Wicked: For Good
The emerald curtain closes for good. The second part of a global sensation Broadway adaptation, directed by Jon M. Chu, recently came out this past November and it fully leaned into the emotional consequences of friendship and attention versus choosing to be yourself, with Elphaba and Glinda’s close-knit relationship feeling heavier than before. The plot felt slightly stretched out like a slow Monday lecture, with lingering shots that seemed to exist just to fill a dark void. That being said, the powerhouse vocals didn’t disappoint. Cynthia Erivo and Ariana Grande belt lyrics out like their rent is due.
Wait, just a clock tick, we’re not done talking about magic tricks just yet.
Now You See Me: Now You Don’t
This film brought back the fast-talking illusionists for one more round of diamond heists and blink-and-you-miss card tricks. The film started off a bit slow, but eventually found its rhythm as the plot twists stacked up.
One thing that continued to distract me was Rosamund Pike’s South African accent, which was surprisingly convincing. For FGCU students looking for a low-stress, fun watch after a day of classes or after a day of being in a cubicle for work, this film is an escape, not too groundbreaking, but entertaining enough to keep your eyes on the screen, just don’t close them.
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P.S. The movie also has a scene featuring an F1 car.
Frankenstein
This film is gothic, dark academia, an emotionally heavy masterpiece that lingers long after the credits roll. Guillermo del Toro fully leaned into the novel’s original themes of grief, existential creation and motherhood, giving the story a Freudian impression that felt intentional and incredibly haunting. Visually, the film is stunning in a quietly devastating way. With real practical effects, gory make-up FX and the gorgeous gothic horror costuming being important to how the characters are perceived. For FGCU students craving a thought-provoking break from routine, this film is haunting, evocative and a soul-stirring five-star watch.
Tron: Ares
Tron: Legacy was ahead of its time. We all know that. But Tron: Ares drops you straight back into the grid and this time there’s a sharper edge to it. Visually, it’s neon-red overload in the best grungy way, packed with glowing motorbikes, new cutting-edge triangular discs and just enough character development that will keep your eyes glued to the screen.
Seeing a regular human able to drive a light cycle motorbike it’s bound to make you go to Disney’s EPCOT Theme Park just to ride the Tron Lightcycle Run. Though the film is visually striking, the plot felt drowned out by the heavy pulse of the Nine Inch Nails soundtrack, which should be applauded on its own. This one is for late-night drives, electronic music blasting and controlled adrenaline rushes.
The Running Man:
Now, for those who are doomscrolling between classes or going on crazy, unexpected side quests, this movie might hit a nerve. “The Running Man” sprints back onto the screen with sweaty desire, turning survival into spectacle and capitalism into the villain we know. This reboot leans harder into social commentary. It follows contestants who are forced into a televised manhunt to win a sum of money.
The pacing of the film is relentlessly quick, which gives the audience a sense of sympathetic anxiety, the feeling of being constantly watched and judged. There were definitely some moments that were too close to reality, a realization of, “Oh this could happen.” At times, there are also moments where the film feels overly masculine, with the camera lingering on Glen Powell and all of his abs. The film and Powell flexed a little too hard.