Movie Reviews
MONSTER SUMMER Review
In many ways, MONSTER SUMMER is very clean with no overt sex and almost no foul language. There are also Christian symbols and allusions. However, the movie reveals frightening things about witches, especially their ability to appear as normal next-door neighbors. Also, the final showdown with the witch is extremely scary. Therefore, MOVIEGUIDE® recommends caution for younger teenagers.
Dominant Worldview and Other Worldview Content/Elements:
Mixed worldview with a moral ending as well as Christian symbols throughout with lots of focus on witches, who seem incredibly versatile and strong, but the good guys eventually win;
Foul Language:
Two obscenities;
Violence:
Lots of scary violence though not bloody where an offscreen witch sucks the souls out of young people, sometimes in the water, sometimes in the woods and sometimes beside an old station wagon, which leaves the people as zombies, eventually a showdown with the witch concludes with strong violence where the witch attacks a man and three teenagers, and a character is shot several times;
Sex:
No sex (some light kissing);
Nudity:
No nudity;
Alcohol Use:
No alcohol use;
Smoking and/or Drug Use and Abuse:
No smoking or drugs; and,
Miscellaneous Immorality:
Man cracks frightening jokes, trespassing, lying, but all rebuked.
MONSTER SUMMER is a teenage horror movie in the tradition of GOONIES. The movie, which stars, Mel Gibson commends the search for truth and has good triumphs over evil, but the witch is very scary for many reasons, including its ability to appear as an ordinary person. So, the witch causes the viewer to be scared of everybody.
Noah is a young teenager living on Martha’s Vineyard with his mother, who runs a boarding house. Noah’s father was a journalist, but died, so Noah wants to be a journalist.
The movie opens with Noah being suspicious of Old Man Carruthers, whose son disappeared. Noah has written several articles about disappearing children, but the local editor doesn’t want bad news about Martha’s Vineyard. Noah’s friend, Ben, goes swimming with a teenager girl and gets attacked by someone under the water and turns into a zombie. Noah recruits two of his friends to investigate what’s happening. He eventually finds out that Gene Carruthers, played by Mel Gibson, is former police detective who left the force to search for the man who kidnapped his young son.
With Gene’s help, Noah and his friends search for the perpetrator whom Noah thinks us a witch. In fact, he thinks the witch is a woman who’s come to room in his mother’s house for the summer, but in an embarrassing reveal, this turns out to be false.
Eventually, other kids get taken and turned into zombies. Gene has mapped New England towns where other kids turned into zombies, and now only Noah can find out whodunnit. However, the witch is hot on Noah and his friends’ trail. The showdown between them is very scary. Who will survive?
In many ways, MONSTER SUMMER is very clean with no overt sex and almost no foul language. There are also Christian symbols and allusions. However, the movie reveals frightening things about witches, especially their ability to appear as normal next-door neighbors. Also, the final showdown is extremely scary.
This problem could have been alleviated with a little more humor and some judicious editing of the violent showdown. The jeopardy was strong enough that it didn’t need the prolonged showdown to hold the viewer’s attention. Furthermore, it would have been nice if there was more Christianity in the final showdown like the movie THE CONJURING.
Therefore, MOVIEGUIDE® advises caution for younger teenagers.
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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.”
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‘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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