Movie Reviews
Dead Dead Demon’s Dededede Destruction Part 2 Anime Film Review
Dead Dead Demon’s Dededede Destruction Part 2 is a film I never want to watch again. However, this is not because it’s bad. Rather, it’s a testament to just how incredible this film is.
The film is full of well-developed and memorable characters—especially its lead trio, Ouran, Kadode, and Ooba. It’s wonderfully animated—combining cartoony character designs with ultra-violence to create something shocking and memorable. To top it off, it has incredibly strong themes conveyed with maximum impact through excellent storytelling.
What makes it hard to watch (or want to rewatch) is the simple fact that it feels too damn real. Despite the aliens, UFOs, super-lasers, and Doraemon-inspired gadgets, this is a film that is bound and determined to drag humanity and modern society into the spotlight—to use sci-fi trappings to put our blemishes on full display.
The central conceit of Dead Dead Demon’s Dededede Destruction is the idea that humans can (and will) get used to anything. Even when confronted with a world-changing event—like, say, the existence of alien life or a UFO floating above Tokyo for years—humanity as a whole doesn’t change. Instead, we just go on about our lives as usual. If it doesn’t directly affect us, we put it out of our minds.
This film kicks it up a notch from the first by showing that even things like public genocide are passively accepted by the masses. Even those who feel compelled to act do so with things like peaceful protests—basically doing nothing to directly help those in need, all while convincing themselves that they’re heroes fighting oppression. But then again, what is there that they can do? This film perfectly captures the masses’ self-righteousness and utter helplessness in the face of the apathetic, the powerful, and the government.
The movie is a damningly pessimistic look at humankind as a whole. The world is full of things we can’t control. People driven by their zeal or self-interest will crush the weak underfoot—never noticing or caring about those they’ve destroyed. In such a world, our only hope is to find something we care about and do all we can to protect it. That is the beautiful yet horrible message of this film.
While this story is full of villains and innocents, it’s hard to say there are any true heroes. Oh sure, we may sympathize with Ouran and Ooba, but the two of them ultimately have a body count that surpasses government genocide squads and vigilante alien killers alike. Yet, throughout the film, we root for the pair. If nothing else, we can see that they are working for, if not altruistic reasons, then for human ones that we can understand on a deeply personal level. Love is their driving motivation—even if they’re forced to accept the cost of that love by the time the credits roll.
In the end, Dead Dead Demon’s Dededede Destruction Part 2 is a powerful film that will leave you depressed about the state of the world. It puts the foolishness of humanity on full display and concludes that there is no easy fix—that no force, internal or external, will appear and make everything alright. All we can do is take our happiness where we can get it—and sometimes, we may find ourselves in the right place at the right time to make things just a little bit better.
…Or maybe we’ll die horribly due to events wholly outside of our control.
Movie Reviews
Game Changer Movie Review: Ram Charan and Shankar deliver a grand political drama
Game Changer Review: The highly anticipated film Game Changer, directed by Shankar and featuring Ram Charan, Kiara Advani, and Anjali alongside SJ Suryah and Srikanth in pivotal roles, is a political action drama that delves into the murky waters of corruption within the Indian political system. Shankar, renowned for his grand storytelling, makes his Telugu directorial debut with Game Changer. His signature style is evident in the film’s lavish production and narrative structure. The story, penned by Karthik Subbaraj, weaves together action, drama, and social commentary, though it occasionally leans heavily on familiar tropes.
Ram Charan delivers a compelling performance in dual roles, seamlessly transitioning between the principled Ram Nandan and the rustic Appanna. As the central figure of the story, he carries the narrative with remarkable ease. While his portrayal of Ram Nandan is high on style and swag, it is his heartfelt performance as Appanna that truly resonates with the audience.
Kiara Advani, as Deepika, plays Ram Nandan’s love interest. Her character moderates Ram’s anger and inspires him to take up the IAS. While Ram and Kiara light up the screen, their love track feels somewhat clichéd. Anjali, as Parvathy, gets a meaty role as Appanna’s wife, championing his principles and cause. The emotional depth she brings to the story bolsters the film’s core.
Srikanth, as Bobbili Satyamurthy, surprises with his antagonist role. His dynamic interactions with Appanna add layers to the narrative. SJ Suryah, known for his distinct style and mannerisms, delivers yet another solid performance as Bobbili Mopidevi.
The film opens with Ram transitioning from an IPS officer to an IAS officer, featuring a stylish action sequence where he settles old scores. The first half chronicles his journey from a fiery college student to a committed civil servant. Although it employs some usual tropes and forced humour, the first half ends with an interval twist, setting the stage for an engaging second half. The latter part of the film takes a different trajectory, transitioning into a politically driven narrative rooted in the soil. The screenplay, treatment, and even the colour palette shift to complement this transformation.
Thaman’s musical score elevates the film, with a soundtrack that complements its themes. Tirru’s cinematography captures both the grandeur and grit of the story, employing dynamic visuals that enhance the viewing experience. Editing by Shameer Muhammed and Ruben ensures a cohesive narrative flow. The production values reflect Shankar’s commitment to high-quality filmmaking, with grandiose visuals in the song sequences. “Jaragandi” stands out as the highlight track, while the popular “Naanaa Hyraanaa” is yet to make its way into the final cut. The team has announced its inclusion starting January 14.
While Game Changer impresses with its grand visuals and socially relevant themes, it falters in areas that detract from its overall impact. The narrative occasionally veers into predictability, relying on familiar tropes of love, political corruption, and systemic injustice. The screenplay’s didactic tone, though impactful at times, can feel heavy-handed, leaving little room for subtlety.
Overall, Game Changer is a well-executed commercial film. Shankar’s grand scale and Ram Charan’s brilliant performance, combined with strong supporting roles and technical excellence, make it a compelling watch for enthusiasts of the genre.
Movie Reviews
‘Better Man’ movie review: Robbie Williams is a chimp. (Just go with it.)
Robbie Williams talks Golden Globe-nominated film ‘Better Man’
Robbie Williams and wife Ayda Field tell USA TODAY’s Ralphie Aversa what it feels like to be at the Golden Globes.
Music biopics are too often predictable, formulaic and, let’s face it, dull. One way to liven them up, however, is to venture way outside the box and make the central subject an anthropomorphic animal. And while an alligator Freddie Mercury in “Bohemian Rhapsody” or a sloth Bob Dylan in “A Complete Unknown” might have been bridges too far, a chimpanzee Robbie Williams defies logic and somehow works in “Better Man.”
Director Michael Gracey’s admirably eccentric biopic/jukebox musical (★★★ out of four; rated R; in select theaters now, nationwide Friday) still boasts the signature tropes of its ilk and the career-tanking vices of many a “Behind the Music” episode. Yet the fact that the ultra-cheeky Williams is inexplicably presented as a bawdy CG ape man (given cool moves and voice via performance capture by Jonno Davies) matches the fantastical nature of the British pop star’s bananas rise-and-fall-and-rise-again tale.
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The movie also has a lot in common with Gracey’s most famous effort, “The Greatest Showman,” featuring well-crafted, effervescent musical numbers doing what they can to make up for oversentimentality and an unfocused narrative.
Narrated by Williams himself, “Better Man” chronicles his life starting as a little simian dude playing soccer in the streets with his mates – and failing to impress his peers. Like his father Peter (Steve Pemberton), Robbie wants to be somebody and slowly he begins to embrace a charismatic, wild-child personality that wins him a spot in the boy band Take That. His brazen and outrageous personality wins over some like pop-star girlfriend Nicole Appleton (Raechelle Banno) – and his many fans – but irks many others, from his bandmates and manager (Damon Herriman) to members of Oasis.
The middle of the movie is where “Better Man” finds its groove. Robbie sings “Rock DJ” and his group pogo-sticks through London’s busy Regent Street in the film’s most spectacular sequence. And as the insecure Robbie goes down a bad path, he’s forced to literally fight the conflicting parts of his pop-star persona. Drugs and being a selfish jerk threaten everything, of course, and seeing a chimp go through the out-of-control partying instead of a normal dude is a bit different. The family drama peppered through the film leans too earnest, leading to an ending that pours on the schmaltz way too hard. Brash simian Robbie is a lot more fun to watch than soppy simian Robbie.
No one’s ever going to play a primate like the brilliant Andy Serkis in his “Planet of the Apes” films. Davies does a good job at moving in such a way that’s human but also a little bit wild, which adds to the hyperrealism of a proudly oddball movie. It doesn’t completely explain why exactly Williams is a chimp in the biopic – he’s said he feels “less evolved” than others, and Nicole calls Robbie an “animal” during a fight – but it makes that bizarre choice a little less head-scratching.
Interestingly, the best part of “Better Man” is Williams. He sings the songs throughout the movie – including nifty new tune “Forbidden Road” – and his fabulous narration hilariously slings jabs and adds an emotional gravitas to his screen counterpart’s struggles. When the film goes most over the top, Williams’ commentary keeps it grounded.
“Better Man” isn’t perfect – as a straightforward effort, it doesn’t hold a candle to, say, “A Complete Unknown.” But it’s never boring, either. And the film is easily the most idiosyncratic of its kind, at least until that inevitable Barry Manilow biopic featuring a yeti.
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