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    Movie Review

    Fun visuals can't save The Magic Faraway Tree's meager plot

    Alex Bentley
    Aug 24, 2026 | 10:30 am
    Andrew Garfield, Delilah Bennett-Cardy, Claire Foy, Phoenix Laroche, and Billie Gadson in The Magic Faraway Tree

    Andrew Garfield, Delilah Bennett-Cardy, Claire Foy, Phoenix Laroche, and Billie Gadson in The Magic Faraway Tree.

    Photo courtesy of Vertical Entertainment

    With kids and families always on the hunt for entertainment, it’s typically a safe bet for a movie studio to offer up something new, even if it is a film based on an old property. The Magic Faraway Tree, based on a series of books that started in the 1930s, is a very old property, one that its filmmakers have tried to liven up with a few stars, a lot of whimsy, and a boatload of CGI.

    The Thompson family, led by stay-at-home dad Tim (Andrew Garfield) and breadwinner mom Polly (Claire Foy), are forced to move to a rundown country home when Polly gets laid off. The kids — Joe (Phoenix Laroche), Fran (Billie Gadson), and Beth (Delilah Bennett-Cardy) — are used to the perks of city life like wifi and electricity, and each of them rebels in their own way to their new lot in life.

    Fran, enticed by a fairy named Silky (Nicola Coughlan), is the first to venture out of the house, making her way to a magic tree that transports her to a world full of strange characters like Moonface (Nonso Anozie), Saucepan Man (Dustin Demri-Burns), Dame Washalot (Jessica Gunning), and more. Her adventures there not only broaden the world she thought she knew, but may be the key to helping her ailing family.

    Directed by Ben Gregor and written by Simon Farnaby (Paddington 2, Wonka), the film is a pleasant enough lark, but it fails to fully capture the imagination. The five-member family has a lot going on, from an initially-mute Fran to a domestic situation that raises more questions than it answers. The film tries to incorporate an anti-technology message through Tim’s hatred of a smart refrigerator (voiced by Judi Dench!) and the kids' addictions to devices, but it’s quickly shed in favor of other options.

    Once Fran makes it to the Magic Faraway Tree, there’s a nice shift in the storytelling, but it’s unclear what the ultimate goal is. It’s a good idea to have Fran, the youngest of the children, convince her older, more cynical siblings about the virtues of the magic world, but the conflict in the real world doesn’t seem to rise to the level needed for the escape the tree provides.

    There also seems to be a missing link in the storytelling for viewers to understand the importance of the fantastical characters. The visuals of seeing Moonface and his crescent moon-shaped hair, a man with a suit full of banging pots, and more are fun for a while, but not enough to carry the whole film. A last-minute revelation feels like it was something that should have been disclosed much earlier to help strengthen the emotions of the story.

    A two-time Oscar nominee, Garfield is making his first foray into family movies (if you don’t count playing Spider-Man), and while he does a good job, he doesn’t make the best fit for the semi-goofy role. The same goes for the Emmy-winning Foy, who isn’t given much of anything to do. The movie puts the story on the shoulders of the three child actors, and while each of them acquit themselves well, none of them are so outstanding as to be noteworthy.

    With nearly 90-year-old source material, The Magic Faraway Tree needed to be something truly special to stand out in the 21st century movie world. Unfortunately, it features a mostly forgettable story that features some fun visuals, a couple of cute kids, and not much else.

    ---

    The Magic Faraway Tree is now playing in theaters.

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    Movie Review

    Resident Evil reboot delivers blood, guts, and big laughs for horror fans

    Alex Bentley
    Sep 17, 2026 | 2:00 pm
    Austin Abrams in Resident Evil
    Photo by Dušan Martinček
    Austin Abrams in Resident Evil.

    In just two films (Barbarian and Weapons), writer/director Zach Cregger has established himself as one of the top horror filmmakers working today. His unique methodology involves taking audiences down familiar pathways before veering off into unexpected areas that feature copious amounts of gore and comically bizarre visuals.

    His new film, Resident Evil, plays out in much the same way, resulting in something starkly different from the previous action-heavy films based on the video game series. Bryan (Austin Abrams) is a courier tasked with bringing special deliveries like organs to hospitals. After one delivery, he gets roped in to making another to the distant location of Raccoon City, a mission he accepts despite being ill-prepared for the journey.

    Traveling down a snowy and icy road, Bryan gets waylaid after accidentally hitting a woman crossing the road. His attempt to save her jump starts a series of adventures in which he tries his best to survive in the face of an onslaught of numerous zombie-like people and creatures. All the while, Bryan is hellbent on completing his delivery at all costs.

    Cregger, who co-wrote the film with Shay Hatten (John Wick: Chapter 4), is in complete command of the tone of the movie from minute one. Leaning into his comedy background, Cregger aims for humor first, with both horror and non-horror moments eliciting laughs. One of the biggest pleasures of the film is the way Bryan — who more often than not is by himself — mutters incredulously after experiencing yet another unbelievable incident. His reactions feel close to how a real person would be acting in such an extreme situation, giving the audience a dose of needed relief.

    The episodic nature of the story also allows the film to play out like a video game without it ever feeling stilted. Every scene is like a new level of the game for Bryan as he faces increasingly difficult situations and monsters along the way. He gets some help from characters played by Kali Reis, Paul Walter Hauser, and Zach Cherry, but he’s mostly on his own, figuring out how to use guns and improvising ways to avoid or attack opponents.

    What Cregger seems to understand better than most filmmakers who have adapted video games into films is how to pay tribute to the series without becoming too much about fan service. There are references aplenty to the different games, but the movie works just as well even if you’ve never played a single second. There is no shortage of tense situations, blood-soaked scenes, and outrageous imagery — and Cregger knows how to stage all of it to maximum effect.

    Abrams is dynamite in the film, using understated line readings to make Bryan both funny and relatable. After being on the verge of breaking out for years, Abrams just might do so with this and the upcoming Whalefall. The appearances by Reis, Hauser, Cherry, Johnno Wilson, and others don’t last long, but each does a great job in helping the film keep the story going.

    Cregger is now three-for-three in his young career, making films that both pay tribute to and subvert horror conventions at the same time. Resident Evil is a blast for fans of the genre, featuring a great lead character, a slew of memorable moments, and indelible visuals that might haunt your dreams.

    ---

    Resident Evil opens in theaters on September 18.

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