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THE WOMAN KING Starring: Viola Davis, Lashana Lynch, Sheila Atim, Thuso Mbedu, John Boyega, and Jordan Bolger Director: Gina Prince-Bythewood NICK All hail Viola Davis! Forget male vs. female led, this is one of the best action films of the year, period. Director Gina Prince-Bythewood has crafted a culturally rich story that’s fierce, ruthless, and emotional. Davis continues to prove she’s the most powerful woman working in film, while Lashana Lynch, Thuso Mbedu, and John Boyega give tremendous performances of their own. The one thing holding this back from a higher rating is the score. The African tribal music is great, but some of the generic “movie music” that is used really dulls the emotional punch of some scenes. That aside, a superb film. QUENTIN The Woman King , which is like if Black Panther ’s Dora Milaje was given the Braveheart treatment, boasts excellent action sequences and cinematography, but it’s really the performances that set it apart. Viola Davis is fierce, and while she has proven to be a certain kind of badass in the past, I never would have guessed she could pull off tribal warrior badass. She’s remarkable, but truth be told, Lashana Lynch (and even John Boyega) almost steal the movie from her (Thuso Mbedu is no slouch either). There are a few story beats that are a smidge too convenient, but this should be a major awards contender. ADRIANO I really liked The Woman King …for the most part. It’s very well made from a craft point of view, mainly its costumes and production design, and the entire ensemble is really good. Viola Davis is, of course, fantastic…I mean, she’s Viola Davis for heaven's sake…but her co-lead Thuso Mbedu is also outstanding. The action scenes are brutal and well choreographed, but the editing can get super choppy at times. Although the story is nothing we haven’t seen before, this is still a fun time at the theaters, no doubt. JACOB The Woman King has a few things holding it back from being an outright masterpiece, but it’s supremely entertaining and easily the most thoroughly African mainstream release since at least Black Panther . Director Gina Prince-Bythewood’s chronicle of the Dahomey people’s breaking from the slave trade is rich in cultural depth, set-piece thrills, and stellar performances, especially from Lashana Lynch and Thuso Mbedu. Viola Davis and Sheila Atim are great too, but they’re in it less than one might think, ditto the action sequences. John Boyega also provides another strong performance to his continually impressive resume, and Terence Blanchard’s score is excellent. This film was reviewed by Nick, Quentin, and Adriano as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

TRANSFORMERS: RISE OF THE BEASTS Starring: Anthony Ramos, Dominique Fishback, Peter Cullen, Pete Davidson, Liza Koshy, Cristo Fernández, John DiMaggio, Ron Perlman, Michelle Yeoh, David Sobolov, Tongayi Chirisa, Peter Dinklage, Michaela Jaé Rodriguez, and Colman Domingo Director: Steven Caple Jr. JACOB While not especially impressive from a storytelling perspective, Rise of the Beasts nonetheless comes off as a solid, B-tier Transformers story with real heart and some genuinely fun action sequences, particularly those that include certain 90s needle drops. The humor largely doesn’t work for most of the movie, and the titular beasts are more like guest stars than fully developed characters, but the film is well-structured with Optimus Prime (Peter Cullen) being given more dimensionality than he has ever had before. I wouldn’t say I’m “confident” in the future of this pretty much rebooted franchise, but I am cautiously optimistic. AMARÚ There’s nothing groundbreaking about Rise of the Beasts aside from it being Transformers’ second “not bad” film in a row. Although Beasts is nowhere near the heights of Bumblebee , returning to the run-of-the-mill action and dialogue that plagues most of these films, none of it is overly offensive. Pete Davidson’s voice work as Mirage is a highlight, and both Dominique Fishback (Elena) and Anthony Ramos (Noah) are absolute stars. Combine that with an excellent 90s hip-hop/R&B soundtrack, and the film’s perfectly okay. Plus, it gets an extra half-reel for including a certain Incan first name I’m highly familiar with. ADRIANO Rise of The Beasts is proof that what this franchise needed is less of Michael Bay’s sensibilities and more containment. That said, there’s still much more room for improvement. The first two acts drag their feet to a laborious degree by spending too much of its overlong runtime setting up uninteresting stakes that don’t engage as much as they intend to. Still, though, the new additions, such as Anthony Ramos and Pete Davidson, shine, and the final act excites. It’s a flawed film, but it’s watchable, nonetheless.

PREDATOR: BADLANDS Starring: Dimitrius Schuster-Koloamatangi, Elle Fanning, and Michael Homick Director: Dan Trachtenberg NICK With Prey , Dan Trachtenberg resurrected the Predator franchise. With Killer of Killers , he showed its potential. And with Badlands , he cements its future. Trachtenberg has crafted a film that subverts all expectations, stretching the PG-13 rating as far as he can and changing the trajectory of this IP. Dek (Dimitrius Schuster-Koloamatangi) is a solid new addition to build around, while Thia, played by Elle Fanning (who won me over this year), fuels the film's buddy-cop stylings. It's the action, however, that really drives this thing. The success of the series’ overall direction is yet to be determined, but I had lots of fun with Badlands . ROBERT Does anyone in Hollywood have more surehandedness with a franchise than Dan Trachtenberg and Predator ? At this point, he is three-for-three as Predator: Badlands emerges as a blast of a sci-fi action romp. Trachtenberg manages to enhance the scope of knowledge of the Yautja (Predator) species while also honing in on a singular story of self-discovery and identity. Beyond what standard expectations you might have for a Predator film, Badlands also surprises with some heart and humor that only minimally creates some tonal imbalances. The film only feels misguided when shoehorning in Alien lore, but otherwise, it’s a killer of killer films. ADRIANO I'm all in on Dan Trachtenberg continuing to explore the Predator universe. While not as gripping as Prey , Predator: Badlands takes the franchise in a new direction, and as a Predator fan, I was admittedly nervous about the idea of a Yautja protagonist, but it works. It gets a little too MCU-y towards the end, but between the incredible score and sick action, the whole film remains engaging, in part due to the world-building that all feels like it comes from someone who truly loves the Predator movies. So (and I rarely say this) let's keep these spinoffs coming. PAIGE Predator: Badlands is a unique and refreshing take on the franchise that puts the Yautja front and center as our protagonists. There are so many elements that shouldn’t work, but somehow, they do. Director Dan Trachtenberg not only delivers badass action sequences, but he infuses the film with heart and humor. At its core, this movie tells a found-family story that never shies away from the violence the franchise is known for. Elle Fanning’s enthusiastic synthetic and the runt Yautja make for an epic dynamic duo. Admittedly, the story is fairly straightforward and lacks complexity, but it’s still an absolute blast! Trachtenberg once again proves that the Predator franchise is in good hands. BODE I still haven’t seen Prey or the animated Killer of Killers , so I went into director Dan Trachtenberg’s latest entry in the Predator universe, Badlands , practically fresh-faced. While I get why people love this one, I’m not quite on that train myself. I thought some of the world-building was cool, the action is fun (if a little weightless), and I liked the dynamic between android Thia (a very charming Elle Fanning) and Yautja Dek (Dimitrius Schuster-Koloamatangi). It’s ultimately just a little too safe and artificial for it to leave a lasting impact. Regardless, for what it is, I had a decent enough time. AMARÚ The Yautja are all-time sci-fi antagonists because of their mysterious intrigue. Taking away that mystique might seem unwise, but Predator: Badlands has two ideal circumstances that prove otherwise: being a damn near 30-year-old franchise, and a director deeply steeped in the world. Dan Trachtenberg’s intimate understanding of this franchise (as proven with his two other uniquely amazing entries) allows us to accept sentiment in a quintessentially unemotional culture, and using sibling bonds as the catalyst to finally explore the Yautja made for a natural world-builder. Action, story, and tension provide top notch entertainment, but it was Badland ’s unique approach to the Predators that surprised me most. QUENTIN Although it doesn’t come anywhere close to the highs of Prey or Killer of Killers , Badlands also isn’t near as tragic as 2010’s Predators or 2018’s The Predator . The biggest problem for me is the narrative shift to make this iconic villain the protagonist. I want this species to be a menacing and unrelenting force of unexplained nature like Michael Myers. By giving me backstory and social constructs to generate empathy, director Dan Trachtenberg has removed almost all the mystique surrounding the universe’s best hunter. That aside, everything else — from the story to the action beats — is fine but overly sanitized and extremely Disneyfied.

X Starring: Mia Goth, Jenna Ortega, Martin Henderson, Brittany Snow, Scott Mescudi, Owen Campbell, and Stephen Ure Director: Ti West ADRIANO X is an absolute blast! The first half of this movie is a fun, raunchy, 70’s bop, and all the performances are pitch perfect for the tone it’s going for. It also builds some great tension. The second half is when shit goes down. As a massive slasher fan, I was definitely delighted by the creepy and brutal direction the film took. Writer/director Ti West’s slow building tension made me want to look away, but for the life of me, I couldn’t because I was so desperate to know what would happen next. NICK We often talk about films’ ability to transport us to a different time. Well, writer/director Ti West succeeds on that in droves with X . This film feels like it was filmed in the 70s thanks to its attention to detail and shooting style. In fact, the setup and slow burn are so well done that when things go off the rails later in the film, it lost that authentic feel for me a little. Saying that, the film is still an admirable entry into the horror genre, boasting some great performances and some good ol’ southern-fried murder.

THE MARVELS Starring: Brie Larson, Teyonah Parris, Iman Vellani, Samuel L. Jackson, Zawe Ashton, Zenobia Shroff, Mohan Kapur, and Saagar Shaikh Director: Nia DaCosta AMARÚ The Marvels feels like it had so much more story to tell (at least 30 minutes’ worth), and its makeshift structure is clearly a product of the end of the MCU’s Bob Chapek era. But while some emotional moments and plot points are underdeveloped, the film is ultimately an enjoyable time and highly rewatchable. The lead trio shines together (Iman Vellani is just a fucking delight), and director Nia DaCosta puts together great set pieces, both comedic and action-packed. Plus, the endings (worth a half-reel alone) hold promise that the so-called post-Endgame “mess” will soon be behind us. NICK Just as it feels like things are about to get heavy in the MCU, The Marvels boasts a lighter tone, which is a welcome change. The three leads (Brie Larson, Iman Vellani, Teyonah Parris) work well together, and though I wasn’t particularly a fan of Ms. Marvel , Kamala Khan (Vellani) is the highlight here as her quirks are vastly improved when paired with seasoned superheroes. It’s certainly no homerun, though, thanks to a sorely underdeveloped villain and a progressively messy plot, but I can’t deny I had fun with the creative set pieces from director Nia DaCosta (the opening fight is excellent) and the team's chemistry. QUENTIN For a person who thinks both Captain Marvel and Ms. Marvel are bottom-tier MCU offerings, The Marvels might be slightly better than I expected, but that doesn’t elevate it any higher than just okay. The opening fight scene is admittedly a lot of fun, but the movie also has a forced, almost pandering, Bollywood-inspired set piece and a silly sequence set to “Memory” from Cats that rivals the goofiest parts of Love and Thunder . Plus, overall, the plot is just thin and messy, not to mention an ending that sets up a future I have zero interest in (the mid-credits scene is a different story). ADRIANO I'm not one of those people who enjoys constantly harping on Marvel, but if The Marvels is any indication, their reign is coming to an end. It's not horrible, but it's certainly nonsensical from a story and tone perspective. It's all over the place, and the villain is as undercooked as it gets. Still, I did have fun, though. When director Nia DaCosta was able to express some creative freedom, it elicited some enjoyment and laughter out of me, as did the three leads, especially Iman Vellani. However, I did not have nearly enough fun to call this movie good. PAIGE The latest MCU entry, The Marvels , shines due to its stellar chemistry between leads Brie Larson, Teyonah Parris, and Iman Vellani. It’s got boatloads of fun action sequences and comedic moments that will have you grinning from ear to ear. While this well-paced popcorn flick is full of energy, I can’t help but feel a wee bit underwhelmed by another weak MCU villain and a subpar script that felt like scenes were missing from the final cut. Although it falls in the middle of the road in regards to Marvel's films, I walked away joyfully entertained with this lighter and more buoyant outing. KATIE I was so pleasantly surprised by The Marvels . Unlike the latest Marvel offerings, director Nia DaCosta brings creative flair and originality to inject humour and heart into the story, as well as composing some entertaining set pieces. It’s well-paced and energetic, and driven by the genuine chemistry between the leads Brie Larson, Teyonah Parris, and Iman Vellani. Although the script is a little weak, and I would have liked for the villain’s plot to have been further developed, it’s the first Marvel film in a long time that I can honestly say I’d rewatch.

THE WONDERFUL STORY OF HENRY SUGAR Starring: Benedict Cumberbatch, Ralph Fiennes, Dev Patel, Ben Kingsley, Rupert Friend, and Richard Ayoade Director: Wes Anderson QUENTIN Full disclosure: I’m not a Wes Anderson fan. I find his work to be style over substance, resting entirely on his personal brand of twee whimsy, candy-colored pastels, and hipster aesthetics. So, it should come as no surprise when I say that I hated The Wonderful Story of Henry Sugar . Even at just 38 minutes, it was painful to endure. The actors don’t so much give performances as they are reading Roald Dahl’s story to you, complete with fourth-wall breaks, acting it out in the way you might act out a bedtime story for your kids. Meanwhile, Anderson bludgeons you to death with his trademark style. KATIE The Wonderful Story of Henry Sugar is director Wes Anderson doing what he does best for just shy of 40 minutes. It’s sharp, meticulously designed, and the starry cast perfectly delivers the dry, witty dialogue in Anderson’s signature style. Roald Dahl’s distinctive authorial voice, alongside the fact that the source material is about storytelling, marries perfectly with Anderson’s unique aesthetic and habit of drawing attention to the artifice of filmmaking. Whereas I found this approach irritating in some of his previous films, mostly in The French Dispatch , it’s delightful in this case, emphasizing the quirky, whimsical nature of the story. PHILL Wes Anderson films often feel akin to watching a stage play as opposed to more conventional films, and The Wonderful Story of Henry Sugar takes that idea even further. This is almost like watching a picture book come to life. The dialogue is rapid even by Anderson standards, and the movie is filled with his usual thematic fashion of pastel-coloured symmetrical shots, not to mention the entertaining performances. Still, whilst very enjoyable, it’s a far cry from being Wes Anderson’s best work. It’s too fast and too quirky for its own good, often feeling like it is trying to speedrun the Roald Dahl story. CALEB The Wonderful Story of Henry Sugar is a delightful way to spend forty minutes. Unsurprisingly, director Wes Anderson and author Roald Dahl are a match made in heaven. Nearly everything about Anderson’s signature style compliments the fantastical source material: the dry wit, the whimsy, the dollhouse aesthetic…it all works perfectly in tandem with Dahl’s story. The whole cast does a good job too, but Dev Patel particularly stands out, easily providing the most entertaining performance here. Henry Sugar is a fun, thoughtful little story, and an easy recommendation for Wes Anderson and Roald Dahl fans alike. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2023 Venice International Film Festival.

PEARL Starring: Mia Goth, David Corenswet, Tandi Wright, Matthew Sunderland, and Emma Jenkins-Purro Director: Ti West QUENTIN While I thought Ti West’s X was a solid slasher, I didn’t think it was anything special, so I can’t say I was overly excited for Pearl , a prequel to X . Surprisingly, Pearl is actually the better of the two. West has essentially given X ’s villain a Joker -esque origin story that is tinted with The Wizard of Oz and Bates Motel . It definitely works, but Pearl has a completely different vibe than X ; just because you love one doesn’t mean you will love the other. Pearl is slower, but more nuanced. If X is a “slasher movie,” then Pearl is a “horror film.” ADRIANO I’m pretty sure I liked X more than Pearl , but even then, Pearl is still an amazing film in its own right. It feels like an entirely different film than its counterpart, as it ditches the sleazy, raunchy, slasher vibe for an old-timey, almost Wizard Of Oz -ish, character study with slasher elements. And Mia Goth, dear Lord - her performance is breathtaking. It’s rare that a performance makes me think “How did she do that?”; one part cartoonish southern accent, one part emerging psychopath, and Goth nails it. We can count Pearl as another win for A24 this year. NICK Similar to Toni Collette (Hereditary ) and Lupita Nyong’o (Us ) before her, Mia Goth gives one of the year’s best performances in a horror film that likely will go unheralded. Goth is given the chance to really flesh out the character first seen in X , and in turn, retroactively improves upon that film. This prequel may not be quite as good as its predecessor, but it trades the 70s horror vibes for an almost whimsical effort that shows director Ti West is no one trick pony. With the announcement of MaXXXine up next, West and Goth have the chance to close out an all-time horror trilogy. PAIGE Put Stephen King’s Carrie White in The Wizard Of Oz , and you end up with Pearl . My god, director Ti West has killed it again...no pun intended…because Pearl is just so fresh and stylish. It’s rare that a prequel does so much to enhance and enrich what came before it, but this film makes X even better. It also does a phenomenal job of humanizing a villain. Lastly, just wow…Mia Goth gives a mesmerizing, award-worthy performance that, when taken alongside her work in X , solidifies her as a modern day scream queen. Give me more of her now because I can’t wait for MaXXXine ! JACOB Pearl works less as an outright horror film than it does a showcase for Mia Goth, but that showcase is a ton of fun to watch. The second in Ti West’s newly-minted “X trilogy,” West once again makes movie magic by draping pornographic desire in The Wizard of Oz aesthetics and letting his star run wild. Mia Goth’s performance is outstanding, her third act monologue sure to go down as an all-time great, and likely to be used in audition rooms for generations to come. I still think X works slightly better overall, but this is a very worthy successor. This film was reviewed by Nick, Quentin, and Adriano as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

PLAYDATE Starring: Alan Ritchson, Kevin James, Banks Pierce, Benjamin Pajak, Sarah Chalke, Alan Tudyk, Isla Fisher, and Stephen Root Director: Luke Greenfield KATIE Playdate is mostly unbelievably unfunny, but against my better judgement, I did find a way to laugh at some parts. Alan Ritchson’s loveable idiot, himbo type character reminded me of Chris Pratt’s early roles, and he displays a lot of comedic potential. The child actors are also funny, and the gags involving them were responsible for the few times I laughed. However, Kevin James seemed completely disengaged, and the plot is nonsensical. Plus, there are constant terrible needle drops that do nothing for the scene, and the use of very annoying background tracks that made me feel like I was watching a TikTok video. ROBERT There appears to be a playbook at Amazon for their action comedies, and truthfully, it is only successful when the two leads are equal and buy in completely (See: Heads of State ). For Playdate , there is no balance as Alan Ritchson shows his funny bone as the dumb jock, and Kevin James seems angry that his last handful of starring vehicles stalled his movie career. The film itself is a bland, man-child buddy flick that seems long at 93 minutes. The caliber of performer they got to color in the cast for one or two scenes confirms that script quality will always lose to cash.

A MAN CALLED OTTO Starring: Tom Hanks, Mariana Treviño, Manuel Garcia-Rulfo, Cameron Britton, Juanita Jennings, Mack Bayda, Christiana Montoya, Alessandra Perez, Peter Lawson Jones, and Rachel Keller Director: Marc Forster AMARÚ It’s a tall task to make America’s Dad Tom Hanks a grumpy bastard, and to create such sweetness out of the morbidity touched upon in A Man Called Otto . But man, did director Marc Forster tell a touching story with this one. His use of setting to unravel the title character’s life story throughout the film is a highlight, alongside one of this awards season’s most underrated performances in Mariana Treviño. The fact that she hasn’t sniffed Best Supporting Actress contention is beyond me. She is an utter force of nature and the cog that keeps this heart-tugger of a movie moving. JACOB Having never encountered the source material on which it’s based, I can’t say whether A Man Called Otto is better or worse than what preceded it, but as its own movie, it’s perfectly fine (if a tad undercooked). There’s nothing particularly special about it, but there’s nothing especially wrong with it either, apart from some strangely placed flashback sequences here and there. Tom Hanks and Mariana Treviño are definitely the stars, and they do well together, but nothing in the story sets it apart from or above other films like it. That said, the emotional moments do work when it makes the effort. JOSEPH If you haven’t seen the original Swedish film, perhaps you’ll be touched or moved by A Man Called Otto . The cast is mostly likable and the story is sweet, but in comparison to the original, it just feels like far too much is missing. Along with that, it’s hard to buy Tom Hanks as a curmudgeonly old man, although I have no complaints about his acting. It’s still a sweet film, but one that could have benefitted by adding more depth to the characters.

THE SCHOOL DUEL Starring: Kue Lawrence, Christina Brucato, Jamad Mays, Michael Sean Tighe, Eugene Bondurant, and Oscar Nuñez Director: Todd Wiseman Jr. This film has been reviewed by Quentin and Nick as part of Bitesize Breakdown's coverage of the 2025 Fantasia International Film Festival. QUENTIN Although it could not be any more different in tone, The School Duel plays like a prophetic tale for America à la Idiocracy . To be clear, this is not “entertainment;” it’s director Todd Wiseman Jr. having something important to say. To be perfectly honest, I respect it far more than I enjoyed it; however, I can’t deny the messaging about school shootings, adolescence, privilege, inequality, competition, and bullying resonates in all-too-real, grim, and heartbreaking ways. I completely understand that most people probably won’t want to spend 90 minutes with this film, but I’m glad I did (even if I never want to do it again). NICK The School Duel is the rare film where the subdued build-up is actually more interesting than the final climactic battle scene. Shot in beautiful black and white, I was into this for the first hour or so as Samuel (Kue Lawrence) was broken down continuously by his teachers and school bullies. Then once we got to The School Duel, my interest began to wane a little. It's the message of this film that is strongest though, as director Todd Wiseman Jr. shines a spotlight on the pathway to school shootings and a worrisome future for the youth of America.

REALITY Starring: Sydney Sweeney, Josh Hamilton, and Marchánt Davis Director: Tina Satter QUENTIN I have personal thoughts about Reality Winner (Sydney Sweeney) and her crimes, and most coverage has gone in the opposite direction of what I think. However, I give director Tina Satter credit, because for most of the film’s 83-minute runtime, she doesn’t paint Winner as hero or villain, and her incredibly inventive approach creates a surreal pseudo-documentary that establishes a matter-of-fact point of view. Plus, Sweeney is absolutely remarkable, playing a character that evolves from innocent naiveté to terrified realization with aplomb, and the chemistry and tension built between her, Josh Hamilton, and Marchánt Davis is off the charts. This will net HBO some Emmys. PAIGE If you’re looking for a compelling and anxiety-inducing character study, then Reality is the film for you since it’s a self-contained thriller that is remarkably tense throughout. Not to mention, it’s just a gripping true story. That said, if it weren’t for Sydney Sweeney’s raw and remarkable performance, I don’t know if it would’ve worked as well as it does. She carries this tight-knit film on her shoulders, delivering one hell of a performance. Also, I would recommend that you familiarize yourself with the actual story before jumping into this so you can fully appreciate what is happening on screen. JACOB Though it amounts to little more than a conversation piece, Reality is a thoroughly engaging, genuinely tense TV movie that would be one of the better episodes of television this year if it were part of its own series. Everyone aces their parts, but the two-handed back and forth between Sydney Sweeney and Josh Hamilton is what gives the narrative its juice. Given the confidential nature of some of the more specific information the film alludes to, the redaction of that information presents opportunities for some interesting filmmaking techniques, and director Tina Satter is more than up to the task. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2023 Berlinale International Film Festival.

DC LEAGUE OF SUPER-PETS Starring: Dwayne Johnson, Kevin Hart, Kate McKinnon, John Krasinski, Vanessa Bayer, Natasha Lyonne, Diego Luna, Marc Maron, Keanu Reeves, Thomas Middleditch, Ben Schwartz, Olivia Wilde, Maya Erskine, Yvette Nicole Brown, Jameela Jamil, Jemaine Clement, John Early, Dascha Polanco, Daveed Diggs, Alfred Molina, Lena Headey, Keith David, Busy Philipps, Dan Fogler, Winona Bradshaw Directors: Jared Stern and Sam Levine AMARÚ DC League of Super-Pets is cute as hell. But more than that, it understood the assignment. It’s a straightforward kid’s movie with self-referential humor that comic-book loving parents (and comic-book loving non-parents) will appreciate. It takes the vibe of the other pet-based animated movie starring Kevin Hart and intelligently pokes fun at the tropes of multiple genres to succeed where that movie failed. Leaning on a great voice cast (Natasha Lyonne is a true standout), it focuses on the lessons and heart of other great kid’s movies to allow those inside jokes to land better. Super-Pets may be predictable, but it’s an enjoyable time. ADRIANO Going in, I had a certain set of expectations for DC League Of Super-Pets , and those expectations were met, in that it was a middle-of-the-road, perfectly fine movie for children. It has some chuckles and some heart, but it’s not changing humanity. The kids in my audience loved it, but I’m not a kid. As a non-kid, I thought it was serviceable. I liked the voice acting in the movie, so there is that. I can’t in good conscience say the movie is bad because I enjoyed it to an extent, but I thought it was only just fine. JACOB It’s not likely to be your new favorite animated movie, or even make most Top 10s in that respect, but there’s enough to like about DC League of Super-Pets to make it worthwhile. The animation itself looks quite good, and the voice cast all bring their A-game to the table in telling a unique superhero story that may be biting off a bit more than it can chew. Those unfulfilled ambitions aside, the film does throw in some adult-level jokes that provide genuine laughs while the heartwarming story manages to shine through most of the film’s drawbacks.