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    Movie Review

    Goofiness keeps Dungeons & Dragons: Honor Among Thieves light on its feet

    Alex Bentley
    Mar 31, 2023 | 2:00 pm

    In the franchise world in which we now live, movie studios are always looking for the next big thing that will ensure fans come flocking to the theater. The role-playing game Dungeons & Dragons has gotten a pop cultural boost in recent years thanks to the Netflix show Stranger Things, and now – just shy of its 50th anniversary – it’s getting its own blockbuster movie, Dungeons & Dragons: Honor Among Thieves.

    Michelle Rodriguez and Chris Pine in Dungeons & Dragons: Honor Among Thieves

    Photo courtesy of Paramount Pictures

    Michelle Rodriguez and Chris Pine in Dungeons & Dragons: Honor Among Thieves

    The somewhat complex story centers on two of the titular thieves, Edgin (Chris Pine) and Holga (Michelle Rodriguez), who lead a group of rogues who make a living by stealing, but only from those who deserve it. One such altruistic mission, a relic that can bring back the dead, leads to the pair getting caught and put in jail, separating Edgin from his daughter, Kira (Chloe Coleman).

    Fellow thief Forge (Hugh Grant) agrees to look after her, but after a daring escape, Edgin and Holga discover that Forge is even more of a scoundrel than they thought, rising to the title of Lord in their absence with the help of the sorceress Sofina (Daisy Head), and poisoning Kira’s mind against them. They must gather the rest of the team, including Simon (Justice Smith) and Doric (Sophia Lillis), to try to take him down and recover the relic once and for all.

    Written and directed by John Francis Daley and Jonathan Goldstein, with help from co-writer Michael Gilio, the film has the unenviable task of turning the famously dense game into something that pleases both fanatics and those unfamiliar with its many characters, creatures, and locations. It’s clear the filmmakers are trying to strike a balance between the two, loading the story with terms they barely attempt to explain while at the same time making the movie as goofy as possible.

    Only the second of those two approaches truly works. The problem the filmmakers run into is that this is an introductory film that barely seems to care about introducing its characters. A lengthy speech by Edgin at the beginning attempts to do that, but is staged in such a way that the humor of sequence takes precedence over the details of the people. The only reason the characters wind up likable is because of the sheer amount of time spent with them and the actors’ performances.

    Well, that and the comedy sprinkled throughout the film. If Daley, Goldstein, and Gilio do anything right, it’s not taking the material too seriously. The world has already seen Lord of the Rings and Game of Thrones, so adding in funny elements like the wise-cracking Edgin, a supremely fat dragon, and more keeps the film from getting lost in its own minutiae. Not all the jokes land, but 75-80 percent of them do, which is enough to keep the film buoyant.

    Pine, as he’s shown in the recent Star Trek and Wonder Woman films, has charm to spare. He occupies this particular role extremely well, and so even if you can’t remember his character’s name, his performance carries the film. Rodriguez is an acquired taste, but her surly demeanor and physical prowess works for her here. The supporting actors shine at times, but the film doesn’t showcase them enough to make them stand out.

    While miles better than the reviled 2000 Dungeons & Dragons, Honor Among Thieves is a merely okay beginning for a possible new franchise. There’s some excitement to be had and it stays light on its feet thanks to the comedy, but more attention paid to the story is warranted if they decide to make sequels.

    ---

    Dungeons & Dragons: Honor Among Thieves opens in theaters on March 31.

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    Movie Review

    Star TV producer James L. Brooks stumbles with meandering movie Ella McCay

    Alex Bentley
    Dec 12, 2025 | 2:30 pm
    Emma Mackey in Ella McCay
    Photo courtesy of 20th Century Studios
    Emma Mackey in Ella McCay.

    The impact that writer/director/producer James L. Brooks has made on Hollywood cannot be understated. The 85-year-old created The Mary Tyler Moore Show, personally won three Oscars for Terms of Endearment, and was one of the driving forces behind The Simpsons, among many other credits. Now, 15 years after his last movie, he’s back in the directing chair with Ella McCay.

    The similarly-named Emma Mackey plays Ella, a 34-year-old lieutenant governor of an unnamed state in 2008 who’s on the verge of becoming governor when Governor Bill (Albert Brooks) gets picked to be a member of the president’s Cabinet. What should be a happy time is sullied by her needy husband, Ryan (Jack Lowden), her agoraphobic brother, Casey (Spike Fearn), and her perpetually-cheating father, Eddie (Woody Harrelson).

    Despite the trio of men competing to bring her down, Ella remains an unapologetic optimist, an attitude bolstered by her aunt Helen (Jamie Lee Curtis), her assistant Estelle (Julie Kavner), and her police escort, Trooper Nash (Kumail Nanjiani). The film follows her over a few days as she navigates the perils of governing, the distractions her family brings, and the expectations being thrust upon her by many different people.

    Brooks, who wrote and directed the film, is all over the place with his storytelling. What at first seems to be a straightforward story about Ella and her various issues soon starts meandering into areas that, while related to Ella, don’t make the film better. Prime among them are her brother and father, who are given a relatively small amount of screentime in comparison to the importance they have in her life. This is compounded by a confounding subplot in which Casey tries to win back his girlfriend, Susan (Ayo Edebiri).

    Then there’s the whole political side of the story, which never finds its focus and is stuck in the past. Though it’s never stated explicitly, Ella and Governor Bill appear to be Democrats, especially given a signature program Ella pushes to help mothers in need. But if Brooks was trying to provide an antidote to the current real world politics, he doesn’t succeed, as Ella’s full goals are never clear. He also inexplicably shows her boring her fellow lawmakers to tears, a strange trait to give the person for whom the audience is supposed to be rooting.

    What saves the movie from being an all-out train wreck is the performances of Mackey and Curtis. Mackey, best known for the Netflix show Sex Education, has an assured confidence to her that keeps the character interesting and likable even when the story goes downhill. Curtis, who has tended to go over-the-top with her roles in recent years, tones it down, offering a warm place of comfort for Ella to turn to when she needs it. The two complement each other very well and are the best parts of the movie by far.

    Brooks puts much more effort into his female actors, including Kavner, who, even though she serves as an unnecessary narrator, gets most of the best laugh lines in the film. Harrelson is capable of playing a great cad, but his character here isn’t fleshed out enough. Fearn is super annoying in his role, and Lowden isn’t much better, although that could be mostly due to what his character is called to do. Were it not for the always-great Brooks and Nanjiani, the movie might be devoid of good male performances.

    Brooks has made many great TV shows and movies in his 60+ year career, but Ella McCay is a far cry from his best. The only positive that comes out of it is the boosting of Mackey, who proves herself capable of not only leading a film, but also elevating one that would otherwise be a slog to get through.

    ---

    Ella McCay opens in theaters on December 12.

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