By Lynn Venhaus
Clever, brimming with wit and good nature, “Free Guy” is one of the most pleasant surprises of the summer.

An action video game, comic-book slate of heroes and villains and romantic comedy rolled into one, the plot focuses on a mild-mannered bank teller Guy (Ryan Reynolds) who discovers that he’s actually a NPC inside a brutal, open world video game. When he spontaneously decides to become his own hero, and proceeds to rewrite his story so that he saves the world — on his own terms, he unleashes a frantic race against time. Antwan (Taika Waititi), a megalomaniac tech mastermind, is hell-bent against Guy succeeding.

As one who isn’t a gamer – and had to look up what a NPC is (non-player character), I expected to be lost, but thanks to an engaging cast, I could not only keep up but also be entertained.

Set in a world of video game creation and role-playing, a town called Free City is where the action takes place, a busy burg with old-fashioned charm. Think Mayberry meets Metropolis. 

Every day, the mayhem and mean streets one associates with video game action occurs as most everyone is trying to go about their daily lives. They deal with explosions, gunfire, criminals and stunts like it’s normal.

Guy’s jovial best friend, Buddy (Lil Rel Howery), is a security guard. The simple pleasure of a good cup of coffee makes their day, which includes a routine where they avoid gunshots, falling debris and hulking monsters.

Their oblivion and good hearts are refreshing, but of course, if there wasn’t a conflict, there would not be a movie. Can an action movie, particular in the sci-fi realm, be light-hearted? 

“Free Guy” demonstrates that a little originality and a lot of technical acumen can produce a fizzy summer blockbuster not bogged down in high expectations.

As agreeable as cheery Guy is to watch going about his day, reminiscent of “The Truman Show,” waiting to pounce is a nefarious computer genius, Antwan. Waititi, the wildly talented actor-writer-director who won an Oscar for writing “JoJo Rabbit,” is gloriously over-the-top playing the devious guru who has underhandedly ripped off an enterprising programming whiz Keys (Joe Keery) and his resourceful co-creator Millie (Jodie Comer) by stealing their innovative life’s work.

Somehow, Guy switches up the rules and displays a mind of his own, which is unheard of in this universe. The whole world is watching as “Blue Shirt Guy” captures viewers/players’ hearts, and he is motivated because he is attracted to one of the tough female characters, also played by the winning Comer, Emmy winner for ‘Killing Eve.”

Game on! The action gets fast, furious – and fun. Shawn Levy has directed this in a high-spirited way. He’s known for the “Night at the Museum” franchise and the streaming TV show “Stranger Things,” and keeps the action moving and the story sharp.

The actor who has played Steve Harrington, Joe Keery, is a likable mild-mannered gamer and smart techie who is on to Antwan’s schemes. With the help of his cynical work pal Mouser, the well-cast Utkarsh Ambudkar, they’re one step ahead.

The cast appears to be ‘all in’ – and having a blast with the story’s playfulness. Howery, whose breakthrough was “Get Out” and has carved a niche as a good buddy, has a nice camaraderie with the everyman movie star Reynolds.

Reynolds is at his best as a good guy caught up in something he doesn’t understand. He has a knack for playing regular dudes under pressure, ready with a quip, and doesn’t shrink from saving the day. This role is more jocular, like DC’s “Deadpool,” his biggest hit, and he’s thoroughly charming.

“Free Guy” possesses a self-assured quality, and its veteran screenwriters know a thing or two about crowd-pleasers. Zak Penn, who sold his first script, “The Last Action Hero” when he was 23, has worked on films in the Marvel Comics Universe, including “X-Men 2” and “The Avengers,” and wrote “Ready Player One,” which bears a strong resemblance to the crux of “Free Guy.”

His co-writer Matt Lieberman has been working on such family-friendly fare as “The Christmas Chronicles” starring Kurt Russell as Santa Claus and the animated “The Addams Family” reboot.

Jodie Comer and Joe Keery in “Free Guy”

Together, they have fashioned a breezy romp that’s well-suited for the big screen and makes nimble use of a crackerjack cast, who has splendidly mastered green screen acting.

“Free Guy,” which was slated for release last summer, is one of those rare August treats that unexpectedly has provided a delightful cinematic experience. 

“Free Guy” is a 2021 action, sci-fi, fantasy, comedy directed by Shawn Levy and starring Ryan Reynolds, Jodie Comer, Taika Waititi, Joe Keery and Utkarsh Ambudkar. Rated: PG-13 for strong fantasy violence throughout, language and crude/suggestive references, its run time is 1 hour, 55 minutes. It opened in theatres on Aug. 13. Lynn’s Grade: B+

By Alex McPherson
Director Shaka King’s new film, “Judas and the Black Messiah,” is a visceral exploration of resistance, sacrifice, betrayal, and legacy.

The film takes place in late 1960s Chicago, where tensions are high between the Illinois Black Panther party and law enforcement. Amid the aftermath of recent political assassinations, Panther Deputy Chairman Fred Hampton (Daniel Kaluuya) is growing increasingly influential. Hampton, only 21 years old, is a passionate leader who seeks to advance the self-determination of black people to rebel against injustice, calling for cultural revolution. He establishes programs providing food, education, and medical care to local communities. He also unites disparate groups across Chicago under shared fury at the powers that be, including an all-white group called the Young Patriots.

Despite all that Hampton does for the community, however, FBI director J. Edgar Hoover, monstrously played by Martin Sheen, sees Hampton’s growing impact as a threat and formulates a plot to eliminate him by any means necessary. FBI agent Roy Mitchell, played with surprising nuance by Jesse Plemons, recruits a youthful, petty criminal named William O’Neal (Lakeith Stanfield) to infiltrate the Black Panther Party and become an informant, in exchange for his freedom from jail time. As O’Neal starts ascending through the ranks — eventually becoming Hampton’s security chief — he starts to question what he’s doing and whose side he’s really on.

The following events are often enraging and sobering. Indeed, “Judas and the Black Messiah” is a deeply moving film, depicting its subjects with depth while spotlighting historical events that remain scarily relevant today.

Through focusing on a condensed period of time, King’s film isn’t a mere biopic of Hampton or O’Neal. Rather, viewers are thrown into a warzone twisted by prejudice and misinformation. This was a volatile period in Chicago’s history, as well as a formative time for several of the film’s subjects. As Hampton’s political prowess grows, so do the malevolent machinations operating behind the scenes. Through the film’s crisp cinematography, expressive score, and harrowing scenarios, we can practically taste the danger in the air. The suspense is palpable, both of cultural change and of violence looming on the horizon.

It’s a bold decision to frame the proceedings through O’Neal’s perspective. Though his actions are often reprehensible, “Judas and the Black Messiah” paints him in an empathetic fashion, where we can see his inner turmoil. Trapped in a precarious situation, both the manipulator and the manipulated, O’Neal is an intriguing enigma throughout the film. “Judas and the Black Messiah” contains several nail-biting scenes where O’Neal escapes by the skin of his teeth — slyly grinning to himself when the coast is clear, but also realizing the constant danger he’s in, and his own growing attachment to the Panther cause. 

Stanfield’s performance is downright incredible, capturing O’Neal’s selfishness and slippery nature, but also his discomfort and mental conflict as the film progresses. Although some viewers may take issue with his lack of clear-cut motivation, King and co-writer Will Berson refuse to simplify him for entertainment purposes. O’Neal is a flawed individual, who we may never truly understand. In the film, he comes across as a tragic figure, battling for a sense of self amid delusion, propaganda, and frontline interaction with the Panthers themselves.

This lends the proceedings an uncomfortable tone, as we simultaneously care about O’Neal, but also reel from the actions he takes to undermine the Panthers’ cause. Although I appreciate his complex portrayal, “Judas and the Black Messiah” misses an opportunity to elaborate on his attachment, or lack thereof, to the Panthers. The film rushes through his time spent in the Party early on, and the film’s emotional core could have been strengthened by showing more of his interactions with Hampton in particular. 

Hampton isn’t portrayed quite as three-dimensionally as O’Neal, but the film effectively establishes his skills as an orator and as someone who truly cares about the people he’s serving. Kaluyya gives a powerful, soaring performance, where Hampton’s bravery as a leader is on full display. His girlfriend, Deborah Johnson (Dominique Fishback), helps him mature over the course of the film, as he reckons with the weight of his responsibilities for his personal life and the legacy he leaves behind. 

We also get several quieter scenes of Hampton reflecting on his life, helping to ground his character in relatable, personable emotions beneath his in-your-face persona. He reckons with how he’s perceived by the FBI, along with the consequences his passionate rhetoric has on his followers. While I wish the film had provided more of these intimate moments, “Judas and the Black Messiah” showcases the tragedy of a groundbreaking life of activism cut short by forces emboldened by racism and lust for power.

Despite the film’s missed potential in exploring the relationship between Hampton and O’Neal, “Judas and the Black Messiah” remains a must-watch cinematic experience — spotlighting a heroic figure, while encouraging viewers to fight for a more equitable world for future generations.

“Judas and the Black Messiah” is a dramatic biopic directed and co-written by Shaka King, starring LaKeith Stanfield, Daniel Kaluuya, Dominique Fishback, Jesse Plemons, Lil Rel Howery, and Martin Sheen. It runs 2 hours 6 minutes. Alex’s Rating: A- Now playing in theaters and on HBOMax Feb. 12