If you have been alive long enough, or have followed these comic book movies since the late '90s—or, better yet, since just before Christopher Nolan decided to take on Batman Begins—you would know that Warner Bros. has attempted to kick off a DC universe since Marvel started doing it successfully. DC had to wait until Nolan completed his trilogy before they finally started with Zack Snyder.
If you have been following me for any measure of time and have read what I have said regarding DC, you would know that Warner Bros. fumbled the bag trying to play catch-up to Marvel and completely messed up the DCEU. Now that James Gunn is running this new DCU, he seems to have a plan in place and, so far, so good. He has split it into live-action and animated. Superman was good, Supergirl was OK, Clayface looks interesting, and do not forget Peacemaker. They fumbled the bag with the second-season theme song, I think, but the season itself was actually decent. So, other than another season of Creature Commandos, Lanterns is now here and, honestly, it's actually very good. We're told this show is going to be something along the lines of True Detective. After watching this first episode, I can already see why. This isn't simply a comic book show; it's a True Detective murder mystery wrapped in DC mythology, coming from the people behind Watchmen. Meaning... this is GOOD!!!
We start with a flashback of John Stewart as a child, watching TV with his brothers before his father gets home. What initially seems like a reprimand is actually John being taught not to fear. Flash forward 20 years, and John is met by Hal Jordan, who is training him to become a Green Lantern. When news breaks about something going down in Nebraska, the two come across a school's football field with several dead bodies. Trying to figure out what is going on, they start looking for answers and discover that a man on a ranch in the town seems to be preparing for something. He also knows just a little too much, while saying very little. Then we jump another 10 years into the future. John is back in Nebraska. Back at the school. And there is another dead body. And this is where Lanterns gets very interesting.
I made this film an absolute priority because I knew there was no way I'd avoid spoilers for long. This is one of those event movies. Like The Odyssey, I booked my ticket on the day, but this time it was even worse. The best seats had already gone, entire screenings were greyed out, and when I arrived at the cinema, it was absolutely rammed. This film is going to make all the money.
Before going in, a friend who had already seen it gave it a solid 7/10. Having now watched it myself, I completely understand that score... although I'd probably rate it a little higher. This feels like the beginning of a brand-new Spider-Man trilogy, and more importantly, it feels like a completely different era. If the first three Tom Holland films were Peter Parker growing up, Brand New Day is where adulthood begins.
The tone, style, and execution are noticeably more mature and character-driven. That's not a criticism of Jon Watts' trilogy—I loved those films—but watching Homecoming and then Brand New Day back-to-back is like watching the Harry Potter films evolve. The world has grown up, and so has Peter Parker. I really enjoyed this film, and here's why.
The film opens by reminding audiences who Peter Parker is, the sacrifices he's made, and everyone he's lost while being Spider-Man. He's still New York's friendly neighbourhood hero, but when the Department of Damage Control comes under attack, Spider-Man teams up with its director to track down the mysterious culprit. The problem? This new threat can influence other people, making them incredibly difficult to stop. Alongside the investigation, Peter is still trying to balance being Spider-Man, being Peter Parker, and protecting the people closest to him without putting them in danger.
I do have to admit that my viewing experience wasn't ideal. Cinema etiquette was practically non-existent. People turned up late, shining phone torches down the already clearly lit and labelled steps. Others decided taking photos with the flash on was somehow acceptable. Half a row realised they were sitting in the wrong seats and shuffled around mid-film. Sitting on the aisle probably didn't help either, as I noticed absolutely everything. At one point I genuinely wanted to shout, "Oi! You with the phone, cut it out!" It wasn't constant, but it happened often enough to keep pulling me out of the experience. I even heard a baby crying twice—which honestly bothered me far less than the endless phone screens lighting up the cinema.
As for the film itself, it's top-notch. Maybe it runs a touch long, although that feeling was probably amplified by everything happening around me. There are a handful of nitpicks, but nothing major. I got genuinely emotional a couple of times, especially during one particular fake-out halfway through. I was furious... in the best possible way. That's exactly the reaction Destin wanted.
The story is excellent, but what really stood out was the character work. Tom Holland and Zendaya share some of the strongest scenes the franchise has ever produced. Their conversations feel genuine, mature, and earned; you feel the growth and weight of the past being carried by Peter. The MCU also feels wonderfully alive here, with plenty of familiar faces, background cameos, and subtle hints about where everything is heading next. Even the post-credit scene teases another intriguing step in Peter's future.
Visually, this film looks fantastic. The cinematography is gorgeous, the score is outstanding, and despite some large-scale action sequences, everything remains clear and easy to follow. You really feel like you are Spider-Man swinging through a real New York City. Everything felt authentic. The fight choreography is excellent, the pacing of the action works brilliantly, and the humour lands throughout. Spider-Man is as witty as ever, but a surprising amount of the comedy comes from Frank Castle. Yes, The Punisher. Oddly enough, his foul-mouthed personality works perfectly alongside Spider-Man's lighter energy.
Performance-wise, everyone delivers. Tom Holland and Zendaya give what I'd easily call their best performances in these roles. You can genuinely see both the actors and their characters maturing. The same goes for Sadie Sink, Michael Mando, and Jon Bernthal. The chemistry between everyone feels effortless and believable.
Despite featuring plenty of MCU world-building, this still feels like a relatively intimate Spider-Man story. The film even jokes about itself being "small potatoes" several times, which genuinely made me laugh, but it's also what we want from a Spider-Man movie. Not every film must save the world, you know? But beneath that smaller scale are some fascinating ideas that clearly point towards much bigger things. Without spoiling anything, there's one concept that, in the future, could involve either two companies or the company evolving into another company that I can easily see becoming a major storyline or major antagonist moving forward. You'll know exactly what I mean when you see it/catch it.
Although Brand New Day is very different from Homecoming, Far From Home, and No Way Home, it probably shares the most DNA with No Way Home—just with a far more mature perspective. The stakes may not be universe-ending this time, but Peter's personal struggles hit much harder because they're grounded and relatable, and we have all seen and felt it. By the end, the film has something surprisingly meaningful to say about carrying the weight of the world on your shoulders and accepting that you don't always have to face it alone.
Go and see this film before someone inevitably spoils it for you.
Have I seen every Jumanji film? Honestly, I'm not even sure anymore. I can't remember which one I watched last. What I do remember is enjoying it. Was it Oscar-worthy? Absolutely not. Was it a lot of fun? Definitely. So, am I surprised they're making another one? Not really. The films keep making money, and this trailer reminds you exactly why. The cast has great chemistry, the humour lands, and the franchise has carved out its own identity with its video game mechanics and playful lore since the original film starring Robin Williams
The trailer wastes no time, opening with mysterious green clouds, zebras stampeding through the streets, and the gang heading to a diner after Danny DeVito's character spots something unbelievable. Sitting inside is Dr. Bravestone himself, and it isn't long before they discover the rest of the playable Jumanji characters are there too. The catch? They're all stuck in demo mode. Cue a little boy claiming he saw a hippopotamus in the alleyway... only for a rhino to smash through the diner. It's exactly the kind of ridiculous chaos you'd expect from this franchise.
Dr. Bravestone says "Let's go," and there is a gag where we see the game characters sprinting with those exaggerated video game animated runs, only for someone to ask, "Why do they run like that?" It's a simple joke, but it works. We also get Dr. Bravestone driving like an absolute lunatic, Karen Gillan's avatar still speaking with a hilariously broad Spanish accent, Kevin Hart's avatar proudly declaring Bravestone the greatest driver in all of Jumanji, and even a Jack Black's Avatar getting killed in the real world before instantly respawning. The trailer leans heavily into its gaming rules, and honestly, that's where these films can be at their best.
So we gather that this time around the story flips the formula, so instead of just people entering the game, the game's characters have crossed into the real world, along with the other inhabitants of the game, along with the animals, while the familiar body-swapping mechanics return again, once everyone ends up back in Jumanji. It's another twist that I am not sure if it keeps the concept from feeling stale, as we have seen it before, but it can have some funny moments.
The final gag sees the mother inhabiting Dr. Bravestone's body, insisting that "violence is never the answer" before immediately discovering just how much fun it is punching people, complete with an Oprah-style, "You get one! You get one!" moment. It's silly, over-the-top, and exactly the kind of humour these films thrive on.
Will this reinvent the wheel? Probably not. It looks like another entertaining adventure packed with laughs, action, and just enough video game madness to entertain me and want to jump back into Jumanji one more time.
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