Though My Friend Pedro will certainly not make anyone rethink their assumptions about video games, it induced in me a feeling of kinetic bliss. I enjoyed running through its paces because the levels, with their pulsating electronic music, encourage a sort of heedless flow. I never grew bored of the game’s hypnotic game play loops.
A diverting, visually dazzling concoction of wily schemes and daring adventures, Toy Story 4 achieves that something that eludes most sequels, especially this far into a series: a near-perfect balance between familiarity and novelty, action and emotion, and joyful hellos and more bittersweet goodbyes.
Given that Outer Wilds is all about discovering the sort of phenomena that once astonished and befuddled an advanced alien civilization, it seems right that I should have been unsettled by it at first.
Kumail Nanjiani is the best thing about Men in Black: International. That’s saying something, considering that the actor never appears on camera and that the character he lends his expressively plaintive voice to is a CGI alien the size of a gerbil.
Shaft is also funny, with a sharp, fast-paced humor (though one transphobic joke is a tone-deaf clunker). And it’s always enjoyable to watch Jackson walking around while dropping f-bombs (and mother-f-bombs) all over the place.
If a movie can be said to suffer from low-grade depression, this one certainly seems to be, shuffling in its socks and bathrobe through a not-quite-two-hour running time with an attitude that is closer to grudging obligation than enthusiastic commitment.
But make no mistake: Hogg’s quirky coming-of-age tale (which teases a forthcoming sequel) is no misty remembrance of bygone days. Rather, it is a clear-eyed reflection on how hindsight — and true art — is always 20/20.