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‘dungeons & dragons: honor among thieves’ review: chris pine anchors a buoyant and accessible adaptation.

The actor stars alongside Michelle Rodriguez, Justice Smith, Regé-Jean Page and Sophia Lillis in Jonathan Goldstein and John Francis Daley's highly anticipated adaptation of the popular game.

By Lovia Gyarkye

Lovia Gyarkye

Arts & Culture Critic

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The lore surrounding Dungeons & Dragons film adaptations is outmatched only by the lore surrounding the game itself. Developed in the early 1970s by Gary Gyax and Dave Arneson, Dungeons & Dragons’ commercial success inaugurated modern role-playing games. It also influenced a generation of creators. Jon Favreau told the Los Angeles Times in 2008 that it strengthened his imagination and storytelling abilities. Ta-Nehisi Coates has written about how D&D taught him about language. And various figures in Hollywood, including a showrunner for HBO’s Game of Thrones , have cited the importance of the game to their creative lives.

Early attempts to translate the magic of the tabletop game to the screen flopped (see Courtney Solomon’s 2000 Dungeons & Dragons ), but Goldstein and Daley were bold enough to try again. Their efforts will surely meet a better fate than their predecessors’. This version of Dungeons & Dragons not only checks the boxes of a satisfying studio blockbuster; it arrives at a cultural moment that embraces — even fiends for — the epic fantasy adventure.

We meet the hopeful bard Edgin ( Chris Pine ) and his best friend Holga ( Michelle Rodriguez ), a reserved barbarian, near the end of their second year in prison. They are up for pardon, which means they must argue their case against a council. Edgin’s appeal lays the ground for the necessary backstory; through his florid tale (he’s a bard after all), we learn about his daughter Kira (played by Chloe Coleman), his dead wife, how he and Holga met and teamed up to commit petty theft, and how their last heist went awry.

They manage to get out of prison — though not in the way you might expect — and are soon off to reunite with Kira and their friends in Neverwinter. The city they come upon is markedly different from the one they left two years ago. Their friend Forge ( Hugh Grant ), whom Edgin tasked with caring for Kira in his absence, now rules the land. And Kira doesn’t trust her father, who she thinks abandoned her for untold riches. Edgin can’t believe his fate, and suspects that more sinister forces are afoot in this new world order.

The actors who embody these wacky heroes and villains are the heart of Dungeons & Dragons : Their performances are lively, robust and well-judged. Pine and Rodriguez make for a particularly enjoyable duo as they volley light jabs and break the tensest moments with their teasing asides. Even as they repeat blunders and missteps, these adventurers are worth rooting for.

The drawback of a film having as good a time with itself as Dungeons & Dragons is in the narrative, which becomes too baggy and drags in the middle. As the journey grows more treacherous, the group’s adventures resemble a blur of swords piercing flesh and dragons hunting for their next meal. Edgin’s quippy revelations don’t land as sharply. The confrontations exhaust. Holga’s comments begin to sound one-note, and patience wears thin with Simon’s diffidence and Doric’s indifference. Those more tapped into the world of the game might not share the same feelings, but the film could lose some neophytes at this point.

Thankfully, the threat of the closing credits enlivens Dungeons & Dragons ’ third act. It’s an energetic, if predictable, conclusion that restores our faith and confidence in Goldstein and Daly’s vision.

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‘Dungeons & Dragons’ movie scores, thanks to perfect tone, spot-on casting

Chris pine, michelle rodriguez have terrific buddy-movie chemistry in fantasy film that deftly balances high-stakes action, warm drama and clever comedy..

A young wizard (Justice Smith, center) joins a band of rebels headed by Holga (Michelle Rodriguez) and Edgin (Chris Pine) in “Dungeons & Dragons: Honor Among Thieves.”

Paramount Pictures

Full disclosure, I was never a Dungeons & Dragons enthusiast back in the day, as my tabletop gaming pursuits were more along the lines of Sure Shot Hockey, Cadaco’s BAS-KET and Strat-O-Matic Baseball—but I know the basics of D&D, and I appreciate its enormous popularity, which has extended far beyond the gaming world.

Still, when you’re making an ambitious, large-budget adaptation, in order for it to succeed, you’ve got to reach millions who aren’t familiar with the source material, whether you’re interpreting a board game, a video game, a book or a popular song, and yes, they’ve made movies from pop songs, haven’t you ever seen “Take This Job and Shove It” or “Born in East L.A.?” Think of all the people who became addicted to “Game of Thrones” without reading a page of George R.R. Martin’s books, or who were enthralled by “The Last of Us” without ever playing the game.

Which brings us to the good news: Even if you’re never once rolled the dice in the role-playing game, there’s a solid chance you’ll enjoy the whiz-bang fantasy adventure that is “Dungeons & Dragons: Honor Among Thieves.” Co-directors Jonathan Goldstein and John Francis Daley, working from a script they penned with Michael Gilio, have struck the right balance between high-stakes action, warm drama and clever comedy in a consistently engaging, mostly family-friendly romp that features some of the most spot-on casting of any film so far this year. From the moment each of the main characters steps into the story, we’re thinking: Yep, that’s the right actor for that role.

Chris Pine, who has the megawatt smile and the stubbornly perfect hair of a matinee idol from a bygone era, lends his self-deprecating presence to the role of one Edgin Darvis, a member of the Harpers, an organization of spies and thieves who have a kind of rebellious, Robin Hood group mentality. Edgin’s penchant for unnecessary risk-taking leads to an evil and powerful cabal known as the Red Wizards executing his wife, and eventually lands Edgin and his best friend, the fearless warrior Holga (Michelle Rodriguez), in prison. (The cheeky overall tone of “Dungeons” is quickly established when Edgin and Holga execute a daring escape during a hearing before the prison board; they’re just out of earshot when a parole board member calls out that they’ve actually been approved for release.)

Off we go on our adventure in some sort of medieval-fantasy era, with the impressive sets and the inevitable CGI setting the tone. (There are a lot of weird creatures with jarring appearances roaming and flitting around.) Edgin and Holga learn their former ally, the duplicitous Forge Fitzwilliam (cue Hugh Grant to start hamming it up) has risen to power and has also become the de facto father to Edgin’s daughter Kira (Chloe Coleman). Why, that rat Forge Fitzwilliam! Now it’s time for Edgin to make a plan, because after all, Dungeons & Dragons is all about making plans to save the day, and adjusting those plans accordingly along the way, yes?

Edgin and Holga form a team that includes the gifted but insecure young wizard Simon (Justice Smith); the shapeshifting druid Doric (Sophia Lillis), who for the most part doesn’t trust humans, and the impossibly handsome, ridiculously heroic paladin Xenk (Regé-Jean Page), who is almost too good to be true but has zero sense of humor, doesn’t understand irony and will bore you to tears with his grand proclamations about how one should live one’s life. They each have different goals, but the elaborate and sometimes dizzying plot boils down to this ragtag but determined band somehow defeating the nefarious Forge Fitzwilliam—and his infinitely more dangerous partner in death and destruction, the Red Wizard known as Sofina (Daisy Head), a pure psychopath with seemingly unlimited powers.

Regé-Jean Page (right, with Jason Wong) plays a paladin with no sense of humor.

Many of the battle sequences in “Honor Among Thieves” are serviceable at best, but there’s usually a nifty twist, e.g., there’s a voracious dragon who is so oversized and heavy he could be on a show called “My 6,000-lb. Dragon Life.” The humor is also crackling good, as evidenced by a hilarious sequence set in a graveyard involving reanimated corpses that can answer exactly five questions before they’re dead again. It’s a scene worthy of a Monty Python movie, pulled off with great panache.

Still, the most valuable asset in this film is the cast. Pine and Rodriguez have terrific buddy-movie chemistry, while the young actors Justice Smith and Sophia Lillis are excellent in their respective roles and have their own vibe, including the possibility of romance between Simon and Doric. In a relatively limited role, Regé-Jean Page effortlessly steals every scene he’s in, while Daisy Head is legit terrifying as Sofina and Hugh Grant does his Hugh Grant thing as the ludicrous and terrible Forge Fitzwilliam. This isn’t the first time someone has attempted an adaptation of Dungeons & Dragons, but it’s by far the best.

Review: ‘Dungeons & Dragons’ boasts charisma and dexterity but lacks true magic

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For at least 20 years, it’s been obvious that the geeks shall inherit the earth, pop culturally speaking. Comic books have crawled out of the cons to dominate mainstream movie culture, “Star Wars” is ubiquitous and now “Dungeons & Dragons” has its moment in the sun. First published in 1974, the popular fantasy role-playing game has mostly been relegated to a punchline (or punching bag) in media (see: Patton Oswalt’s Dungeon Master character in comedy series “Reno 911!”).

But now the medieval-inspired game gets a splashy, big-budget blockbuster adaptation, replete with swaggering charm and sex appeal. In a perfectly full-circle media moment, “Dungeons & Dragons: Honor Among Thieves” is co-directed and co-written by John Francis Daley, who played one of the primary geeks on Judd Apatow’s short-lived but much loved comedy series “Freaks and Geeks,” which had an episode dedicated to a D&D campaign (he knows his barbarians from his clerics).

Daley and co-director Jonathan Goldstein (they also directed the raunchy 2015 remake “Vacation” and the surprisingly fun action comedy “Game Night” ) co-wrote the script with Michael Gilio, and they take a genius approach to bringing D&D to the masses, smuggling the heavy-duty lore of the game into a garden-variety bank heist plot. It’s essentially “Ocean’s 11” in a fantasy setting, with massive movie stars riffing on their well-known personae offering a crucial assist.

Daley and Goldstein don’t ask their team of actors to stretch much beyond what we already know and love about them. Chris Pine is on the charm offensive, Michelle Rodriguez plays a tough warrior and Hugh Grant grins and fumbles and fops endearingly, as he has for decades. With this trio in place tackling a familiar plot, Daley and Goldstein thread D&D mythos throughout in a way that’s not too challenging for a newbie but will serve as a treat for the experienced player.

Aside from its clunky title, “Dungeon & Dragons: Honor Among Thieves” has a relaxed, loose energy that puts the viewer at ease, especially combined with the throwback appeal of a style that harks to ’80s fantasy classics like “Willow,” “Labyrinth” and “Legend.” Yet the tone is decidedly modern, thanks in large part to Pine’s laissez-faire, ironic energy as the lute-playing Edgin, the bard of this tale.

Edgin’s vibe, however, is a bit at odds with his goal of reuniting his family by bringing his wife back from the dead and reclaiming daughter Kira (Chloe Coleman) from his former compatriot Forge (Grant). He intends to do this by stealing a reanimation tablet from a magically fortified vault with the team he assembles: his ride-or-die warrior Holga (Rodriguez), insecure sorcerer Simon (Justice Smith) and disaffected druid Doric ( Sophia Lillis ). They receive help from stone-faced paladin Xenk (Regé-Jean Page), whose straight-arrow nature bounces off Ed’s inability to take anything seriously. This odd couple is one of the most amusing interactions of the film, but it’s unfortunately brief.

“Dungeons & Dragons: Honor Among Thieves” boasts some eye-popping set pieces, including Rodriguez’s fight scenes and a truly remarkable “one-shot” sequence that showcases Doric’s shape-shifting abilities. The film’s affable nature and the sheer charisma oozing off Pine and Grant is intoxicating, but overall, there’s a sense that it doesn’t quite gel, the engine revving but never hitting the speed of which it seems capable.

Daley and Goldstein make for fine dungeon masters; the film is an unapologetically big, fun, swashbuckling slice of hardcore fantasy and leans into that without any self-deprecation, which is the core lesson for our merry band of misfits. And yet there is some ineffable quality lacking — perhaps an emulsifying ingredient — that prevents all these elements (the stars, the lore, the creatures) from coming together into something truly magical. Maybe on the next roll of the 20-sided die.

Katie Walsh is a Tribune News Service film critic.

‘Dungeons & Dragons: Honor Among Thieves’

Rated: PG-13, for fantasy action/violence and some language Running time: 2 hours, 14 minutes Playing: Starts March 31 in general release

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The introductions to “Dungeons & Dragons: Honor Among Thieves” at the SXSW Film Festival emphasized that they “made this movie for everyone .” There’s clearly a concern that the film may not reach outside the demographic of people who once played or still play the wildly influential role-playing game. And there should be because branding can be a double-edged sword. On the one hand, it targets a massive fan base already familiar with an IP. On the other hand, a film has to be good enough to break out of that familiarity to reach a wider audience—think of how well “The Last of Us” is playing to viewers who never played the game. So how will fans of Dungeons & Dragons respond to this expensive foray into their favorite fantasy experience? Paramount is rolling a 20-sided die and hoping to get the right number, but the fickle Dungeon Master of Hollywood may have a fatal surprise around the next corner.

The truth is that the game Dungeons & Dragons is often at its best when it’s at its most ridiculously unpredictable and downright silly. Co-writer/directors Jonathan Goldstein & John Francis Daley and co-writer Michael Gilio attempt to recreate that “we need a plan” structure of the game in a script that feels like it's often making itself up as it goes along. Or pretending to do so. While that’s an ambitious way to approach a fantasy film, it can make for oddly unsatisfying stretches of the final product by eliminating stakes and forcing lightheartedness. Manufactured spontaneity is almost impossible, and too much of “Honor Among Thieves” feels like it’s unfolding with a wink and a nod instead of being legitimately rough around the edges, in-the-moment, and fresh. There are stretches of “Honor Among Thieves” that have the whimsical chaos of Sam Raimi ’s “Army of Darkness”—including a great sequence involving the talking dead—and the film often recalls the “ragtag team of saviors” tone of “ Guardians of the Galaxy .” Still, the film often plays out like it’s faking what the creators love about the game instead of trying to translate it from one medium to another.

The typically charming Chris Pine plays Edgin Darvis, a former member of a group called the Harpers. After his wife is killed by an evil group known as the Red Wizards, Edgin tries to execute a heist to retrieve an item that can bring her back to life, but he’s betrayed, imprisoned with his BFF Holga Kilgore ( Michelle Rodriguez ), a stoic barbarian. In a clever sequence, the pair escapes and discover that Edgin’s daughter Kira ( Chloe Coleman ) has been taken in and lied to by their team’s former ally Forge Fitzwilliam ( Hugh Grant ). The rogue betrayed Edgin and the team in several ways, including partnering with a vicious Red Wizard named Sofina ( Daisy Head ).

Edgin and Holga have several missions in this D&D campaign: Save Kira, get revenge on Forge, stop the Red Wizards, and maybe find some loot along the way. The mission will reunite them with an unconfident wizard named Simon ( Justice Smith ), a shapeshifting druid named Doric ( Sophia Lillis ), and a charming paladin named Xenk ( Regé-Jean Page ). Like any “team of heroes” movie, these characters each bring different skill sets that the group will need to accomplish their goals, and the writers pepper the film with odd hurdles for the group to overcome, including a clever sequence involving some undead enemies and a chubby dragon in a dungeon.

If it all sounds like it’s more for fantasy gamers than “everyone,” well, it undeniably is. The film is filled with references to D&D—name drops like “Baldur’s Gate” and “Neverwinter” created audible responses during the premiere—but I wouldn’t go as far as to say the film won’t work at all for people who have never made a character for a campaign. Most of the references here will sound like depth for non-gamers who may see more parallels to products like “ The Lord of the Rings ” or “The Witcher” than their actual source. It’s a film that’s rich in fantasy terminology in a way that seems like its creators affectionately remember creating characters in their mom's basement when they were young. That genuine interest in the lore of D&D may be enough for some people. But what about everyone else?

Affection for a source doesn’t always translate to execution in terms of craft, and the filmmaking here is shoddy. In terms of the flashes and bangs, "Honor Among Thieves" works much better when it focuses on practical effects (or at least ones that look practical—everything is CGI nowadays) and can find a tactile quality that the CGI-heavy sequences lack. When Edgin and his team are waking up corpses to get information, or Sofina is merely scowling in her malevolent makeup, the film is more grounded than when it’s drifting off in magic-driven sequences of people casting spells both willy and nilly. There’s also a lack of world-building in a movie that should be dense with it when it comes to design. Forge’s city looks like a generic fantasy video game setting, and the opportunity to craft interesting backdrops for these varied characters is rarely taken. It looks like a film that's going to age poorly visually.

The cast is reasonably strong, with Pine leaning into the rough charisma I’ve always thought would have made him a massive star in the ‘60s. All of the cast was clearly chosen to play to their strengths, with Grant amplifying his smarm and Rodriguez kicking ass when needed. Relative newcomers Smith and Lillis are effective, too, with the former finding some vulnerability and the latter being consistently engaging as she uncertainly becomes a hero.

What’s most shocking about “Dungeons & Dragons: Honor Among Thieves” is how little meat there is on these reanimated bones, even with a bloated 139-minute runtime. When a cast of characters runs from plan A to plan B and back to plan A, the constant motion doesn’t allow for much else. Most of this film is “What we do now?” Again, that's fun with friends, less so when you have no control over the answer.

This review was filed from the 2023 SXSW Film Festival. "Dungeons & Dragons: Honor Among Thieves" opens on March 31.

Brian Tallerico

Brian Tallerico is the Managing Editor of RogerEbert.com, and also covers television, film, Blu-ray, and video games. He is also a writer for Vulture, The Playlist, The New York Times, and GQ, and the President of the Chicago Film Critics Association.

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Dungeons & Dragons: Honor Among Thieves (2023)

Rated NR for fantasy action/violence and some language.

134 minutes

Chris Pine as Edgin Darvis

Michelle Rodriguez as Holga Kilgore

Regé-Jean Page as Xenk Yendar

Justice Smith as Simon Aumar

Sophia Lillis as Doric

Hugh Grant as Forge Fitzwilliam

Jason Wong as Dralas

Chloe Coleman

Daisy Head as Sofina the Red Wizard

• John Francis Daley
• Jonathan M. Goldstein

Writer (story by)

• Chris McKay
• Michael Gilio
• Jonathan Goldstein

Cinematographer

• Barry Peterson
• Dan Lebental
• Lorne Balfe

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Dungeons & Dragons: Honor Among Thieves review: thrilling franchise starter almost rolls a Natural 20

Chris pine, michelle rodriguez, and regé-jean page star in an enjoyable adaptation of the classic tabletop rpg that even non-gamers will like.

At some point in my youth I heard the old cliché that “beauty is in the eye of the beholder.” For me—and probably for a great many other dorks—this was a moment of great clarity. You see, as a veteran of many noble campaigns in far-flung realms, I was already familiar with the concept of a Beholder—a giant, nefarious living eyeball (also known as an Eye Tyrant or Sphere of Many Eyes) from the original Monster Manual , Gary Gygax’s hardbound collection of foes one might face in the world of (what was then called) Advanced Dungeons & Dragons . Lo! How this fiendish creature dwelled in my nightmares, ready to pounce should I ever let down my guard!

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With great excitement, though, I proclaim that l’essence du Beholder is redolent in the thrilling and enjoyable Dungeons & Dragons: Honor Among Thieves . The entire picture exudes the wide-eyed (some might say immature) wonderment found around slobbering beasts and magic spells. No, you absolutely do not need to know a thing about D&D to like this. But if you have a familiarity with the Forgotten Realms, the 1980s D&D cartoon show , or if you’re just a Led Zeppelin fan, there’s something here for you. Otherwise, there’s too much going on to ever feel left out.

Chris Pine, Hollywood’s finest Chris, is in terrific form as the dopey bard-adventurer Edgin Darvis, leader of a clan of delightful thieves. At his side is Holga (Michelle Rodriguez) a kick-ass barbarian. We meet them already imprisoned after a botched robbery attempt. They aren’t bad guys, per se , but they could use (and will get!) an ethical course-correction during the film. Along the way, they team up with a sorcerer (Justice Smith) and a druid (Sophia Lillis, who will make every young nerd’s heart float), and encounter various rogues, wizards, paladins, undead warriors, obese dragons, displacer beasts, illithids, mimics, and lurkers .

What’s key—and why this movie really gets it—is that the world is more important than the story itself. D&D has always been a case of the singer, not the song—the journey as much as the destination. It’s a game system people have loved for decades, but without need of a board or a monitor. It’s bullshitting with your friends. And this movie is two hours of glorious bullshit.

The film is written and directed by Jonathan Goldstein and John Francis Daly, whose previous enjoyable outings include the scripts for Cloudy With A Chance of Meatballs 2 , Spider-Man: Homecoming , and writing-directing Game Night . One of the brilliant touches here is that our band keeps getting distracted by increasingly zany side quests. The primary goal is to rescue Edgin’s daughter Kira (Chloe Coleman) from a castle tower. But to do that, they need a magic slate, which rests in a vault, but to get into the vault they need a charmed helmet, but to get the helmet they must engage in some necromancy, but to do that … well, it goes on and on.

Suffice to say, with this much buildup, the final battle needs to have some oomph, and it all comes together in clever and gratifying ways. Visually, Dungeons & Dragons: Honor Among Thieves is defiant in its determination to show action in daylight, and to maintain a buoyant color palette. (Even The Underdark isn’t too dark!) When the effects-heavy sequences happen, you can actually see them, and that includes shots of a very entertaining fire-breathing winged creature who, like many of us, ought to renew his gym membership.

But the movie does have more to it than spells and beasts. Like every action-adventure property these days it’s really about family. But the cast here is so charming that it’s hard to roll your eyes too much. Indeed, the final scenes, in which our leader must make a difficult choice, are surprisingly effective. I won’t go so far as to say tears were streaming down my eyes, but it all comes together in a way that, while you can still see it a mile away, doesn’t feel too corny.

Since the release of the (spectacular) Star Trek Beyond in 2016 there’s been talk of bringing Chris Pine back to the bridge of the USS Enterprise. With the release of Dungeons & Dragons: Honor Among Thieves, that’s less of an issue now. He’s found a new game to play.

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Dungeons & Dragons: Honor Among Thieves Reviews

Dungeons & Dragons: Honor Among Thieves isn’t just one of the best films of 2023, it’s one of the best fantasy films in decades.

Full Review | Original Score: 10/10 | Nov 25, 2023

It has dungeons, dragons, magnificent castles, evil wizards, close-call adventures and more; it takes you right where you want to go, but with a teeny bit extra... like the extra toffee you get from your grandma.

Full Review | Nov 16, 2023

D&D is a delight that even those unfamiliar with the game will enjoy immensely. It's packed with enough action, laughs, and heart to entertain any family whose parents aren't still mired in a Satanic panic mindset.

Full Review | Original Score: 4.5/5 | Sep 8, 2023

“Dungeons & Dragons: Honor Among Thieves” is an unexpectedly delightful, lighthearted, enchanting adventure. At its heart, the film encourages reluctant heroes to fight for fairness, equality, and justice.

Full Review | Aug 23, 2023

A pleasant surprise. A great mixture of world building , humor, & action to make this one of the most entertain movies of the year.

Full Review | Aug 16, 2023

Writer and director duo John Francis Daley and Jonathan Goldstein (“Spider-Man: Homecoming”) and cowriter Michael Gilio execute well-worn tropes and platitudes in a lighthearted, heartwarming, satisfying way.

Full Review | Original Score: 2.5/4 | Aug 16, 2023

I went in with low-expectations, but was thoroughly charmed, partly because of the performances of Chris Pine, Michelle Rodriguez, and Hugh Grant.

Full Review | Original Score: 9/10 | Aug 10, 2023

Directors Jonathan M. Goldstein and John Francis Daley have used a balance of big action sequences with a continuous barrage of one-liners and sight gags to come up with a fun film.

Full Review | Original Score: B | Aug 9, 2023

Buckets of fun, with great performances and genuine laugh-out loud moments...there may be audiences rooting around for substance but similar a D&D game, they should just roll with it and enjoy themselves.

Full Review | Original Score: 4/5 | Jul 28, 2023

Chris Pine is the MVP of an incredibly charming cast with such natural chemistry that the comedic moments become truly hilarious - the graveyard scene will be replayed over and over again.

Full Review | Original Score: B+ | Jul 25, 2023

A feast for the eyes, “Dungeons & Dragons: Honor Among Thieves” excels in not taking itself too seriously but allowing viewers to enjoy a fun experience.

Full Review | Jul 25, 2023

Brought back memories of my childhood when I would run around the playground and pretend I was a knight will all of my friends. A laugh out loud love letter to all geeks and nerds out there. The entire cast is great but Rodriguez steals the entire show!

Full Review | Jul 24, 2023

It marks the return of the kind of blockbuster that rarely graces the silver screen today, one that grounds its awe-inspiring spectacle in sincerity and character.

In essence, Dungeons & Dragons: Honor Among Thieves is a crowdpleaser in the best of ways, resuscitating overplayed tropes with the right amount of thrills, humor, and heart.

The comedic route may not sit well with those expecting anything D&D related to be consistently serious. Yet, anyone who’s ever played a game, imaginary or video based, will know humor is as crucial to the whole experience as sheer skill.

Full Review | Original Score: 3/5 | Jul 23, 2023

Dungeons & Dragons: Honor Among Thieves is a perfectly imperfect movie made for the fans. It is an undeniable hoot and a half that, apart from the odd Owl Bear, will please most tabletop role-players.

Full Review | Original Score: 4/5 | Jul 23, 2023

With just the right mix of action, fantasy and humor delivered by characters that are impossible not to fall in love with it is easy to see why many cinema lovers will be calling for a sequel to be made as soon as possible.

Full Review | Original Score: 4/5 | Jul 22, 2023

The usual problem with adapting games into film is that there’s not enough plot to hang a story on (I’m looking at you, Angry Birds.) D&D is nothing but stories. Honor Among Thieves feels like something a dungeon master would cook up for a campaign.

Full Review | Jul 12, 2023

"We're gonna make this fun." "Oh, but what's the added depth?" "No, no, no, shut up. Fun!" I feel like we don't get that all that much anymore.

Full Review | Jun 28, 2023

A generic adventure film that tries to wink so hard with its goofy, and mostly unfunny, quipping and then still tries to sell us on its more sincere moments when it is not namedropping objects as cameos.

Full Review | Original Score: 2/4 | Jun 27, 2023

‘Dungeons & Dragons: Honor Among Thieves’ Review: Yeah, It’s Worth The Watch

The Dungeons and Dragons franchise has had ups and downs since its creation. First, the role-playing game established a devoted fanbase, was used as a source of fear-mongering , and has been on the big and little screen. Then, 2000 gave fans a live adaptation of the well-known RPG with a trilogy that didn’t fit the caliber it deserved. Basically, the movies were beaten to a pulp by fans of D&D, regular moviegoers, and most critics. Finally, somebody at Paramount Pictures decided to give this IP another try with Dungeons & Dragons: Honor Among Thieves and might have finally struck gold.

The 2023 movie, directed by John Francis Daley and Jonathan Goldstein, has the duo writing alongside Michael Gilio for this new adaptation. The film stars Chris Pine (Edgin), Michelle Rodriguez (Holga), and Justin Smith (Simon). Sophia Lillis (Doric) and Hugh Grant (Forge) round out the bunch – while Grant does his typical Bubbling-British-man shtick. The colorful cast of characters goes on a quest in a magical land where they’ll use a series of banters, quips, fighting, and sorcery to save the land of Neverwinter.

It’s pretty much a cross between James Gunn ‘s Guardians of the Galaxy , Peter Jackson’s Lord of the Rings , and Rob Reiner’s The Princess Bride . The film takes parts of these properties, puts them in a blender, and makes a thoroughly entertaining action adventure that warrants a second helping.

The first thing that makes Dungeons & Dragons: Honor Among Thieves a well-worthy adaptation is the teamwork between Daley and Goldstein. The two have utilized their talent in situational comedy with a slight twinge of action to keep the movie engaging. A case in point is a superb long-take shot during the pursuit of one of our heroes. Doric, a Tiefling druid, uses her changeling-like powers to make a quick getaway that evolves into some excellent camera work that is very striking.

Several more excellent art direction choices are sprinkled throughout the film. One scene that comes to mind is when the movie calls for gravity-defying moments to convey the magic used in Dungeons & Dragons: Honor Among Thieves. The wizard Simon uses his sorcery in an intense situation to get out of, and Daley and Goldstein skillfully showcase their directing skills. The duo does it a second time when Doric must succeed in the first steps of the planned heist.

The directors use practical effects with complex camera moves to show off a really cool flip of the character as the focal point. For example, the perspective of Doric is spun onto another plain while stepping through a portal. This technique happens in a manner that would impress even Christopher Nolan. Yet, Daley and Goldstein teaming up with Gilio on the script add a level of humor that fits the movie perfectly.

Many sword and sorcery projects tend to have a dialect that’s more fitting of that world. Of course, some exceptions exist, such as Game of Thrones and other television programs or movies. Dungeons & Dragons: Honor Among Thieves does make the dialogue much more relatable to today’s audience while not poking fun at the franchise. This notion makes the comedic nature of the film land better when the scene calls for without going the “slapstick” route. Even great gags set up in earlier parts of the story pay off in a much deserving way.

Another illustration of excellent writing is that the script gives the right amount of information for the world-building portion without holding my hand too tightly. The monsters, weapons, and areas within this world are explained in ways to make it digestible while paying respect to the D&D fanbase. I’ve never played a game of Dungeons and Dragons in my life, but I was able to embrace the concepts of the film entirely.

Lastly, the acting in Dungeons & Dragons: Honor Among Thieves is another reason to check out the film. Pine brings a charm that doesn’t feel out of place – his dramatic acting is a bit more on the “meh” side. Smith and Lillis work nicely in bouncing off one another and match well with the rest of the cast bantering moments. However, I gravitated further toward Michelle Rodriguez’s performance. She’s more of the story’s heart, and her “tough girl with a soft heart” works perfectly for the role. Also, her action set pieces indicate that her years in the Fast and Furious movies are paying off.

Some might be turned off by the magical nature of Dungeons & Dragons: Honor Among Thieves , but the movie is worth watching. I thought the film would be up its ass, but what played out was a fun story with great acting, nice VFX, and well-executed action sequences. Truthfully, I wouldn’t be surprised if news of a sequel was greenlit, which I think we all need.

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The Dungeons & Dragons Movie Is Better Than It Has Any Right To Be

Big-budget blockbusters based on iconic ip take note, dungeons & dragons: honor among thieves is how you do it.

Dungeons & Dragons: Honor Among Thieves opened in theaters on March 31 and it spent the weekend dominating the box office , besting John Wick 4 and Scream VI. The film, an adaptation of the tabletop RPG starring Chris Pine, Michelle Rodriguez, Justice Smith, Regé-Jean Page, Hugh Grant, and Sophia Lillis, is enjoying almost universal critical and box office acclaim, uniting fans of the RPG and newcomers with its surprisingly spirited take on D&D .

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Honor Among Thieves is better than it has any right being, considering it’s essentially a transparent Hollywood cash grab that spent years stuck in a battle for distribution rights centered around an IP currently going through a very interesting licensing controversy . Any blockbuster film coming down the pike should take note, because this is how you do it.

A brief Dungeons & Dragons review

I, admittedly, know very little about the world upon which the film is based, but that’s not a barrier to entry in this franchise. After all, every Dungeons & Dragons game is wildly different from the last, with the world, races, classes, and the all-knowing 20-sided die (or D20) acting as the unifying threads. (Um, actually, Alyssa, there are many worlds in which D&D games can take place. The film happens to use the very popular Forgotten Realms campaign setting. - Ed. )

So, you don’t need to know much about D&D to follow along with Honor Among Thieves , which lays its cards out swiftly and effectively: A former bard-turned-thief named Edgin (Pine), and his ragtag band of thieves (Rodriguez as a barbarian named Holga; Smith as Simon, an insecure half-elf sorceror; and Grant as a shifty, chatty rogue named Forge Fitzwilliam), help the wrong person steal the wrong thing, and two of them get thrown in jail for it. After serving their sentences, Edgin and Holga head off on a journey to right their wrongs, discovering there’s something much more sinister going on and they’re right at the center of it.

It’s a simple enough plot, and the variety of worlds and races Honor Among Thieves weaves together is still somehow easy to follow without having any prior knowledge of it. And everyone is doing the absolute most in their roles, which is the real secret to selling a bold, brash blockbuster. A focus on great characters we can easily and swiftly grow fond of can carry even the most milquetoast of adaptations over the finish line, and this cast is doing some heavy lifting. Pine delights as a know-it-all bard, Smith is adorably unsure of himself, Rodriguez is giving her most himbo-y performance yet, and Grant is just playing Grant but in the D&D universe.

When Regé-Jean Page appears midway through as an impossibly talented heroic archetype whom everyone but Pine unabashedly adores, the banter that ensues with Page’s humorously humorless paladin repeatedly got genuine laughs from the audience at my viewing. When they all band together to fight a dragon who has gotten a little chubby since he was last spotted, even the CGI muckfest that teeters towards Marvel-esque levels of illegibility is enjoyable, because the cast is selling it.

The Dungeons & Dragons movie’s surprise cameo  

When it’s revealed that the ex-husband of tough-as-nails barbarian Holga is still clearly pining over is a halfling with an affinity for big-ass women played by Bradley Cooper of all people, the entire audience squealed in delight. And even Cooper is working hard to sell his character, rather than just showing up to flatly read some lines and collect his check. There are genuine laughs to be had throughout the entire movie, some impressive practical effects ( I love a good puppet ), some CGI that impresses, some that does not, and a solid batch of performances from the entire cast.

I sat down to watch Dungeons & Dragons: Honor Among Thieves expecting to have to neck my pint of lager within the first ten minutes in order to enjoy it. Instead, I was surprised to find a film of emotional highs, moving lows, endearing characters, and solid performances that successfully takes a rather complicated IP and translates it into a thoroughly enjoyable popcorn flick. While we don’t know if Honor Among Thieves’ success will spawn a sequel, I can say with certainty that any other attempts to adapt popular IP should look to this film for inspo.

'Dungeons & Dragons: Honor Among Thieves' Review: A Chaotic Fantasy Adventure That Rolls a Hit

'Dungeons & Dragons: Honor Among Thieves' is slated for a theatrical release on March 31.

For years, the concept of adapting the vast and immersive canon of Dungeons & Dragons into a successful feature film seemed insurmountable — but there's no denying that the tabletop role-playing game has been given a new resurgence lately, thanks to various campaigns being played out on streaming. Even celebrities like Joe Manganiello are proud to boast their status as D&D players, and successful web series such as Critical Role have been given the animated treatment, so if there were ever a time for Hollywood to try rolling the dice again on a new D&D movie, it would be now. Enter Dungeons & Dragons: Honor Among Thieves , which hails from directors Jonathan Goldstein and John Francis Daley ( Game Night ), who also co-wrote the screenplay alongside Michael Gilio (from a story he crafted with Chris McKay ). The duo brings their existing, goofy comedic sensibilities to an expansive fantasy world, a crowd-pleasing combination that respectfully nods at diehard fans while remaining just accessible enough for any newbies.

It wouldn't be a D&D campaign without a cast of well-defined but somewhat misfit characters, and at the head of the group is Chris Pine 's hapless bard Edgin Darvis, whose backstory gets spooled out for us rather quickly and in a quite memorable fashion. He's come a long way from his former gig as a sworn member of the organization known as the Harpers; in fact, he and his much more reticent partner, barbarian Holga Kilgore (a terrifically dry Michelle Rodriguez ), are currently doing time in a wintery prison on charges of "thievery and skullduggery." The two career criminals have been Robin Hooding their way through various heists ever since the death of Edgin's wife at the hands of a Red Wizard, all with the aim of supporting Edgin's young daughter Kira ( Chloe Coleman ), so being caught on their last heist wasn't really ever the plan. Orchestrating an escape from prison so that Edgin can track down Kira — who's been living under the guidance of fellow ne'er-do-well, Forge (a quite shifty Hugh Grant ) — is only the beginning of this adventure that soon comes to involve paladins, halflings, a diabolical necromancer, a delightful owlbear, and more surprises too good to spoil.

It's inaccurate to label Honor Among Thieves a bonafide star vehicle, not when each actor takes the strengths through which they've made their careers and wields them to the best of their ability here. Pine exudes every ounce of charisma that first earned him the role of Captain James T. Kirk and a name in the pantheon of Hollywood Chrises, but Edgin is a much more luckless character than anyone we've seen him play before, which leads to some of the film's funniest beats. Similarly, Rodriguez gets to lean full-tilt into her capacity for action while making Holga a blunter instrument for comedy in her repartee on-screen with Pine. Justice Smith becomes their third, more unwitting partner-in-crime as Simon Aumar, a young sorcerer who doesn't always have the greatest confidence in his abilities. Rounding out the group is Doric ( Sophia Lillis ), a tiefling druid and resistance fighter with wisdom beyond her young years, who has her own personal reasons for getting involved with this motley crew.

RELATED: Final 'Dungeons & Dragons: Honor Among Thieves’ Trailer Ramps Up the Action and Excitement

And then there's Regé-Jean Page , who was clearly only showing us the start of what he could do when he rode into the Regency world of Bridgerton three years ago. As paladin Xenk Yendar, a warrior of legend with good looks to match, Page enters into a clear charm-off battle opposite Pine where the real winners are all of us who get to watch them on-screen together. Next to the rest of our less-than-noble characters, Xenk is the straightforward, cut-to-the-chase, noble type, saving infants and protecting the important magical relic that the group needs in order to continue their quest. He may not understand sarcasm or modern colloquialisms, but he successfully manages to utter such phrases as "ill-gotten booty" with a completely straight face. By the end of our all-too-brief time with Xenk — who's clearly intended to serve the very important role as guiding NPC — he's not only won over the biggest skeptic in Edgin, but also nearly walked away with the entire film solely on the power of Page's inherent magnetism.

The biggest appeal of Honor Among Thieves , then, lies in its characters and the journey they undergo together, rather than their target destination — which is also the biggest draw about D&D in the first place. In spite of the arguably perilous situations this group finds itself in, there's also a lot of room left for laughs, and the film's writers know how to utilize jokes that not only ease the tension but keep the story from descending too hard into darker places. In the hands of another script or a different franchise entirely, Edgin's story would be a tragic one, suffused with man-pain about the loss of his wife and his failures as a father, but Honor Among Thieves isn't written to make his narrative the sole priority. Each character's motivations and issues are given equal weight. Holga's history isn't only wrapped up in being a surrogate mother to Kira; she's also dealing with the aftermath of her failed marriage to a halfling, which resulted in her being exiled from her own people. Simon has struggled all his life to measure up to his ancestors, powerful sorcerers in their own right, but his magic often fails more than it succeeds. Doric, who was abandoned by her birth parents, has sworn herself to the Emerald Enclave and now dedicates herself to resisting everyone who would threaten her new family. Ultimately, all of their individual stories come together in surprising ways, especially since these characters wind up fighting against a shared enemy in the formidable wizard Sofina ( Daisy Head ), who serves as acolyte to a shadow-lurking baddie.

Honor Among Thieves wouldn't work half as well as it does without a natural affection for D&D itself, and that element shines through in nearly every scene. Goldstein, Daley, and Gilio have recognized that successfully adapting this franchise doesn't mean flinging every possible Easter egg or piece of fanservice at the wall to see what sticks. Instead, there's a thoughtful, playful deployment of each and every cameo that pops up within this movie's campaign, with jokes inserted more in the capacity of loving winks than mocking finger-pointing. It all ramps up to the film's final boss battle that sees our heroes drawing on every single skill they can in order to gain the upper hand and save the world from imminent destruction, a strategy that undoubtedly calls back to the greatest aspects of the game. (In fact, don't be surprised if you leave the theater with a growing curiosity about how to start a campaign of your own.) Whether you're an uninformed novice or an established fan, Dungeons & Dragons: Honor Among Thieves serves up enough unabashed silliness, memorable characters, and epic storytelling to invite anyone into its entertaining realm.

Dungeons & Dragons: Honor Among Thieves had its world premiere at SXSW 2023 on March 10 and is slated for theatrical release on March 31.

Dungeons & Dragons: Honor Among Thieves review – D&D movie is a forgettable story in a fantastic, faithful world

Practical effects and lore true to the RPG shine over derivative writing and bland characters.

Dungeons & Dragons: Honor Among Thieves is a film that’s at war with itself. On the one hand, it depicts the world of the tabletop roleplaying game with a level of detail fans have never seen before. On the other, its plot and characters are disappointingly uninspiring and derivative. Whenever the D&D movie is trying to be a Dungeons & Dragons movie it’s fantastic. However, its messy storyline, lack of meaningful themes and bland characters let it down.

Honor Among Thieves stars Chris Pine and Michelle Rodriguez as professional bard Edgin Darvis and axe-wielder Holga la Barbare, who were once part of a band of criminals who carried out heists alongside sorcerer Simon Aumar (Justice Smith) and cunning Forge Fletcher (Hugh Grant). After Edgin agrees to a particularly dangerous job in the hope of acquiring an artefact that would enable him to resurrect his deceased wife, the group are captured and/or scattered to the winds. After breaking out of prison – in an undeniably fun scene involving an aarakocra, one of D&D’s bird people – both Edgin and Holga must gather a new team to steal the artefact once again and regain the trust of Edgin’s daughter.

The plot of Honor Among Thieves is simultaneously by-the-numbers and off-the-wall, with its overall beats being extremely predictable but specific story turns arriving unexpectedly. It feels like a rushed tour around some of the Forgotten Realms’ most iconic locations, with the team – who are eventually joined by Simon and newbie druid Doric (Sophia Lillis) – careening from one place to another at breakneck speed. Whilst it’s satisfying to see some of the fantasy RPG ’s most beloved places – including Neverwinter and the Underdark - recreated with enough detail that fans will instantly recognise them, it’s frustrating as a moviegoer to be thrust from one place to another without much clue as to why it’s happening.

Some characters in Honor Among Thieves receive arcs that feel painfully underdeveloped.

This unrelenting speed makes Honor Among Thieves feel more like a rollercoaster ride than a film, which is an issue that a lot of blockbuster films have been stumbling into in the last five years or so. Besides the viewers’ understanding of the plot, what really suffers as a result of the film’s fast pacing are its characters. With so few moments to actually sit down, breathe and get to know them, the characters come across as paper-thin examples of tropes we’ve seen a thousand times before: the grieving widowed father, the badass lady who needs to prove her strength.

Some characters in Honor Among Thieves receive arcs that feel painfully underdeveloped, their climaxes arriving seemingly unannounced with an expectation of emotional investment that’s undeserved. Other characters don't even get an arc or opportunity to move beyond their assigned vibe. The lack of exploration of Doric’s identity as a tiefling – often an outcast species in the world of D&D – feels like a missed opportunity. The one exception to this rule is Simon, whose arc to overcome his lack of self-belief works thanks to the fact that it’s actually seeded and consistently referenced throughout the film - meaning that its payoff feels earned.

Easily the greatest aspects of worldbuilding within Honor Among Thieves can be found in the finer details.

Other highlights include Hugh Grant’s Forge, who is disappointingly absent for most of the movie’s runtime but lights up any scene he appears in thanks to what is a rather obvious – albeit welcome – retread of his character in Paddington 2. Unfortunately, Grant’s character is regularly pushed aside in favour of the film’s main villain, Red Wizard Sofina (Daisy Head). Sofina is miserably boring as an antagonist and has no real motivation behind her actions beyond that most dull of alignments: being “evil”. Her character’s ties to the Forgotten Realms’ Red Wizards of Thay is also where a lot of the more pondering moments of exposition and backstory happen, which might be engaging to diehard fans of Dungeons & Dragons lore, but no-one else.

Easily the greatest aspects of worldbuilding within Honor Among Thieves can be found in the finer details. Though Doric’s tiefling design is devastatingly boring – which doesn’t go further than horns and a tail - the other non-humanoid characters are blessedly not. Despite only appearing for brief moments, the few dragonborn characters we see look superb. This is largely thanks to the fact that they’ve clearly been created with the use of practical effects. There’s also an interaction with a cat-like tabaxi character, their child and a big fish that brought a beaming smile to my face. Though the effects for the tabaxi weren’t the cleanest, they had an air of Buffy the Vampire Slayer about them that shone with absolute love and care that a CGI version would have lacked.

If only it had leaned deeper into the elements that make it unique, Honor Among Thieves might have captured my heart a little more.

There were plenty of other delightful details that gave the tabletop RPG film life and character beyond just its special effects – although the monster design was wonderful, especially on a chonky dragon that chases our heroes in an especially rollicking action sequence. Characters regularly use specific Dungeons & Dragons terms to discuss spellcasting – such as attuning - names that only fans of D&D would know are banded about, like Mordenkainen, and certain spells can be immediately identified thanks to their design, such as a welcome appearance of Bigby’s Hand. Simon even uses material, somatic and verbal elements when casting spells, with enemies taking advantage of those requirements during fights. There’s one particular joke made about the arbitrary limitations of a certain spell that was used to great comedic effect and got a lot of laughs.

Whenever Honor Among Thieves utilises its tabletop source material, it becomes a brilliant fantasy film that stands out against its largely sci-fi and superhero peers. This also occurs in the moments when the main group devise the kind of plans and conjure up the sorts of spontaneous ideas that a party might in a playthrough of Dungeons & Dragons. Brainstorming unexpectedly clever ways to use certain spells, pieces of equipment and abilities is something all D&D players are familiar with and is a big part of what makes the roleplaying game so enduringly beloved.

It’s a shame that these clever moments and playful references are bogged down by its derivative characters, convoluted plot and at times tumbleweed-inducing comedy quips that feel like they belong in a film that came out ten years ago. If only it had leaned deeper into the elements that make it unique, Honor Among Thieves might have captured my heart a little more. The blockbusters that are most beloved nowadays have more than just action set-pieces and jokes, they have clear themes that are explored by their character arcs and plotlines: something that Honor Among Thieves crucially lacks. Perhaps with some better writers, a more focused story and some well-developed ideas, a possible sequel could roll a critical hit.

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In Vecna: Eve of Ruin, D&D’s final 5th edition adventure, you will stack bodies

Admittedly, lots of them have eight legs

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Vecna: Eve of Ruin is unlike anything yet published for the modern incarnation of Dungeons & Dragons . The final campaign for the original 5th edition rule set begins at level 10, far higher than some other published adventures reach over the course of their entire run. It then proceeds to top out at the system’s hard level cap of 20. That much experience will convert you and your party into magically infused, professionally trained killing machines. Trust me when I say that there will be plenty of opportunities to put those skills to work.

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The campaign as a whole is excellent, and that’s because Vecna: Eve of Ruin leans into 5th edition D&D’s most successful format: the adventure anthology. Like Wizards of the Coast’s critically acclaimed Journeys Through the Radiant Citadel , Candlekeep Mysteries , Keys From The Golden Vault , and Tales from the Yawning Portal , the campaign could have easily been sold as a collection of disparate yet unrelated adventures. But it takes that variety of experience and welds it to a singular, compelling storyline. The result is a master-crafted set of encounters assembled into a 256-page product that reads just about as well as it runs at the table.

Be aware, however, that even for a game of D&D, this is very much a collection of exceedingly violent encounters. The campaign features dozens of high-level, endgame-quality battles, so everyone involved should be prepared for lengthy, combat-heavy sessions on the way to saving the multiverse.

But gosh, are they ever worth the trouble.

[ Ed. note: This review contains spoilers of key elements in Vecna: Eve of Ruin .]

The central conceit of Vecna: Eve of Ruin focuses on the nearly 50-year-old legend of an avaricious undead wizard who ascends to godhood, only to desire even more power. From his throne on Oerth, one of D&D’s original settings from the 1970s, Vecna (not the one from Stranger Things , mind you) has hatched a plan to destroy the entire multiverse, then reboot it with himself as its singular ruler. But an early miscalculation irrevocably links the characters at the table to his nefarious plan via magical ties that transcend time and space.

The opening chapter of the book is the quintessential introductory D&D adventure, but elevated for the capabilities of 10th-level characters. A focused set of encounters that can easily be run in two sessions, it’s a classic dungeon crawl with several memorable characters, including a bespectacled gnome historian keen to deliver some necessary backstory. But the opening also has its own internal narrative that makes it a satisfying romp in its own right.

Surprisingly, that’s something that can be said of virtually every other chapter in the book.

Characters will travel to every plane of the multiverse yet introduced by previously published 5th edition adventures. That includes The Forgotten Realms and its mirror, known as the Underdark; Gary Gygax’s own plane of Oerth; Spelljammer ’s mystical Astral Plane; the war-torn lands of Eberron ; the clinging, gothic mists of Barovia ; and Krynn, where the mighty Dragonlances were forged. Each adventure has its own setting-specific flavor and internal logic, and for the most part, lead designer Amanda Hamon uses them all to great effect.

My favorite adventure by far is in chapter 4, “The Ruined Colossus.” In it, players attempt to scavenge a necessary part from an ancient bipedal war machine, as it’s needed to defeat Vecna. The adventure contains both a nuanced moral dilemma and a running battle against skilled assassins. Both take place inside the giant robot, a setting that feels more like an exotic spaceship than anything yet revealed in modern D&D. It’s a standout series of encounters that everyone should find an opportunity to play through, regardless of whether or not they commit to running the entire campaign from start to finish.

There are some low points as well. Fans of Curse of Strahd will likely be the most disappointed. Not only does the campaign reuse a map, called Death House, from that 2016 book, but also the setting’s main character, the legendary vampire Strahd Von Zarovich, is used as little more than a particularly nasty sack of hit points. It’s amazing to me that one of D&D’s most charismatic villains was given so little stage time, but you can’t have everything, I guess.

What fans can have is a triumphant multi-chapter climax that puts the players at the forefront of a demonic war with thousands of frantic combatants. In this titanic struggle, players must cut a wide swathe through the enemies’ forces on their way to defeating Vecna himself. These final few battles, including one that is the result of a very personal betrayal, are a fitting end for the most successful edition in D&D history.

Finally, for such an over-the-top adventure I was delighted to find that Hamon and the many other designers, writers, and artists who worked on Vecna: Eve of Ruin also leave plenty of room for Dungeon Masters to give the campaign their own unique spin. They even offer a way to raise the difficulty by adding in The Sword of Kas, a mythical sentient weapon first introduced way back in 2014 with the original Dungeon Master’s Guide . In this way the campaign closes the door on the incredibly popular, decade-long run of 5th edition. At the same time, it also opens a window where we can see what comes next, since everything inside the book is promised to be compatible with the next iteration of D&D that lands this summer .

Vecna: Eve of Ruin is available now for those who placed a pre-order with Wizards of the Coast or through their local game store . Mass market release is set for May 21. The book was reviewed using a retail copy of the physical book provided by Wizards of the Coast. Vox Media has affiliate partnerships. These do not influence editorial content, though Vox Media may earn commissions for products purchased via affiliate links. You can find additional information about Polygon’s ethics policy here .

Vecna: Eve of Ruin

Prices taken at time of publishing.

• $70 at Wizards of the Coast (bundle)
• $60 at Amazon

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Movie Review: In ‘The Idea of You,’ a boy band is center stage but Anne Hathaway steals the show

This image released by Prime shows Nicholas Galitzine, left, and Anne Hathaway in a scene from “The Idea of You.” (Prime via AP)

This image released by Prime shows Ella Rubin, left, and Anne Hathaway in a scene from “The Idea of You.” (Prime via AP)

This image released by Prime shows Nicholas Galitzine in a scene from “The Idea of You.” (Prime via AP)

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In the warmly charming rom-com “The Idea of You,” Anne Hathaway plays a 40-year-old divorcee and Silver Lake art gallery owner who, after taking her teenage daughter to Coachella, becomes romantically involved with a 24-year-old heartthrob in the boy band August Moon. They first meet after she mistakes his trailer for the bathroom.

There are a few hundred things about this premise that might be farfetched, including the odds of finding love anywhere near the porta johns of a music festival. But one of them is not that a young star like Hayes Campbell ( Nicholas Galitzine ) would fall for a single mom like Solène (Hathaway).

Solène is stylish, unimpressed by Hayes’ celebrity and has bangs so perfect they look genetically modified. And, most importantly, she’s Anne Hathaway. In the power dynamics of “The Idea of You,” Hayes may be a fictional pop star but Hathaway is a very real movie star. And you don’t forget it for a moment in Michael Showalter’s lightly appealing showcase of the actor at her resplendent best.

“The Idea of You,” which debuts Thursday on Prime Video, is full of all the kinds of contradictions that can make a rom-com work. The highly glamorous, megawatt-smiling Hathaway is playing a down-to-earth nobody. The showbiz veteran in the movie is played by Galitzine, a less well-known but up-and-coming British actor whose performance in the movie is quite authentic. And even though the whole scenario is undeniably a glossy high-concept Hollywood fairy tale, Showalter gives it enough texture that “The Idea of You” comes off more natural and sincere than you’d expect.

The only thing that really needs to make perfect sense in a movie like “The Idea of You” is the chemistry. The film, penned by Showalter and Jennifer Westfeldt from Robinne Lee’s bestseller, takes its time in the early scenes between Solène and Hayes — first at Coachella, then when he stops by her gallery — allowing their rapport to build convincingly, and giving each actor plenty of time to smolder.

Once the steamy hotel-room encounters come in “The Idea of You,” the movie has, if not swept you away, then at least ushered you along on a European trip of sex and room service. At the same time, it stays faithful to its central mission of celebrating middle-aged womanhood. The relationship will eventually cause a social media firestorm, but its main pressure point is whether Solène can stick with Hayes after her ex-husband ( Reid Scott ) cheated on her. This is a fairy tale she deserves.

While Showalter ( “The Big Sick” ) has long showed a great gift for juggling comedy and drama at once, “The Idea of You” leans more fully into wish-fulfillment romance. That can leave less to sustain the film, which has notably neutered some of the things that distinguished the book.

The May-December romance has been shrunk a little. In the book, the singer is 20. Given that Galitzine is 29 and the 41-year-old Hathaway is no one’s idea of old, this is more like a July-September relationship. In the book, the daughter (Ella Rubin) is a huge admirer of the pop singer, adding to the awkwardness, but in the movie, August Moon is “so 7th grade” to her.

There are surely more interesting and funnier places “The Idea of You” could have gone. But Hathaway and Galitzine are a good enough match that, for a couple hours, it’s easy to forget.

But the most convincing thing about “The Idea of You”? August Moon. The movie nails the look and sound of boy bands so well because it went straight to the source. The original songs in the film are by Savan Kotecha and Carl Falk, the producer-songwriters of, among other pop hits, “What Makes You Beautiful,” One Direction’s debut single.

That connection will probably only further the sense that “The Idea of You” is very nearly “The Idea of Harry Styles.” The filmmakers have distanced the movie from any real-life resemblances. But one thing is for sure: With August Moon following 4(asterisk)Town of “Turning Red” (whose songs were penned by Billie Eilish and Finneas O’Connell ), we are living in the golden age of the fictional boy band.

“The Idea of You,” an Amazon MGM Studios release, is rated R by the Motion Picture Association for some language and sexual content. Running time: 115 minutes. Two and a half stars out of four.

Screen Rant

The last stop in yuma county review: a riveting debut crime thriller that is full of great tension.

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Pixar's inside out gets imagined as a live-action movie in stunning art (including bing bong), forget john wick 5 & the matrix 5, keanu reeves' potential return to 30-year-old franchise is way more exciting.

• Intense tension in the film builds steadily towards an unexpected climax.
• The film's ensemble cast shines, with storytelling that crafts a tense and engaging narrative in a single setting.
• Despite minor flaws, The Last Stop in Yuma County remains captivating, with an impressive debut effort.

Francis Galluppi's debut film, The Last Stop in Yuma County , is a gripping indie crime thriller that immediately grabs your attention and steadily intensifies throughout. While it slightly runs out of gas towards the end, it remains an enjoyable ride worth revisiting. The story follows a young knife salesman, played by Jim Cummings ( The Beta Test ), who finds himself stranded at a remote gas station while on his way to celebrate his daughter's birthday. As he waits for the fuel delivery in the adjoining diner, he befriends the waitress, Charlotte, portrayed by Jocelin Donahue ( The House of the Devil ).

The Last Stop in Yuma County is an action thriller/western film about a young knife salesman stranded at an Arizona rest stop waiting for a refueling truck. The situation escalates when two bank robbers arrive and take hostages, leaving the salesman to take drastic measures.

• The film is filled with great tension-building
• The ensemble cast is fantastic, really leaning into the story
• The story itself is gripping and engaging for the most part
• The knife salesman character isn't as developed as he should be

The tension escalates when two suspicious individuals enter the diner (Richard Brake and Nicholas Logan), revealing themselves as the perpetrators of a recent bank robbery. The knife salesman and Charlotte find themselves entangled in a tense hostage situation, their lives suddenly at risk. Galluppi skillfully builds suspense with an impressive and technically sound script, keeping the narrative engaging as the movie unfolds within the single setting .

The Last Stop in Yuma County boasts an impressive ensemble cast , including Faizon Love, Michael Abbott Jr., Gene Jones, Sierra McCormick, and Barbara Crampton. While the final act may push the limits of plausibility, the film's overall strength and captivation more than makes up for any minor weaknesses. Galluppi is striving to establish his reputation, and he has done an impressive job with his debut effort.

Galluppi Crafts An Intriguing Script With The Perfect Amount Of Tension

The ensemble of characters is perfect at keeping the momentum going.

The Last Stop in Yuma County showcases Galluppi's skill in visual storytelling from the very first frame. The setting is meticulously crafted, featuring a small, desolate rest stop in the middle of nowhere, surrounded by a vast desert and a sleepy town. The script is laden with subtle but significant details that could easily be missed without paying close attention. A brief news report on the radio about a recent bank robbery and the getaway car, along with a seemingly innocent sign advertising rhubarb pie, serve as clever storytelling devices that seamlessly integrate into the well-structured narrative.

The fascinating characters that populate the film and the masterful buildup of tension that unexpectedly erupts midway through the story more than compensate for any shortcomings.

Galluppi's script strikes a perfect balance between tension and humor, providing brief moments of respite that allow you to catch your breath and smile before plunging right back into the suspense. The tension is palpable from the outset, with the introduction of the unnamed knife salesman, who initially appears innocuous, but hints at a deeper complexity. As each quirky but realistic character is introduced — from the young, naive deputy to the reckless lovers on the run — the stakes continue to rise, promising an imminent danger lurking just around the corner.

Although the knife salesman takes a backseat for most of the film, it becomes evident that he will later play a crucial role as the story unfolds. While additional depth to his character would have been welcome, this minor misstep is easily forgiven in light of the script's overall strength and the nuanced, understated performances from the rest of the cast. The fascinating characters that populate the film and the masterful buildup of tension that unexpectedly erupts midway through the story more than compensate for any shortcomings.

The Last Stop in Yuma County (2024)

The last stop in yuma county isn’t without its flaws, but they’re easy to overlook.

The Last Stop in Yuma County 's climax is not only shocking, but also unexpected, delivering one of the most thrilling moments one can ask for when watching a movie. However, after such a high, the film inevitably comes down, and the descent is not entirely pleasant. The final act is where the movie loses some of its footing, suddenly pulling us back into reality.

While the final act may push the limits of plausibility, the film's overall strength and captivation more than makes up for any minor weaknesses.

Starting off as a believable hostage drama that gradually escalates tension until it reaches an unexpected climax, the aftermath unfolds into a string of borderline absurd moments, prompting several reactions of disbelief. These improbable and unfortunate events continue to pile on for the knife salesman, who, for the majority of the movie, is a minor character. It’s a slightly disappointing moment, as when it's finally the knife salesman's moment to shine, his actions are nothing but foolish. The character isn't fully fleshed out, so the sequential choices he makes until the end of the film make little sense.

However, despite these shortcomings, the overall strength of the film's tension-building, unexpected climax, and the performances of the ensemble cast make it easy to overlook these flaws. While the final act may not live up to the rest of the movie, The Last Stop in Yuma County remains an engaging and memorable crime thriller that is, without a doubt, worth the watch.

The Last Stop in Yuma County is now playing in select theaters.

Review: The simians sizzle, but story fizzles in new 'Kingdom of the Planet of the Apes'

The issue of humans and simians in existential conflict arises again in a new “Planet of the Apes,” this time with a coming-of-age sci-fi adventure that’s a piece of visually stunning world-building more thoughtful than coherent.

“Kingdom of the Planet of the Apes” (★★★ out of four; rated PG-13; in theaters Friday) is a sequel to the stellar “Apes” trilogy led by Andy Serkis’ iconic chimpanzee leader Caesar, set in a landscape where people have gone feral while super-smart apes rule thanks to a man-made virus. Director Wes Ball ( “Maze Runner” ) is a proven commodity in the post-apocalyptic space, and “Kingdom” aims to bring big ideas into a sprawling blockbuster atmosphere, though that gambit winds up weighed down by its own ambitions. 

The new “Apes” is set “many generations later” after the death of Caesar, a kind and compassionate sort who believed humans and apes could one day live together. His specter looms large over “Kingdom,” which centers on a naive young chimp named Noa (played via performance capture by Owen Teague) and an Earth where nature has reclaimed the land. Noa and his friends, Anaya (Travis Jeffery) and Soona (Lydia Peckham), ready for a big day in their lives among the Eagle Clan – so called because of the birds they raise. But the peaceful existence in their village is disrupted by a brutal attack from a horde of masked apes, who burn Noa’s home and leave him for dead.

Noa wakes, battered and vowing to save his friends and family who’ve been taken, and he first falls in with Raka (Peter Macon), a wise orangutan who lives by Caesar’s idealistic beliefs. They meet a young human named Mae (Freya Allan), who’s at first distrustful of her new allies until they save her from the same big bad apes that torched Noa’s village.

The trio learns these villains are goons for the tyrannical bonobo Proximus Caesar (Kevin Durand). Ruling a coastal kingdom of apes, Proximus has taken Caesar’s name yet twists his words to force his prisoners to crack a large vault and plumb the mysterious human treasures within. He’s both a fan of mankind and a symbol of our innate cruelty in ape form.

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Just like the previous films, the main draw is the apes themselves, computer-generated simian wonders who immerse audiences into their world. They look better than ever, with Noa’s tearful eyes delivering so much fragility and emotion in a close-up after a tragic scene, and the performance-capture wizardry, a signature aspect of these new "Apes" movies, feels more groundbreaking than ever.

At the same time, none of the major players in "Kingdom" reach the same level of acting or personality as Serkis’ Caesar. That is an extremely high bar, though, and there are some pretty great apes: Teague's Noa grows on you because of his plight while Macon makes Raka a scene-stealing hoot with a kind soul. Allan, a regular on Netflix’s “The Witcher,” also shines in a meaty role as a human who’s more complicated than she appears.

The early “Apes” movies from the ‘60s and '70s were defined by genre innovation and shock endings, and the Caesar movies were simply a great tale well told. “Kingdom” is less confident in its storytelling: It explores themes of legacy and species coexistence with a metaphor-laden plot that feels too long at 2½ hours, and it begs for more exposition at the beginning before overdoing it later on. The movie ultimately does satisfy by its end, even as it emphasizes philosophy and message over logical narrative choices.

“Kingdom” checks most of the boxes for longtime “Apes” fans, and newbies don’t need to any prior homework as a standalone story that mostly explains itself. And as humans, you do commiserate with the onscreen apes themselves, because everything felt a little better back when Caesar was around.

A searing replay of insurrection, ‘The Sixth’ should be seen by all

The chilling documentary immerses us in the sensations and shock of Jan. 6, 2021. Civics lessons rarely come this disturbing or this convincing.

At first, you may be wondering why A24, the film distributor known for edgy independent fare, is opting not to release “The Sixth” in theaters and is instead sending it straight to streaming services. Having seen the movie, I think I understand.

This chilling documentary by Andrea Nix Fine and Sean Fine, immersing a viewer in the sounds, sights, sensations and shock of Jan. 6 , 2021, is best watched not at a public screening, with a restive and possibly argumentative audience, but at home, attended to with sober concentration and preferably older children or grandchildren by one’s side. Civics lessons rarely come this disturbing or this convincing.

The Fines, Oscar-winning documentarians (“Inocente,” 2012), have drawn upon an immense trove of news and personal footage to re-create the events of the day-long attempt by Donald Trump supporters to storm the U.S. Capitol building and halt the official tabulation of votes that would certify Joe Biden as the 46th president. Images from news cameras, body cameras, security cameras and cellphones have been cut together by editors Jeff Consiglio and Chrystie Martinez Gouz to create an Argus-eyed mosaic of insurrection. A discreetly ominous score by H. Scott Salinas rumbles beneath the sounds of chaos that build from early morning on the 6th and culminate in the breaching of the police line outside the Capitol by a mob estimated at 10,000 and the invasion of its corridors by 1,200 rioters.

“The Sixth” relies on the stories of six narrators who were there, told directly to the camera and in voice-over. Two officers with the D.C. police, Christina Laury and Daniel Hodges, provide harrowing accounts from the white-hot center of the assault, while their boss, Robert J. Contee III, named acting chief of the D.C. police only four days earlier, gives us the broader vantage point. Rep. Jamie Raskin (D-Md.), who had buried his 25-year-old son, Tommy, the day before, recalls events as he saw them from the House chamber, while Erica Loewe, deputy communications director for then-House Majority Whip James E. Clyburn (D-S.C.), gives us the view from the barricaded congressman’s office as the mob pounds on the door. Finally, news photographer Mel D. Cole was in the crowd of Trump supporters as the day progressed from rally to march to riot, and it’s through his lens and memories that we come closest to the attackers themselves.

These are the true believers in Trump’s Big Lie, and they are terrifying. Mostly male, many of them armed, all of them swollen with self-righteous rage, the rioters are seen as individuals and as a seething, pulsating, unified mass of hate. “It was the crowd that was the weapon,” says Officer Hodges, and in the footage of that day, we see that weapon used to crush him and his fellow officers. The police were assaulted with poles, boards, their own batons and bear spray far more harmful than pepper spray. A rioter screams at Hodges to “give me your helmet! I paid for that helmet!” “These people made it clear that they wanted to kill certain members of Congress,” the officer tells the filmmakers.

Embedded in the mob, photographer Cole documented D.C. police Officer Michael Fanone being beaten with pipes and attacked with a stun gun; Fanone suffered burns, a heart attack and traumatic brain injury. “I came for war, man,” one ebullient rioter tells Cole, who expresses horrified amazement that these were the same people who normally expressed their belief that “blue lives matter.” “Not that day,” he says.

Questions remain unanswered by the film, and they nag at history. Among them: Why did the Defense Department hold back National Guard troops stationed nearby while the battle raged for four hours and Contee was forced to call in local officers from Virginia, Maryland and New Jersey? With their arrival, the tide of battle turned and, in Cole’s words, “It was just weirdly … over.” Loewe recalls being led by police out of the Capitol building and seeing a handcuffed rioter laughing. “It was funny to him,” she says with disbelief.

By contrast, “The Sixth” documents a singular tragedy in the life of America with an immediacy that makes one grateful for recording technology; it’s as though we were privileged to witness the Salem witch trials, the Battle of Gettysburg or the Tulsa race massacre at close secondhand. There should be no sense of celebration in this. “I felt embarrassed for all of us,” says Cole, shaking his head. “For all of America.” A true patriot watches “The Sixth” with a deep sense of shame that this happened to our country and a deeper determination to never let it happen again.

Unrated . Available May 3 for purchase and May 10 for rent on Apple, Google Play, Prime Video, YouTube and other platforms. Mob violence, language. 111 minutes.

Ty Burr is the author of the movie recommendation newsletter Ty Burr’s Watch List at tyburrswatchlist.com .

‘Turtles All the Way Down’ Review: A Young-Adult Romance with an Original Dramatic Obstacle: The Heroine Has OCD

An adaptation of the latest YA novel by John Green ("The Fault in Our Stars") tackles a daring subject and deals with it safely.

By Owen Gleiberman

Owen Gleiberman

Chief Film Critic

• ‘The Last Stop in Yuma County’ Review: An Accomplished Pressure-Cooker Thriller That’s Like a Tarantino-Fueled Noir, 30 Years Later 1 day ago
• ‘Kingdom of the Planet of the Apes’ Review: The Franchise Essentially Reboots with a Tale of Survival Set — At Last — in the Ape-Ruled Future 3 days ago
• Restored and Rereleased, the Beatles’ ‘Let It Be’ Is Revealed to Be the Joyful Documentary It Always Was 4 days ago

How’s this for a swoon-worthy romantic moment? Aza (Isabela Merced), darkly beautiful and shy, find herself alone with Davis (Felix Mallard), a rich-kid dreamboat, at his family’s woodside mansion. They’re having a gentle conversation; the sparks are flying. As the music swells, you feel the time arrive for them to kiss. At which point we hear Aza’s worried voice on the soundtrack saying, “You’ll get his bacteria in your mouth. His bacteria will make you sick.” Or as she puts it a little later to her psychiatrist (Poorna Jagannathan), “How can I have a boyfriend if I hate the idea of kissing him?”

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But you don’t need to read it that way, since OCD isn’t only a metaphor. It’s a syndrome that exists. “Turtles All the Way Down” makes Aza’s OCD just specific enough to draw us in, then deals with it in a way that’s just manipulative and sugar-coated enough to leave us thinking, “Yep, it’s another YA movie.” This one, directed by Hannah Marks, isn’t badly done, yet the film is as reassuringly formulaic in its use of OCD as Aza is ritualistic when it comes to dealing with it.

At heart, “Turtles All the Way Down” is a teen romantic fantasy about not having enough daddy love. Aza’s father died of natural causes when she was very young, and she connects with Davis, who she knew as a little kid, after his own billionaire father mysteriously disappears. As Davis, the Australian actor Felix Mallard comes on as a soft-edged preppie, with echoes of the young Leo, the young Robert Pattinson, the young James Spader minus the reticence. His Davis always has the perfect (empathetic) (witty) (non-mansplaining) thing to say.

That makes him a soothing suitor for Aza, who Isabala Merced invests with a forlorn agitation that’s convincing enough, but never too messy. The film’s most authentic performance is given by Cree, who plays Aza’s perky lifelong friend, Daisy, a magenta-haired writer of “Star Wars” fan fiction. She seems, for a while, like a cookie-cutter supportive bestie, but when her real thoughts about Aza come out (how difficult it is to be friends with her), the film hits a note of something genuine and even a touch daring: the self-centeredness that can result from dealing with a mental disorder.

But if the film, for a moment, looks like it’s trying to be realistic about a problem this chronic, how can it have the happy ending a YA movie requires? “Turtles All the Way Down” has its own quirky one, in which Daisy predicts that Aza is going to have a nice life, and we see it played out as feel-good reality. That’s all a bit much, though it’s a fitting wrap-up for a movie that feels, by the end, like it wants to be called “Germs of Endearment.”

Reviewed online, May 3, 2024. MPAA Rating: PG-13. Running time: 111 MIN.

• Production: A New Line Cinema, Warner Bros. Discovery release of a Temple Hill, Rojas Green production. Producers: Wyck Godfrey, Marty Bowen, Issac Klausner. Executive producers: Elizabeth Berger, Isaac Aptaker, Richard Brener, Nikki Ramey, Pauline Sussman, Laura Quicksilver, Bart Lipton, John Green, Rosianna Halse Rojas.
• Crew: Director: Hannah Marks. Screenplay: Elizabeth Berger, Isaac Aptaker. Camera: Brian Burgoyne. Editor: Andrea Bottigliero. Music: Ian Hultquist.
• With: Isabela Merced, Cree, Felix Mallard, Judy Reyes, Maliq Johnson, J. Smith-Cameron, Poorna Jagannathan.

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