'Baby Girl' Impresses at the Venice Film Festival

         On December 25, 2024, but premiering this week at the Venice Film Festival, A24 releases 'Baby Girl', has earned positive reviews from critics, currently holding fresh at 88% on Rotten Tomatoes. In the film, "A high-powered CEO puts her career and family on the line when she begins a torrid affair with her much younger intern." The ensemble cast includes Nicole Kidman, Harris Dickinson, Antonio Bandaras, Sophie Wilde, and Esther McGregor. Read the full review round-up below.

       Nicholas Barber of BBC.com writes, "Reijn's raw, jagged, indie-style film has all the scenes you would expect if Babygirl were a standard Hollywood neo-noir thriller but each time Reijn explores the undignified reality behind the glamour." Adding, "Meanwhile, Dickinson's character, Samuel, is neither a suave seducer nor a naive youngster, but a hard-to-pin-down combination of the two. Sometimes he's almost psychotically confident and commanding, and sometimes he's gauche and tongue-tied, often within the same scene. Once these two lost souls shuffle awkwardly into an affair, there is no smoky saxophone on the soundtrack and there are no lingering shots of smooth, shiny skin."

       Luis Martínez of El Mundo says, "Halina Reijn completes a very measured, very calculated and very entertaining scandal." Continuing, "If there is one thing that can be blamed on the film, it is the multiple safety nets that it deploys throughout the script. Strategically, it makes the characters verbalize from the theory of consent to the certainty that those supposed poetic and liberating myths such as the femme fatale or the masochistic woman are nothing more than creations of (you guessed it) men. In other words, be careful with the tools of domination for the pleasure of some and not of others. And in its didacticism, which is prevention, it loses strength. Nor is that conciliatory ending that, without saying which one, neutralizes a good part of the bombs placed previously, entirely convincing. But, despite everything, the knot remains firm. It is not so much a scandal as another way of looking at a war against dogmatisms. Let's leave it as a false scandal. And whoever shouted, was surely paid."

Photo by Viktor Hanacek on Picjumbo

        Damon Wise of Deadline Hollywood Daily notes, "Kidman really goes the distance, imbuing Romy with a psychological vulnerability that is missing from the film it most obvious sounds like (50 Shades of Grey) and presenting a unique reversal of the film it most obviously looks like (Secretary). Dickinson, too, is an inspired piece of casting, manifesting like a monster from the id with his dorky, knife-and-fork haircut and clothes that he appears to have put on with a shovel. The chalk-and-cheese appeal is never really resolved, which Reijn uses to the film’s benefit: she leaves so much up in the air that Babygirl lasts longer in the mind than you think it might, opening up a slipstream for female artists who are ready and willing to take such hot-button issues — women, sexuality and power — and take them to even wilder extremes."

       Martin Tsai of Collider was less impressed, stating, "Halina Reijn's Babygirl attempts to create a provocative portrait of power that only ends up being noxious." Continuing, "If a woman gets off on degradation, is it sexist to comply? This is a provocative thought, if not also regressive, noxious, and unthinkable even for this male reviewer. Since the writer-director is a cishet woman, does that make it inoffensive? This is certainly a question worth asking, but perhaps not by a filmmaker who has somehow managed to exploit and humiliate Kidman more than Lars von Trier did with Dogville."

Second Season of 'The Lord of the Rings: The Rings of Power' "Remains a worthy backstory complement to Peter Jackson’s Oscar-winning cinematic trilogy"

         On August 29, 2024, the second season 'The Lord of the Rings: The Rings of Power' premiered on Prime Video to acclaim from critics, resulting in a score of 85% on Rotten Tomatoes alongside a Critics Consensus that reads, "The Rings of Power's sophomore season discovers new virtues while retaining some of its predecessor's vices, overall making for a more kinetic journey through Tolkien's world." In the series, "set thousands of years before the events of J.R.R. Tolkien's The Hobbit and The Lord of the Rings, and will take viewers back to an era in which great powers were forged, kingdoms rose to glory and fell to ruin, unlikely heroes were tested, hope hung by the finest of threads, and the greatest villain that ever flowed from Tolkien's pen threatened to cover all the world in darkness. Beginning in a time of relative peace, the series follows an ensemble cast of characters, both familiar and new, as they confront the long-feared re-emergence of evil to Middle-earth. From the darkest depths of the Misty Mountains, to the majestic forests of the elf-capital of Lindon, to the breathtaking island kingdom of Númenor, to the furthest reaches of the map, these kingdoms and characters will carve out legacies that live on long after they are gone." The ensemble cast includes Robert Aramayo, Morfydd Clark, Cynthia Addai-Robinson, Owain Arthur, Maxim Baldry, Nazanin Boniadi, Ismael Cruz Cordova, and Charles Edwards. Read the full review round-up below.

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        Nick Schager of The Daily Beast notes, "Remains a worthy backstory complement to Peter Jackson’s Oscar-winning cinematic trilogy." Adding, "The Rings of Power elegantly balances its myriad points of interest, only faltering slightly with a Númenor thread that too closely resembles House of the Dragon. Still, unlike that TV rival, Payne and McKay’s series boasts no stagnant placeholder episodes; every scene and subplot moves with urgent purpose. Better yet, it exudes grandeur in its expansive panoramas of Middle Earth and conflicts between combatants big and small, and it rarely indulges in one-dimensional writing, such that even the Orcs are complicated creatures rather than merely snarling, rabid fiends."

       Jeremy Mathai of Slashfilm says, "Though it doesn't quite reach the heights of Tolkien's original novels or Peter Jackson's adaptations, "The Rings of Power" feels like the next best thing: a confident, thrilling, and gloriously nerdy return to Middle-earth." Continuing, "Thankfully, all this attention to technical detail means that even some of the more distracting flaws scattered throughout season 2 don't put too much of a damper on things. As much as the writers seem to have a better grasp on pacing and story structure, some old habits leftover from earlier episodes make like Sauron and prove difficult to fully die. The Númenórean arc takes some big swings, some of which are executed more questionably than others (like a politics-heavy plot featuring an attempted coup), but it can't help but feel lost at sea (if not an outright slog) without familiar faces like Galadriel or even Halbrand keeping us invested. But it's the handling of characters like Isildur (Maxim Baldry), Arondir (Ismael Cruz Córdova), and Theo (Tyroe Muhafidin) that fares most poorly — a product of characters who have clearly overstayed their narrative usefulness or are stuck spinning their wheels for more important developments in the future. To put it another way, these issues hit a nadir in the lackluster third episode and only improve from there ... which perhaps explains why Amazon bundled the first three together in one supersized premiere."

       Angie Han of Hollywood Reporter was less impressed, stating, it "Falls prey to one of the most common afflictions of its kind. It starts to feel like a story shaped backwards from events we already know will need to transpire, rather than one driven forward by the motives and choices of its characters"

       Carly Lane of Collider praises the series, stating, "The Lord of the Rings: The Rings of Power goes even darker in Season 2, but has difficulty giving all of its plots and characters equal weight." Continuing, "other characters, by comparison, seem to be moving in slow motion, remaining in place for as long as the story needs them to while those at the center of the bigger conflicts charge forward. As the Harfoots and the Stranger wander through Rhûn, the plot becomes as plodding and circuitous as the desert itself. Not even the long-awaited addition of a fan-favorite character from Tolkien's legendarium, Tom Bombadil (Rory Kinnear), can successfully inject the right amount of whimsy — and Kinnear's performance, overall, feels almost a little too restrained in terms of its eccentricity, although he does make an effective foil to Weyman's stoic Stranger in more than one episode. Veteran actor Ciarán Hinds, as an unnamed Dark Wizard, is set up to have intriguing potential as a formidable foe, but the season doesn't grant him enough opportunities to become positioned as a real threat."

'1992' Reviews: "By grounding the film in a real event fraught with a great deal of racial tension, "1992" comes loaded with expectation, which the film largely meets thanks to the efforts of its dynamic cast"

         On August 30, 2024, Lionsgate released '1992', which has earned predominantly positive reviews from critics, currently holding at 72% on Rotten Tomatoes. In the film, "Mercer (Tyrese Gibson) is desperately trying to rebuild his life and his relationship with his son (Christopher A'mmanuel) amidst the turbulent 1992 LA uprising following the Rodney King verdict. Across town, another father and son (Ray Liotta and Scott Eastwood) put their own strained relationship to the test as they plot a dangerous heist to steal catalytic converters, which contain valuable platinum, from the factory where Mercer works. As tensions rise in Los Angeles and chaos erupts, both families reach their boiling points when they collide in this tense crime-thriller." But what did the critics say?

       Douglas Davidson of Elements of Madness notes, "By grounding the film in a real event fraught with a great deal of racial tension, "1992" comes loaded with expectation, which the film largely meets thanks to the efforts of its dynamic cast." Adding, "Gibson’s been working for decades now and his on-screen reputation is one of a fast-talking funny man, a notion cemented from his work as Roman Pearce in the Fast Saga, of which he’s played a significant part in recent years. He’s always had the potential for dramatic work, a personal favorite being his role as Angel Mercer in 2005’s Four Brothers (though that role did include a bit of comedic work, too). Here, however, Mercer is stoic, thoughtful, and aware that the hand he’s been dealt is unfair, but also of his own making. It’s not important for the audience to know precisely what he’s done to earn prison time, whereas it matters how he reacts to the way others on the street speak of him versus how the man who hired him at the factory, Joseph Francis (Michael Beasley) does. In the first, Gibson gives Mercer a quiet defiance, a recognition that who he was, who the streets believe him to be, is not who he wants to be any longer, for both himself and his son. In the second, Gibson allows Mercer to relax, to chat, to exist as a person in the world who embraces his responsibilities and opportunities. Through these responses, Gibson gives Mercer shape that makes all the things that come later, all the actions that Mercer takes to keep his son and himself safe, a true sacrifice."

Photo by Marius GIRE on Unsplash

 Andrew Parker of The Gate writes, "The more I think about the whole, the more I realize that the good bits are of greater value than the lesser ones, and at least the bits that don’t work retain a bit of panache and craft." Concluding, "The heist movie thread flounders for a number of reasons. The characters are all stock tough guys, some of whom will turn out to be more sympathetic than others, and it’s not hard to guess which ones. The dialogue is tin-eared, expositional and reductive in the extreme, forcing the characters to explain mundane details that Vroman can’t find a way to show in the fabric of the film. The viewer already understands that these two separate stories are going to collide, so they won’t be surprised by all of the things that go wrong during the heist or where all of Vroman and co-writer Sascha Penn’s unsubtle foreshadowing is going to lead. And to top all of that off, Eastwood, who carries these sections of the film, isn’t up to the task at hand, turning in a wooden, hollow performance. Liotta is a good enough performer to make something out of what very little he has been given here. Eastwood, however, has all of his limitations as a performer exposed and is hung out to dry."

       Edward Douglas of The Weekend Warrior says, "1992 uses its setting well, but make no mistake that this is more of a heist action movie than having anything to do with Rodney King or the court verdict that led to the L.A. Riots." Continuing, "This mostly relies on Gibson and Liotta to carry it, as I’ve never really thought much of the Eastwood spawn as an actor, even though he seems to get cast a lot."

       Robert Kojder of Flickering Myth states, "The premise itself is too clever an idea to dismiss the film entirely for its shortcomings, offset mainly by outstanding turns from Tyrese Gibson and Ray Liotta."

'English Teacher' Reviews: "It’s a winning comedy at the top of its class, and school will hopefully be in session for many seasons to come"

         On September 2, 2024, FX premieres 'English Teacher', which has earned predominantly positive reviews from critics, currently holding fresh at 86% on Rotten Tomatoes. In the series, "Evan Marquez is an English teacher in Austin, Texas, who often finds himself at the intersection of the personal, professional and political aspects of working at a high school." The ensemble cast includes Enrico Colantoni, Brian Jordan Alvarez, Stephanie Koenig, Jordan Firstman, Sean Patton, Langston Kerman, and Carmen Christopher. Read the full review round-up below.

       Brian Tallerico of RogerEbert.com writes, "It’s a program with smaller comedy beats that really work ... that often feels like it’s getting dragged back into the topicality that likely got it green lit in the first place." Adding, "English Teacher” was created by its star, Brian Jordan Alvarez, a likable screen presence. He plays Evan Marquez, a high school English teacher in Austin, Texas, a place where, well, education in general has been a bit of a hot button subject. Yes, “English Teacher” is ready to make light of the political pitfalls of being an educator in a state that often seems anti-learning, which sometimes makes it feel like it’s dancing in a comedy minefield. Every time that it feels like “English Teacher” is going to drown in the treacherous waters of mocking a culture that has redefined the word “woke,” Alvarez and his team find a way out of it, whether it’s by upending the expectation or just avoiding the hot button issue altogether. It can sometimes feel like “English Teacher” lacks teeth, but it’s also an impressive balancing act in that it also avoids feeling didactic or condescending as so much expressively left-leaning humor has a habit of doing."

        Chase Hutchinson of Collider says, "There is a risk that English Teacher, the fantastic new FX comedy series from Brian Jordan Alvarez, could be reduced to merely being a show both of and for our present moment. On the one hand, this is a compliment, as the often gleefully withering jokes perfectly tap into and excoriate the absurdity of the modern education landscape in the United States. From the way that technology has fundamentally reshaped the way young people engage with the world to the moral panics the adults then throw into the mix to make everything that much harder, Alvarez has created a playful portrait of American schooling that is plenty silly, often sweet, and refreshingly sharp. However, while the show is pointedly contemporary in its subject matter and premises, it is also timeless in its humor. Alvarez has plenty on his mind that he wants to explore about the lives of teachers and the nightmare of American education where they are constantly doing more with less, but his comedy feels right up there with something like It's Always Sunny in Philadelphia in how it builds on this series' various scenarios."

Photo by Jagjit Singh on Unsplash

        Nicole Gallucci of Decider notes, "It’s a winning comedy at the top of its class, and school will hopefully be in session for many seasons to come." Continuing, "English Teacher isn’t your typical workplace comedy, and that unpredictability is a large part of its charm. The trajectory of Evan and Harry’s will-they-won’t-they dynamic is one of many surprising swerves the series takes to subvert expectations and keep viewers on their toes. Over the course of its first season English Teacher also explores (and attempts to make progress on) a variety of serious issues, from LGBTQ+ rights to gun control. Based on subject matter alone, it’s sure to attract a fair share of haters, who — much like a group of Morrison-Hensley students — “aren’t into being woke.” But as Alvarez noted at the Television Critics Association’s Summer 2024 press tour, the show “thrives in the gray areas.” Rather than examine hot-button issues through a single lens, it owns the complexities and confusion around them. By striking a brilliant balance between edgy humor and heart, it avoids drifting into the preachy after-school special zone."

       Dave Nemetz of TV Line praises the series, stating, "It’s one of the funniest new shows of the year, and it’s a triumph for star and series creator Brian Jordan Alvarez, who announces himself here as a major talent."

'Beetlejuice Beetlejuice' Reviews: "Burton has thrown everything at the wall and then carefully sculpted what has slithered down into a rollicking yet disciplined supernatural caper with a heart"

         On September 6, 2024, Warner Bros. Pictures releases 'Beetlejuice Beetlejuice', which has earned predominantly positive reviews from critics. In the sequel to 'Beetlejuice', "After an unexpected family tragedy, three generations of the Deetz family return home to Winter River. Still haunted by Beetlejuice, Lydia's life is turned upside down when her rebellious teenage daughter, Astrid, discovers the mysterious model of the town in the attic and the portal to the Afterlife is accidentally opened. With trouble brewing in both realms, it's only a matter of time until someone says Beetlejuice's name three times and the mischievous demon returns to unleash his very own brand of mayhem." The ensemble cast includes Michael Keaton, Winona Ryder, Jenna Ortega, Willem Dafoe, Catherine O'Hara, Monica Bellucci, and Justin Theroux. But what did the critics say?

        Marshall Shaffer of The Playlist praises the film, stating, "It’s unmistakably a return to joy for a legendary director, and that goes a long way in making this film stand out in a sea of ill-conceived sequels." Concluding, "Beetlejuice Beetlejuice” stacks each scene with so much talent that it’s easy to miss that the film often operates on three disparate plot tracks: Delores’ pursuit of Monica, Lydia’s attempt to wrangle multiple generations of the Deetz family, and Astrid’s dalliance with her fellow teenage Dostoyevsky devotee Jeremy (Arthur Conti). The experience proves so overstimulating with both horror and comedy that few moments arise to reflect upon the film’s construction. If the characters ever feel like they hit a wall, Burton swoops in with a new ingeniously envisioned element of the afterlife (such as the “Soul Train”) to amuse."

        Jonathan Romney of Screen International says, "Beetlejuice Beetlejuice may not be that fresh or substantial – it’s basically comfort food for long-term Burton fans -- but it’ll be hard for viewers to repress a pleased smile, or graveyard rictus." Adding, "Among the top-flight cast, Ryder and O’Hara excel. The latter amplifies her original Delia to further levels of narcisstic neuroses, while Ryder’s anxious, vulnerable Lydia sensitively confronts the question of what happens to goth kids when they get older and face mundane mortal reality. Stepping into Ryder’s shoes as this film’s troubled teen, Ortega contributes a likeable no-nonsense candour. Willem Dafoe – donning yet more prosthetic make-up after Poor Things – has a nicely broad role as an afterlife cop, while a much-loved Burton associate from way back contributes the gruff cameo that kick-starts the whole story. "

Photo by Bruno Guerrero on Unsplash

      Stephanie Zacharek of TIME Magazine notes, "This sequel to Burton’s 1988 cracked pop masterpiece Beetlejuice doesn’t strive for greatness, or even your garden-variety over-the-top fantastical vision. Instead, Burton has just allowed himself to be silly and have fun." Continuing, "There’s a lot of plot windup before Beetlejuice, the “trickster demon,” as Lydia describes him, shows up. But when he does, it’s like greeting a decrepit, kvetching old friend, the kind you keep around just for entertainment value. Michael Keaton clearly adores this character; once again, he pours pure love into Beetlejuice’s maniacal, depraved soul. His sooty eyes speak of centuries’ worth of sleepless nights, the mark of an opportunistic fiend who lives for dreaming up new ways of tormenting hapless humans. His five o’clock shadow looks to be left over from the 5th century, and his hair is artfully uncombed, as if his hairdressing secret were a fork and an electrical socket. He has a dirty mind but a somewhat tame tongue. (The film is rated PG-13.) He’s still pissed off that his marriage to the then-teenage Lydia was thwarted some three decades ago; he carps that she’s been ignoring him all this time. Worse yet, he’s also being hounded by an ex-wife—more on her later. As he describes their blissful wedding day—in florid subtitled Italian, no less—we see it play out in grainy-gorgeous, low-budget black-and-white: “The ceremony was traditional: we drank each other’s blood, bit the heads off chickens, sacrificed a goat.” Good times!"

        Sophie Monks Kaufman of indieWire writes, "Burton has thrown everything at the wall and then carefully sculpted what has slithered down into a rollicking yet disciplined supernatural caper with a heart."

'Reagan' Reviews:" Reagan” takes us on a fascinating biographical journey through an extraordinary American life"

         On August 30, 2024, ShowBiz Direct releases 'Reagan', which has received a mixed reception from critics. The official synopsis of the biopic of the American President reads, "From dusty small-town roots, to the glitter of Hollywood, and then on to commanding the world stage, REAGAN is a cinematic journey of overcoming the odds. Told through the voice of Viktor Petrovich, a former KGB agent whose life becomes inextricably linked with Ronald Reagan's when Reagan first caught the Soviets' attention as an actor in Hollywood, this film offers a perspective as unique as it is captivating. Dennis Quaid brings to life a story that transcends the boundaries of a traditional biopic, offering a profound exploration of the enduring impact of the power of one man who overcame the odds, sustained by the love of a woman who supported him in his journey." The ensemble cast includes Kevin Dillon, Jon Voight, Penelope Ann Miller, Mena Suvari, David Henrie, and Lesley-Anne Down. But what did the critics say?

       Ty Burr of Washington Post writes, "If you were a recent arrival from Alpha Centauri and approached the new biopic “Reagan” with no knowledge of America’s 40th president, here’s what you might learn: He was an actor who made one notable movie and a lot of TV commercials. He hated communism and Soviet Russia, and the Germans tore down the Berlin Wall because he told them to. He had no domestic policies except trickle-down economics, which worked. He didn’t actively parent any children (though he did grieve a daughter who died at birth). His first wife was a drunk. AIDS was just a word on a quilt. Some angry weirdo shot him, but we don’t know who he was or why he did it. For a movie about the Great Communicator, “Reagan” communicates surprisingly little." Adding, "Dennis Quaid is an acceptable simulacrum in the title role, apple-cheeked and husky-voiced, but Ronald “Dutch” Reagan had a folksy surface charisma that was a huge part of his appeal, and that proves impossible to replicate. Quaid offers a congenial impersonation with little depth, in part because depth is not what we wanted (or got) from Reagan. The performance is a fitting centerpiece in a movie that plays like an overlong Classics Illustrated version of a biography, or something of which Jack Warner, Reagan’s old boss in Hollywood, would approve."

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        Derek Smith of Slant Magazine notes, "The film’s treatment of its subject is belligerently hamfisted, disingenuous, and incurious." Concluding, "Far more troubling than the comically villainous portrait of Russia is the film’s relentlessly condescending, duplicitous vision of Reagan’s detractors over the years. University of California, Berkeley protesters in 1969 are depicted as whiny brats emboldened by a weak, naïve, and idealistic faculty and administration. Even more offensive and distasteful than that is the film’s playing of Ronnie’s “shhh” to the silent protestors as a joke, only to skip over the one death and 128 hospitalizations that resulted from his sending in the National Guard soon after. Every pro-union liberal in McNamara’s film is shown as an unthinking, freedom-hating Russian puppet willing to turn violent whenever they don’t get their way. And each politician and member of the press calling for accountability in the Iran–Contra affair is driven not by a sense of morality or justice, but a bloodthirsty desire to destroy Reagan’s career."      

        Keith Garlington of Keith & the Movies says, "Reagan” takes us on a fascinating biographical journey through an extraordinary American life. It's a well-made and well-acted feature that looks at Ronald Reagan through an undoubtedly sympathetic lens yet without ever turning overtly political." Continuing, "A lot of time is spent on Reagan’s Hollywood years where he made numerous feature films before and after enlisting in the military. But rather than focusing on his movies, McNamara hones in on the Reagan behind the scenes including his marriage to actress Jane Wyman (Mena Suvari) and their eventual divorce, his busy tenure as president of the Screen Actors Guild, and of course his first meeting with his future wife, Nancy Davis (Penelope Ann Miller). Through it all the film attempts to emphasize Reagan’s willingness to tackle problems head-on as well as his growing concern over the spread of Communism. And they factor into the next phase of his life – politics."

'Adam Sandler: Love You' Reviews: "the interruptions, whether planned or real, do add an energy that gives Sandler’s comedy just a little extra kick"

         On August 27, 2024, Netlfix released 'Adam Sandler: Love You', which has received predominantly positive reviews from critics. In the comedy special, the actor and comedian "hits the stage for a thrillingly unpredictable comedy special featuring songs, jokes, party-crashing dogs and plenty of love." Read the full review round-up below.

       Liz Shannon Miller of Consequence writes, "Safdie’s pagentry does occasionally threaten to be a real distraction. Yet the interruptions, whether planned or real, do add an energy that gives Sandler’s comedy just a little extra kick." Adding, "When you watch Adam Sandler: Love You, it’s hard to know what’s real and what isn’t. The jokes are real, for sure. Later in the show, that’s not technically Elvis Presley singing, but it is Rob Schneider doing a very solid impression. Otherwise, who’s to say what’s really going on, as director Josh Safdie (a collaborator of Sandler’s since 2019’s Uncut Gems) stages the new Netflix comedy special as 70 minutes of self-contained chaos."

Photo by Jagjit Singh on Unsplash

        Ethan Anderton of Slashfilm notes, "Digging into the meat of "Adam Sandler: Love You," if you enjoyed what the Sandman brought to the table with "100% Fresh," then you're going to love this. Throughout the show, Sandler has stand-up style bits ranging from typical amusing observations and anecdotes from his family life and fan interactions. But the best jokes come from extended, imagined scenarios, such as one where he's threatened through the mail by a one-foot tall man named Charlie Mungo, or a sexual encounter with a balloon that Sandler let float into the air after a party. That last one in particular feels like it has the potential to be a hilarious short film reminiscent of The Lonely Island's SNL Digital Short days." Adding, "But as has often been the case since his early days at "Saturday Night Live," it's Sandler's musical bits that have the strongest impact, with some assistance from "SNL" writer Dan Bulla singing occasional back-up vocals and keyboard. One tune in the same vein as the "Rawhide" theme song (with Sandler whinnying like a horse an mimicking a whip crack) has Sandler masterfully strumming a Spanish guitar-style medley while singing about muttering under his breath while doing mundane things like mowing the lawn and going to the bank. Does Sandler actually do any of these things himself when he's reached this level of stardom? Honestly, it doesn't matter, because Sandler has such a home grown sense of relatability that you never question the legitimacy of these set-ups, unlike someone like Jerry Seinfeld, who feels more and more out of touch with average people everyday."

'Ol' Dirty Bastard: A Tale of Two Dirtys' Shines a Light on an Icon

         On August 25, 2024, A&E premiered 'Ol' Dirty Bastard: A Tale of Two Dirtys', which has earned rave reviews from critics. The documentary "provides an intimate portrait of ODB and delves into the legacy of the Grammy-nominated, platinum recording artist who co-founded the Wu-Tang Clan, which first rose to mainstream prominence with their 1993 debut album, Enter the Wu-Tang (36 Chambers), now considered one of the greatest hip-hop groups of all time. With a raw style, ODB's "outrageous talent" made him the Wu-Tang Clan's wildest icon and most inventive performer, quickly leading him to pursue a solo career just two years later--hitting the charts with such albums as 36 Chambers: The Dirty Version and N***a Please--and to work with such musicians such as Mariah Carey, Kelis, Pras, Mya and Wyclef Jean. Born Russell Jones in 1968 in the projects of Brooklyn, NY, ODB developed a unique persona and rhyme style that set him apart from his contemporaries at an early age. With a huge heart, ODB also led a self-sabotaging life lived dangerously. But in his short 35 years and long after his passing, ODB has had a momentous influence on an entire generation of performers and fans, leaving a lasting impact on music and culture." But what did the critics say?

         Christopher Campbell of Nonfics writes, "Jason Pollard continues to follow in his father’s footsteps, as the longtime documentary editor makes his directorial debut with this new music documentary about the titular rapper known for being a founding member of Wu-Tang Clan. Also known as ODB: A Tale of Two Dirtys, the film is also co-directed by the elder, Sam Pollard (MLK/FBI), and together the two delivered a worthy collaboration. While much of the documentary is a conventional behind-the-music biography, one of the two Dirtys’ tale is told with more emotion than the other. Come for the expected stuff if you’re a fan of ODB the rapper, and you’ll leave having heard some incredible testimonials of his heroic and compassionate side, but you’ll be especially moved by the interview with his widow, Iceline Jones. I got chills."

Photo by Jagjit Singh on Unsplash

'Red Rooms' Reviews: "an impactful, gripping crime story"

         On September 6, 2024, Utopia releases 'Red Rooms', which has received predominantly positive reviews from critics, currently holding at 96% on Rotten Tomatoes. In the film, "The high-profile case of serial killer Ludovic Chevalier has just gone to trial, and Kelly-Anne is obsessed. When reality blurs with her morbid fantasies, she goes down a dark path to seek the final piece of the puzzle: the missing video of a murdered 13-year-old girl, to whom Kelly-Anne bears a disturbing resemblance." The ensemble cast includes Juliette Gariépy, Laurie Babin, Elisabeth Locas, Pierre Chagnon, and Natalie Tannous. Read the full review round-up below.

Photo by Dave Weatherall on Unsplash

        Emma Vine of Loud and Clear Reviews writes, "Plante’s less is more approach delivers an impactful, gripping crime story, and his strong script, fantastic cast performances, and masterful camerawork make the feature one of the best modern-day released psychological thrillers."

        Frank Scheck of Hollywood Reporter notes, "Tapping into the bizarre trend of women becoming enamored with serial killers that has only grown more prevalent in modern times, the film keeps us guessing where the story is going..."

        Damon Wise of Deadline Hollywood Daily says, "Takes an overused genre -- the serial killer movie -- and an often-misused technique -- dark Lynchian surrealism -- and somehow alchemizes the two into something new and original." 

       Marco Vito Oddo of Collider praises the film, stating, "Red Rooms leaves no breathing space, to the point where even minor things, such as someone turning their head, can become a new source of anxiety. It’s an incredible feat, especially when the movie doesn’t feature even one scene of murder." Adding,  "From the cinematography of Vincent Biron to the soundtrack of Dominique Plante, every detail of Red Rooms contributes to an atmosphere of absolute dread that stretches through the movie’s entire runtime."

Fourth Season of 'Only Murders in the Building' Wows the Critics

         On August 27, 2024, Hulu premieres the fourth season of the smash hit series 'Only Murder in the Buildings', which has received rave reviews from critics, currently holding fresh at 95% on Rotten Tomatoes. Picking up where season three left off, Sazz's death sparks a new mystery as our favorite trio of Oliver, Mabel, and Charles become involved in the making of a film based on their podcast, complete with Hollywood stars. The ensemble cast includes Steve Martin, Selena Gomez, Martin Short, Meryl Streep, Jane Lynch, Eva Longoria, Molly Shannon, Eugene Levy, Melissa McCarthy, Kumail Nanjiani, Zach Galifianakis, and Richard Kind. But what did the critics say?

       Abe Friedtanzer of Awards Buzz writes, "Four seasons in, this show is just as good as ever, offering reliable entertainment with just the right tinge of thoughtful melancholy." Adding, "Whereas having these three actors sending up their own personas might have felt like too much, it’s toned perfectly to match this show. Charles, Oliver, and Mabel continue on their own misadventures together, only occasionally being forced to put on an act that doesn’t feel like their very hands-on, unpolished detective work. There are also plenty of other formidable new members of the cast, including Richard Kind, Kumail Nanjiani, and Desmin Borges as residents of the Arconia and Jin Ha, Catherine Cohen, Siena Werber, and Molly Shannon as members of the filmmaking team, all with their own agendas for what this podcasters’ story will be like on the big screen. Michael Cyril Creighton receives a well-deserved promotion as Howard, while Emmy nominees Da’Vine Joy Randolph and Jane Lynch are put to great use."

        Maddy Mussen of London Evening Standard was less impressed, stating, "For a background watch it’s fine, but honestly, I think this building may have finally had one too many murders. Perhaps it’s finally time to call “that’s a wrap” -- much to Oliver’s undoubted horror." Concluding, "Moreover, the stakes feel lower than ever, and it also gets a bit lazy. The show’s storytelling switches to rely on old, tired tropes (as a rule, dead characters stalking live ones to represent guilt is one of the most boring things you can do on screen in 2024) and Mabel, Charles and Oliver have little growth or character development."

        Remus Noronha of Collider says, "Circling back to Mabel, this is the first season where the character’s focus is firmly on herself, without any distractions. Like previous installments, Season 4 is also about Mabel trying to come to terms with her life. But after three seasons of development, she isn’t so much finding herself as she is growing into the person she’s already become. This leads to some interesting developments and funny moments, especially when Mabel interacts with her on-screen double, Eva Longoria, and Molly Shannon’s high-powered producer, Bev Melon."

       Mary Siroky of Consequence notes, "Even if the show has found itself leaning on familiar rhythms the longer it goes on, Only Murders knows its appeal. And at its core, it's two veteran comic actors having a great time, and Selena Gomez happy, comfortable, and loving every minute of it." Concluding, "Thankfully, even Meryl Streep is back as Loretta, now thriving on a television show in Los Angeles, a change that creates some long-distance anxiety for Oliver. Newly minted Oscar winner Da’Vine Joy Randolph also blessedly returns as everyone’s favorite foul-mouthed detective."

Photo by Dave Weatherall on Unsplash

'City of Dreams' Impresses Critics

Photo by Wyron A on Unsplash

         On August 30, 2024, Roadside Attractions releases 'City of Dreams', which has earned rave reviews from critics, currently holding at 100% on Rotten Tomatoes. In the film, "Jesús, a young Mexican boy whose dreams of becoming a soccer star are shattered when he's trafficked across the border and sold to a sweatshop making fast fashion in downtown Los Angeles. Thrust into a world of exploitation and despair, he's forced to adhere to the grueling work schedule dictated by El Jefe, a boss who promises freedom for those who complete their quotas. Despite Jesús' hellish existence, he finds solace in Elena, a girl who was similarly betrayed and sold into slavery. When she goes missing and another co-worker Carlitos is severely beaten, Jesús realizes that the only way to save himself and the others is to fight back, even if it costs him his life." The ensemble cast includes Ari Lopez, Renata Vaca, Alfredo Castro, Paulina Gaitán, Jason Patric, and Diego Calva. But what did the critics say?

        Sebastian Zavala Kahn of Me gusta el cine writes, "It manages to show us a side of the textile industry that surely many people would like to ignore. It is not a traditionally entertaining experience, but one that, despite not being for everyone, is worth seeing." Adding, "Jason Patric’s Stevens repeatedly tries to investigate the house where Jesus works, and even gets close enough to the boy to nearly save him. But time and again, he is stopped by his superiors — when this kind of abuse is protected by the people in power, from the police captain to the town mayor, what can you do? “Dreamer’s” eventual response is a bit naïve, and could even feel like a surprisingly optimistic conclusion. But at least it allows the film to end in a satisfying way, as if to make up for all the suffering we’ve seen before."

       Lissete Lanuza Sáenz of Fangirlish notes, "Dreamer is not just a story that glorifies people’s perseverance through pain, it’s a story about bad circumstances and how people do their best to survive."

        Peter Gray of The AU Review praises the film, stating, "Sadly, but also quite truthfully, it’s a harsh drama that touches on the subjects of immigration, human trafficking, and one’s own determination in fighting for what’s right – even if that’s at the expense of your own existence." Continuing, "Given Dreamer‘s relentlessness in showcasing brutality (some of the imagery present is truly wince-inducing) this won’t be an experience for everyone.  It will obviously speak to immigrants and people of colour in a much more affective manner – a viewpoint I have no right in commenting on – but there’s still a universality to Ramchandani’s overall narrative in that fighting for your own freedom is a temperament we should all share."

       Thomas Stoneham-Judge of ForReel Movie News And Reviews says, "As one who admires when one-takes and first person filming are utilized effectively in film, the way Dreamer is filmed is the type of packaging for this story that greatly appealed to me as a viewer." Concluding, "As entertaining as portions of this film might be however, Dreamer is not for the faint of heart. With these glimmers of hope that Jesus clings to - the dream he has of being a soccer player, the relationship he develops with a female worker, and the plans he makes to escape - there is a deeply distressing side of the tale as well. Punishment in this environment is relentless, and Dreamer does not shy away from gruesome sequences of extreme abuse. Perhaps off putting to some, the choice to be explicit in the violence that ensues drives home the desperation of the situation Jesus and his fellow workers find themselves in."

'Catching Dust' Reviews: "A small film in stature, but one that has a larger personality and brims with a confidence and carnage that threatens to overstep the narrative’s constraints"

         On August 23, 2024, Verical released 'Catching Dust', which has earned predominantly positive reviews from critics, currently holding at 71% on Rotten Tomatoes. In the film, a woman "finally decides to leave her criminal husband Clyde and their isolated Texas hideout, but a couple from New York suddenly arrives. Ignoring the risks, she convinces Clyde to let them stay, a decision with dangerous consequences." The ensemble cast includes Jai Courtney, Erin Moriarty, Ryan Corr, and Dina Shihabi. Read the full review round-up below.

       Peter Gray of The AU Review says, "A small film in stature, but one that has a larger personality and brims with a confidence and carnage that threatens to overstep the narrative’s constraints, Catching Dust is tragic and hopeless, but consistently potent, made all the more so by an arresting Courtney who continues to prove his worth as a genuine character actor unafraid to play to his masculinity, but doing so without an inch of egoism or vanity."

        Stephanie Archer of Film Inquiry notes, "Catching Dust does risk losing the audience in the drawn-out moments between emotional interactions. Yet, as an audience, you will find yourself shocked by how invested you are in by film’s end." Continuing, "Erin Moriarty gives the widest range in a slow burn progression of character growth. There is a desperation that borders on control constantly flickering in the challenges and conflicts Geena faces. Yet, there is also a sense of fear, leaving audiences to feel ambiguous about Geena as she navigates both her relationship with Clyde, as well as Andy and Amaya. She is complicated and far from easily defined, and Moriarty handles each aspect of Geena with ease."

       Matt Hudson of What I Watched Tonight was less impressed, stating, "Whilst not a bad film, Catching Dust is a frustrating one. There was potential here to tell an arresting story, but sadly, we got an OK one instead." Adding, "Despite the talent on display, Catching Dust is a mainly middling affair. It is thoughtfully paced given its shorter runtime, Gatt never really moving the story out of second gear, however, with the lack of any real urgency or tension, the film never really gets going. Seeing Clyde assert himself so despicably over Geena, and to a degree, Amaya and Andy, is a disturbing aspect of the film though I never felt as if I really got to know the characters well enough to connect with them. Moriarty’s Geena uses art to escape her reality and tries to build bridges with the new visitors, but even she isn’t entirely squeaky clean throughout which raises some interesting questions. In her performance, Moriarty is game for the task, but as with the rest of the cast, she isn’t given a whole lot to work with. Greater focus on one of the four characters, probably Geena, would have strengthened Catching Dust overall in my eyes. Technically, the film is well constructed and presented. It looks sharp and the sprawling wilderness is captured to portray a grimy, solemn feel, which it does well. The juxtaposition also between the two couples is visualised effectively as well, I just wish they had gone further into that aspect narratively."

       Brian Tallerico of RogerEbert.com praises the film, "Catching Dust” should be a character study of two very different couples and how they influence one another, but it never quite takes these people seriously enough to work on that level."

Photo by Wyron A on Unsplash

'The Supremes at Earl's All-You-Can-Eat' Reviews: "It’s a moving portrait of Black women's friendship across 3+ decades that generally knows when to pull back on sentimentality and ground itself back into the characters"

         On August 23, 2024, Hulu released 'The Supremes at Earl's All-You-Can-Eat', which has earned predominantly positive reviews from critics, currently holding fresh at 70% on Rotten Tomatoes. The film "follows a trio of best friends (Uzo Aduba, Aunjanue Ellis, Sanaa Lathan) known as "The Supremes" who, for decades, has weathered life's storms together through marriage and children, happiness and blues. Now, as heartbreak and illness stir up the past and threaten to destroy their friendship, Odette, Barbara Jean and Clarice see their bond put to the test as they go through their most challenging times yet." But what did the critics say?

Photo by Bruno Gurrero on Unsplash

        Lauren LaMagna of Next Best Picture writes, "The concept of having two or three close friends to help you grow as a person to be the best version of yourself is a magical one, and “The Supremes at Earl’s-All-You-Can-Eat” depicts just how magical it is to find your tribe." Adding, "As with most adaptations of novels into feature films, “The Supremes at Earl’s-All-You-Can-Eat” experiences pacing issues, which is a common critique. It is simply impossible to adapt every plot point and character development from a 384-page novel into a two-hour film, which makes some plot points overly dramatic and triggering to audience members, especially when they do not majorly advance character development or serve as a callback. The heart and soul of the film center on the three women, so when the film doesn’t deal with all three of them, it is less strong. However, the scenes with the trio all together – particularly those with Ellis-Taylor, Aduba, and Lathan – are magnetic, as they authentically depict three individuals who have four decades of experience with each other. In addition, Gabrielle has powerful moments as Young Barbara Jean, who experiences the most traumatic events of the three characters."

        Robert Kojder of Flickering Myth praises the film, stating, "It’s a moving portrait of Black women's friendship across 3+ decades that generally knows when to pull back on sentimentality and ground itself back into the characters"

       Emily DuGranrut of In Review Online notes, "It’s the cinematic equivalent of comfort food — familiar, predictable, and deeply unchallenging." Concluding, "Unlike films like Green Book and Hidden Figures, however, The Supremes is at least thankfully guided by Black artists and voices (including the book’s author, Edward Kelsey Moore). But while that certainly eases concerns about intent, it doesn’t make up for the film’s lack of subtlety, which might be the film’s most glaring, fatal flaw, but is hardly its only. Co-written by director Tina Mabry and Gina Prince-Bythewood (credited as Cee Marcellus; pseudonyms rarely bode well, and we’re a long way from Love & Basketball‘s laidback authenticity here), The Supremes is almost pathologically heavy-handed, force-feeding the audience tragedy after tragedy, leaving little space for viewers to breathe and giving them a product so manufactured and contrived that is feels entirely divorced from any semblance of realism. It’s as if the filmmakers were so single-minded on delivering a message — of hope and love and friendship — that they forgot to let any actual story unfold; what’s left is just misery porn shellacked in Disney makeup. But there’s no denying that audiences who prefer only a splash of reality in their rainbow-colored worldview will find plenty to love in The Supremes. In other words, tell your Boomer mom to get streaming immediately."

       Todd Jorgenson of Cinemalogue says, "The chemistry between the actors yields heartfelt charm and generates poignancy when necessary. However, when exploring deeper themes, the film is schmaltzy rather than insightful or profound."

'The Killer' Reviews: "Woo is arguably the living filmmaker most determined to examine masculinity, and without a male relationship to dissect, it gives him the space to honor the femme fatale in her purest form"

         On August 24, 2024, Peacock released 'The Killer', which has received a mixed reception from critics, currently holding at 54% on Rotten Tomatoes. In the film, "Nathalie Emmanuel (The Fast Saga, Game of Thrones) as Zee, a mysterious and infamous assassin known, and feared, in the Parisian underworld as the Queen of the Dead. But when, during an assignment from her shadowy mentor and handler (Avatar's Sam Worthington), Zee refuses to kill a blinded young woman (Diana Silvers; Ma, Booksmart) in a Paris nightclub, the decision will disintegrate Zee's alliances, attract the attention of a savvy police investigator (Golden Globe nominee Omar Sy; Jurassic World franchise, Lupin), and plunge her into a sinister criminal conspiracy that will set her on a collision course with her own past." Read the full review round-up below. 

        BJ Colangelo of Slashfilm praises the film, stating, "As the titular killer, Nathalie Emmanuel has the impossible task of filling the shoes of Chow Yun-fat. Wisely, she and Woo do not attempt to channel Ah Jong, instead allowing her character Zee to thrive as something wholly unique. Woo is arguably the living filmmaker most determined to examine masculinity, and without a male relationship to dissect, it gives him the space to honor the femme fatale in her purest form. Emmanuel and Omar Sy as police officer Sey never reach the high-octane heights of Yun-fat and Danny Lee, but they're not trying to. Their alliance is an entirely different beast, but whenever the two stare each other down with guns drawn at eye level, it's a testament to Woo's unwavering commitment to blocking actors' physicality to tell a story beyond the script."

Photo by Johnny Briggs on Unsplash

        Jake Cole of Slant Magazine notes, "More pressingly, this remake is absent the far richer character development that made the original as much a melodrama as a shoot-’em-up. The 1989 film swiftly established and then complicated the relationships between the three main characters until it became difficult to separate platonic friendship, professional respect, and even romantic intrigue. Here, Zee, Sey, and Jenn are thinly sketched, with Emmanuel, Sy, and Silvers spouting their lines with perfunctory, plot-advancing flatness. Zee is especially baffling given the naïveté this seasoned assassin regularly displays, and compared to the more cynically aware triad politics of the original, Zee’s relationship with Finn is oddly docile and childlike, with the killer regularly asking for assurance that her targets “deserve death” with doe-eyed innocence."

       Fred Topel of United Press International says, "It would be impossible for The Killer to reinvent action in 2024 like 1989, but it is not meant to. Woo was developing a Hollywood remake for years. So it finally comes to fruition in a satisfying way simply for being a new Woo movie." Concluding, "Woo's technique inspired Hollywood to copy him when producers couldn't hire him in the '90s. It especially stands out in 2024 when so few mainstream films pay such close attention to staging."

       Nick Schager of The Daily Beast was less impressed, stating, "A mediocre remix that, for all its familiar elements, fails to improve upon a single aspect of its trailblazing predecessor." Adding, "The film’s script (credited to Brian Helgeland, Josh Campbell, and Matt Stuecken) complicates matters by revealing that Finn works for gangster Jules (Eric Cantona), who hired Zee for her opening gig in order to recover 100 tons of heroin that was stolen before he received it from a Saudi Arabian prince (Saïd Taghmaoui). The question of who’s backstabbing who, however, proves of little consequence, especially considering that Woo himself appears primarily interested in his vicious centerpieces."

'The Crow' Reviews: "I saw the original The Crow not too long ago, and as imperfect as it was, it was a better movie"

         On August 23, 2024, Lionsgate released 'The Crow', which has received predominantly negative reviews from critics, currently holding at 21% on Rotten Tomatoes. In the film," Bill Skarsgård takes on the iconic role of THE CROW in this modern reimagining of the original graphic novel by James O'Barr. Soulmates Eric (Skarsgård) and Shelly (FKA twigs) are brutally murdered when the demons of her dark past catch up with them. Given the chance to save his true love by sacrificing himself, Eric sets out to seek merciless revenge on their killers, traversing the worlds of the living and the dead to put the wrong things right." But what did the critics say? 

Photo by Johnny Briggs on Unsplash

        Matt Neglia of Next Best Picture writes, "Overall, “The Crow” is not only a missed opportunity that fails to justify its existence but an endeavor that should’ve been laid to rest many years ago." Adding, "While the story “The Crow” adheres to the basic plot of the original (for the most part), it adds little to the characters or the world they inhabit. The villain, Roeg, is one-dimensional and does not contain the menacing presence that Michael Wincott’s Top Dollar brought to the first film. Huston sleepwalks through his performance like an aimless soul drifting through the afterlife, as the screenplay seems entirely disinterested in giving him anything memorable to convey or clarity behind his power and motivations, rendering him merely as fodder for Eric’s revenge and nothing more."

       Alan Ng of Film Threat says, "It drags through a slow love story, lacks the original’s dark, gritty atmosphere, and misses the intensity that made the 1994 film a cult classic." Concluding, "I’ll just admit it right now. I saw the original The Crow not too long ago, and as imperfect as it was, it was a better movie. I have been so bored with a movie like this since Madame Web. In fact, I’m tempted to watch Madame Web again as a palette cleanser. Let me get the comparison out of the way."

        James Preston Poole of But Why Tho? A Geek Community praises the film, stating, "Sexy, tortured, and very gothic, The Crow absolutely lives up to its namesake in its own way." Adding, "By the time The Crow hits a tearful conclusion, it’s clear that this movie was made with the right intentions. The Crow may not always rise above a clear villain problem. The shadow of the original graphic novel, the 1994 adaptation, and proposed versions of this movie that never happened might be too much baggage for some moviegoers to get over. Nevertheless, The Crow is the rare comic book movie that slices open its chest and lays its beating heart bare."

       Robert Kojder of Flickering Myth notes, "Aside from one brutally satisfying action sequence, The Crow is a series of events stitched together with no buildup, logic, or momentum. For a movie about star-crossed soulmates, it has no soul"

'Incoming' Falls Flat on Delivery

         On August 23, 2024, Netflix released 'Incoming', which has received a negative reception from critics, currently holding at 20% on Rotten Tomatoes. In the film, "Mistakes will be made as four teenage boys navigate a night of mayhem and debauchery." The ensemble cast includes Ramon Reed, Mason Thames, Raphael Alejandro, Kaitlin Olson, and Isabella Ferreira. But what did the critics say?

        Nate Adams of The Only Critic says, "There’s no Micheal Cera, Jonah Hill, or Christoper Mintz-Plasse to sooth over the rough patches of a movie that is just an amalgamation of countless R-rated comedies before it." Adding, "Here, the Chernin brothers play the greatest hits where, as a passive watch or as background noise for a “Netflix & Chill” session, is serviceable, but slight. Worse, it doesn’t help advance the case for evolving the R-rated comedy and trying to make them more than just streaming content. Several years ago, while the iron was still hot, a movie like “Incoming,” with better resources, would have fared better with stronger actors, and a script that could tastefully balance the sex comedy elements with stronger themes of friendship and bromance."

        John Serba of Decider writes, "There are a few instances of viable comedy – a clever line here, a passing bit there – but ultimately, the laugh-to-nausea ratio is way out of whack." Continuing, " I have yet to mention Kaitlin Olson’s role as Benj’s mother; the veteran funnylady scores the biggest laugh here with a single line during an outraged-parent bit. It’s so inspired, you’ll be sad Olson isn’t prominently featured here (she has two, maybe three scenes?). Too bad you have to gut out the endless hellish torment of the diarrhea subplot in order to get to it – something that might inspire you to lunge at the power button on your remote like Ali to Frazier."

      Archi Sengupta of LeisureByte.com notes, "Considering the comedy is so taxing to watch, all the plots in the film get extremely old very quickly, leaving you to witness this embarrassing display of insanity that has neither nuance nor any idea about where to draw the line. Jokes go on forever and repeat themselves constantly, leaving you to wonder what exactly was funny in the first place. Benj and Bailey’s “relationship” doesn’t create anything lovely either and thus you don’t feel drawn to the love story much. Plus, it doesn’t help that the plot is just so old that you know exactly what’s about to happen here."

Photo by Clay Banks on Unsplash

           Adrian Horton of Guardian also was unimpressed, stating, "Though Incoming has a decent handle on the raucous momentum of a high school party and the crass dialect of freshman boys, the film has the consistently distracting sheen of a made-for-streaming film, making for cheap comparison to its inspirations." Noting, "The over-reliance on poop jokes for half the movie admittedly burned through much of my goodwill, though not all of it. When the kids are not having an all-out brawl, attempting to scheme drug deals or enduring a literal shit storm, little moments of chemistry, particularly between an appealing Thames and believably cool Ferreira, allow the movie to not feel like a writing exercise for an R-rating. The Chernins are savvy enough to not wrap the whole thing in a neat “just be yourself” bow in the end, but Incoming could have worn a little more of its heart on its sleeve."

'The Boy in the Woods' Reviews: "Writer-director Rebecca Snow skilfully maintains the youthful perspective, which keeps the actual violence off-screen while giving everything a sharply matter-of-fact tone"

   

Photo by Tim Mossholder on Unsplash

         On August 29, 2024, Menemsha Films releases 'The Boy in the Woods', which has earned rave reviews from critics so far, currently holding at 100% on Rotten Tomatoes. The film "follows the true story of Max (Jett Klyne), a Jewish boy escaping Nazi persecution in Eastern Europe. After he is separated from his family, Max finds refuge with a Christian peasant Jasko (Richard Armitage) who hides him in plain site until a tense stand -- off with Nazi police. Afraid for his own family's life, Jasko sends Max to live in the woods where he learns to survive alone." The ensemble cast includes Christopher Heyerdahl, Ari Millen, and Tara Nicodemo. Read the full review round-up below.

        Leslie Felperin of Guardian notes, "This sweet if somewhat sentiment-and-string-section-forward Canadian film tells the true story of Max (Jett Klyne, impressive), a Jewish boy aged 12 from Warsaw, trying to evade capture during the second world war." Adding, "The film is rated 12, but if parents want to show it to kids younger than that at home, they may wish to follow the example of Phoebe’s parents in Friends who simply turned off famous tearjerker Old Yeller before it got to the end, lest she learn the tragic fate of the film’s eponymous dog. Nevertheless, a coda at the end featuring the real Max as an old man offers some hope, even if there’s something a little discomforting about that aforementioned final scene."

       Rich Cline of Shadows on the Wall says, "Writer-director Rebecca Snow skilfully maintains the youthful perspective, which keeps the actual violence off-screen while giving everything a sharply matter-of-fact tone." Concluding, "Young Klyne has terrific screen presence in a demanding role, portraying a sharp boy who is observant and thoughtful. His quietly methodical approach, even in the most nightmarish situation, is inspiring and even powerful. Through his eyes, other characters come and go, with Armitage and Lizdek registering strongly, as does Shauna Snow in a smaller role as a quick-thinking local. These are compassionate people in a place that is otherwise full of hate. The filmmakers don't add much here beyond dramatising a true-life story, relying on the realities of the war and the waves of emotions that generates, rather than looking for present-day resonance. And the approach is clearly based on a memoir, so outside context is minimal. But the details of this account are remarkable, and they are dramatised with skill. There's also a documentary epilogue featuring the real Max Smartthat ties up a loose in a seriously beautiful way."

       Liz Braun of Original Cin praises the film, stating, "It’s not perfect but this adaptation of Maxwell Smart’s bestseller about his childhood escape from Nazis is powerful thanks to a star turn by Jett Klyne."

       Romey Norton of Film Focus Online writes, "The Boy in the Woods is not only moving, but serves as an important reminder of how devastating war is, especially to innocent children. A must watch." Continuing, "The cinematography is gloomy and grim; really forcing the feelings of poverty, sadness and hopelessness. The scenes become lighter when Max is happier or reliving a memory, telling a story, and this is very effective in playing with the emotions of the audience. Klyne strongly carries the film, and has some very emotional moments which will stay with you as a viewer. However the acting is compelling, especially for two young actors. Kylne and Armitage share a powerful scene towards the end of the film which moved me to tears."

Second Season of 'Pachinko' Impresses the Critics

         With a score of 100% on Rotten Tomatoes, the second season of Apple TV+'s 'Pachinko' has emerged as an early Emmy contender. In the series, "The hopes and dreams of a Korean immigrant family across four generations as they leave their homeland in an indomitable quest to survive and thrive." The ensemble cast includes Youn Yuh-jung, Minha Kim, Lee Min-Ho, Jin Ha, Jimmi Simpson, Soji Arai, Noh Sang-hyun, and Anna Sawai. But what did the critics say?

        Laura Sirikul of IGN Movies praises the series, stating, "Pachinko Season 2 is a masterpiece of storytelling, performance, production, costume design, cinematography, and direction. Like its characters, the series has learned from past mistakes." Continuing, "Throughout these stories and across the decades, Pachinko’s cinematography, production and costume design, and direction remain lavishly satisfying, with apt attention to detail regarding the cultures it represents. Whether it’s the fabrics in the period wardrobes or the kimchi and noodles Sunja makes at her merchant stand, the imagery is poetically stunning. The dialogue `s, too: As Sunja and Noa share a meal at a tofu stand, Sunja reflects on the struggles she has gone through, dreaming of a better life for her sons. “I made a promise to your father,” she tells him. “No matter what, you and your brother must thrive. I intend on keeping that promise.” Nico Muhly's brilliant score elevates the bold and touching story they share, adding a delicate resonance to moments between mother and children."

       Dan Einav of Financial Times writes, "The exquisite, era-spanning inter-generational saga Pachinko returns after more than two years for a second season on Apple TV+ that confirms its standing as one of the most visually striking, emotionally stirring shows of the past decade."

       Peter Martin of ScreenAnarchy says, "Featuring stirring performances and splendid period costuming, production design, and makeup, Pachinko picks up right where it left off, casting an absorbing, spellbinding, and troubling vision, unlike anything else I've seen in recent memory." Concluding, "Pachinko is a show that resides on a teeter-totter of emotions, informed by personal experiences and the lasting damage that systemic discrimination can have, crossing generational lines. The deep hatred that can develop between neighboring nations can become so ingrained that residents of one nation may speak out in knee-jerk fashion against residents of another nation. (As a light skinned American-born person I can't tell you how many times I've heard white people mutter 'dirty Mexican' around me, without realizing that I'm of Mexican-Irish descent.) Rarely explored in mainstream movies or television shows, the animosity between Japanese and Korean people dates back multiple centuries to Japan's invasion of Korea, which was only heightened when Japan annexed Korea in 1910, increasing up to 1945, which is when Season 2 picks up. Discriminatory words are frequently heard throughout the series, which can be enraging for all concerned."

       Nick Schager of The Daily Beast notes, "A stirring small-scale epic of heritage, hate, and hope. In its sophomore go-round, it remains one of television’s finest." Adding, "The series is rife with sexism, Japanese intolerance of Koreans, and lingering scars (in both 1945 and 1989) that thwart attempts to resolve the myriad problems at hand. Still, the show is never preachy; rather, its bitter prejudices, romantic entanglements, and split allegiances are natural outgrowths of its time periods and its protagonists’ particular situations. The quest for identity is tangled up with the onerous weight of responsibility in Pachinko, and the show juggles (and commingles) its concerns with impressive deftness. Everyone in this era-spanning saga is contending with strained loyalties to others, themselves, and their Japanese homeland, in which they’re viewed as second-class citizens."

Image Courtesy of Apple TV+