Sonic the Hedgehog 3, 2024.

Directed by Jeff Fowler.
Starring Ben Schwartz, Jim Carrey, Keanu Reeves, Idris Elba, Colleen O’Shaughnessey, Krysten Ritter, James Marsden, Tika Sumpter, Alyla Browne, Lee Majdoub, Natasha Rothwell, Shemar Moore, Adam Pally, Tom Butler, James Wolk, Jorma Taccone, Cristo Fernández, and Sofia Pernas.

SYNOPSIS:

Sonic, Knuckles, and Tails reunite against a powerful new adversary, Shadow, a mysterious villain with powers unlike anything they have faced before. With their abilities outmatched, Team Sonic must seek out an unlikely alliance.

Watching Sonic the Hedgehog 3 is a vindicating experience. For years (possibly decades by now), whether it be the first two Sonic the Hedgehog movies, Bayformers, and plenty of other examples that exist out there, there has always been a firm feeling among many that if these filmmakers and studios forced aside the damn human characters and focused on who viewers are here to see (which doesn’t mean crowded, embarrassing fan service), the results would likely be worthwhile.

This might be the first live-action/CGI hybrid feature of its kind that almost entirely does away with its already established human characters (discounting staples of the game people actually want to see, such as Jim Carrey’s returning Dr. Robotnik, once again with ample screen time) and trust that there is enough compelling story within the source material to adapt sincerely that fans and nonfans alike will come away satisfied.

Granted, in the case of Sonic the Hedgehog, director Jeff Fowler (who has directed all three of these firms) didn’t have much to work with since the Sega Genesis games weren’t necessarily known for story or characterization (as the games branched out into different gameplay mechanics and evolved with the industry’s technology, so came attempts at telling stories within them), somewhat forced to bring human characters into a cinematic adaptation. However, over the previous two films, he and screenwriters Pat Casey, Josh Miller, and John Whittington have gradually and gracefully brought in more nonhuman characters to join forces with the lightning-fast Sonic (voiced by a returning Ben Schwartz), such as tech gadget specialist fox Tails (voiced by Colleen O’Shaughnessey) and brawling, literal-minded Echidna warrior Knuckles (another amusing voiceover performance from Idris Elba.)

This installment brings Shadow the Hedgehog into the mix, bursting with chaos energy and hell-bent on revenge-fueled destruction. Toss in a long-lost grandfather Robotnik (also played by Jim Carrey, opening up an entire separate dimension for his reliably impressive brand of physical comedy and strange noises), and the filmmakers now have enough characters to where the likable but also intrusive human additions can be pushed off into the background, making an appearance for cameo purposes or when it actually fits the story being told. Despite that, some human cameos don’t need to be here, aren’t funny, and feel contractually obligated more than anything. For the most part, though, everything is much more tolerable and sensible.

Aside from the prologue, when Sonic’s human best friend Tom (James Marsden) and his partner Maddie (Tika Sumpter) pop up, it’s not solely for jokes but typically to push forward a specific central theme regarding loved ones, dealing with anger, and important choices in life that directly correlate to with what Shadow (voiced by Keanu Reeves in John Wick mode, which is pleasantly fitting for the character) is going through.

Having been contained and studied for roughly 50 years upon being discovered in a meteorite crash, Shadow has escaped and is obsessed with bringing forth chaos and ensuring others feel his pain. Such torment movingly plays out in flashbacks, revealing that while he was frequently experimented on, Commander Walters’ daughter Maria (Furiosa‘s Alyla Browne, already a notable effusive presence from these two movies alone) occasionally broke him out to play and developed a close bond. She became the only bright spot in his experience on Earth, meaning that one doesn’t have to be a rocket scientist to figure out that something tragic eventually happened.

It appears that whoever is cooperating with Shadow is also utilizing whatever is left of Dr. Robotnik’s technological weapons. The mad scientist turns out to still be alive and has put on a few pounds (although not quite as heavy as the character’s depiction in the video games, but considering there are more movies to come, one presumes he might not be done gaining weight) while watching Spanish soap operas and chilling with his loyal minion Agent Stone (Lee Majdoub.) Enemies decide to join forces to discover who is behind the commotion temporarily. Agent Stone realizes that Sonic and company aren’t just a team but also friends, a dynamic he wishes he could have with Dr. Robotnik. As previously mentioned, Dr. Robotnik discovers that his grandfather (just as diabolically insane and intelligent) is alive, paving the way for another familial dynamic and some nutty off-the-wall chemistry between two Jim Carreys.

And while there are unquestionably brief stretches of horrendously delivered dramatic dialogue from supporting characters and cringe gags (dancing across a hallway filled with lasers), there is a moving-through line of heroes and villains forced to look within themselves and determine who they ultimately want to be, especially as betrayals occur. Perhaps most importantly, it leads to impressively staged action that is epic in scale, showcasing Sonic and Shadow beating each other senseless across the entire planet and into outer space, amplified by genuinely emotional stakes regarding love and loss.

With Sonic the Hedgehog 3, Jeff Fowler and company have found the right balance of humor (even Jim Carrey feels reinvigorated and energized more than in the first two, up for the goofy acting challenge presented that is right inside his slapstick wheelhouse, while also simply given mostly funnier material to work with) and frenzied action elevated by strong, vibrant CGI (this is unquestionably one of the better-looking special-effects extravaganzas of recent memory) alongside an engaging story. There is a case to be made that Shadow’s back story could have been even longer and not limited to a couple of flashbacks, but the right characters here are put front and center, which makes all the difference for a Sonic adaptation to click.

Sonic the Hedgehog 3 is aware it doesn’t always “gotta go fast,” occasionally slowing down to ensure we care about these characters while laying out its themes with affecting sincerity.

Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★

Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the Flickering Myth Reviews Editor. Check here for new reviews, follow my Twitter or Letterboxd, or email me at MetalGearSolid719@gmail.com

https://www.youtube.com/watch?v=embed/playlist

Dulce, a popular Mexican balladeer, soap star and TV personality known for the songs “Lobo,” “Tu Muñeca,” “Déjame Volver Contigo” and “Soy una Dama,” has died. She was 69.

The pop icon and “Siempre Reinas” reality star, whose name was Bertha Elisa Noeggerath Cárdenas, died Wednesday from health complications, according to the Associated Press. In early December, Dulce was admitted to a hospital in Mexico City for lung problems and underwent pleuropulmonary decortication surgery on Dec. 7, her team previously said. The procedure, also known as a pleurectomy, removes all or part of the thin membrane that surrounds the lungs as well as visible tumors from the chest cavity.

Her hospitalization came on the heels of her reluctantly postponing a series of concerts from her 2024 tour because of her health issues. She said in a Dec. 2 statement that she was treating a health condition that required care and rest.

“I am calm, in good hands and confident that I will soon be fully recovered,” she said in a Spanish-language statement at the time.

In a Christmas Day statement announcing her death Wednesday, Dulce’s family and team called her an exceptional artist and a wonderful person who left an indelible mark. The statement also asked the public to give them the space and understanding to grieve in privacy and peace during this difficult time.

Her sister, Isabel Noeggerath, also confirmed the singer’s death on Facebook, writing: “Sister, you are already with our mother in heaven singing to her, I will miss you, rest in peace, I love you.”

Dulce, one of Mexico’s famed female voices in the 1980s, made appearances on popular local TV shows and at international festivals and most recently starred in the Netflix reality show “Siempre Reinas.” She hailed from Matamoros, a city in the northern state of Tamaulipas and launched her career in Monterrey before moving to Mexico City. She started as a member of the band Toby y Sus Amigos in the 1970s, according to Remezcla, then teamed up with singer José Rómulo Sosa Ortiz, better known by his stage name José José.

She won the top prize at the Mallorca Music Festival in 1978 with “Señor Amor,” which was composed by Armando Manzanero.

Dulce also starred in several Spanish-language soap operas, beginning with “Muñeca Rota” in 1978. She also starred in 1999’s “Mujeres Engañadas,” the early 2000s’ “Las Vías del Amor,” “Mundo de Fieras,” “Muchachitas Como Tú.” She made her feature film debut in 1984 with “No vale nada la vida” and more recently starred in the TV series “Vencer la Culpa” and “Vecinos” and in a few episodes of “Quiéreme Tonto.”

“Today we remember a woman who not only achieved her dreams, but also inspired generations with her voice, her passion and her determination,” said a Thursday post on her Instagram. The post also featured a retrospective of Dulce’s career. “With a career that transcended borders and genres, Dulce became one of the most emblematic voices that Mexico has given … But beyond her talent and her success, Dulce was a woman who taught us to believe in ourselves, to pursue our dreams and to never give up. Thank you, Dulce, for your music, your inspiration and your legacy.”

On Friday, a mass will be held in her honor at the Basílica de Guadalupe in Mexico City.

“We invite you to join us in paying tribute to her memory and praying for her soul. Her memory will always live in our hearts,” the Noeggerath Cárdenas, Mírcoli Noeggerath, González and Mírcoli families said.

A serial killer on the loose. The killer has a pattern – he/she brutally maims the target, leaving them with a gory smiling face. Enter a high-ranking police officer diagnosed with Alzheimer’s, who has only one year before his memory fades forever. Now, this is a story that has the potential to be developed into a high-octane thriller with twists and turns. But, does Sarath Kumar’s 150th film, The Smile Man, live up to expectations? Let’s find out!

Chidambaram Nedumaran (Sarath Kumar), a CBCID officer, is recuperating from an injury. To make matters worse, he’s been diagnosed with Alzheimer’s and has just one year left to preserve his memories. Before his injury, he was involved in the investigation of The Smile Man case. While he is trying to adapt to his new lifestyle with memory loss, a series of similar killings take place, forcing Chidambaram to reopen the case.

This time, however, Chidambaram must battle his declining health while investigating the case to unmask the killer. Why was the Smile Man case closed before his injury? Is there anything more than what meets the eye? Who is the killer, and what is their motive?

Director duo Syam and Praveen’s The Smile Man has a solid story at its core, though it might remind you of thrillers, Ratsasan and Por Thozhil. A serial killer story has a predictable template, but a film can stand out from the crowd because of the way the story and screenplay are treated. That way, The Smile Man is an illogical thriller that reeks of amateur making. The killer leaves a smiling scarred face on the victims and the pattern should ideally shock the audience. But, the poor prosthetic makeup hardly makes it look menacing.

Here’s the trailer:

The portrayal of journalists in The Smile Man is poor, anf the dialogue is one of the film’s biggest drawbacks. For example, the CBCID officer casually throws around words like ‘copycat killer’ without any solid basis. The reasons given are so futile that it forces you to not take the characters seriously.

The killer’s face is hidden for half of the film, and when it is eventually revealed, it fails to deliver any excitement. Similarly, the killer’s motive and his backstory are told and not shown. The justification hardly makes sense and one could spot a lot of logical loopholes.

TThe film’s music tries to evoke emotions but falls flat. Before each murder, a growl indicates what’s coming, and before the killer strikes, the music warns you. This removes the element of surprise, which is crucial to a good thriller.

Sarath Kumar is the only actor who gives his all in an attempt to salvage this poorly executed story. The rest of the performances, except for those by George Maryan and Kalaiyarasan, make little impact.

The Smile Man is a lost opportunity considering the potential it showed. If only the screenplay had been handled better, the film could have had a much stronger impact.

2 out of 5 stars for The Smile Man.