical and financial purposes. Again.

What follows feels like swapping new parts into an old car. Gone are the casts from the first two trilogies; now we get Scarlett Johansson leading a team of mercenaries on an illegal expedition to get dinosaur blood samples that supposedly hold the cure to heart disease. For good measure, a family of pleasure-boaters gets thrown into the mix so we can have a kid available to rehash the kitchen scene from the first movie (this time in a grocery store on the island).

“Rehash” would have made a better title than “Rebirth,” and that fact that this “new” film features Johansson and “Rogue One” director Gareth Edwards just sets up viewers for a more substantial disappointment. Early in the movie Johansson’s character rejects the mission until the bad guy promises an eight-figure payday, and you wonder if a similar scene played out for the actress in real life.

That being said, “Rebirth” isn’t entirely without merit. Its effects are spectacular to watch, and some sequences like a vertigo-inducing rappelling sequence help to justify the effort to see Edwards’ film in a theater. But for every good bit there are three additional reasons to kick this one to the curb.

As has been the case with the recent films, “Rebirth” has too many characters to follow, and almost all of them are unlikable. That would be forgivable if “Rebirth” worked through its cast like a slasher horror film, but sadly that isn’t the case. If it isn’t consciously reminding us of scenes from better Jurassic movies, it’s unintentionally reminding us of better films in the genre; in fact, the entire first half of the movie feels more like a poor-man’s “Jaws.”

As mentioned before, the movie takes great pains to point out that the audiences in its world—and by extension, ours—have grown tired of a subject that doesn’t inspire the same sense of wonder. But instead of address that issue effectively, with an imaginative premise, compelling characters, or good writing, “Jurassic World: Rebirth” just tries to do the same thing as its predecessors: come up with slightly scarier versions of the dinosaurs, stick them in a fishbowl with a group of humans, and call it good.

Some may argue that this is just a summer blockbuster, and if it delivers a few thrills and a bit of spectacle, there’s nothing wrong with turning off your brain for two hours and having some fun. But be honest: go back and watch the original “Jurassic Park,” and remember just how good it was. No one was turning off their brain for that one. “Jurassic World: Rebirth” is nothing but a Temu knock-off, and customers should return this one to the manufacturer as soon as possible.

“Jurassic World: Rebirth” is rated PG-13 for sequences of violence, including some gore.

The post Rehashed ‘Rebirth’ is another low for the Jurassic franchise appeared first on Utah.Film.

A young storyteller, Kubo (Art Parkinson), lives the truth of his stories as he must find an ancient suit of armor to fight against the vengeful Moon King (Ralph Fiennes).

A Dying Art

Stop-motion animation was the original go-to for Visual Effects in movies. From the early days of King Kong (1933), to the Imperial Walkers in Star Wars, it provided a way to make fantasy a physical reality. While technology has shifted more to animatronics and computer generated techniques, stop-motion is still foundational to great artistry in film making.

You may know the production company Laika from films like Coraline (2009) and Paranorman (2012) that are those weirdly delightful stop-motion films that we all turn to when Halloween comes around, but this company has so much more to it’s repertoire that is often overlooked when not in the blatantly spooky realm.

Enter Kubo and the Two Strings. It is a fun, family adventure about a young boy who has to follow the footsteps of his samurai father when his aunts and grandfather come to corrupt his soul. Despite the doom and gloom nature of his journey, it is a very sweet story, highlighting the strength of family and community.

The thing that hits me the most about this movie since I watched it upon its release was how snubbed it was when award season rolled around. Sure, it was the year Zootopia and the live-action Jungle Book came out–which were the winners for animation and VFX–but nothing came close (or in my opinion has EVER come close) to the production quality of this movie. It was also considered a box-office flop since it made $77 million worldwide on a $60 million budget. Watch the movie first, but then you must watch this behind the scenes footage to understand how they made this incredibly detailed film, and why it is so devastating that they didn’t receive what I think they deserved.

And while I call this art “dying,” it is still fighting for survival. Laika has a new film “Wildwood” releasing next month. To avoid what happened with Kubo, I strongly believe that it’s important for us all to see this movie in theaters so these kinds of projects can get the fiscal and popular attention this sort of work deserves, done by artist who are passionate about their craft. Watch the trailer here and we’ll discuss more on April 25th!

Parent’s Guide: Rated PG

There is some violence involved as sword fights ensue, and characters die from these fights. Also, in true Laika fashion, the aunts are super creepy, so this may not be the best film for younger audiences.

The post Why you need to watch “Kubo and the Two Strings” (2016) now that it’s back on Netflix! appeared first on Utah.Film.

There are a lot of scenes in “Jurassic World: Dominion” where characters have threatening encounters with a dinosaur, enough that they start to feel redundant. But one stands out in particular. As with most of these scenes, the characters freeze in terror when they detect the presence of the threat, and start whispering in the hopes that certain death will pass by without incident.

There’s only one problem: they are flying a World War II era cargo plane with massive propellers that would drown out the sound of your average garage band. Now, this might make sense if the dinosaur in question had wandered out of the cargo hold, but no…it’s a massive Pterodactyl* flying outside the plane.

Odd moments like this take “Dominion” from the level of “perfectly watchable escapist adventure” down to something more like “disappointing unholy mess.” The original 1993 “Jurassic Park” has always been the runaway best of these movies, and every subsequent sequel seems to underscore that point even more.

To its credit, “Dominion” starts off in an interesting place. In the last film, the captive dinosaurs were taken from their island home and released onto the North American continent. So we begin the story with the United States functioning as a kind of odd exaggerated version of Yellowstone National Park, where day-to-day human life is occasionally interrupted by a random Stegosaurus meandering across the highway instead of a disinterested bison. Is this a world you would like to explore from the safe distance of a leather recliner seat? Yeah, me too.

Too bad.

The heroes of the “Jurassic World” trilogy, Owen (Chris Pratt) and Claire (Bryce Dallas Howard), have holed up in a remote cabin in the Sierra Nevada Mountains, where they are hiding Maisie (Isabella Sermon), the cloned and increasingly angsty teenager who is topping the wish list of various nefarious scientists around the world. (To be fair, I supposed I would be pretty angsty too, if I thought I was a clone. And if I was wrestling with the guilt from having unleashed a bunch of dinosaurs on an unsuspecting civilization.) Anyway, when Maisie is kidnapped and taken to the Italian headquarters of an obligatory evil science corporation named Biosyn (Bio-Sin? Really?), Owen and Claire set out to rescue her.

In the meantime, an outbreak of disturbingly oversized locusts throughout the American Midwest brings original trilogy heroes Ellie (Laura Dern) and Alan (Sam Neill) out of hiding, and with the help of their old friend Malcolm (Jeff Goldblum, thank goodness), they also connect the dots to Biosyn. All roads eventually lead to the scenic Italian Alps, where Biosyn and its evil Steve Jobs knock-off CEO also happen to host a massive dinosaur sanctuary, and you don’t have to be a geneticist to guess what happens next.

After the promise of the first “Jurassic World,” which was admittedly a soft remake of the original film, director Colin Trevorrow’s trilogy has become lost in an overcooked mess of chaotic action, excess characters, and poor story choices. On the surface, there’s enough happening that some audiences will just be able to turn off their brains and convince themselves that what they are watching is worth their time. But just give it a few years…your brain will be there to remind you that this is just a forgettable slog of a would-be blockbuster.

Normally there would be no reason in the world to compare “Dominion” to something like “Top Gun: Maverick,” but once you set aside the vastly different subject matter, one glaring similarity highlights everything you need to understand about these two contemporaries. Both movies are summer blockbusters trying to take advantage of audience nostalgia in order to beef up a present story tied to a cherished past. In “Maverick,” the nostalgia complements a well-executed and streamlined production with strong narrative qualities. In “Dominion,” the nostalgia feels clunky and tacked onto a production that packs too many characters into a too-confusing story.

Worst of all, as my Utah.film colleague Dani has also pointed out, “Dominion” is not scary. Not in the least. In the world of “Jurassic Park,” that is an unforgivable sin. Almost as unforgivable as the nonsense bumper sticker preaching we get over the final fade-out.

A few years back, I covered the 3-D re-release of the original “Jurassic Park,” in all of its IMAX glory. The 3-D was pretty forgettable. What I remember was the powerful reminder of how incredible that first movie was. “Dominion,” like most of the “Jurassic” follow-ups, won’t inspire that same wonder, and it’s really too bad. At least in this case, they just don’t make ‘em like they used to.

“Jurassic World: Dominion” is rated PG-13 for violence, profanity, and half-baked frights.

*I know it’s not technically a Pterodactyl, but to me, every huge flying dinosaur is a Pterodactyl.

The post Disappointing ‘Dominion’ ends Jurassic trilogy with a cluttered whimper appeared first on Utah.Film.

5. Indiana Jones and the Raiders of the Lost Ark (1981)

I think an important part of the viewing experience is where you go. For this one, I went to the Utah Theatre in Logan. It is such a neat location that is supported by locals, and it is a great location for viewing classics and live performances. For this movie, specifically, I loved being there with a crowd who was anticipating their favorite moments from this incredible classic. The response and the energy was so contagious and memorable. It goes to show how “Raiders” is the perfect movie for new and old fans alike.

The Utah Theatre has great deals for date night and family night, so be sure to check it out if you’re ever in the area!

4. Cinderella Man (2005)

I mean, who’s going to watch this movie and not be touched, right? As we were gathered for our Sunday family movie night a couple months ago, “Cinderella Man” hit me hard. Financially, 2021 was really challenging for us. My husband suddenly lost his job in May, so I began writing reviews hoping that I could potentially find some way to get paid. Employment struggles have been a rampant issue for so many people during the pandemic, and we were no strangers to that. It is still a struggle for us, but this movie made me feel a wide range of emotions from desperation to hope that was very needed and extremely cathartic at the time. 

3. First Blood (1982)

I believe this was the first movie I watched in 2021. It had been on my mind, and watching it again, I realized why. It is very interesting to revisit considering the current social and political climate regarding law enforcement, veterans, mental health, etc. It is also an interesting era to dive into, which is why “Kong Skull Island” was another great rewatch for me this year. “First Blood” is such a captivating, visual story that features, in my opinion, Stallone’s best performance (no disrespect to the masterpiece that “Rocky” is). The biggest take away for me this time was the conflict escalation and the importance of seeing another’s point of view. I highly recommend this one, mostly for the potential conversations we should have about it today. 

2. Beyond the Sea (2004)

I had not seen this movie before and I was blown away by the showcase of talent. It may be a little controversial to talk about with all we know about Kevin Spacey now, but a good movie is a good movie. It is a little unconventional in the way it tells the story of Bobby Darin; although purposefully staged and whimsical, it still pulls you in with its strong, emotional beats. I didn’t realize how many Bobby Darin songs I knew until I started singing along, which also enhanced the immersion for me. This movie further put me in the right headspace for my top pick that has a similar style and quality that I watched during the final days of the year.

1. tick, tick… BOOM! (2021)

Yes, I’m cheating since this did come out in 2021, but I didn’t watch it when it first came out because I didn’t have any interest initially. I am so glad I was talked into watching it. Also unconventional, it combines a staged performance and the real world in a way that would make original writer, Jon Larson, proud. It’s artistic, emotional, gripping, and entertaining. Andrew Garfield killed it in this role, as did the rest of the cast. It also really struck me personally because it touches on a sort of feeling that can’t be expressed in words. It’s this anxiety over a need to create something that you haven’t discovered yet. I feel that way all the time but hadn’t really articulate it like I did when watching this film. This movie encapsulates the core of who I am: the joys, the obsessions, the stresses, and the goals. I never had a viewing experience speak to my soul in this way and I may never experience anything quite like it again.

This basically sums up my 2021. I hope it puts good new/old films on your radar! Comment below if you had any meaningful viewing experiences that tied to your year. Here’s to a new start with new movie experiences! Happy viewings!

The post Dani’s Five Best Viewing Experiences of 2021 appeared first on Utah.Film.

As it turns out, that’s not even half of the weirdness.

Disney’s recent $52.4 billion deal concerning 21st Century Fox has expanded the Mouse House’s already superheroic library in ways few cared to imagine. For example, did it ever cross your mind that maybe you’d bump into a “Futurama” character next time you’re visiting Tomorrowland? Remember Buffy the Vampire Slayer? Who is to say Sunnydale won’t be the next addition to California Adventure?

Had Mickey and the gang not swapped out the Tower of Terror for their new Guardians of the Galaxy ride, I’d make some “Twilight Zone” reference here. But, in the spirit of this article, let’s just say even Agents Scully and Mulder (yep, now Disney-owned) couldn’t have predicted a world where Main Street parade dancers are doing the Bartman.

Below is a list of five names now owned by Disney.

Deadpool

Do you remember that superhero movie a few years back — that one with endless sexual references, slow-motion graphic violence, and as fellow KSL movie critic John Clyde said, “all the dirty words in the book and a few that aren’t even in there”? Disney now owns that movie, and guests from both parties aren’t exactly sure what to make of the marriage.

If Disney puts its stamp of approval on the Merc with the Mouth, its family-friendly image may take a hit. But on the other hand, “Deadpool” fans aren’t exactly in the market for a PG-13 sequel.

Avatar

For the record, this section is referencing the blue alien Avatar movies and not the blue arrow Avatar TV show. Also, for the record, I really wish it was the other way around so maybe we’d get a decent movie about Aang and possibly a new live-action show like Fantasmic! Only, the new show would include waterbenders fighting firebenders across the lake before an airbender comes flying in for the finale.

Regardless, seeing as Disney’s Animal Kingdom has already created its Pandora attraction, the James CameronAvatar movies make a lot more sense in the Mouse House library than a character like Deadpool. “Avatar” is also a pretty sound financial investment for Disney. When looking at the modern dollar, the original film is the current highest-grossing movie of all time.

Original Star Wars movies

There has been some confusion surrounding what Disney does and does not own concerning the Star Wars universe.

Yes, Disney purchased Lucasfilm back in 2012, but Fox maintained distribution rights to both the original trilogy and prequels. As Chaim Gartenberg of the Verge puts it, “The Fox acquisition also means that Disney finally controls the rights to the original “Star Wars” film (also known as “Star Wars Episode IV: A New Hope”), which Fox has previously owned full distribution rights to in perpetuity, along with the home video distribution rights for Episodes II through IV (which were originally supposed to revert to Disney in 2020).”

Maybe now we’ll finally get that 4K set of original, theatrical releases we’ve all been waiting for.

Hulu

I should make it clear, Disney doesn’t own Hulu outright; however, as the Verge reports, Disney has purchased Fox’s 30 percent share, which when combined with Disney’s current 30 percent, does make the mega-company the controlling interest over Comcast and Time Warner.

This is an interesting turn of events, considering Disney has plans for two streaming services in the near future.

According to the Los Angeles Times, Disney plans to create both a sports and movie streaming service, and will end its distribution agreement with Netflix as of 2019.

“Instead, viewers would have to go to the Disney service to stream those movies,” the Los Angeles Times reported. “Shows currently produced by Disney’s Marvel Studios such as ‘Jessica Jones’ would still be available on Netflix.”

How this Hulu deal plays into Disney’s streaming plans is anyone’s guess, but I bet Comcast and Time Warner are among the interested parties waiting for more details.

Blue Sky Animation

Blue Sky Animation has been one of the main competitors of Disney and Pixar since they first released “Ice Age” back in 2002. Since that time, the studio has found its place in family video libraries with titles like Dr. Seuss’ “Horton Hears a Who!” and “The Peanuts Movie.”

Today, however, according to the Hollywood Reporter, “the future of Fox’s animation business is now in question.”

Disney obviously doesn’t need additional animated titles, and many fear that will also mean Disney isn’t looking for additional animators. On that note, the Hollywood Reporter also pointed out, “Of course, before Disney can decide what do with Fox and Blue Sky, it must first address the leadership question at its own Pixar and Disney Animation, where last month, chief creative officer John Lasseter announced that he would take a leave of absence amid allegations of misconduct.”

The post 5 things Disney owns after the $52.4B deal with Fox appeared first on Utah.Film.

The post 5 horror movies filmed in Utah appeared first on Utah.Film.

The 2017 Megaplex Theatres Silver Screen Classics series features ten of the most critically acclaimed movies ever made. Each film has been digitally remastered for the state-of-the-art projector and audio systems available at Megaplex. Each week will feature a different classic film.  The Megaplex Theatres Silver Screen Classics series starts the week of September 11, 2017 and continues until the week of November 13, 2017.

Patterned after the hugely successful Megaplex Kids Summer Movie Series, guests will have the opportunity to purchase a punch card good for ten Silver Screen Classic films over a ten week period.  Each punch card costs only $10 per guest and are available for purchase online at http://bit.ly/2017SilverScreen or at participating Megaplex Theatres locations.

“We’ve added more Megaplex locations and more screenings per week to help accommodate the many guests who want to enjoy these spectacular Hollywood films,” said Blake Andersen, president of Megaplex Theatres.  “We are delighted to offer generations of guests the opportunity to see some of the most iconic films ever made on the silver screens at Megaplex Theatres.”

Some of the greatest films ever made, including several Academy Award® Winners for Best Picture, will be shown at select Megaplex Theatres locations for the 2017 Megaplex Silver Screen Classics series.  This year’s schedule includes the following movie titles (film schedule subject to change without notice).

           Megaplex Theatres 2017 Silver Screen Classics

Presented in partnership with Coca Cola, the Silver Screen Classics will be shown twice daily on Mondays and Wednesdays at participating Megaplex Theatres from Logan to Mesquite, Nevada.  Scheduled show times will be at 2:00 p.m. and 7:00 p.m.

Each Silver Screen Classics movie pass costs only $10.  That means adults and children pay the same low price of only $1.00 per movie! Individual movie tickets may be available at the Box Office or Guest Service Desk at participating Megaplex locations for $1.50 each. Guests save 33% by purchasing the ten week 2017 Megaplex Silver Screen Classics Movie Pass over purchasing individual tickets at the box office.

One pass entitles one guest to attend up to ten different classic Hollywood films. All of the features are rated “G,” “PG,” or “PG-13” and are suitable for guests ages 13 and older.

Please check  http://bit.ly/2017SilverScreenInfo or your preferred Megaplex location for specific show dates.

Guests are encouraged to share their comments about the Megaplex Silver Screen Classics series and invite family and friends to participate via the company’s Social Media channels using the hashtag #MegaplexClassics.

*IMPORTANT:  Megaplex Silver Screen Classics movie titles are subject to change without notice. Each guest (adult or child) requires a separate paid admission pass. Visit  https://www.megaplextheatres.com/i/2017SilverScreen for details.

About Megaplex Theatres

Megaplex Theatres operates 17 locations across Utah and southern Nevada with a total of 185 screens, including five IMAX screens as well as a strategic partnership with the Mammoth Screen at Thanksgiving Point in Lehi. Megaplex also operates the only laser projection enabled auditorium in Utah.

Founded by the late Larry H. Miller, Megaplex Theatres are frequently among the top grossing in the nation and recognized as Utah’s favorite movie theatres. In addition, Megaplex Theatres feature regular and large-format movie screens, dinner and a movie gift options, conference and auditorium rental, and an industry-leading guest services team. Megaplex Theatres show times and other group information may be found on the web at www.MegaplexTheatres.com  or by calling (801) 304-4545. Guests are also invited to follow their favorite films on Facebook at www.facebook.com/MegaplexTheatres  and on Twitter @MegaplexTheatre.

The post 10 Classic Hollywood Films in 10 Weeks for $10 appeared first on Utah.Film.

It appears to be important. We know it’s supposed to be important because Henry continues to come back to it, changing calculations and testing it again and again. Only, it’s not really that important. It’s not some hint concerning the structure of the film, or a consistent characteristic of our uber-practical child prodigy protagonist, or even all that necessary later in the story when it accidentally goes into motion.

The machine acts as a promise to the audience that is never kept, and in that way, becomes a perfect metaphor for “The Book of Henry.” By the time the closing credits roll, audiences realize “Henry” is simply an interesting and intricate setup that resorts to an underwhelming conclusion.

But keeping with the metaphor, sometimes the journey is more important than the destination. Is that the case with “Henry?”

As always, let’s talk about the highlights:

The premise

Susan Carpenter (Naomi Watts) is a single mom who loves playing video games and drinking with her friends. Her 11-year-old genius son, Henry, on the other hand, keeps life in order by paying the bills, protecting his younger brother (Jacob Tremblay) and making sure the household stays profanity free.

When Henry notices his neighbor, Christina (Maddie Ziegler), suffering at the hands of her abusive stepfather (Dean Norris), Henry begins detailing a plan to save Christina in his little red notebook. But when circumstances change for the Carpenter family, it’s Susan who is asked to carry out her son’s strategy and to do that she’ll need to follow every specific laid out in the Book of Henry.

Big ideas

There are so many cool ideas bouncing around “The Book of Henry” that it’s impossible to write it off as a totally misguided endeavor.

For example, making Susan the coming-of-age protagonist in an otherwise young adult story allows for a very different perspective on familiar material. Also, quiet moments like Henry’s little brother questioning his place in the family or Susan trying to help Henry see the sky, make for heartfelt diversions that go a long way in connecting audiences with the story’s characters. While the overall execution of “The Book of Henry” lets the final product down, there is a lot to love in this autumn-set adventure.

The tone

What starts out as a simple look at an adorable family ends with a man’s head in the crosshairs of a sniper rifle. To justify such a tonal shift in a two-hour movie would’ve taken a lot more than what “The Book of Henry” has to offer.

“Henry” flirts with some very dark material, mostly cutting away before a shocking moment, or hinting at themes like alcoholism without ever dealing with the gravity of such assumptions. In that way, “Henry” prevents itself from embracing its sweet nature while also being afraid to explore the burden it claims to be carrying. Problems like this suggest a great script was only a draft away, but since the first draft was reportedly written back in 1998, maybe there was no perfecting “The Book of Henry.”

The Rube Goldberg machine

“The Book of Henry” rests on the idea that Susan’s 11-year-old son is one of the smartest people on Earth. Susan trusts Henry enough to let him make every important decision in her life, and when he’s not acting as a financial parenting guru, he’s a part-time philosopher, neuroscientist, and inventing bodyguard with an overly developed sense of guardianship.

That’s why when Henry spends the first half of the movie detailing an elaborate plan to save his neighbor, the reveal of said plan seems especially simplistic. The audience is promised a long series of dominoes falling in perfect order to uncover a well-orchestrated outcome, but what they get is a straightforward assassination attempt. In many ways, the third act of the film doesn’t feel like it belongs to the same movie.

Conclusion

The cast in “The Book of Henry” is good enough to cover many of the story’s shortcomings, and the reasons to love the Carpenters might even save the movie for you. But at the end of the day, “Henry” can’t deliver on its promises, and the inconsistent tone set by director Colin Trevorrow undermines any of the project’s good intentions. “The Book of Henry” may be a worthwhile rental or streaming offering in a few months, but there’s not enough in Henry’s journal to justify theater prices.

The post Movie review: ‘The Book of Henry’ gets tangled in good intentions appeared first on Utah.Film.

From the studio:

In the new special, friends Z (Zoe Manarel, The Nightingale) and Paz (Alison Fernandez, Logan) arrive at S.T.E.A.M. (Science, Technology, Engineering, Art, Math) camp excited for tech heaven. When the administrator surprises everyone by restricting their devices, they think their summer’s doomed. Things take a mysterious turn when they meet Jordan (Monique Green, Marriage of Lies), an enchanting “counselor” who sends them on an adventure, opening them up to a world of possibilities – like befriending Drew (Lauren Donzis, Liv and Maddie). The special, directed by Alison McDonald (An American Girl Story – Melody 1963: Love Has to Win), also stars Camryn Manheim (Extant).

The post Amazon Original Special “An American Girl Story: Summer Camp, Friends for Life” Now Available Exclusively for Prime Members appeared first on Utah.Film.