‘Sing Sing’ Reviews: Film “laminates its dramatic license with a layer of authentic courage”

Photo by John Moeses Baun on Unsplash

        On August 2, 2024, A24 releases ‘Sing Sing’, which has received rave reviews, holding fresh at 97% on Rotten Tomatoes alongside a Critics Consensus that reads, “A moving celebration of art's redemptive power, Sing Sing draws its estimable emotional resonance from a never better Colman Domingo and equally impressive ensemble players.” In the film, a falsely imprisoned man at the title prison rediscovers his purpose and joy when he joins an acting troupe. The ensemble cast includes Colman Domingo, Clarence Maclin, Paul Raci, and Sean San José. Read the full review round-up below.

Tom Gliatto of People Magazine writes, “Sing Sing isn’t what you’d call a feel-good movie — it’s inspirational and moving, but it also carefully avoids the sort of easy emotional upsurge that might encourage you to cheer. Directed by Greg Kwedar with a quiet firmness, it understands all too well the difference between a liberated imagination and the actual physical freedom that beckons beyond the prison walls.”

Rachel LaBonte of Screen Rant says, “Led by a stunning Colman Domingo, Sing Sing is the perfect example of how art can heal, and how a person may not be what they seem on the surface.” Continuing, “Adding to the overall impact of the movie is its cast, which is largely comprised of actual members of RTA playing themselves. Maclin is the most prominent, and the passion he shows in telling his own story is inspiring. His easy chemistry with Domingo makes the relationship between the Divines soar, and Clarence's evolution is a genuine highlight. Every member of the Sing Sing cast is exemplary, but I was especially moved by Sean "Dino" Johnson, who is often found rehearsing his lines to himself. His quiet dedication to the program, and the way Johnson played it, hit hard.”

Barry Hertz of Globe and Mail praises the film, stating, “This is as big, immersive and knock-down-drag-out impressive a vehicle as any leading performer could possibly hope for. And Domingo makes an absolute five-course meal out of it.”

Don Shanahan of Every Movie Has a Lesson notes, “Sing Sing laminates its dramatic license with a layer of authentic courage. We’re watching formerly incarcerated men relive experiences with invigorated pronouncement. By sharing them with the world now, their honor and liberation are multiplied.” Adding, “ing Sing recounts one theatrical season of the RTA program. They have just finished Shakespeare’s A Midsummer Night’s Dream and Brett Buell is spurring the group to recruit new members and brainstorm what to perform next. The unofficial leaders of the troupe are John “Divine G” Whitfield (Domingo), a prolific amateur playwright who always has a script or two waiting in the wings, and his cell neighbor Mike Mike (Campo Santo co-founder Sean San José). The only new blood they find is a boss-of-the-yard rough customer named Clarence “Divine Eye” Maclin (playing himself), who’s looking at the RTA as a way to get out of other work duties. The arrival of Divine Eye initially jostles the usual copasetic climate of the RTA team fostered by Brett. His blunt and barbed suggestions to do something funnier than The Bard take hold in the group, much to the dismay of the normally serious Divine G. After collecting and settling on ideas, Buell pens the original time travel comedy Breakin’ The Mummy’s Code, a kitchen sink collection of zany characters from Ancient Egypt to Prince Hamlet and Freddy Krueger. As Sing Sing progresses, the men “trust the process” to hone their roles from script to rehearsal. All the while, this film is still bound to its prison setting of cell inspections, yard time, safety drills, lineups, and rotating clemency hearings.”

 

‘Coup!’ Reviews: Film “is wonderfully assured in its boldness and swagger, and has the feel of far more seasoned and experienced filmmakers, reverberating with the echoes of everyone from Joseph Losey to Paul Thomas Anderson.”

        On August 2, 2024, Greenwich Entertainment releases ‘Coup!’, which has earned predominantly positive reviews, holding fresh at 82% on Rotten Tomatoes. In the film, a family’s mysterious new chef encourages the staff to turn on their employers after a plague occurs. Can the family survive? The ensemble cast includes Peter Sarsgaard, Billy Magnussen, Sarah Gadon, Skye P. Marshall, Faran Tahir, Fisher Stevens, and Kristine Nielsen. But what did the critics say?

Carmen Paddock of Movies We Texted About praises the film, stating, “A breezy romp that comes in just under 100 minutes, Coup! entertains without offering much new on the dynamics of a pandemic society, where some lives are treated with more care than others. “Eat the rich” has never been a bigger joke.”

Christian Blauvelt of indieWire was less impressed, stating, “With “Coup!” so reluctant to own anything, it’s hard to imagine many viewers are going to buy what it has to say.” Concluding, “Politically muddled at best, something Ron DeSantis would happily introduce at CPAC at worst, this populist satire from directors Austin Stark and Joseph Schuman is an Adam McKay-lite class-war confection looking to have it both ways. Its “eat the rich” message is certainly strong enough for those with an extremely niche grievance: Those who, three years later, want to get in zingers at the Chris Cuomo types who fled cities for their country mansions while still acting like they were doing something to fight Covid on the front lines. But its thumb is invariably on the scale for a right-wing view, as much as Stark and Schuman have said that they feel the politics of “Coup!” reflect more those of the person watching it than what’s in the film itself.”

Guy Lodge of Variety notes, “Magnussen, meanwhile, is still possessed of those frostily handsome features that casting directors are loath to consider for heroic leads — and duly plays both “Coup!’s” villain and its patsy, as hoity-toity national newspaper columnist Jay Horton, whose performatively progressive politics are somewhat at odds with his vast inherited fortune.” Adding, “The ensuing alpha-male face-off between master and rebel is drawn in broad, enjoyably cartoonish strokes: In this case, both men have an impressive mustache to twirl. But if “Coup!” is unsubtle, its outcome is never exactly predictable, while its politics are intriguingly elusive. Horton’s slimy champagne socialism may be a straightforward satirical target, but Monk turns out to be a pretty self-serving man of the people; one way or another, as Mrs. Tidwell bitterly notes, the servant class can never emerge triumphant. Viewers seeking to map the film’s pandemic portrayal onto recent events, meanwhile, won’t find any unambiguously sympathetic stance between Horton’s hypocritical public interest and Monk’s hint of anti-lockdown individualism.”

Image Courtesy of Greenwich Entertainment

    Erin Free of FILMINK writes, “American independent cinema has an exciting new dual voice in Joseph Schuman & Austin Stark, whose first collaboration is the exhilarating satire Coup!, a scathing, no-holds-barred take-down of both the madness that surged out of the Covid pandemic, and the societal structures that allowed it to rage out of control. Prior to this cracking work, prolific indie producer Austin Stark had two uneven but highly topical directorial efforts to his credit in 2015’s The Runner and 2021’s The God Committee. His vision appears to have crystalised in his partnership with Joseph Schuman, who has his first credit here. Coup! is wonderfully assured in its boldness and swagger, and has the feel of far more seasoned and experienced filmmakers, reverberating with the echoes of everyone from Joseph Losey to Paul Thomas Anderson.”

Mark Jackson of Epoch Times says, “Coup!" is a breezy period satire substituting the Spanish Flu for COVID and showing how a pandemic can create a window of opportunity to usher in communism.”

‘Batman: Caped Crusader’ Reviews: Series “will thrill those looking for a new, noir-inspired adventure with the hero as it builds on the character’s animated legacy”

        On August 1, 2024, Amazon Prime Video premieres, ’Batman: Caped Crusader’, which has earned rave reviews from critics, holding fresh at 100% on Rotten Tomatoes alongside a Critics Consensus that reads, “Marking Bruce Timm's long-awaited return to the Batman mythos, Caped Crusader is a hard-boiled and retro treat for fans of the Dark Knight's previous animated adventures.” In the series, the title character works to protect Gotham City, creating alliances and enemies along the way. The ensemble cast includes Hamish Linklater, Jamie Chung, Christina Ricci, Krystal Joy Brown, Diedrich Bader, Reid Scott, Jason Watkins, Tom Kenny, and Minnie Driver. But what did the critics have to say?

        Nicola Austin of Radio Times praises the series, stating, “The creative team has impressively replicated the distinctive nostalgic art style of the iconic ‘90s show, channelling a film noir sensibility in a vintage 1940s setting.” Adding, “Streaming on Prime Video - which is also home to adult animated shows Invincible, The Legend of Vox Machina and The Boys Presents: Diabolical - has clearly given Timm the platform to finally tell the stories which didn’t quite make it to B:TAS, given the younger audience of Fox Kids. This is certainly apparent in the standout Harvey Dent two-parter The Killer Inside Me and Savage Night, and also the creepy carnival setting of vampiric Nocturne.”

Jarrod Jones of AV Club notes, “Caped Crusader isn’t satisfied with merely exploring this well-trod two-man war on crime. Timm, again working with Justice League producer James Tucker, expands their purview with a broad swathe of iconic do-gooders and ne’er-do-wells rejiggered past the point of recognition. Strong focus is placed on Barbara Gordon (Krystal Joy Brown), a bleeding-heart criminal-defense attorney stymied by a broken justice system, and shallow, polished District Attorney Harvey Dent (Diedrich Bader), whose quest for the mayoral seat is rife with dark insinuation and foreshadowing. Their personal and professional lives move the series’ plotlines nearly as often as its marquee attraction, sometimes even more so.”

Allyson Johnson of But Why Tho? A Geek Community writes, “Batman: Caped Crusader will thrill those looking for a new, noir-inspired adventure with the hero as it builds on the character’s animated legacy. However, it stumbles in the mechanics.” Continuing, “The basic story format runs like many a solo Batman adaptation. Batman (Hamish Linklater) is at the start of his work as a vigilante; his name and presence are mere rumors at the beginning of Batman: Caped Crusader Season 1. As Bruce Wayne, he’s known as the playboy philanthropist. But at night, he haunts the streets of Gotham in his crusade for justice. Alfred Pennyworth remains a put-upon butler who must tend to his whims while the villains and allies allow for spins on old foes. Everyone from Harley Quinn (Jamie Chung) to The Penguin (Minnie Driver) gets intriguing updates. This is necessary, considering the villains are the most exciting part of the series in terms of characterization. Some, like Catwoman (Christina Ricci), are complete misses. Selina Kyle makes for such a rich character study, as we’ve seen everyone from Eartha Kitt, Michelle Pfeiffer, Anne Hathaway, and Zoë Kravitz delight in their interpretations. Animated series, such as Sanaa Lathan’s version in Harley Quinn or Adrienne Barbeau in Batman The Animated Series, also fare well. Here, she falls flat with no real drive behind her character motivations or design.”

        Angie Han of Hollywood Reporter says, “Like any icon who’s been around long enough, Batman has appeared before us in a nigh-infinite number of permutations. There are Batmans who fly solo, and Batmans who have Robins. There are Batmans who’ve been at this a while, and Batmans who are new to the job. There are campy Batmans and gritty Batmans, wholesome Batmans and scary Batmans, and every single shade in between.” Concluding, “The first task of any new version, then, is distinguishing itself from the others. Batman: Caped Crusader achieves that easily: It’s a noirish animated take set in the 1940s, not long after the character’s real-world debut in the comics. The second task is persuading us that this new iteration has what it takes to stand on its own, and in that sense its success is more mixed. With a sleek, simple style and a consistently moody vibe, the Prime Video series feels almost as steady Batman’s broad shoulders. But it rarely soars to the level of spectacular.”

Photo by Cassidy James Blaede on Unsplash

Sixth Season of ‘Too Hot to Handle’ “didn’t come to mess around”

                                                      Photo by Erik Mclean on Unsplash

  

On July 19, 2024, Netflix premiered the sixth season of ‘Too Hot to Handle’, which has received a mixed reception from critics and viewers alike. For anyone unfamiliar with the format of the show, singles must remain celibate and avoid temptation to win $100,000. With every indiscretion, there will be a repercussion. But what exactly did the critics say? 

Samantha Graves of Collider praises the series, stating, “Season 6 of Too Hot To Handle didn’t come to mess around. From the first few minutes, the new season set itself apart from past ones by introducing plenty of series-changing twists. For starters, the contestants know what they’re signing up for ahead of time, which is a stark difference to past seasons where they’re usually tricked into thinking they’re joining a different show, only for the bomb to be dropped that they’re actually on Too Hot To Handle. But that wasn’t the only twist.” Continuing, “With Bad Lana, banishment quarters, and the contestants knowing what they’re signed up for, it seemed as though Too Hot To Handle Season 6 couldn’t come up with more twists if it tried. But then it threw us one more, and this one changed everything! After Charlie and Bri were sent to banishment quarters on Night 1 for bending the rules the most, Lana announced that two new contestants would be coming in to take their place. But not just any two contestants, two past contestants. The Season 6 singles were thrilled about this, having watched previous seasons and being familiar with the contestants, and even went so far as to voice their wishes for who they hoped would arrive at the villa next. Among these wishes were Christine from Season 5, Harry from Season 1, and Creed from Season 4. But some other fan-favorites that were name-dropped were Louis from Season 5 and Flavia from Season 4. Lucky for the contestants, that’s exactly who was brought in.”

Janet A. Leigh of Digital Spy says, “While these new aspects of the show are initially interesting, it still falls back into the same old patterns, so if you’ve come to the show hoping for a sustained burst of freshness, you’ll be disappointed. Still, we can only speak to the first batch of episodes (1-4) as that’s all we’ve seen. Perhaps the middle and back half hold the promise of something spicier. What it ultimately comes down to are the contestants and their chemistry, platonically or romantically, and in that there is some hope. The latest crop have bounds of energy and charisma and are entertaining to watch for the most part (we’re looking at you, Jordan).”

Liz Kocan of Decider notes, “What they don’t know is that the show’s formula has changed up a bit. Lana is still around, but she’s joined by her sinister alter ego Bad Lana – also a disembodied robot voice, but made of black metal so you know she’s evil – but Bad Lana doesn’t care if these kids hook up and in fact, she encourages them to get their flirt on.” Continuing, “What the contestants don’t know is that regular Lana (Good Lana?) is watching their every move, and though there won’t be financial penalties for all that slutty behavior, she plans to kick off the contestants who prove to be the biggest rule breakers and cant keep their hands or tongues to themselves. When she shows up to the bondage party that Bad Lana encouraged them all to have, contestant Jordan declares, “Look who showed up, bitch cone.” It is, admittedly, a hilarious line, but the way he says it denotes some genuine annoyance and, dare I say, robot misogyny. Lana assembles to contestants to announce that the original rules of the show, no kissing, heavy petting, sex, or masturbation, are back in place, and that the show’s two biggest rule breakers of the day will be banished immediately (!). Those two contestants are Charlie, who kissed three girls that afternoon, and Bri, who kissed two guys.”

Lyra Hale of Fangirlish writes, “Too Hot to Handle season 6 is insufferable. As a long time viewer of this dumpster fire of a show, I know it’s not exceptional TV. But it is entertaining TV. That’s changed though in the last couple of seasons. And this sixth season feels like a TikTok reality show instead of the dumpster fire that I’ve come to love. The only saving grace that season 6 has is the editing.” Adding, “The cast is also boring. There is no bombshell that stands out and it feels repetitive with a side of “Am I watching Netflix or a TikTok house with a bunch of stale influencers?” There’s also no one who’s messy. Previous seasons have had messy people like Harry, Francesca, and Christine. Or they’ve had other contestants like Harry and Beaux, who’s instant chemistry drew you in. There’s even the meme worthy ones like Chase and that roach that landed on his head. There is unfortunately none of that in season 6 of Too Hot to Handle.”

‘The Girl in the Pool’ Reviews: “What could have been a deliciously dark satire, instead remains in the liminal space known as aggressively average.”

Image Via Quiver Distribution

        On July 26, 2024, Quiver Distribution released ‘The Girl in the Pool’, which has received a mixed reception from critics. In the film, a man’s life becomes complicated when he discovers the corpse of his mistress in the pool on his birthday. His decision to hide the truth from his family results in a night that threatens to ruin his life. The ensemble cast includes Freddie Prinze Jr., Monica Potter, Tyler Lawrence Grey, Kevin Pollak, Gabrielle Haugh, Michael Sirow, and Brielle Barbusca. But what did the critics say? 

         Marya E. Gates of RogerEbert.com writes, “What could have been a deliciously dark satire, instead remains in the liminal space known as aggressively average.” Concluding, “Haugh's Hannah seems to exist solely to look hot in a bikini and spout red herring-laden dialogue. The always solid Potter adds a steely gravitas to what mostly amounts to a stock character in Kristen. I kept waiting for her to get a great monologue moment like she does in the similarly lurid thriller "Along Came a Spider." Alas, it never comes. Rosie is similarly underwritten, reduced to a pastiche of Gen-Z stereotypes, although Barbusca does her best to overcome the trite material with some hilarious line readings.”

         Randy Myers of San Jose Mercury News was less impressed, stating, “Freddie Prinze Jr.’s growing-more-desperate performance as a cheating family man who stuffs his murdered mistress’ bloody body into a pool storage bin minutes before his surprise birthday party gets sprung keeps this dark comedic thriller afloat. What manages to sink it happens when the screenplay takes a radical tonal shift that doesn’t produce the emotional punch it thinks it’s earned. For the first two thirds, “The Girl in the Pool” leans into genre inclinations and gives us loads of suspects: a drunken, flirtatious invitee who paws at Tom’s (Prinze Jr.) and his angry wife Kirsten’s (Monica Potter) model-looking son; a suspicious father-in-law (Kevin Pollak) and so on. The red herrings don’t net much of anything, except making us realize that Prinze Jr. and Potter (seen together in the 2001 rom-com “Head Over Heels”) deserve better than this.” 

         Courtney Howard of Variety notes, “Regardless of whether we’re supposed to chuckle at our hero’s crumbling sanity or empathize with his strife, it’s empty-calorie viewing designed for viewers to either mock or embrace its hijinks.” Continuing, “His plight unfolds in a non-linear structure, switching back and forward on the timeline. While it’s never confusing, these flashbacks mostly provide cringe-worthy details (like hearing Thomas’ incel-ish best friend call him a “Beta” after not breaking the annoying neighbor’s camera drone) rather than add clarity to the present, which can also be fairly outlandish considering they quote Gandhi and say Prinze is “like Vin Diesel with hair.” Audiences will feel their bodies recoiling, hearing Thomas and Hannah’s smooching sessions punctuated by the actors’ hilariously loud lip-smacking. And superfluous events, like Hannah’s home tour where she slinks around the master bedroom and closet in her skivvies while destroying Kristen’s clothes and messing with her jewelry, call the film’s perspective into question as Thomas has no clue she ever did such devious things.” 

         Todd Jorgenson of Cinemalogue says, “The intentionality of the camp is the only compelling mystery in this ridiculous thriller about a descent into insanity, one contrivance at a time.” Adding, “His birthday is hardly a cause for celebration for Thomas (Freddie Prinze Jr.), who finishes hiding the body of his deceased mistress just before his wife (Monica Potter) throws him a surprise party with dozens of guests. Clumsily concealing his dirty secret, as well as resolving the circumstances behind the puzzling death, triggers a harrowing downward spiral. Stretching a thin premise to feature length, the film feels too detached from reality — with a morally ambiguous protagonist — to elicit many laughs or chills.”

‘Mickey Hardaway’ Reviews:

        On August 9, 2024, Indie Rights releases ‘Mickey Hardaway’, which is currently holding fresh at 97% on Rotten Tomatoes. In the film, a sketch artist visits a psychiatrist when as the abuse he has taken over the years begins to overtake him. The ensemble cast includes Rashad Hunter, Stephen Cofield Jr., Ashley Parchment, David Chattam, and Dennis L.A. White. But what did the critics say? 

Abhishek Sharma of Film Threat notes, “Mickey is portrayed and written with much elegance and grace. It’s a strong feature debut from the filmmaker, whose direction and penning mirror his thorough understanding of the cinematic arts and human empathy.” Adding, “At some level, it seems that Micky Hardaway is drawn from an experience that’s either lived or witnessed. The African-American male is from South Central, Los Angeles, and grew up in a suppressive, restrictive home. The mental health degradation caused by reliving those memories has Mickey seek therapy, which dives deeper into his frame of mind. Cox seems to have put in something with a broader scope of understanding here.”

Eddie Harrison of film-authority.com writes, “An accomplished debut feature that drills down on the tragedy of what might befall today’s youth, Marcellus Cox’s intense drama is shot in black and white. That can be a barrier for audiences, but it’s also reflective of the bleak situation described, a cycle of abuse that affects protagonist Mickey Hardaway (Rashad Hunter) a young artist with a talent that might lead to success as an animator. Achieving that potential, however, proves problematic; Cox has expanded Mickey Hardaway from a short film he’d made previously, and the joins don’t show at all.” Continuing, “Cox manages to make sure that we don’t go down a Taxi Driver route of excusing what Mickey does, but he does offer understanding. Mickey goes from proclaiming ‘You can’t buy my soul’ to admitting ‘I don’t know how to love’, and that admission of his own failures ultimately proves to be part of Mickey’s unravelling. Mickey Hardaway is a serious-minded and well-acted film that’s worth commending for those who are prepared to listen to a cogent social message. It’s a young person’s film, and better for it; it’s a howl of anger that’s all too familiar as the grind of poverty and manipulation grips most of us more tightly with each passing year.”

Douglas Davidson of Elements of Madness praises the film, stating, “Mickey Hardaway is a powerful film. It speaks the various ways we fail our children, first by presuming they are responsible for our own failings, then by placing our anger upon them, and then not providing them the resources to manage that unearned trauma. In this case, with one phrase, “How much time you’ve got?,” Cox articulates that one hour isn’t enough time for any single person to get the attention they need, but, at the very least, it’s a start. Though all responsibility for our actions is ultimately our own, when one of us falls, it’s also a failure of the community to ensure that they had help when they needed it.”

Alejandro Turdo of Hoy Sale Cine says, “Mickey Hardaway holds no punches when it comes to address harsh topics such as family violence, toxic masculinity, discrimination and a broken system that pushes young people to the limit without giving them a chance to experience their full potential.”

Photo by Johnny Briggs on Unsplash

'The Artic Convoy' Reviews: Film "succeeds in sharing another little-known true story from the many still yet to be told from World War II"

Photo courtesy of Magnet Releasing

        On July 26, Magnet Releasing released ‘The Artic Convoy’, which has earned rave reviews, currently holding at 100% on Rotten Tomatoes. In the film, which is set in 1942, a convoy transporting supplies to a Norwegian outpost takes a dangerous route despite misgivings by it’s military escort. Can they survive the element and German forces? The ensemble cast includes Tobias Santelmann, Anders Baasmo, Adam Lundgren, Jakob Fort, and Fredrik Stenberg Ditlev-Simonsen. Read the full review round-up below.

        Dennis Harvey of Variety praises the film, stating, “It’s a watchable if rather pedestrian exercise that could’ve used a more assertive directorial style, among other factors. By default, a major point of interest becomes the grubby interiors and dated technology of the ship itself, reportedly “played” by a preserved 1911 coal hauler that did tours of duty in both world wars. Otherwise, “The Arctic Convoy” is well-enough crafted on all levels to hold interest and maintain reasonable credibility, if not to make any distinctive impression. It isn’t sufficiently stirring to risk comparison with the prestige war films of recent years (like “Lone Survivor” or “All Quiet on the Western Front”), or so lively that it can recall scrapper B movies in that genre of decades past, like those of Sam Fuller’s. Anyone expecting more in the vein of the “Wave” trilogy’s vicarious thrills will definitely not find it here. Instead, they’ll get an intriguing historical back chapter fictionalized in a way that provides OK entertainment, albeit minus the full gravity or excitement that chapter surely deserves.”

         Keith Garlington of Keith & the Movies says, “The Arctic Convoy” succeeds in sharing another little-known true story from the many still yet to be told from World War II. Strong performances and a character-driven focus adds some unexpected layers to this riveting, edge-of-your-seat nautical drama.”

Mark Dujsik of Mark Reviews Movies notes, “There are some other characters of note here—mainly Swedish gunner Johan (Adam Lundgren) and his young assistant Sigurd (Jon Ranes), who gradually form a fraternal bond that means more to each one than the other knows. They provide a sense of the personal stakes of this story, as planes strafe the deck and the climax revolves around one choice, in which either option could mean certain destruction and death. The film succeeds because of that focus on the human drama. The importance of the mission in The Arctic Convoy is apparent from the start and even clearer by the finale, but the story ensures that we have a firm understanding of the people caught in the middle of such a risky but necessary undertaking.”

Roger Moore of Movie Nation says, “Fans of combat films will find this cinematic comfort food pretty satifying, no matter how unappetizing that herring looks on the galley's plates at meal time.” Concluding, “There have been decades of versions of this sort of story for filmgoers to appreciate, most of them concentrated during and in the decade or so after the war ended. The recent “Greyhound” showed the murderous cat-and-mouse destroyer vs. U-Boats view of the Battle of the Atlantic. “Arctic” is the second Norwegian film to focus on conquered and occupied Norway’s greatest contribution to the war effort, following Netflix’s excellent three-part series “War Sailor.”

An intimate and Informative Interview with a Hollywood Icon Hits Max

   

                                              Photo by Nathan DeFiesta on Unsplash

   

On August 3, 2024, Max released ‘Elizabeth Taylor: The Lost Tapes’, which has received predominantly positive reviews, holding fresh at 80% on Rotten Tomatoes. In the documentary, access to archives and a newly discovered interview between the Hollywood icon and journalist Richard Meryman is presented with the star unafraid to tackle not only her success but her scandals. Read our full review round-up below.

Christopher Llewellyn Reed of Hammer to Nail says, “In 1964, journalist and biographer Richard Meryman sat down with actress Elizabeth Taylor for a series of taped interviews, covering a range of topics, from childhood to early stardom to her tempestuous personal life and more. In the new documentary Elizabeth Taylor: The Lost Tapes, director Nanette Burstein (Gringo: The Dangerous Life of John McAfee) uses these recordings as the spine of a fascinating look at this great cinematic icon. On top of that wonderful archive she adds a wealth of film clips, photographs, other period interviews, and the occasional artistic recreation for effect. It’s a well-crafted, engaging celebration of the woman and her œuvre.” Concluding, “For those looking for entertaining anecdotes about production histories, there are many, including tales of the vastly over-budget Cleopatra, during the initial shooting of which Taylor almost died from pneumonia. She survived, but emerged with a scar on her throat from the hole doctors cut there so she could breathe. During her recovery, she won her first Oscar for Butterfield 8 (a film she apparently hated, as she makes clear many times), a fact she explains to Meryman thusly: “I won the award for my tracheotomy.” Perhaps, but she was also terrific in most of her roles (my personal favorite, not mentioned here, is Reflections in a Golden Eye).”

Chris Cassingham of In Review Online was less impressed, stating, “If the material at Burstein’s disposal holds within it deep insights about the toxic nature of hypervisible celebrity, about an industry’s exploitations, her film deploys them hesitantly.”

Pete Hammond of Deadline Hollywood Daily writes, “Meryman got Taylor to sit for some tape-recorded sessions in 1964, so he would be able to write the book as if Taylor did it herself. Sixty years later, those presumed “lost” recordings have been found and cleared for release by Taylor’s and Meryman’s estates. They have been in Meryman’s wife’s possession all these years, but now filmmaker Nanette Burstein (Hillary, The Kid Stays In The Picture) has rediscovered a treasure trove of about 40 hours of interview in order to produce the new HBO Documentary, Elizabeth Taylor: The Lost Tapes.” Adding, “Using the visual device of an old reel-to-reel tape recorder rolling along, and mixing in film clips, newsreels, interviews and home movies, the film meticulously follows the dots of the highs, lows and marriages of this great and iconic star. No one was bigger in her day. Even as a kid she was considered an extraordinary beauty, and by the time she got discovered by Lassie Come Home producer Sam Marx, they didn’t even bother with a screen test and rolled the dice that she could act. Her looks were that powerful.”

Caryn James of Hollywood Reporter notes, “As she did in Hillary, about Hillary Clinton, and The Kid Stays in the Picture, based on Robert Evans’ autobiography, Burstein stays out of her celebrity subject’s way. Taylor’s voice is playful, almost girlish. Occasionally she is blunt, but more often seems cautiously aware of being recorded. Richard Meryman, the Life magazine reporter doing the interviews, is heard asking questions at times, but Taylor is firmly in control, at least on the surface.” Continuing, “Beneath that you can tell how beautifully Burstein and her editor and co-writer, Tal Ben-David, shaped the visuals. The archival photos and news clips offer a telling backdrop of images and sound bites, often more informative than what Taylor says — from shots of crowds filling the streets of London to see her on the day of her second wedding, to the actor Michael Wilding, to film of her in mourning black at the funeral of her beloved third husband, the producer Mike Todd, who died in a plane crash. The visual exceptions are the clichéd, recurring establishing shots of an old-fashioned reel-to-reel tape recorder, next to a martini glass.”

‘Kite Man: Hell Yeah!’ Reviews: “This is a fun, foul-mouthed send-up of the superhero genre with expressive voice acting and a gleeful murderous streak that guarantees its NSFW-ness.”

Photo by Sarah Dorweiler on Unsplash

On July 18, 2024, Max premiered the ‘Harley Quinn’ spinoff, ‘Kite Man: Hell Yeah!’, which has received predominantly positive reviews, currently holding at 91% on Rotten Tomatoes. In the series, the title fan favorite character opens a bar with Golden Glider next to Lex Luthor’s Legion of Doom. The series also boasts a Critics Consensus that reads, “A properly foul mouthed and spirited spin-off from the already meta and giddy Harley Quinn, this glide through villainous theatrics is a well served home base for Kite Man: Hell Yeah!.” The ensemble cast includes Matt Oberg, Lake Bell, Stephanie Hsu, Jonathan Banks, James Adomian, Janelle James, Natasia Demetriou, Michael Imperioli, Judith Light, Lance Reddick, and Kaley Cuoco. But what did the critics say?

Johnny Loftus of Decider notes, “This is a fun, foul-mouthed send-up of the superhero genre with expressive voice acting and a gleeful murderous streak that guarantees its NSFW-ness.” Concluding, “Early on, James Adomian steals Kite Man as a still malicious and masked-up, but wholly eccentric version of Bane. And Adomian’s voice acting riffs on Tom Hardy’s squawky and muffled take on the character, so in #banevoice you get the villain saying things like “He has no powers, he’s just got a kite! Like a Victorian child in a sailor suit!”

Cassondra Feltus of Black Girl Nerds praises the series, stating, “Kite Man: Hell Yeah! is a Cheers-inspired workplace comedy that is just as wildly fun, ultraviolent, and hilarious as its predecessor. It’s different enough to feel fresh and surprising while maintaining the tone and humor of Harley Quinn.”

Samantha Nelson of IGN Movies was less impressed, stating, “Kite Man would have been better off remaining a footnote in that story rather than failing to make it on his own with a series that adds nothing to this satirical vision of superheroes and supervillains.” Concluding, “Malice (Natasia Demetriou of What We Do in the Shadows) is the spoiled goth goddaughter of Darkseid (Keith David), and is somehow able to make him proud by taking on the role of social media manager for Noonan’s. Malice’s blasé attitude and demeanor are reminiscent of Parks and Recreation’s April Ludgate, but while it took several seasons of that show for April to become more than a moody coworker who hates everyone and her job, Malice quickly develops a loyalty to the Kite Man crew without any real work from other characters pushing that growth. When she’s brought along for side plots, it’s only because people are obviously trying to avoid being alone with someone else.”

Garrett Blaney of Collider writes, “Kite Man’s inability to supervillain correctly always made him a funny match for Ivy, a villain heavily courted to join the Legion of Doom by villains like Lex Luthor (Giancarlo Esposito in Harley Quinn, Lance Reddick in Kite Man). But his adorable wit and Golden Retriever charm were enough not to question it for the time being. It came down to a simple factor, really: Kite Man was funny enough to hang with the crowd, whether with the occasional zinger or his profound capacity for failure. Kite Man: Hell Yeah!earns its admission to the party at least with its humor alone. Yes, the series pulls in characters from Harley Quinn, but that doesn’t ensure Kite Man will be a similar product. Rest assured, however, if you are a fan of the humorous, suggestive vibe of DC’s Harley Quinn, you won’t be disappointed by the new spin-off.”

‘The Decameron’ Reviews: Dramedy Impresses the Critics

Photo by Ajeet Mestry on Unsplash

    On July 25, 2024, Netflix released ‘The Decameron’, which has earned predominantly positive reviews, currently holding fresh at 71% on Rotten Tomatoes. In the series, a group of Italian nobles and their servants retreat to the countryside amid the bubonic, a getaway that proves to be eventful. The ensemble cast includes Zosia Mamet, Tony Hale, Saoirse-Monica Jackson, Tanya Reynolds, Lou Gala and Amar Chadha-Patel. Read the full review round-up below.

Alison Herman of Variety notes, “While The Decameron may not reach the heights of Mike White’s contingency plan turned HBO crown jewel [The White Lotus], the series is a tartly funny showcase for a uniformly excellent ensemble.” Continuing, “Mamet is glass-shatteringly shrill as the insecure, off-putting Pampinea, while McMeekin has a Corden-esque knack for playing the bumbling fool. At least some of those sheltering in place earn our sympathy: both Reynolds’ Licisca and Sirisco’s deputy Stratilia (Leila Farzad) claw back some agency while speaking truth to power. “Currently, you’re taking up all the fear,” Licisca tells a panicking Filomena. “There’s none left for me.” It’s a succinct take on emotional labor in a sea of ribald jokes.”

Emma Stefansky of IGN Movies praises the series, stating, “Funny yet overlong and somewhat exhausting, The Decameron loosely adapts Giovanni Boccaccio’s collection of short stories set in an Italian villa during the Black Plague of 1348. In its attempts to put a modern spin on another century's pandemic story, the Netflix series imbues its intersecting plotlines and characters with an outrageous and grotesque sense of humor, which is hilarious until the length of its hour-long episodes catches up with it. Its cast of seasoned comedians often pull funny performances from the material, but only occasionally embody the harsh social commentary the show attempts by its later episodes.”

Pat Stacey of Irish Independent says, “If you took assorted pieces of Blackadder, Monty Python and the Holy Grail and peak-period Mel Brooks at his most gloriously iconoclastic and fed them into a mincing machine, what came out the other end would probably look a lot like black comedy miniseries The Decameron (Netflix, all episodes available Thursday, July 25) — although with those ingredients, you’d hope it would be a bit better than it is. The Decameron – loosely “inspired by” Giovanni Boccaccio’s 14th-century book about 10 people sheltering in a villa from the Black Death who pass the time by telling one another stories — is a sweary, knockabout romp full of slapstick, farce, sexual shenanigans, broad satire about class and religion, and even broader performances.”

Lucy Mangan of Guardian writes, “Put down your Boccaccio, which I know you picked up the instant you heard Netflix had commissioned a series called The Decameron, keen to refresh your memory of the 14th-century Italian doorstop. A re-read is not needed at this time. The series retains only Giovanni B’s framing device; 10 characters fleeing plague-ridden Florence and taking refuge in a countryside villa. In the book, they each tell a story a night to keep themselves entertained. Here, they have been invited by wealthy Count Leonardo to simply get on with life. It soon becomes as messy and soapy as you would expect of 10 strangers trying to settle down together – not least as one of them is an extremely attractive doctor.” Adding, “The success of Bridgerton has meant that the schedules are now flooded with historical content of all kinds, from the great The Great to the impressive Mary & George, to Sally Wainwright’s unexpected entry into the field with Renegade Nell, to the eccentric but endearing My Lady Jane (what if the Nine Day Queen had lived?!). The Decameron falls between too many stools to be a triumph. But it is full of nice performances and lovely gowns (jewel-toned medieval drapery always beats 18th-century pastel puffery for me) and is good enough to mark out a place for itself even in the middle of the current glut of similar offerings. Have fun.”

                    

‘The Beast Within’ Reviews: Film “offers a new and unique entry point for the subgenre.”

                                                        Image via Well Go USA Entertainment 

On July 26, 2024, Well Go USA Entertainment released ‘The Beast Within’, which has received a mixed reception from critics, holding at 50% on Rotten Tomatoes. In the film, a family in the English wilds has their lives upended when the youngest member “becomes ensnared by the dark ancestral secret they've tried so desperately to conceal.” The ensemble cast includes Kit Harington, Ashleigh Cummings, James Cosmo, and Caoilinn Springall. But what did the critics say?

Benjamin Franz of Film Threat notes, “Opening with a proverb concerning two wolves “at war with each other,” The Beast Within is a moody, atmospheric film. This slow-burner is the first genre film from Alexander J. Farrell. The co-writer/director has previously helmed two feature documentaries, a film for television, and several shorts. With this film, Farrell seeks to enter the most accessible genre for a starting fiction director: horror.” Adding, “Every time Harrington is on the screen, hackles raised on the back of my neck, gentle reader. He’s an actor who can convey latent fury and violence just through his facial tics and eyes. Springall is an outstanding young actress and carries the narrative throughline very effectively. However, the acting is only ever a part of the equation.”

        Ferdosa Abdi of Screen Rant praises the film, stating, “For his debut film, Alexander J. Farrell, who co-wrote the script with Greer Taylor Ellison, takes an impressive first step in this new foray with a production rich with gothic references. It's perfect for a tale about lycanthropy. He and cinematographer Daniel Katz do wonders to capture the foreboding, beautiful, and sweeping English landscape, with cool tones drawing out the dark and creepy energy from the story told.” Continuing, “Despite narrative flaws, the look and feel of the film are perfect for a spooky night in. The cinematography really adds to the film's sense of eeriness. This story isn't the flashiest werewolf tale, but it is worth seeing thanks to a fresh perspective. As flawed as the story may be, the story from a child's eyes offers a new and unique entry point for the subgenre.”

Robert Taylor of Collider writes, “The Beast Within, a new werewolf movie starring Game of Thrones' Kit Harington and from director Alexander J. Farrell (a photographer and documentarian making his narrative feature debut), is the latest salvo in proving my theory untrue. Because while there is a werewolf in The Beast Within, it's not a film about a werewolf. Instead, this is a film about an abusive marriage, as told through the eyes of a 10-year-old girl who's finally old enough to start noticing the bruises on her mother's body and the lengths the matriarch will go to keep her family together, even when all signs point to keeping father around being a terrible idea. To be blunt: The movie doesn't work. All credit to Farrell and his co-writer Greer Ellison for having an angle they wanted to explore here and sticking with it. But I can't imagine The Beast Within satisfying many werewolf-movie fans, and its genre trappings and more serious thematic concerns are blended so haphazardly that any grand points it's trying to make about domestic abuse are lost in the shuffle. To make matters worse, the film uses its final scene to so explicitly spell out its already not-so-subtle subtext that it renders the whole enterprise somewhat ludicrous.”

Douglas Davidson of Elements of Madness was less impressed, stating, “As constructed by co-writers Farrell and Greer Taylor Ellison (Making A Killing), who also served as second unit director, the film is through the lens of Willow’s experience. This means lots of hushed conversations as Willow creeps toward them, looking through windows down on the estate courtyard, and a great deal of evidence that leads her and us to a specific conclusion that the script wishes to make, from start to finish, conjecture until proven otherwise. By using Willow as our way in, there’s a barrier between what the audience knows and doesn’t know, requiring us, like her, to use only the information that’s available in our limited capacity. The trick here, smartly crafted by Farrell and Ellison, is that Willow is, herself, an unreliable protagonist by virtue of her age. She doesn’t know things and can’t fully process the information around her, therefore, what we see, hear, and experience is funneled through her understanding.”

‘Deadpool & Wolverine’ Reviews: “Hugh Jackman is having the time of his life. Because of that, so is Ryan Reynolds. Because of that, so are we.”

         On July 26, 2024, Walt Disney Pictures and Marvel Pictures released ‘Deadpool & Wolverine’, which is currently holding fresh at 81% on Rotten Tomatoes. In the film, Deadpool is recruited by the Time Variance Society to protect the multiverse and partners with Wolverine that alters the MCU forever. The ensemble cast includes Ryan Reynolds, Hugh Jackman, Emma Corrin, Morena Baccarin, Rob Delaney, Karan Soni, Aaron Stanford, Matthew Macfadyen, Stefan Kapicic, and a bevy of guest stars that would fall under spoiler territory. But what did the critics say? 

Johnny Oleksinski of New York Post writes, “Director Shawn Levy’s laugh-a-second movie is easily the best Marvel has delivered since 2021’s “Spider-Man: No Way Home,” and provides similarly nostalgic pleasures in its whiplash-inducing number of retro cameos — none of which I’ll spoil, for fear of my own life.” Concluding, “Everything is. The third film is somehow even funnier than the sidesplitting previous two entries, and goes buck wild with risque humor and self-referential jabs. “Either you help us,” Deadpool yells, “or my friend here is gonna sing the entire second act of ‘The Music Man’ with zero warmup!” Broadway’s Jackman, of course, knows his way around a jazz square.”

Chris Evangelista of Slashfilm was less impressed, stating, “Unfortunately, as the excellent movie "Logan" showed us, Logan is dead. That film was meant to be Hugh Jackman's swan song as the character after playing him for 17 years. But Disney found a way to bring Jackman back (I'm guessing a hefty sum of money was involved — an idea that "Deadpool & Wolverine" isn't afraid to joke about), and thanks to the multiverse, Wade is able to team-up with a suitably grumpy and still-living version of Wolverine. The stage is set for a classic buddy comedy — mismatched characters who hate each other at first but then grow to like each other in the end. You know, like "Midnight Run"! Or "Planes, Trains and Automobiles"! Unfortunately, the lazy script doesn't really do much character building. It simply thrusts these two together, sends them on a needlessly convoluted mission, and hopes for the best.” Adding, “Along the way, they encounter plenty of other characters, which means lots and lots of exhausting cameos that will no doubt all be spoiled before the movie even hits theaters. They also have to deal with the villain Cassandra Nova (Emma Corrin). Corrin seems to be having a lot of fun sinking her teeth into her antagonist role, but the character is rather bland, prone to little more than long monologues and arched eyebrows, and her motivations make absolutely no sense. But no one is coming to this movie for the villain, right? They just want to see Deadpool and Wolverine mix it up! And they'll get plenty of that — the movie is wall-to-wall scenes of the characters bickering non-stop. The jokes come fast and furious ... but none of them are very funny. Reynolds can play this character in his sleep at his point (and he seems to play the character at all times, even in non-"Deadpool" movies), and by now, you're either on board with his motormouth vulgarities and fourth wall-breaking antics or you're not. Thankfully, Hugh Jackman is on hand to save the day.”

Krysta Fauria of Associated Press notes, “A fun, generally well-made summer movie. The sole MCU release of 2024, “Deadpool & Wolverine” proves it’s not necessarily the source material that’s causing so-called superhero fatigue.” Continuing, “A defining feature of “Deadpool” has been its R rating and hyper violent action scenes. Whether thanks to more money, Levy’s direction or some combination of the two, these scenes are much more visually appealing.”

Peter Bradshaw of Guardian says, “Basically, Deadpool is quite right – he is Marvel Jesus, he is the guy elevated from the ranks here to be the heroic saviour, the wacky character who is going to make sense of the whole MCU business by repositioning it as gag material and keep the whole thing ticking over, perhaps until the MCU in its original fundamentally serious mode comes back into box office fashion. It’s amusing and exhausting.”

Sherin Nicole of RIOTUS praises the film, saying, “As the song says, Hugh Jackman is having the time of his life. Because of that, so is Ryan Reynolds. Because of that, so are we.” Adding, “What you’ll get is everything that made you love Deadpool to begin with. But wait, there’s more. For the MCU faithful, the fan service is so juicy you won’t know whether to giggle or pretend you’re not crying (you are, you’re crying). Better than that, this team-up gives you ALL the Wolverine moments that FOX deprived you of. I mean, ALL OF THEM. Finally, if you love the X-Men, you may need to carry a tissue.”

Image Courtesy of ©Disney

‘Those About To Die’ Reviews: Series “absolutely must be watched on as large a screen as possible”

                                                         Photo by Georgia Vagim on Unsplash

On July 18, 2024, Peacock released ‘Those About to Die’, which has earned predominantly positive reviews, currently holding at 59% on Rotten Tomatoes. In the series, gladiatorial combat is examined and viewers are introduced to the entertainment aspect of the world famous proceedings. The ensemble cast includes Anthony Hopkins, Dimitri Leonidas, Jojo Macari, Gabriella Pession, Tom Hughes, Iwan Rheon, and Rupert Penry-Jones. But what did the critics say?

Harriet Addison of London Evening Standard praises the series, stating, “The script is sometimes clunky, and the drama a bit over-egged, but it’s also cinematic and powerful and exciting. It absolutely must be watched on as large a screen as possible.”

Nick Schager of The Daily Beast notes, “A swords-and-sandals epic that’s cast in a Game of Thrones mold—and strives to whet audiences’ appetites for Ridley Scott’s upcoming Gladiator II—Those About to Die delivers intrigue, deception, and coliseum carnage with an enthusiasm that’s offset by its derivativeness.” Concluding, “Most of its drama plays out in a manner that will be highly familiar to those who’ve spent time in Westeros and King’s Landing (or watched HBO’s short-lived Rome), albeit with an intermittent stolidness and unoriginality that cuts its suspense off at the knees. As for its action, directors Emmerich and Marco Kreuzpaintner provide regular, vicious clashes in Circus Maximus, with chariots crashing, burning, and mangling their human riders, and gladiators doing all they can to stay alive in fights to the death against the unkillable (and The Mountain-esque) goliath Flamma (Martyn Ford).”

Sam Barsanti of IGN Movies says, “Those About To Die has all the nudity, violence, and political intrigue you’d want from a post-Game of Thrones drama. But it’s all been done better elsewhere -- and with better use of Anthony Hopkins, to boot.” Adding, “The real star of Those About to Die is also a reminder of televised George R.R. Martin adaptations – because it’s Game of Thrones’ Iwan Rheon, a.k.a. the vile and villainous Ramsay Bolton. A lucky, late addition to the cast, Rheon plays a big-scheming social-climber named Tenax. He runs the gambling at Circus Maximus, Rome’s venue for chariot racing and effectively its main economic draw… for now. Major competition is on its way in the form of Emperor Vespasian’s Flavian Amphitheater, the arena for gladiatorial combat better known these days as The Colosseum. The Colosseum’s construction is a frequent topic in these episodes, and, to varying extents, it drives the plot for the various interconnected storylines that make up Those About to Die. The Emperor, along with his sons (one a scheming politician, the other an accomplished soldier with a short fuse), is building it to distract the unruly citizens of Rome and to leech some power and influence away from the four color-coded teams – Red, Blue, Green, and White – who race at Circus Maximus and have ties to the city’s cultural, political, and religious elites.”

Dave Nemetz of TV Line was less impressed, stating, “It seems to have learned all the wrong lessons from Thrones, though, leaning heavily on violence and nudity and delivering empty spectacle in the place of real human emotion. It’s a dispiritingly cynical piece of work: somehow both overstuffed and underbaked, simultaneously schlocky and dull.” Continuing, “You’d think that the Roman setting would offer plenty of chances for classically trained actors to flex their muscles, but the lifeless scripts don’t give them much to work with. Characters launch into long monologues about the state of Rome… and we lose interest midway through. Hopkins’ presence does lend the series a sheen of prestige, but he only shows up for a scant scene or two in each episode to grumble out a few lines and then disappears again, so don’t tune in expecting to see his next great performance. That leaves us with an ensemble of blandly interchangeable actors getting wrapped up in mysteries and conspiracies that we don’t care much about in between fights and races.”

‘The Good Half’ Reviews: “Elisabeth Shue offers a portrait of a mother who loved and cared in her fashion and one of my favorite performances in recent memory.”

 

                                                                Image via Fathom Events

On July 23, 2024, Fathom Events releases ‘The Good Half’, which has received predominantly positive reviews from critics, holding at 86% on Rotten Tomatoes. In the film, an individual returning home for his mother’s funeral must confront demons past and present while reestablishing and creating personal relationships. The ensemble cast includes Nick Jonas, Elisabeth Shue, Matt Walsh, Brittany Snow, David Arquette, and Alexandra Shipp. But what did the critics say? 

Damon Wise of Deadline Hollywood Daily writes that the film “Mostly serves as a decent vehicle for Nick Jonas, who seems to making a play to be the new Adam Driver, which is not as far-fetched as it might sound” Adding, “Chances are, however, that the audience for this movie isn’t too hung up on identity politics or the evolution of indie, and for older, more jaded viewers, there are some pleasant diversions on the soundtrack, notably the welcome exhumation of obscure British psychedelic rockers Tales of Justine. If only the script had taken such a deep dive.”

Carla Hay of Culture Mix praises the film, stating, “In the comedy/drama film The Good Half, the movie’s 'good half' is the latter half, which shows the most emotional depth. Led by Nick Jonas’ admirable performance, it’s a capably acted story about grief, hope, and family tensions.” Concluding, “Anchoring the emotional center of the film is Jonas’ memorable performance as Renn, who is more devastated by Lily’s death than he cares to admit. Shue’s performance as Lily in the flashback scenes is heartfelt and compelling. Lily had her share of quirks (including a habit of stealing table utensils every time she went to a restaurant), but there’s no doubt that she truly loved her children, and they loved her.”

Kyndall Cunningham of The Daily Beast was less impressed, stating, “I wish I could say that The Good Half felt promising or worthy of my initial interest at some point. But the film exposes its cracks right out of the gate (mainly courtesy of its charmless screenplay by Brett Ryland) and continues to double-down on its worst instincts over the course of 100 minutes. The first sign of trouble is in an early scene, where the film’s writer protagonist Renn (Jonas) meets a therapist named Zoey (Alexandra Shipp) on a flight from Los Angeles to Cleveland, where Renn’s headed for his mother Lily’s (Elizabeth Shue) funeral. Their meet cute is glaringly abrupt and lacking any sort of grace. It’s almost as if someone, speaking to Shipp through an earpiece, orders her to turn to her left and start randomly pestering Jonas’ character for no reason at all. (Her pickup line is to ask him what’s outside his window… on a plane?)”

David Gonzalez of The Cinematic Reel says, “It was hard not to be excited for Schwartzman’s next film, The Good Half. With that expectation came a film that went toe-to-toe with an incredibly moving tale of grief, mourning, and guilt over the inability to say goodbye.” Continuing, “On the performance side, the ensemble is one of my favorites at the festival. Nick Jonas does a commendable job leading the film, capturing a version of mourning that effectively captures remorse and sadness. His chemistry with Alexandra Shipp was welcoming, and their interactions offered some of the film’s most touching and comical moments. Sprinkling in a solid dramatic take by Brittany Snow and the reliable Matt Walsh, the family dynamic is one of its best traits. Speaking of that said dynamic, while only in flashbacks, Elisabeth Shue offers a portrait of a mother who loved and cared in her fashion and one of my favorite performances in recent memory.”

‘Starve Acre’ Reviews: Film “is a satisfying addition to the growing crop of English folk horror narratives that venture past the edges of magic realism, entering into a wild realm that lies just beyond our waking vision”

 

                                                          Photo by Felix Mooneeram on Unsplash

On July 26, 2024, Brainstorm Media releases ‘Starve Acre’, which has earned rave reviews from critics, holding fresh at 91% on Rotten Tomatoes. In the film a family confronts dark and malevolent forces after moving to the countryside. The ensemble cast includes Matt Smith, Morfydd Clark, Erin Richards, and Robert Emms. Read the full review round-up below.

Guy Lodge of Variety notes, “No one person in “Starve Acre” screams, speaks or behaves quite as people should, which is key to the film’s baleful pull: Kokotajlo, at least, brings a fierce discipline to its disorder.” Continuing, “You can smell what’s happening in “Starve Acre” before you puzzle the rest of it out. The grassy, peaty dampness of its rural Yorkshire setting seems to hit the olfactory glands without any scratch-and-sniff assistance, only intensifying as the film unearths its literally deep-buried secrets. Daniel Kokotajlo‘s impressive second feature unfolds in a vein of British folk horror that has been popular of late — with films from Ben Wheatley’s “A Field in England” to Mark Jenkins’s “Enys Men” all tapping into that retro “Wicker Man” eeriness — but rarely with such rattling sensory specificity or formal refinement. Starring Morfydd Clark and Matt Smith as former townies unprepared for the full burden of lore they inherit with their desolate farmhouse, it’s a tale of quite outlandish fantastical leaps, grounded by the chills it also finds in common weather and wildlife.”

Peg Aloi of Arts Fuse writes, “Adapted from Andrew Michael Hurley’s critically acclaimed novel, Starve Acre is an unsettling folk horror tale set in ’70s rural England. Matt Smith (The Crown) and Morfydd Clark (Saint Maud) are Richard and Juliette, a young couple living in a remote country house where Richard works as an archeologist examining local relics. Setting up tents and digging in cold wet weather occupies Richard’s time after a tragic loss, while Juliette retreats to her bed. Soon after Juliette’s sister comes for a visit, Richard discovers a set of animal bones and puts them aside. When the bones exhibit strange, impossible changes, he becomes obsessed. There’s a vibe reminiscent of the Icelandic film Lamb here: both films posit worlds of humans and animals coinciding with intimate strangeness. Directed by Daniel Kokotajlo, who co-wrote the screenplay with Hurley, Starve Acre is a satisfying addition to the growing crop of English folk horror narratives that venture past the edges of magic realism, entering into a wild realm that lies just beyond our waking vision.”

Peter Bradshaw of Guardian praises the film, stating, “Smith and Clark, at the head of a very capable supporting cast, keep the movie on an even dramatic keel, with intelligent, thought-through performances putting life back into some familiar tropes.”

Jonathan Romney of Screen International says, “Perfectionist direction and subtly unsettling mood give a bespoke edge to what would otherwise come perilously close to being a Gothic shaggy dog story (although a dog is not the beast at issue here).” Adding, “The less revealed about Starve Acre’s plot, the better – especially as, well-honed special effects notwithstanding, we eventually enter territory that might get incredulous guffaws from viewers of a genre-sceptical disposition. But with this type of narrative, accepting the fantastic is as essential leap of faith for the audience as it is for the characters, whose understanding of reality will be transformed in the course of events – sometimes with shocking abruptness. Suffice to say, Kokotajlo keeps us guessing about what will happen around the family home, especially given the couple’s interaction with outsiders, including neighbour Gordon (Sean Gilder), Richard’s fellow academic Steven (Robert Emms, returning from Apostasy), a matronly local woman with a penchant for candlelit healing (Melanie Kilburn), and Juliette’s sister Harrie (a nicely perplexed Erin Richards).”

‘Amish Affair’ Reviews: Lifetime “masterfully weaves a compelling narrative that captivates audiences from start to finish”

                                                    Image via Decider and Lifetime

On July 6, 2024, Lifetime premiered ‘Amish Affair’, which has received a mixed reception from critics. In the film, Aaron, a married Amish man, embarks on an affair with Hannah, who decides to end it out of fear. When his wife dies suspiciously, she must work to clear her name. The ensemble cast includes Ryan McPartlin, Mackenzie Cardwell, Sebastian Greaves, Evelyn Burke, MaeMae Renfrow, and Georgia Waters. But what did the critics have to say? 

Ishani Yadav of Meaww.com praises the film, stating that the film’s “masterfully weaves a compelling narrative that captivates audiences from start to finish. The film stars Mackenzie Cardwell as Hannah, a young woman who finds herself entangled in a secret and forbidden relationship with Aaron, portrayed by Ryan McPartlin, a prominent Amish leader. The film expertly explores the dynamics of their relationship, which blossoms amidst the serene backdrop of Amish life but takes a dark turn following the mysterious death of Aaron's ailing wife. Cardwell delivers a standout performance as Hannah, embodying the character’s vulnerability and determination.” Concluding, “Her portrayal of a woman wrongfully accused of murder and navigating the complexities of Amish culture to clear her name is both heartfelt and riveting. McPartlin's depiction of Aaron adds depth to the story, showcasing the internal struggle between his duties and forbidden desires. The film's strength lies in its ability to maintain suspense while providing a nuanced look into the Amish way of life. The cinematography beautifully captures the simplicity and tranquility of the Amish community, contrasting starkly with the intense and emotional storyline.”

Patrick Serrano of Lifetime Uncorked recommends the film, but goes into detail about the plot so only open the link if you want spoilers.

Maddy Casale of Decider writes, “Sebastian Greaves is an unsung hero as Jacob due to his full commitment to this performance, especially when he busted out some Dance Dance Revolution moves in the middle of broad daylight outside to utter silence. That was genuinely the most memorable of the movie for me, so how can I not give Greaves some extra points for that?” Adding, “Never in my life have I seen butter churning used as a seduction technique until now. It was certainly memorable, though definitely uncomfortable. Moments like that and Jacob’s Dance Dance Revolution demonstration and a sort of weird fixation on ice cream (Hannah’s “guilty pleasure” that pops up just often enough you have to wonder if this movie was sponsored by a vanilla ice cream company) make you wonder if the point of this movie is to poke fun at the Amish.”

Chuck Duncan of hotchka.com notes, “After the success of Amish Stud, it was inevitable that Lifetime would delve back into the land of the Amish and the network is certainly hoping that Amish Affair will bring them more ratings gold. They really should have thought the title through though, and turned this into a franchise of ‘Amish Stud’ movies with a new hunky actor playing the latest stud. Ryan McPartlin certainly fits the bill. It’s almost as if this role was created just for him … because he’s also the film’s executive producer.” Continuing, “Amish Affair is another of what Lifetime calls a ‘Ripped from the Headlines’ movie inspired by actual events, but it also comes with the disclaimer that all of the characters and incidents portrayed are a work of fiction. This could be any affair gone wrong story with Amish people substituted for the real folks involved because who doesn’t want to see a juicy, Amish forbidden love and murder story? The facts of Amish Stud, on the other hand, were very easy to verify, and according to some media reporting on the current film, its story is basically a reworking of Amish Stud. No wonder it all feels so familiar.”