If you were hoping the sequel to 100% Wolf would spend more time fleshing out the werewolves of the pack you would be disappointed. Instead, following the formula of the first film, 200% Wolf continues the journey of Freddy Lupin (Ilai Swindells) spending time with his doggy friends while attempting to find respect within the pack despite his werepoodle appearance and another bad choice that will get him shunned again by the pack.
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In 2020’s 100% Wolf Freddy Lupin (Ilai Swindells) is disappointed, and banished, following his first ever moonlight transformation not into a werewolf but into a werepoodle. Shunned by his family, who believe he is cursed for losing a valuable relic years before, Freedy makes new friends on the streets and in the dog pound of the nearby town finding common ground with dogs (who apparently, for some reason, don’t normally get along with werewolves).
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Priyanka Chopra Jonas and Karl Urban star in this throwaway revenge porn with a bit of swashbuckling thrown in. Chopra stars as a former slave turned pirate whose past comes back to haunt her when Captain Connor (Urban) hits her shore in search of both his former lieutenant and the chest full of gold she stole before leaving that life behind.
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Obviously aimed at kids, Nickelodeon’s Monster Trucks would feel right at home in a double-feature with some of the live-action Disney films of the 50s and 60s (albeit with better special effects). The film follows the misadventures of teenager Tripp (MacGyver‘s Lucas Till) who ends up with a monster in his truck after it is forced out of its natural environment by a local oil drilling company. At first afraid of the creature, Tripp discovers having a monster be the engine of your truck has some advantages.
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While I understand the idea behind 2024’s Azrael, in which Samara Weaving stars as a young woman on the run from a cult who believe speech is a sin and plan to sacrifice her to wandering burnt humanoids who they worship, the film never finds a way to transcend the basic concept in a way to make it work for an entire film. Without speech or narration, director E.L. Katz limits himself on how to frame the story relying mostly on Weaving running through the woods in fear of her life.
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