'Night Call' Reviews: Film "stands with better efforts due to its relentless high stakes and a believable and sympathetic performance from its lead"

     On January 17, 2025, with a streaming release on January 24th, Magnet Releasing released 'Night Call', which has earned predominantly positive reviews from critics. In the film, "One evening, Mady--a young student by day, locksmith by night--receives an emergency call from Claire to open a lock. But the door the young woman wants to open isn't hers, and the bag she runs away with isn't hers either. It belongs to Yannick, a vicious mobster who blames Mady and will stop at nothing to retrieve his stolen goods. Mady has only one night to prove his innocence and save his neck. What started out as an ordinary night shift turns into a brutal descent into violence. NIGHT CALL is a no-holds-barred crime thriller that ambitiously combines genres, from film noir to action-packed survival." The ensemble cast includes Jonas Bloquet, Thomas Mustin, Romain Duris, Jonathan Feltre, and Natasha Krief. But what did the critics say?

    Shawn Van Horn of Collider says, "Oftentimes, it can feel like if you've seen one action thriller, you've seen them all. The genre often follows the same beats, with the same action set pieces, and the usual results. Night Call, a French-Belgian movie filmed and set in Brussels, has a familiar plot you've come across many times, but thanks to the writing efforts of Michiel Blanchart and Gilles Marchand, with Blanchart also in the directors' chair, Night Calls stands with better efforts due to its relentless high stakes and a believable and sympathetic performance from its lead, Jonathan Feltre. Night Call does nothing new, but it does the standards the right way." Adding, "Deciding that Night Call would happen throughout one night is Blanchart's best choice. The film could have dove deeper into who Mady, Yannick, and a select few other characters are, giving us many more scenes of them outside the plot, but instead of questions being answered, we're dropped into the middle of the action and have to figure things out as we go along. We're not even going to get answers to the motivation of every character, but that's not needed. Do we need to know every detail behind why Mady is a good person, or why Yannick does what he does? We're given just enough, because it's not the backstory we're here for, but the chase."

   Avi Offer of NYC Movie Guru notes, "Mady (Jonathan Feltre), a locksmith, gets into serious trouble when Claire (Natacha Krief) tricks him into opening the door of someone else whom she steals from and runs away. The owner, Yannick (Romain Duris), a crime boss, returns and holds Mady hostage while demanding that he find the stolen goods from Claire before dawn or he'll kill him in Night Call. Screenplay by writer/director Michiel Blanchart and co-writer Gilles Marchand is a by-the-numbers, witless and shallow crime thriller that's low on palpable thrills. Yannick, the villain, is among the many underwritten characters with little to no backstory which makes him a weak and forgettable villain. He's more like a caricature of a villain. Mady is also a character who's poorly introduced. It seems like every character merely exists to move the plot forward. It's never a good sign when you can feel the wheels of the screenplay turning nor does it help that the plot becomes increasingly preposterous. Sure, there's some violence and gritty cinematography, but those strengths aren't enough to compensate for the unimaginative and pedestrian screenplay. Tarantino and Luc Besson could've turned this premise into a much more wildly entertaining ride rather than one that just goes through the motions while often falling flat. At a time of 1 hour and 37 minutes , Night Call opens in select theaters via Magnet Releasing."

Photo by Mike Von on Unsplash

    

'Survive' Reviews: Film "gets off on the right foot, but it quickly becomes clear that Jardin doesn’t have the money to do much with the premise"

     On January 10, 2024, Samuel Goldwyn Films released 'Survive', which has earned predominantly positive reviews from critics, currently holding at 70% on Rotten Tomatoes at the time of this writing. "In SURVIVE, Julia and her loving husband celebrate their son's birthday on their boat in the middle of the ocean. When a violent storm nearly capsizes them, the family awakes in a desert land. Earth has undergone a tragic polarity reversal, draining water from the oceans. The family must race to safety before the water returns all while battling hungry creatures from the abyss that hunt for fresh flesh." The ensemble cast includes Émilie Dequenne, Lucas Ebel, Lisa Delamar, and Andreas Pietschmann. Read the full review round-up below.

    Jennie Kermode of Eye for Film says, "One of those films that’s always going to be at its best when watched in a group, this really packs in the action, with Dequenne’s intensely physical performance and Nicolas Errèra’s energetic score ensuring that it keeps its grip throughout." Adding, "We live in a world which is undergoing massive changes, and perhaps that’s what this kind of film, and those kind of games, really exist to prepare us for. Once things really get bad, there’s no time to think about the long term. With Survive, the less you think, the more fun you’ll have."

   Phil Hoad of Guardian notes, "This directorial pep, along with invested performances across the board, allows Survive to build a sense of family vulnerabilities that is rawer than the standard cheap audience-identification tactics usually used in blockbuster disaster movies." Continuing, "With a stark preference for visual over verbal storytelling, Jardin woozily milks this surrealistic canvas (filmed on location in Morocco) for dreamlike snapshots: their boat exploding in the wilderness, bats escaping a stricken private jet, a hammerhead shark in a watercourse. But he doesn’t settle just for that: Jardin also goes for vigorous camera moves – to the point of occasional effortfulness in wringing out fresh juice from familiar setups, like the wild-eyed “man with the harpoon” (Arben Bajraktaraj) who torments the family."

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   Brian Orndorf of Blu-ray.com was less impressed, stating, "While Jardin is committed to following characters as they experience an unthinkable situation of self-preservation, his sense of upheaval could use some work, as the endeavor is missing a more intense appreciation of global ruin." Concluding, "“Survive” gets off on the right foot, but it quickly becomes clear that Jardin doesn’t have the money to do much with the premise. Tom’s family regains consciousness in the middle of dry land that was once the ocean, only understanding what’s happened after making contact with Nao (Olivier Ho Hio Hen), the submersible team leader who can offer shelter for two more individuals before the water returns. Parental duty kicks in, as Tom and Julia set out to make sure Cassie and Ben remain safe, encountering a series of survival challenges along the way. There’s growing thirst, a need for shelter, open wounds, and falling rocks, but perhaps most pressing is a violent stranger looking to claim the family’s resources. Questions about this development are mostly unanswered, but Jardin is primarily pursuing visceral highlights as the drifter threatens to kill everyone. “Survive” shows some surprising ruthlessness during this sequence, but it ends up becoming the last offering of suspense until the climax."

'Hazard' Reviews: "a well-intentioned picture, bolstered by two very strong central performances"

     On January 10, 2025, Emphatic Films released 'Hazard', which has earned predominantly positive reviews from critics. In the film, "Will, a reluctant drug dealer played by Alex Roe, fights to shield his family from the same devastating addiction that has ravaged their community. Despite his efforts, every choice threatens to pull him and his loved ones deeper into chaos. Co-starring Sosie Bacon, HAZARD is a powerful portrayal of resilience and sacrifice, as Will must decide whether to succumb to the addiction he despises or rise above it to save his family." but what did the critics say?

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   Mike McGranaghan of Aisle Seat says, "The specifics of the plot will be recognizable to any viewer who has ever seen an addiction movie. At times, it’s poignant, as when Will’s father, screaming in agonizing pain, begs his son for drugs. Other times, it’s a bit manufactured, as in the scene showing a doctor who sits in a downtown store front, writing bogus prescriptions for the paying addicts lined up on the street. The best moments are the ones between Will and Sara, as they try to figure out their relationship amid two different states of sobriety. In fact, the performances are the main reason to see Hazard. Alex Roe authentically captures the distracted energy of an opioid addict who can only focus on anything for a certain amount of time before a craving for the drug hits. The actor also makes Will a fully fleshed-out character we care about, as opposed to the one-dimensional scumbag he could have come off as. Sosie Bacon brings a wounded quality to Sara, showing how she’s stared into the abyss and fears her husband will inadvertently drag her right back to it. Together, the stars create a portrait of addiction and codependency that’s heartbreaking. Hazard absolutely gets you thinking about the toll opioids take on a community, especially one that’s already dealing with economic despair. It’s a well-intentioned picture, bolstered by two very strong central performances." 

   Richard Propes of TheIndependentCritic.com notes, "In some ways, you can likely predict the story that's going to unfold, though Mensore does take some unique angles along the way. Truthfully, I doubt I'd be recommending it if not for the strong chemistry and relationship between Will and Sara. It's a relationship brought powerfully to life by Roe, who is absolutely riveting here, and Bacon, one of the younger Bacons who is rapidly proving her acting chops. Individually, they're both fantastic here and the screen really lights up when they're together. I suppose "lights up" isn't the best way to put it. Hazard isn't the easiest film to watch, however, Mensore has captured a vivid and realistic portrayal of addiction and its impact on rural life. Lensing by Matthew Boyd impresses throughout the film's 88-minute running time and original music by Mauricio Yazigi amplifies the film's emotional rhythms without ever feeling manipulative. While Hazard occasionally crosses the line into cliche', Mensore has created characters we care about brought to life by a leading duo that's always worth watching. Yes, you've probably seen this story before but it's a timely and vital one and it's easily worth it to watch Alex Rose and Sosie Bacon bring it all to life so powerfully." 

'Bring Them Down' Reviews: "Taut and mournful, it’s a lament for the mistakes made in anger, the wounds that fail to heal, and the past that never truly seems to be past at all"

     On February 7, 2025, MUBI releases 'Bring Them Down', which has earned rave reviews from critics, currently holding at 93% on Rotten Tomatoes. "Starring Oscar-nominee Barry Keoghan (Saltburn, The Banshees of Inisherin) and Christopher Abbott (Possessor, Sanctuary), BRING THEM DOWN is a tense and gripping thriller about two warring families set against the harsh landscape of rural west Ireland. When the ongoing rivalry between farmers Michael (Abbott) and Jack (Keoghan) suddenly escalates, it triggers a chain of events that take increasingly violent and devastating turns, leaving both families permanently altered. From first-time filmmaker Christopher Andrews and co-starring Colm Meaney, Paul Ready and Nora-Jane Noone, this is a fierce, muscular debut that signals a bold new cinematic voice." Read the full review round-up below.

   Nick Schager of The Daily Beast says, "Taut and mournful, it’s a lament for the mistakes made in anger, the wounds that fail to heal, and the past that never truly seems to be past at all."

    Kate Erbland of indieWire notes, "Fans of dramas so dark and bitter that they make the most screwed-up parts of the Bible look funny and frisky? They’ll likely spark to what Andrews is dishing out here, but some questionable storytelling conceits eventually dilute even that power."

Photo by Tim Mossholder on Unsplash

   Brittany Patrice Witherspoon of Screen Rant writes, "Every so often, there comes a film that sticks with you long after your first viewing. For me, that film is Christopher Andrews’ directorial debut, Bring Them Down, which premiered at the 2024 Toronto International Film Festival. The story chronicles a turf war between neighboring families in a rural Ireland town, where trauma, desperation, and revenge are at the forefront. Featuring an exceptional Christopher Abbott performance and stunning cinematography from Nick Cooke, the film reveals the ugly side of survival and proving your worth. Bring Them Down is 105 minutes worth of violence and misery, but it’s great storytelling, nonetheless." Adding, "Riddled with tension and terror, Bring Them Down is an experience that never lets up on its intensity. The film is filled with violence, while creatively showcasing the aftermath of trauma. Abbott’s performance as a ticking time bomb is the kind of experience that will stick with you for a while. Simultaneously, Cooke’s cinematography offers a sense of hope in a somber setting. These clashing elements of Andrews’ feature make for a fascinating watch while never explicitly showcasing a true hero versus villain story. The different perspectives demonstrate the fight for survival when everything and everyone stands in your way." 

'The Day the Earth Blew Up: A Looney Tunes Movie' Delights Critics

     On February 28, 2025, Ketchup Entertainment releases 'The Day the Earth Blew Up: A Looney Tunes Movie', which is currently holding at 100% on Rotten Tomatoes at the time of this writing. In the film, "Porky Pig and Daffy Duck, one of the greatest comedic duos in history, are making their hilarious return to the big screen in the sci-fi comedy adventure, THE DAY THE EARTH BLEW UP: A LOONEY TUNES MOVIE. This is the first-ever fully animated Looney Tunes feature-length movie created for a cinema audience. Porky and Daffy are our unlikely heroes and Earth's only hope when facing the threat of alien invasion. In this buddy-comedy of epic proportions, they race to save the world, delivering all the laugh-out-loud gags and vibrant visuals that have made the Looney Tunes so iconic, but on a scope and scale yet to be experienced. It's going to be out of this world!" The ensemble cast includes Eric Bauza, Candi Milo, Fred Tatasciore, and Peter MacNicol. Read the full review round-up below.

    Douglas Davidson of Elements of Madness says, "The Day the Earth Blew Up is by no means perfect. Daffy is, perhaps, just a little *too* daffy for the story’s own good, creating problems frequently enough to make one ponder if they should just get on with moving to the next scene. There’s also a comment made about Porky’s stutter which feels slightly offensive within the negative connotation the dialogue creates. Looney Tunes aren’t exactly saints with the characters frequently pushing the bounds of what is and is not transgressive (see: Bugs Bunny, queer icon), but they do tend to be inoffensive at their core. To that end, the first is mere annoyance and respective to personal taste while the second can be explained (though not excused) within the context of the scene and what Daffy is trying to articulate. This version of Daffy is so well-intentioned that his stupidity and resulting damage is not charming exactly, but forgivable. If there’s a favorite moment for this reviewer, it’s one that comes very late and breaks the fourth wall in a manner that harkens to another atomic age homage, Return of the Killer Tomatoes (1988), as Daffy acknowledges that they’re in a movie. It’s a choice that works as a gag in the moment, but also throws a great deal of complaints about inconsistency or preference for the depiction of Porky and Daffy out the window — this isn’t *them*, they’re playing characters just like Duck Dodgers and Space Cadet — therefore allowing a bit more leeway in how the writers of this film play the characters."

   Peter Debruge of Variety notes, "Daffy (whose greatest desire is to smash things with his wooden mallet) wears on the nerves after a while, but the entire project -- including a handful of fun fourth-wall-shattering asides -- is crafted with love and a genuine respect for the franchise."

Photo by Jared Murray on Unsplash

    Rafael Motamayor of IGN Movies praises the film, stating, "Despite the '50s sci-fi plot, it all feels quite modern. The (gorgeous) animation is slick and fluid, and the pacing relentless – the jokes-per-minute ratio is astounding. The influence of 21st century cartoons like The Marvelous Misadventures of Flapjack and Chowder is apparent; there’s a randomness to the humor that echoes absurdities like the running Nosferatu gag on SpongeBob SquarePants. At the very least, The Day the Earth Blew Up proves that these characters are more than capable of carrying their own movie (and without Bugs Bunny!) and make it a laugh-out-loud riot. Hopefully, the lack of a "That's all Folks!" tag at the end means this is not the last we’ll see of the Looney Tunes on the big screen." Continuing, "The Day the Earth Blew Up: A Looney Tunes Movie has enough gags per minute to leave audiences short of breath with laughter, but also a big heart that shows why these characters are so beloved even after nearly 90 years. With crisp animation, some truly hilarious and bizarre gags, and a  plot that hearkens back to 1950s sci-fi, this is the Looney Tunes movie fans have been waiting for."

'Wolf Man' Reviews: "a worthy, thoughtful addition to Universal’s monster movie canon and a compelling argument that the wolfman still has plenty of bite"

     On January 17, 2025, Universal Pictures releases 'Wolf Man', which has received a mixed reception from critics, currently holding at 61% on Rotten Tomatoes at the time of this writing. "From Blumhouse and visionary writer-director Leigh Whannell, the creators of the chilling modern monster tale The Invisible Man, comes a terrifying new lupine nightmare: Wolf Man. Golden Globe nominee Christopher Abbott (Poor Things, It Comes at Night) stars as Blake, a San Francisco husband and father, who inherits his remote childhood home in rural Oregon after his own father vanishes and is presumed dead. With his marriage to his high-powered wife, Charlotte (Emmy winner Julia Garner; Ozark, Inventing Anna), fraying, Blake persuades Charlotte to take a break from the city and visit the property with their young daughter, Ginger (Matlida Firth; Hullraisers, Coma). But as the family approaches the farmhouse in the dead of night, they're attacked by an unseen animal and, in a desperate escape, barricade themselves inside the home as the creature prowls the perimeter. As the night stretches on, however, Blake begins to behave strangely, transforming into something unrecognizable, and Charlotte will be forced to decide whether the terror within their house is more lethal than the danger without." But what did the critics say?

   Seth Katz of Slant Magazine says, "After such high-profile flops as 2010’s The Wolfman and 2017’s The Mummy, the latter of which failed to launch Universal Pictures’s intended Dark Universe franchise, came a rare standout amid the studio’s ongoing project of rebooting its classic horror movies: Leigh Wannell’s The Invisible Man, which reframed the 1933 film (based on H.G. Wells’s novel) as an extreme case of stalking and gaslighting. While this ostensibly feminist spin on the story earned the film some appreciation, its pointed topicality was less compelling than Wannell’s masterful orchestration of suspense and, during the middle stretch, use of a single location. Following that success, Wannell has been given the reins to Wolf Man, nominally based on the 1941 version with Lon Chaney Jr. that, along with its sequels, proved to be one of the most influential entries in Universal’s monster cycle. As with The Invisible Man, there isn’t much tying this new version to the original other than the title. In fact, Wolf Man retains almost none of the well-known lore around the werewolf. There’s nothing here about the full moon or a silver-handled cane, nor is the word “werewolf” even used. The most familiar and predictable notion is that someone who’s wounded by a werewolf and survives will become one." Adding, "The theme gets muddled here, though, as the film contrasts Grady’s stern parenting with Blake’s gentler approach, with the idea being—as the infection takes hold—that he’s trying not to turn into his father. Third-act revelations telegraphed within the first few minutes are treated as big surprises as Wannell struggles to overcome the obviousness of his story construction. More confounding, the wolfman design is more generally demonic than specifically lupine. Blake’s transformation—which for some reason sees him going bald even as his body hair grows—occurs gradually rather than recurrently, and the use of special makeup effects is convincing. Yet the film misses out on the rich gothic atmosphere traditionally mined for this genre, opting instead for murky compositions and a self-serious tone that robs the proceedings of any potential fun. Wolf Man neither embraces the fundamentals of the werewolf folklore from which it draws nor convincingly reinvents them, landing instead in somber, predictable territory, dully satisfied with a few cheap jump scares and a perfunctory nod to thematic resonance."

Photo by Jared Murray on Unsplash

   Matt Oakes of Silver Screen Riot notes, "Much of what makes Wolf Man effective is its economy. The story revolves primarily around the family trio, with only a handful of minor characters appearing along the outskirts. This tight focus works in the film’s favor, creating an intimacy that amplifies the tension and the tragedy. As Blake shares with Charlotte after his father’s death, “I realized that you’re all the family I have left.” But like a rabid dog, friend and foe become indiscernible under the confusing spell of instinctual violence. Whannell roots much of the emerging terror in this family’s isolation, underscoring how small their world becomes—trapped in the woods, far from their city life—as they are stalked by a beast that once sought only to protect them. This theme of inverted instinct is mirrored in Blake’s transformation, where his primal instincts threaten to consume the connections he’s dying to preserve. Wolf Man suffers from being a little too tidy, its narrative edges smoothed to a fault, and its mythology only faintly sketched. While there are nods to deeper lore—such as an introductory title card invoking an obligatory Native American legend—the film never fully commits to weaving these elements into its DNA. The result is a climax that feels restrained when it could have been explosive, leaving a lingering sense that Wolf Man is content to stop just shy of greatness. The ending, while thematically consistent with the film’s balance of heart and horror, resolves too neatly, missing the kind of raw emotional devastation that might have elevated it into a modern classic. Nevertheless, Whannell’s craftsmanship and clear affection for the material shine through, making Wolf Man a thoroughly satisfying thrill ride that doesn’t shortchange its own internal logic or well-established melodrama. It’s a chilling fable about being unable to protect your family from the forces of the world — from both external threats and the internal forces that pull us apart. And, like a derelict pickup truck, while it may not quite shift into the next gear, it’s a worthy, thoughtful addition to Universal’s monster movie canon and a compelling argument that the wolfman still has plenty of bite."

   Emma Kiely of Collider writes, "What makes the majority of Wolf Man such a disappointment is the first twenty minutes. The opening act promises a far more interesting tale than the one we eventually get. The insight into Blake’s childhood is a Leave No Trace-type story, blending horror mythology with tense human drama. But just when the film starts garnering steam, it skips 30 years, and the whole story falls into the same, repetitive trappings of the latest Blumhouse fare. A family of half-written characters who, in an attempt to come closer together, find themselves in the crosshairs of a waking nightmare. Blumhouse yet again promises a horror experience like no other only to serve up a boring, contrived family drama that lacks scares and hammers home the importance of the all-American family unit." 

'Love Again' Reviews: "While Stewart and Yeun are great performers, their characters are too blank for their own good"

     On January 31, 2024, Bleecker Street releases 'Love Again', which has earned a mixed reception from critics, currently holding at 47% on Rotten Tomatoes. "In a story that spans billions of years, a buoy and a satellite meet online long after humanity's extinction. As they learn what life was like on Earth, they discover themselves and what it means to be alive and in love. In this groundbreaking first feature from directors Sam and Andy Zuchero, Love Me explores contemporary topics surrounding technology and identity, though at its heart is a simple, emotionally resonant tale of transformation. Thrillingly utilizing filmmaking techniques from live-action, practical animatronics, classic animation and game engines, and anchored in enthralling performances by Stewart and Yeun, Love Me culminates in the longest-spanning love story ever told." The ensemble cast includes Steven Yeun and Kristen Stewart. Read the full review round-up below.

    Louisa Moore of Screen Zealots says, "The film’s structure is a disaster, weaving together different time periods in a mess of virtual, surreal, and real world applications. The lovers are portrayed by Yeun and Stewart in different forms, from inanimate objects to computer simulations to humans. The best version of the pair is the very first, featuring quirky and fun banter that’s based in nerdy humor. The story gains momentum as the buoy and satellite connect through archived social media posts, but it falls apart as the Zucheros begin telling their story through animated avatars. Eventually, it all devolves into a semi-mindless sitcom that feels extremely disappointing after such a strong, eclectic start. After an exhausting clip show of filler material and bombarding the audience with unpleasant relationship arguments, the story finally trends upwards towards the end. Ultimately, it’s too late to save the disappointing “Love Me.” The creativity and inventiveness simply doesn’t work well enough."

   Lisa Trifone of Third Coast Review notes, "As interesting as the film's central question is, with a cast of two and not much more to do than watch the different iterations of the buoy and the satellite navel gaze their way through their rocky relationship, it does start to wear."

    Mae Abdulbaki of Screen Rant writes, "Much of Love Me plays out in animated form, which also lends itself to Stewart and Yeun’s underwhelming performances. The animated portion isn’t itself a problem, but the implementation is uninspired and lackluster, devoid of true feeling. That’s, in part, because the scenes grow tired and there’s a lack of ambition when it comes to moving from one point to another in the story. We get the point early on, but the writer-directors seem determined to hit us over the head with it before finally moving on. The culmination is haphazard at best, nor does it resonate emotionally. The concept is no doubt thought-provoking and, occasionally, even creative. But it’s hard to get behind the journey the AIs go on when it’s so detached, the film itself attempting to be a gripping narrative conveying heartfelt emotions that just don’t land. The beginning showed some promise, but you’ll be waiting for Love Me to be over long before it actually ends."

   Chris Evangelista of Slashfilm was less impressed, stating, "Stop me if you heard this one before: in a post-apocalyptic world, a lonely buoy and a friendly satellite fall in love. That admittedly bonkers scenario is at the core of Sam and Andy Zuchero's sweet but frustrating "Love Me." Dealing with the trappings and limitations of social media, "Love Me" uses its end-of-the-world scenario to stage an unlikely love story. After some cataclysmic event has wiped out all of humanity, a smart buoy named Me drifts alone through a recently thawed sea just outside of the ruins of New York. One day, a satellite named Iam floats overhead and catches her eye. The two strike up a conversation and Me decides to pass herself off as a "lifeform" in order to grow closer to Iam. To do so, she scrolls through the internet — still alive and kicking even after the apocalypse — and happens upon a sickeningly sweet series of videos from content creator Deja (Kristen Stewart) and her husband Liam (Steven Yeun). Using that relationship as a blueprint, Me and Iam enter a Sims-like world where their animated avatars attempt to spark love. But can love even exist between these two objects play-acting as humans? This is a great set-up, and Stewart and Yeun are more than game for the material. Unfortunately, "Love Me" begins to grow tiresome, spinning its wheels and devolving into a series of arguments between the characters as they struggle to learn who and what they really are. From a purely aesthetic level, the film is a winner — the opening sequences on post-apocalyptic Earth immediately recall Pixar's "WALL-E," while the digital animation used to render the characters into not-quite-flesh is fascinating. But "Love Me" can't quite find the right spark to deliver on its premise. While Stewart and Yeun are great performers, their characters are too blank for their own good — how could they not be? They're artificial. Quirky and occasionally charming, "Love Me" comes up short in the end."

Photo by Alice Voigt on Unsplash