#cazzy

Minor movie spoilers ahead.

I was surprised at how gory the movie was in many parts. There are bloody scenes straight out of a horror movie. The squeamish may want to turn away. One scene with a hand still has me cringing. The first half is ultra-violent, with lots of dismemberment and murder as Robin and his old friend Little John (a nearly unrecognizable Bill Skarsgård) continue their attacks. It’s a bit of a turn-off and not what I expected. 

Eventually, Robin makes his way to a priory on a remote island, a religious sanctuary of peace. The violence takes a backseat as he is slowly healed from a nasty injury by Sister Brigid (Jodie Comer). Other residents include a dying, disfigured leper (Murray Bartlett) and another new arrival, the teenaged Arthur (Noah Jupe). All have mysterious connections to the outlaw’s past, as he reconciles with his life and harms. The movie’s title may or may not be literal - I won’t give that away here. However, it does symbolize the death of the story, of the myth of Robin Hood known to these characters, including the man himself, as well as the audience. 

I’m a big fan of director Michael Sarnoski’s previous two films, Pig and A Quiet Place: Day One. Both involved a troubled protagonist reflecting on grief, mortality, and a personal world turned upside down. This main theme continues here, where it’s a quiet reconciling journey. This is a character study carried by the cast. There are many directions one can take with such a famous tale. Sarnoski takes a unique approach while adapting the 17th-century ballad Robin Hood's Death, uplifted by committed performances all around. 

The cinematography is another highlight. There are some absolutely gorgeous shots of the UK (filmed in Northern Ireland) countryside, beaches, cliffs, and forest, particularly in the first half. Many of the scenes are meditative with little dialogue. It feels a bit slow, but it’s also very effective. The remote locations tell a story and enhance the atmosphere. The fog and clouds make the environment feel dark, isolated, and even dangerous. There’s a ton of natural lighting in day and night. I could have watched two hours of that, no dialogue needed.

Sadly, the talent behind and in-front of the camera cannot make up for a dull script and story. 

Unfortunately, this doesn’t hit the originality or emotional beats of Sarnoski’s other feature films. There was a real attempt here and everyone did a great job. However, I never quite connected with it on an emotional level. It often felt detached, almost empty. The emotion just wasn’t there. I appreciated the character’s development and arc, but never felt sadness or empathy towards Robin Hood. It’s not at all a poor film, and fans of the cast will be captivated by their portrayals. There just felt like a little something was missing - perhaps it was too grim for its own good. Maybe, we needed a little more hope amongst the grime, although there is definitely some light to be found in the end. 

It’s a mixed bag, but there’s a real display of artistic flare. Ultimately, even if it doesn’t quite come together emotionally, The Death of Robin Hood features unquestionable passion and detail. It’s intense, nasty, and very serious, and perhaps that’s what the whimsical folk tale needed. It’s definitely appropriate for the world of 2026.

Written by: Cazzy Lewchuk

Major movie spoilers ahead.

Visually, this is a gorgeous release that pops on your screen. The colours, fine detail, and overall quality really stand out. Even at home, it offers the vivid feel of watching in a big screen theatre. This is high quality animation, made and transferred to home viewing options with care. It’s bright, bold, and beautiful. The movie's third act has an especially dazzling flare, with lava, stardust, and a rotating space station. I’ve rarely seen CGI animation this fine. The backgrounds and cosmic features look lifelike, better than even some live-action space films!

We waste no time with the plot, opening with Princess Rosalina (voiced by Brie Larson) and the adorable star beings Lumas, collectively (and adorably!) voiced by co-director Michael Jelenic’s young daughters. The Lumas will no doubt warm the heart of any viewer. The princess is quickly abducted in a UFO by Bowser Jr. (Benny Safdie), the long-lost near-identical son of key antagonist, Bowser (Jack Black).

The action shifts to Yoshi (an unrecognizable Donald Glover), another new character, whose introduction was teased at the end of its predecessor. After being hatched, we get a great sequence of him accidentally visiting New York City and causing trouble. He soon meets our favourite Italian brothers Mario (Chris Pratt) and Luigi (Charlie Day), who are called to rescue the princess by an escaped Luma in true Super Mario Bros. fashion. They even team up with a (maybe) reformed Bowser to do so.

What follows is a fast hour-long montage of visiting various planets in the Gateway Galaxy searching for Rosalina. There are strange alien creatures, monkeys, and even dinosaurs. I’m not very familiar with the video game lore, but there’s lots of worlds and Easter Eggs for fans to recognize. It’s all rapid, maybe even confusing, but it’s never a dull moment. 

Fox McCloud (Glen Powell) of the Star Fox franchise is a real highlight. There’s a hand-drawn animated scene showing his backstory, which is one of the best scenes of the movie. He’s extremely cool (as corroborated by Luigi) and a fan favourite. If Nintendo wants to launch another franchise, I’d welcome a spin-off.

The newcomer characters and actors balance out an already stacked celebrity cast. All of the performances bring to life and improve on the first movie. Everyone really commits, bringing their best to an audio-only role. I did want more screen time for the princesses - Peach (a returning Anya Taylor-Joy) and Rosalina don’t really get their moment until the end. 

The overall visual frenzy really saves this. It’s engaging and clearly for the younger ones, but it’s dazzling to watch for all ages. I didn’t always understand the finer details, but it’s so immersive at its core. It’s never too goofy or juvenile, and is earnest in telling a 'serious' story with these characters. There are real stakes and tension without being too intense. 

I’d definitely watch this again! The Super Mario Galaxy Movie is wholesome and entertaining, a carefully-crafted tribute and enhancement to a powerhouse franchise. The wait was worth it. There’s so much to notice and smile at. 

The physical release is rounded out by over an hour of extras. There are bonuses and interviews with the cast and crew about bringing the characters, worlds, and decades worth of games to life. These additions are perfect for any major fan or curious newcomer. I would have liked to see more technical aspects of the animation process and longer bonuses overall. However, in a world where physical media is often sidelined and many new releases come with no extras, I really appreciated these features.

Written by: Cazzy Lewchuk

Visually, it looks great. The shots of the fantasy (and He-Man's home) planet, Eternia, and of course, the iconic Castle Grayskull, immerse the viewer right away. There was a lot of money spent and it shows. The character design feels timeless and otherworldly. Unlike many blockbusters, the movie featured colour and wide angle shots, which I found to be a major selling point. 

The film opens with an extended childhood flashback on the magical land of Eternia. We see how He-Man or “Prince Adam” (Nicholas Galitzine) is sent to Earth 15 years prior, spurned by an attack led by the ruthless Skeletor. Now working in human resources, Adam searches for his lost sword. One of the best scenes early on pays tribute to the 'What's Up?' meme, following a pursuit by Beast Man. Eventually, Adam and his now grown childhood friend Teela (Camila Mendes) return home to avenge his family and fulfill his destiny.  

Ultimately, the story beats are familiar. There are some corny jokes, vapid emotional arcs, and extended battles. It drags in the middle. An 80s-inspired soundtrack featuring Brian May (of Queen) booms. The occasional cameo and tease. Themes of staying true to yourself are peppered in. We’ve seen all of this before under a different skin.

It is the cast in Galitzine, Mendes, Idris Elba (Duncan/Man-At-Arms), and Alison Brie (sorceress Evil-Lyn) who carry this movie. Everyone is committed and not just phoning it in. They manage to find a balance between “literal kids cartoon” and “serious, allegedly realistic” portrayals. Many franchises are too goofy or too gritty for their own good, but this struck the balance. There’s definitely quips and boring emotional moments, but they’re played off well.

Skeletor is an iconic villain, and Jared Leto was an odd choice. I was quite surprised that he had a posh English accent, a weak impression of Tim Curry. Neither the character nor actor are British. I wish they had just stuck to the original 'NYAAAAAH!' style. That being said, visually he looks perfect. Skeletor’s dialogue is silly yet menacing. There’s a particularly fun sequence towards the end that’s a highlight. 

When it’s fun, it’s a lot of fun. The fight scenes, CGI, direction, and even character design are much better than a lot of more established franchises. This is an adaptation of a jacked warrior toy commercial and it works. However, I’m still not certain on who the target audience is. Middle-aged men chasing childhood cartoons? Their curious giggling young sons? I was sat next to both of them and they seemed to have a blast. Most of the audience in the theatre did. Perhaps this will capture crowds and we’ll all be seated for Masters of the Universe sequels and spin-offs in due time. And if not, it still has the power. Even if that feeling fizzles out, for two hours, it’s enough.

Written by: Cazzy Lewchuk