Movie Reviews
Movie Review: 'The Wild Robot' – RedCarpetCrash.com
The Wild Robot is a wonderful, emotional tale following the journey of an unlikely mother and child as they evolve and learn to love and adapt to their sometimes-harsh surroundings. It will make most audiences face a wide range of reactions, from hysterically funny comedy to tearful sadness thanks to a story that unfolds exquisitely with beautiful animation, meaningful dialogue, and without too much unnecessary exposition. There is almost nothing that could be added or subtracted to make this a better film and I would highly recommend it.
The movie begins at the beginning of ROZZUM Unit 7134’s life. ROZZUM, or “Roz” as she goes by, is a robot that has washed up on the shore of an island. After being activated by the same luck that brought Ant Man back from the Quantum Realm in Endgame, Roz tries to greet her customer and accept her first task. But all she finds is wildlife with whom she is initially unable to communicate and who are unwilling to let her help. The communication barrier soon drops over a quick montage of Roz learning the animals’ language (at which point, the movie presents them all speaking English), but most of the animals are still unwilling to accept the help of a “monster”. After accidentally destroying a goose nest, Roz, thanks in part to a burgeoning friendship with a fox and an opossum, becomes the adoptive mother of a newborn gosling, Brightbill, and makes it her mission to get the gosling ready for the winter migration.
It is sensational how the film explores familial bonds (both genetic and non-genetic), friendships, and communities that develop in unexpected ways. Roz and Brightbill have their ups and downs just like most families (and movies about families) which is both heartwarming and heartbreaking to watch. And watching the various friendships develop and strengthen in the face of danger is inspiring. The movie doesn’t specifically mention climate change, but it seemed to me that the wildlife had to deal with the effects of climate change which the movie subtly dealt with in a funny and endearing way.
The humor is both hilarious and relatable and it was funny listening to the audience laugh at some of the darker humor. They would laugh at a joke because it was funny, but you could tell their minds were trying to tell them what happened off-screen was actually sad or disturbing.
Lupita Nyong’o (Us, Black Panther) leads the remarkable voice cast that blends into their characters so well that I didn’t really recognize anybody (except Bill Nighy) until the credits rolled (and I had read the cast list before seeing the movie). Pedro Pascal (The Last of Us, Game of Thrones) and Catherine O’Hara (Beetlejuice, Beetlejuice Beetlejuice, Home Alone, reporting states she’ll be in The Last of Us season 2) play the aforementioned fox and opossum. Mark Hamill, Stephanie Hsu, Matt Berry, and Ving Rhames are also featured throughout the film.
Often, I see an all-star cast like this attached to an animated film and I wonder if the production is trying to make up for a story that is lacking substance, but that was thankfully not the case with The Wild Robot. It is a fun, exhilarating thrill-ride that I would watch again.
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Movie Reviews
Miyamoto says he was surprised Mario Galaxy Movie reviews were even harsher than the first | VGC
Nintendo’s Shigeru Miyamoto says he’s surprised at the negative critical reception to the Super Mario Galaxy Movie.
As reported by Famitsu, Miyamoto conducted a group interview with Japanese media to mark the local release of The Super Mario Galaxy Movie.
During the interview, Miyamoto was asked for his views on the critical reception to the film in the West, where critics’ reviews have been mostly negative.
Miyamoto replied that while he understood some of the negative points aimed at The Super Mario Bros Movie, he thought the reception would be better for the sequel.
“It’s true: the situation is indeed very similar,” he said. “Actually, regarding the previous film, I felt that the critics’ opinions did hold some validity. “However, I thought things would be different this time around—only to find that the criticism is even harsher than it was before.
“It really is quite baffling: here we are—having crossed over from a different field—working hard with the specific aim of helping to revitalize the film industry, yet the very people who ought to be championing that cause seem to be the ones taking a passive stance.”
As was the case with the first film, opinion is divided between critics and the public on The Super Mario Galaxy Movie. On review aggregate site Rotten Tomatoes, the film currently has a critics’ score of 43% , while its audience score is 89%.
While this is down from the first film’s scores (which were 59% critics and 95% public) it does still appear to imply that the film’s target audience is generally enjoying it despite critical negativity.
The negative reception is unlikely to bother Universal and Illumination too much, considering the film currently has a global box office of $752 million before even releasing in Japan, meaning a $1 billion global gross is becoming increasingly likely.
Elsewhere in the interview, Miyamoto said he hoped the film would perform well in Japan, especially because it has a unique script rather than a simple localization as in other regions.
“The Japanese version is a bit unique,” he said. “Normally, we create an English version and then localize it for each country, but for the first film, we developed the English and Japanese scripts simultaneously. For this film, we didn’t simply localize the completed English version – instead, we rewrote it entirely in Japanese to create a special Japanese version.
“So, if this doesn’t become a hit in Japan, I feel a sense of pressure – as the person in charge of the Japanese version – to not let [Illumination CEO and film co-producer] Chris [Meledandri] down.
“However, judging by the reactions of the audience members who’ve seen it, I feel that Mario fans are really embracing it. I also believe we’ve created a film that people can enjoy even if they haven’t seen the previous one, so I’m hopeful about that as well.”
Movie Reviews
‘I Swear’ Review – Heart Sans Sap, Cursing Aplenty
The sixth outing in the director’s chair for filmmaker Kirk Jones, I Swear dramatizes the real-life story of touretter John Davidson (played by Robert Aramayo). Tourette’s Syndrome, for those unfamiliar with the condition, is a nervous system disorder that causes various tics, the most prolific being erratic and explicit language. However, as I Swear expertly showcases, the syndrome is far more than ill-timed outbursts of curse words. Davidson’s story is one of societal frustration, finding your people (both with and without the condition), and using your voice to help others rise. The subject and subject matter are handled with absolute care and understanding under Kirk’s measured vision and Robert Aramayo’s BAFTA-winning performance.
The film kicks off with the greatest exclamation to democracy ever uttered (*%#! the Queen!), as a nervous John Davidson prepares himself before entering an awards ceremony hosted by Britain’s royal family. Right away, the film tells us what it is: a triumph over adversity that blends humor and human drama with education. It’s an important setup, as the film flashes back to Davidson’s 1980s youth, where we see his time as a star soccer recruit flatline as his condition takes hold. Davidson’s life spirals from there. Some aspects, like school bullying and accidental run-ins with authority figures, are expected but important to empathizing with young Davidson’s (young version, played with heart by Scott Ellis Watson) new everyday life. The more tragic, a complete meltdown of his family system, is unsettling if quick. His father (Steven Cree) is never given enough screen time to explore his alcohol coping tendencies. However, his mother Heather’s descent into easy fixes and blaming is crushing and convincing. Harry Potter series actress Shirley Henderson (Moaning Myrtle) gives a layered performance as Heather. Someone who loves her son, but also feels cursed by him as the entire family exits the picture. It’s bitter, she’s tired, and fills each conversation with ‘only medication and your mother can save you’ energy.
From there, the viewer and Davidson find refuge in a host of characters. Maxine Peake plays Dottie, the mother of a childhood friend and a retired mental health nurse. Screen vet Peter Mullan plays maintenance man Tommy Trotter. Together, they help Davidson build a life and an understanding of himself that carries the film forward into its second half. After that, the film is primarily a 3-actor show as director Kirk fills the screen with these tour-de-force performances. Peake and Mullan are great vessels to get the film’s main message across: patience, love, and a shared responsibility between the diagnosed and those who understand their struggle can help change the path for people quickly left behind by a normative world. Together, they are the soul of the movie, with the filmmakers clearly hoping the audience will follow their lead after they exit the theater (in my case, the beautiful Oriental Theater for the Milwaukee Film Festival). Both performances are perfectly warm and reflective and shouldn’t be left out in discussions of I Swear.
I say this because the movie is anchored by The Rings of Power actor Robert Aramayo, who leaves Elrond’s elf ears behind to bring an acute naturalism to his performance of main character John Davidson. Aramayo’s physicality and timing of the fitful Tourettes Syndrome never feel out of place or overplayed. In fact, the movie as a whole does an amazing job of never veering into sentimentality. While many moviegoers left with tissues dabbing their eyes, the filmmaking never felt like it was forcing that reaction out of audiences. It straddles the line between feel-good and reality with every story beat and lands squarely on the side of letting the real inform our feelings. Anyone with an ounce of empathy will grasp the film’s message and hopefully take it with them into life.
I Swear continues at the Milwaukee Film Festival on Tuesday, April 21st, and releases nationwide April 24th, 2026, courtesy of Sony Pictures Classics.
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