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MOVIE REVIEWS: “The Smashing Machine,” “Good Boy,” “Bone Lake” – Valdosta Daily Times

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MOVIE REVIEWS: “The Smashing Machine,” “Good Boy,” “Bone Lake” – Valdosta Daily Times

“The Smashing Machine”

(Sports/Drama: 2 hours, 03 minutes)

Starring: Dwayne Johnson, Emily Blunt and Ryan Bader

Director: Benny Safdie

Rated: R (Strong language, violence and drug use)

Movie Review:

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“The Smashing Machine” features Dwayne Johnson and Emily Blunt. The two previously worked together in “Jungle Cruise” (2021). Despite their performances show them giving their best, the narrative in which they exist is too repetitive.

A documentary titled “The Smashing Machine” (John Hyams) debuted in 2002. It detailed mixed-martial arts and UFC champion Mark Kerr and his incredible abundance of wins in the ring. Now, this movie focuses on Kerr’s life from 1997–2000, just after his successive winning streak comes to an end.

Kerr (Johnson) is accustomed to swift victories, but he becomes depressed after losing a match. His life becomes a downward spiral, leading to drug abuse. His only refuge is the love he has for Dawn Staples (Blunt) and his devoted friendship with fellow fighter Mark Coleman (former mixed martial artist, now commentator Ryan Bader).

At its best, “The Smashing Machine” shows that Mark Kerr was fighting in the ring and at home. Dwayne “The Rock” Johnson is playing a fighter, something not dissimilar from his WWE days as a pro wrestler. So the athleticism and nature of this role is something he’s familiar with, yet he still provides a relatively good performance. Emily Blunt plays his lover. She is talented and always on point, but her role appears slim here in many ways.

“The Smashing Machine” appears to be a product of the 1990s from a cinematography perspective. From there, it becomes something more modern for a biographical movie. It hits the highs and lows of person’s life in a tabloid form, meaning moments feel redundant at several points. The characters do the same actions too much. We see Mark Kerr fighting in the ring — quick bouts. Then, moviegoers see his arguments with his lover. The two of them are in a dysfunctional relationship. These two parts of the movie repeat far too often.

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“The Smashing Machine” appears to be a product of the 1990s from a cinematography perspective. From there, it becomes something more modern for a biographical movie for nearly three-fourths of the runtime. It becomes a man’s quest to achieve despite obstacles, a triumphant sports underdog overcoming, but the latter 30 minutes becomes something more original.

Director-writer Benny Safdie (Adam Sandler movie “Uncut Gems,” 2019) pivots away from a typical biopic ending. He gives audiences a comeback story before taking it away and providing something more inquisitive to consider, while observing the real-life Mark Kerr living an everyman’s life.

Grade: B- (This smashes expectations.)

“Good Boy”

(Horror/Thriller: 1 hour, 13 minutes)

Starring: Indy, Shane Jensen and Arielle Friedman

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Director: Ben Leonberg

Rated: PG-13 (Terror, bloody images and strong language.)

Movie Review:

“Good Boy” is a horror movie, where the leading character is a dog named Indy, a pet of director Ben Leonberg, who co-wrote this intriguing horror with Alex Cannon. This entire movie is told from Indy’s perspective. It is very good filmmaking, a throwback to classic horror with an original touch, its perspective from a canine’s viewpoint.

Indy moves with his owner Todd (Jensen) to the family’s rural home after the patriarch of the family dies. The place is rundown, and Todd in the process of renovating the abode. However, Todd is also sick, and when darkness comes at night, Indy bravely protects his master from a sinister presence.

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Yes, a canine is the leading character and is more moving than many human counterparts in other horror-themed flicks. This is not new. “Strays” (2023) and “Dog” (2022) are also recent movies where canines are a central character. However, what is new is the fact that a dog takes the primary lead and all humans are secondary performers. Even more, “Good Boy” is a horror movie that is better than most in the genre.

Indy actually belongs to the director, Ben Leonberg in his directorial debut for a feature film. After “Good Boy” concludes, Leonberg details in a behind-the-scenes segment that he and his team filmed more than 400 days over three years. That time was worth it, and this movie is worth it for audiences. Indy is adorable and is the focus of this narrative. Humans are always obscured behind hunting masks, silhouetted, blurred, hidden in shadows, cropped from neck up or are barely reflected in mirrors or other objects. This creates some vagueness at moments, but audiences should keep in mind that events are from Indy’s perspective.

The result is something that has been missing from movies, especially horror movies for a long time. Leonberg and team share the art of taking one’s time to make a film an enjoyable art.

Grade: B+ (Good Movie.)

“Bone Lake”

(Thriller: 1 hour, 35 minutes)

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Starring: Alex Roe, Maddie Hasson, Marco Pigossi and Andra Nechita

Director: Mercedes Bryce Morgan

Rated: R (Strong bloody violence, grisly images, sexual content, graphic nudity, strong language and drug use.)

Movie Review:

“Bone Lake” has an enticing start at least after the first five minutes. This is when William (Roe) and Cinnamon (Nechita), ‘Cin’ for short, arrive. They are a young, beautiful couple with model waistlines in abdominal muscles. They arrive at this very nice mansion, only to find Sage (Hasson) and Diego (Pigossi) already there, preparing for a few very romantic days.

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The two couples decide to remain in the very spacious mansion at the same time. The mishap is an apparent mix-up by the owners who rent out the place for vacationers. Soon, lies, sex and videotape emerge and Sage and Diego find their relationship is tethering. Even more, the couples began to have their own little riffs with each other.

“Bone Lake” is a horror movie on the surface. It is advertised that way in all its trailers. This is a thriller with surprises.

That fact does not take away the entertainment value of “Bone Lake.” It is a seductive mix between a sensational soap opera episode and what seems like a romantic reality show for a moment. The problem is the writers were boneheads. They do not make the apex’s twist a more superior moment. Instead, the moment feels shallow, so audiences are left with a very violent slasher horror — albeit gratifying ­— for the last few scenes.

Grade: B- (Lake is nice for sailing, but it has some calcium buildup.)

 

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Movie Reviews

MOVIE REVIEW: Pixar’s Hoppers is laugh-out-loud funny

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MOVIE REVIEW: Pixar’s  Hoppers  is laugh-out-loud funny

The Snapshot: Pixar comes out swinging with an energetic and cuddly comedy that pairs big laughs with an earnest message about living alongside nature.

Hoppers

9 out of 10

G, 1hr 44mins. Animated Sci-Fi Family Comedy.

Directed by Daniel Chong.

Starring Piper Curda, Bobby Moynihan, Kathy Najimy, Jon Hamm, Dave Franco and Meryl Streep.

Now Playing at Galaxy Cinemas Sault Ste. Marie.

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True all ages fun is increasingly hard to find, and hoping for great, original works out of Hollywood is only getting rarer from the major studios. Thankfully, Disney and Pixar’s Hoppers is making the search a little easier.

Director Daniel Chong (best known for the TV series We Bare Bears) has masterfully directed a frantic masterpiece that is worthy to stand among iconic greats in Pixar’s esteemed catalogue. Filled with bustling action, a brave moral standing, and an endless parade of cuddly animal heroes, Hoppers is a dam great time.

A beaver dam great time, that is.

The story is a bit unusual, set in the northwestern town of Beaverton, Oregon, where a local University student and nature activist named Mabel (Piper Curda) is in a constant fight with the town’s development-driven mayor (Jon Hamm) over a highway expansion over a local glade and nature preserve.

Things gets wild, however, when Mabel’s consciousness gets sucked into a beaver robot through a process called “hoppers” – and suddenly becomes a literal friend of the forest, setting off a chain of events I dare not spoil.

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One of the strongest elements in Hoppers is Jesse Andrews’ terrific screenplay, built on a story structure that has made Pixar’s work stand out among family entertainment for the last 40 years. (Part of this film’s release, co-incidentally, marks the studio’s 40th anniversary this year.)

Not only has Andrews filled the plot with multiple organic surprises that repeatedly heighten the stakes of Mabel’s quest to save the glade, but the script also balances the peacefulness of nature to – anchor the story – with the frazzled panic of modern human life to develop the humour.

Getting these juxtaposing elements to work is done swiftly by Chong, Andrews and the talented voice ensemble bringing it altogether. The actors above are all commendable, but the scene stealer is Bobby Moynihan (of SNL fame) as beaver leader King George.

Moynihan’s George is smart, sincere, and socially aware that teaches Mabel some core lessons without making it overly obvious to the audience. Still, the film as a whole effectively gets its messages across about what a realistic plan for living in harmony across species actually looks like – and how to go about trying to do the right thing.

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Pixar’s original works have struggled for several years, mainly upended by the COVID pandemic ruining the box office prospects of multiple great movies, including Soul, Turning Red and Onward.

Get ready now for Hoppers to take the spotlight both commercially and among repeat viewings for kids – the film is laugh out loud funny and filled with heart. This is the best original film from Pixar since Coco almost a decade ago.

Read more here: You can’t miss Pixar’s Coco (2017 review)

The only small critiques, in fact, is that the main conflict doesn’t fully emerge or develop until halfway through the film, and the pacing is a bit slow until we get to the actual animal “hopping” that comes at the end of the first act. What’s also missing is the ethereal discovery of poignancy that made Pixar’s earliest filmography seem truly special.

Still, don’t let these small quips deter you. Hoppers is the first great film of 2026 and an absolute blast watching at the cinema.

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Children, parents, grandparents, neighbours, your mailman – everyone should see it this weekend. And seeing it sooner is a great way to encourage the development of more original, thoughtful and fun movies like this to be made.

Hop to it, beavers!

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‘Jab Khuli Kitaab’ movie review: A heartfelt exploration of love’s endurance

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‘Jab Khuli Kitaab’ movie review: A heartfelt exploration of love’s endurance

Pankaj Kapur in ‘Jab Khuli Kitaab’
| Photo Credit: ZEE5

Cracks in conjugality constitute a common conflict device in Hindi cinema. Usually, the male commits the bhool and expects forgiveness. Most fissures appear early, but what if a grandmother reveals a long-buried truth? Can the man accept it as easily as he expects forgiveness? Seasoned actor and theatre practitioner Saurabh Shukla gives new meaning to a prescribed book, making us both chuckle and reflect.

Being a cinematic adaptation of his play, the constraints of the medium are not completely erased, but it shines as a heartfelt exploration of love’s endurance.

The film’s core premise revolves around a decades-old secret — Anusuya’s (Dimple Kapadia) confession of an indiscretion early in their marriage — that surfaces after she awakens from a coma. This revelation forces Gopal (Pankaj Kapur) to re-examine 50 years of trust through the lens of this buried truth as a forgotten ad hoc presence in his life threatens to become a permanent peeve. Enter Negi (Aparshakti Khurana), a young client-chasing lawyer who becomes an unlikely facilitator of tough conversations, legal proceedings, and emotional confrontations.

A still from the film

A still from the film
| Photo Credit:
ZEE5

Jab Khuli Kitaab (Hindi)

Director: Saurabh Shukla

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Duration: 115 minutes

Cast: Pankaj Kapur, Dimple Kapadia, Aparshakti Khurana, Sameer Soni, Nauheed Cyrusi, Manasi Parekh

Synopsis: Gopal and Anusuya’s decades-long marriage is shaken by a revelation.

Though the transgression is a distant memory, its emergence shatters Gopal’s sense of shared space with Anusuya. He questions whether the life he built was an illusion. The woman he cared for seems suddenly unfamiliar. The film asks questions that may seem flimsy but persist in memory. For instance, Anusuya’s love for poetry that Gopal never really discovers, or the concept of marzi (inclination) in relationships.

Meanwhile, the revelation shakes the family unit. The parents initially try to shield the children from the truth, but the tension inevitably seeps in. Initially, it seems the son and son-in-law are bitten by the Baghban bug, but as the film progresses, the writing provides space for a dialogue on how companionship extends beyond the couple.

The film quietly reflects on the role of memory in a marriage, treating it as a central force that both sustains and disrupts long-term bonds. Gopal’s growing dementia suddenly seems like a cure for his marital problem. Without underlining, Shukla also explores the impact of the revelation on Gopal’s social psyche. Suddenly, a seemingly progressive man starts behaving like a parochial uncle, as we find dozens of them around us these days. Is it always the personal that shapes the political socialisation? Another uncle reminds us that laughing too much leads to days of sorrow, as if the Almighty has assigned us a quota of happiness.

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A still from the film

A still from the film
| Photo Credit:
ZEE5

Kapur’s masterful control shines through in Gopal’s progression from bewilderment and stubborn pride to vulnerability and, eventually, the rediscovery of love. Over the years, Kapur has shone in the estuary of comedy that holds a tragedy in its fold. He lives the script’s shifting tones. From the tender caregiving scenes in the beginning to the profound internal shift in demeanour and body language toward the film’s resolution— the transformation feels earned and believable.

It is hard to believe Dimple as a wilting wife, but soon we realise it’s the gravitas in her voice and personality that makes Anusuya a believable picture of regret and resilience.

We know the coma is more like a metaphor, but the medical aspect is treated with a heavy hand. The plot unfolds in a somewhat linear and foreseeable way, with the revelation and its consequences following expected beats. The contrivances, the dot-to-dot mechanics of storytelling, surface in the second half as if the director is keen on arriving at the crux without peeling the layers properly. But it is the chemistry between Shukla and Kapur that prevents this bittersweet dramedy from becoming schmaltzy. 

Jab Khuli Kitaab is streaming currently on ZEE5

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‘Hoppers’ movie review: Big ideas and smart emotional beats fuel a great adventure

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‘Hoppers’ movie review: Big ideas and smart emotional beats fuel a great adventure

In cinema logic, sharks, especially great whites, make excellent characters in animation. From Bruce in Finding Nemo to Mr Shark, the master of disguise in The Bad Guys, these apex predators turn their great gummy mouths with many pointy teeth into jolly good fellows.

In Hoppers, the 30th animation film from Pixar, there is a great white called Diane (Vanessa Bayer), who, despite being a scary assassin, has such sweet, shining eyes and a warm smile that one cannot help but grinning back.

Hoppers (English)

Director: Daniel Chong

Voice cast: Piper Curda, Bobby Moynihan, Jon Hamm, Kathy Najimy, Dave Franco

Storyline: A fierce animal lover uses a new technology to converse with animals and save their habitat from greedy, self-serving humans

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Runtime: 104 minutes

We first meet Mabel (Piper Curda) as a little girl trying to set all the animals in school free and being sent home for her pains (and also because she bites one of the teachers trying to stop her). Her busy mother drops Mabel with her grandmother (Karen Huie) who shows her the peace and quiet that can be hers if she only stops to listen.

The glade where grandmother Tanaka teaches her this valuable life lesson becomes a special place for Mabel. Years later, after her grandmother has passed, 19-year-old Mabel is a college student and still fighting for animal rights.

Matters come to a head when the mayor of Beaverton, Jerry Generazzo (Jon Hamm) plans to blow up the glade to build a freeway. Mabel tries to get signatures from the citizenry to stop the freeway plans, but that comes to naught as people quickly turn away from the zealous Mabel.

Frustrated, with no recourse in sight, Mabel chances upon a beaver making its way to her university’s biology lab. First worried that her biology professor Sam (Kathy Najimy) is doing some unspeakable animal experiments, Mabel is nonplussed to find that Sam, with her colleague Nisha (Aparna Nancherla) and graduate student Conner (Sam Richardson), have developed a revolutionary technology to transfer human consciousness to robot animal.

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Mabel uploads her consciousness into a robot beaver and sets off to thwart the mayor. Seeing the world from the animals’ perspective gives Mabel a unique point of view. Hoppers has jokes, chases, largeness of heart and solid science — not consciousness-switching with robot animals or flying shark assassins but the fact that beavers are the environmental engineers of the natural world.

The voice cast is wonderful, from Bobby Moynihan as the beaver king, George to Dave Franco as Titus, the prickly butterfly who becomes the insect king after Mabel accidentally kills his mum — the Insect Queen, played with terrifying grandeur by Meryl Streep.

The animals are delightfully delineated, from the spaced-out beaver, Loaf (Eduardo Franco) to Ellen (Melissa Villaseñor) the grumpy bear. The animation is lovely, with each of the animal and human characteristics clearly outlined. From the mayor’s grasping to Sam’s brilliance, Mabel’s fervour to Loaf’s stillness, and the different animal monarchs’ regality, it is all given marvellous life.

ALSO READ: ‘The Bride!’ movie review: Maggie Gyllenhaal’s glam-goth Frankenstein can’t hold its stitches

The “pond rules” ensure that the animals are not completely anthropomorphised — a sticky point in animation films where carnivores and herbivores hang together without even a sneaky licking of lips!

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Smart, funny, exciting, honest, and touching, Hoppers is the kind of film you can watch with the bachcha party and elders alike, with a happy grin. And then there is Diane of the red, red lips and sparkly white rotating teeth — yes, Hoppers boasts that level of detailing.

Hoppers is currently running in theatres

Published – March 06, 2026 07:08 pm IST

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