Disney’s Percy Jackson and the Olympians takes bold risks in reimagining the iconic series for a new audience as the heart of the show lies in its young heroes.

The Boy and The Heron deftly moves between commercialization, militarism, trauma and grief, family dynamics, geopolitics, the universe, and individuality.

The film doesn’t break molds like Spider-Verse and it doesn’t bring a revitalizing freshness like Mutant Mayhem, but there are some feels created and the story of Asha is original enough to warrant a viewing. 

This movie is more than just two post-credit scenes, but audiences might be quick to overlook it if they play into the unnecessary crisis alert currently sounding about Marvel Studios.

These characters feel more alive than ever before thanks to teen spirit & some heavy-handed culture.

A solid entry for live-action Disney designed for all audiences. Doesn’t reach Pirates of the Caribbean level, but the cast and their humorous energy hold the film up.

Even for a PG-13 film, there isn’t much violence or gore, which is also paired with a stock buildup to scares and iconic kills from the video game that are muffled instead of refreshing.

One of the main keys to Barbie’s success is commitment to the Barbieland authenticity and Gerwig’s willingness to undercut both Barbie and Ken leads, only to build them back up again.

With Killers of the Flower Moon, Lily Gladstone, Leonardo DiCaprio, Robert De Niro and Scorsese deliver a well-crafted epic that contextualizes white, American terror.