'Grotesquerie' Reviews: "Watching Manville pull off some of the lines here is a masterclass in keeping a straight face while tasked with conveying the truly absurd"

         On September 25, 2024, FX premiered 'Grotesquerie', which has earned predominantly positive reviews from critics. In the series, "Detective Lois Tryon feels a series of heinous crimes in her small community are eerily personal, as if someone or something is taunting her. At home, Lois grapples with a strained relationship with her daughter, a husband in long-term hospital care and her own inner demons. With no leads and unsure where to turn, she accepts the help of Sister Megan, a nun and journalist with the Catholic Guardian. As Lois and Sister Megan string together clues, they find themselves ensnared in a sinister web that only seems to raise more questions than answers." The ensemble cast includes Nicholas Alexander Chavez, Niecy Nash, Courtney B. Vance, Leslie Manville, Micaela Diamond, Travis Kelce, and Raven Goodwin. But what did the critics say?

        Rebecca Nicholson of Guardian notes, "It might seem odd to suggest that Grotesquerie, the latest show from the ubiquitous, never knowingly understated Ryan Murphy (who co-creates and co-writes here), is more downbeat than his usual horror fodder. There are four highly theatrical massacres in the first two episodes alone, and a body count so vast that the number of corpses might outweigh the members of the living, breathing cast. Yet it is different to many of his other projects, which tend to err on the side of spectacle for spectacle’s sake. This is clearly grappling for a grander narrative in the gothic horrors on display." Continuing, One of the big pre-release talking points of Grotesquerie has been the acting debut of American footballer and famous boyfriend Travis Kelce, but they’re obviously keeping their powder dry, as there’s no sign of him in the first two episodes. There is, however, a hot, Elvis-like priest (Monsters’ Nicholas Chavez) and Lesley Manville as Nurse Redd, an acidic, Ratched-esque nurse who cares for, and then some, Lois’ husband Marshall, who is in a coma. Watching Manville pull off some of the lines here is a masterclass in keeping a straight face while tasked with conveying the truly absurd. Grotesquerie is a slow burn, but it is intriguing. Elsewhere, it touches on reality TV, addiction, guns, faith and the mundanity of marriage. It may be too much, all at once, and as is often the case with Murphy shows, it strives to find a balance between genuine provocation and being shocking just because he can be. Even so, these opening episodes suggest it is worth persevering with. This ambitious horror may well find its feet."

Photo by Alice Voigt on Unsplash

        Daniel Kurland of Bloody Disgusting says, Nash-Betts’ Detective Tryon and Micaela Diamond’s Sister Megan Duval are also an excellent duo who immediately have chemistry. Nash-Betts really sells this material and excels in Grotesquerie, but Diamond is a revelation and is the series’ early MVP. She brings a cagey, squirrelly intensity to all of her scenes. Tryon and Duval achieve a unique camaraderie, yet their dynamic doesn’t feel anything like what’s present in other two-handed murder series, like True Detective, or any of Ryan Murphy’s past projects. Sister Duval’s morbid interests may initially seem atypical, but she becomes a welcome conduit for Grotesquerie to deconstruct the idea that cults and crimes have become a new form of faith and religion; a grim fact that’s seemingly corroborated by Murphy’s menagerie of TV series, many of which are variations on the same murderous themes. A sliding scale of cataclysms and callousness continue to consume the world while a nun and priest gossip over burgers about their favorite serial killers. These first two Grotesquerie episodes establish a baseline between Tryon and Duval and it seems like their dynamic will boil down to the power of faith, like an alternate version of Mulder and Scully, minus the aliens. That being said, both Detective Tryon and Sister Duval know that the truth is out there and they’re determined to find it. Faith is what keeps Detective Tryon going, whether it’s with this macabre crime or her personal life. Tryon struggles with an incomplete jigsaw puzzle at home. Meanwhile, it’s no coincidence that Sister Duval later earnestly admits, “It seemed to fit,” after she makes a prediction about the Burnside massacre, as if she’s mentally putting together a puzzle. She possesses skills that are essential to Tryon." Continuing, "It’s not unusual for Ryan Murphy series to start strong, only to veer off into messy mediocrity. It may be naive to think that Grotesquerie will be any different, but these first two episodes accomplish quite a bit when it comes to character, atmosphere, and storytelling."

       Matthew Creith of The Wrap writes, "Having a stereotypical police officer role imbibing on liquor in order to get through the harshness of reality isn’t groundbreaking, but Niecy Nash-Betts is more than qualified to take on the cliche. A gifted actor whose promotion to leading lady in this series is much deserved, given the wealth of talent she brings to such an unseemly character. There’s definitely more than meets the eye in the first two episodes of “Grotesquerie” as series creators Ryan Murphy, Jon Robin Baitz (“Feud”) and Joe Baken (“American Horror Stories”) build a world full of odd creatures and even more odd theological motives. Though Kansas City Chiefs tight end Travis Kelce’s role is yet to be clarified, the show moves along like an investigation into the mind of Detective Tryon and the serial killer she pursues to no end."

'Abruptio' Impresses Critics

         On September 27, 2024, Anchor Bay Entertainment released 'Abruptio', which has earned rave reviews from critics, currently holding at 90% on Rotten Tomatoes. In the film, "Les Hackel hates his life. He works a dead-end job, was just dumped by his high-maintenance girlfriend, and still lives with his nagging mom. One night, he discovers a fresh incision behind his neck. His friend Danny tells him it's a bomb, that someone has implanted one in his neck, too. And then the messages start coming in, forcing Les to carry out missions with deadly results. Les is partnered up with a series of oddball characters to commit heinous tasks. The violence escalating around him, Les pieces together the clues that reveal the horrific plans to breed a monstrous race of beings." The ensemble cast includes Hana Mae Lee, Jordan Peele, Robert Englund, James Marsters, and Christopher McDonald. Read the full review round-up below.

       Kyle Logan of Cultured Vultures says, "Abruptio is a singular film on almost every level, which makes it worth seeking out for fans of weird movies, but it has some ideological issues and isn’t quite good enough to transcend its niche." Adding, "That narrative structure allows the movie to explore different genres and poke at the “we’re all puppets in this world” concept from various angles, but it costs the film narrative momentum. There’s no real sense of urgency outside of the various missions that Les is sent on, even as the backdrop of the film tells a story of the world falling apart. Yet despite that lack of narrative momentum, there’s a sense that you can’t look away because you never know what’s going to happen next."

        Jennie Kermode of Eye for Film praises the film, stating, "As you’d expect, there’s a huge amount of creativity here. The expressiveness of the puppets is impressive and very well used, but there are also some wonderfully anarchic elements as we see them interacting with real world props and settings. There are no sex scenes but an interesting approach to sexuality highlights the ways that women are objectified in conventional thrillers, and does so hilariously, whilst Les’ journey includes an element of coming to terms with why some women find him creepy and resisting his desire to take advantage of Chelsea (Hana Mae Lee), a young woman who tumbles into his life in a desperately vulnerable state and who would end up as the hero’s girlfriend in 90% of such films." Continuing, "Horror fans will find the film a particular treat because of the great cameos it includes from legendary stars like Robert Englund and Sid Haig, both of whom are lots of fun. It also plays with classic genre themes, to it own ends. Rather than limiting itself to playing out the bomb plot, it expands stage by stage to build up a complex universe, before pulling the rug from under us at the very end. The way that it does this bears interesting parallels with another recent genre film, but that’s where the comparison ends. Abruptio is something unique. If you find it distressing, try to keep watching. There are some things which should distress us, and for all its delicious dark comedy, Marlowe’s deeply human film reminds us why."

Photo by Tim Mossholder on Unsplash

     David Gelmini of Dread Central notes, "Viewers who are not perturbed by the use of human-sized puppets will commend Abruptio for its unique visual-style and its audacious premise. And those who are too perturbed by its irregularity will still find it too damn strange to completely ignore." Adding, "Abruptio is a film that clearly likes to screw with the minds of its viewers. In addition to its perplexing visual style, it also forces us to think about how far we would go if we were being ordered to carry out evil tasks. The use of puppets will also haunt most viewers because, in addition to their disquieting lifelike designs, there was just something so incredibly unsettling about seeing puppets bleeding and taking damage in the same way a human body would."

       Stephanie Malone of Morbidly Beautiful writes, "With impressive creativity and craftsmanship, “Abruptio” is astonishing — a film full of puppets that probes the depth of humanity. It will draw many viewers in on the strength of its unique gimmick. But rest assured; it’s far from a one-trick pony." Concluding, "The puppet work is beyond impressive and worthy of accolades. But Marlowe sacrifices nothing in terms of story or character development. This is the total package."

'The Outrun' Reviews: Saoirse Ronan Emerges as an Oscar Frontrunner

         On October 4, 2024, Sony Pictures Classics releases 'The Outrun', which has earned predominantly positive reviews from critics, currently holding at 77% on Rotten Tomatoes alongside a Critics Consensus that reads, "Benefiting from Saoirse Ronan's deeply committed performance in the central role, The Outrun proves a moving portrait of addiction in spite of its somewhat shapeless narrative." In the film, "Rona, fresh out of rehab, returns to the wild Orkney Islands after more than a decade away. As she reconnects with the dramatic landscape where she grew up, memories of her childhood merge with the more recent challenging events that have set her on the path to recovery." The ensemble cast includes Paapa Essiedu, Lauren Lyle, Stephen Dillane, and Saskia Reeves. But what did the critics say? 

       Maureen Lee Lenker of Entertainment Weekly notes, "Ronan, cast against the backdrop of the sublime, evocative Orkney Island landscapes, elevates the film to a moving tale of overcoming one's demons and learning to savor life as it comes." Adding, "In the 30-year-old Irish actress' nearly 20-year career, it's hard to find fault with a single performance even in imperfect films. In The Outrun, she racks up another stellar credit as recovering alcoholic Rona. The film, based on the 2016 memoir by Amy Liptrot, marks Ronan's debut producerial effort — and it's a highly personal project for her as well. That's evident in the pain and ferocity she brings to Rona, who we meet in the midst of the bender that finally convinces her to go to rehab."

       Emma Simmonds of The List says, "A four-time Oscar nominee and she’s still only 30, actress Saoirse Ronan has shown the breadth of her talent across comedies, period pieces and action. In The Outrun, from director Nora Fingscheidt, she tackles the challenging territory of addiction, playing alcoholic Rona, and, as ever, she’s sensational. Based on Amy Liptrot’s memoir and set on the Orkney Islands, the film is a vivid portrait of redemption and rebirth, and a love letter to the rugged Scottish landscape."

       Alistair Ryder of Vague Visages was less impressed, stating, "If the aim was to get audiences to recognize that alcohol abuse doesn’t necessarily mean drinking yourself to death, then there's an importance to its approach. But what makes for a striking drug awareness campaign doesn’t make for a rewarding drama."

Photo by Martti Salmi on Unsplash

       Amber Wilkinson of Eye for Film praises the film, stating, "There are plenty of directors who show off their style and verve but arguably we don’t celebrate those who take tricky subject matter and present it in a way that is artistic but also looks effortless. Nora Fingscheidt definitely deserves to receive plaudits in that regard as she immerses us immediately and completely in the headspace of Rona (Saorise Ronan), a recovering alcoholic, who has brought the memories of the past home with her from London to her family’s farm on the Orkney Islands as she tries to get her life back on track. Based on the memoir by Amy Liptrot, who shares adaptation duties with Fingscheidt, this, just as most people’s recovery from alcoholism, is not a linear story, but one in which the traumas of the past intertwine with the challenges of the present. It rests on a performance from Ronan that moves seamlessly between Rona’s various emotional states - her character may rarely be grounded but we always know exactly where we are with her."

'Lee' Reviews: Kate Winslet Anchors Film that "struggles to match her sense of urgency"

         On September 27, 2024, Roadside Attractions and Vertical released 'Lee', which has received a mixed reception from critics, currently holding at 64% on Rotten Tomatoes alongside a Critics Consensus that reads, "Kate Winslet's gripping performance in the title role helps elevate Lee beyond its disappointingly conventional biopic trappings." The ensemble cast includes Kate Winslet, Andy Samberg, Marion Cotillard, Josh O'Connor, Andrea Riseborough, and Alexander Skarsgård. Read the full review round-up below.

        Joey Magidson of Awards Radar says, "Too many people have never heard of Lee Miller. In the past decade or so, the model turned war photographer began to get a moment in the sun, but it has taken until now for a biopic to come together. Now, we have one in Lee and it’s a throwback film, for better and worse. It’s elegant and stacked with strong actors, but with a sense of eating your vegetables that other biopics have been able to shake of late. The good outweighs the bad, but it’s close. Lee lives and dies with its lead performance. Watching Miller come to life through Kate Winslet, who also produces and truly shepherded this story into existence, is actually very compelling. She’s too good an actress not to ace this role, and she’s incredibly invested, but the overall project struggles to match her sense of urgency."

       G. Allen Johnson of San Francisco Chronicle notes, "Lee,” based on Antony Penrose’s biography of his mother, “The Lives of Lee Miller,” is an interesting look at an artist whose true importance, unfortunately, became apparent only many years after her death."

Photo by Felipe Bustilo on Unsplash

       Saskia Baron of The Arts Desk was less impressed, stating, "Anyone who has seen Lee Miller’s photographs – those taken of her in the 1920s when she was a dazzling American beauty, those she took as a World War Two photojournalist – and read about her extraordinary life will have thought: this will make a great biopic. Unfortunately, it’s precisely because those photographs have become so familiar that Lee was destined to be a frustrating film. We know what Miller looked like from the pictures taken of her by the likes of Edward Steichen, Man Ray, and David Scherman. It’s hard not to have those images in mind when watching the also familiar Kate Winslet portray Miller on screen. It's hard, as well, to be convinced by the movie, especially the 1977 scenes in which Winslet plays the 70-year-old Miller with none-too-subtle ageing make-up." Concluding, "The film’s biggest problem is the weary framing device that has a young man interviewing the ageing Miller about her life. Even the twist at the end, which reveals that the interviewer (played by Josh O’Connor with his trademark pout) isn’t some opportunistic journalist, doesn’t make these scenes work. It's best to stick to the excellent documentaries that have been made about Miller, her photographs, and the fascinatiing books about her written by Anthony Penrose, her son."

        Alex Sims of Time Out praises the film, stating, "As an argument for how urgent and powerful photography can be, and the debt we owe Miller for the lengths she went to take those images, Lee wins hands down."

'Mr. McMahon' Reviews: "A comprehensive portrait of a man and an industry defined by the ever-blurry line between fact and fiction"

         On September 25, 2024, Neflix released 'Mr. McMahon', which has earned predominantly positive reviews from critics. In the documentary, "the career of former WWE founder, chairman and CEO Vince McMahon" is documented from his rise to his fall from grace. But what did the critics say?

       Nick Schager of The Daily Beast praises the documentary, stating, "A comprehensive portrait of a man and an industry defined by the ever-blurry line between fact and fiction."

       BJ Colangelo of Slashfilm notes, "Beginning in 2021, director Chris Smith ("American Movie," "Tiger King") filmed over 100 hours of interviews with McMahon, his biggest stars, his business associates, journalists, and his family (who double as his employees and on-screen co-workers). Before a final interview, production was halted because inescapable allegations of sexual abuse and trafficking against McMahon hit; allegations that forced him to finally retire from WWE. This means a flurry of WWE-owned footage that they'd never have signed off on to be used in something so critical is well on display in the new Netflix docuseries "Mr. McMahon," and the talking head interviews feature people who would have never sat with a production to discuss McMahon with a pending lawsuit against him for such abhorrent and deplorable behavior. For wrestling fans, "Mr. McMahon" isn't revealing anything new, but the way Smith exposes the parallels between Vince McMahon's behavior, attitude, and personality and the way pro wrestling has evolved in tandem is some world-class craftsmanship. This Netflix docuseries didn't screw Vince McMahon. Vince McMahon screwed Vince McMahon." Adding, "I don't know what angle was initially pitched to Vince McMahon when he agreed to sit for this docuseries about his life and career, but Smith makes an absolute feast out of self-incriminating statements straight from the horse's mouth. McMahon is used to having total control of his own narrative, but with Smith's direction and the work of some incredibly gifted editors, "Mr. McMahon" lets Vince McMahon shatter his own kayfabe illusion. "I wish I could tell you the real stories. Holy s***, I don't wanna tell you these stores," he says. "I'll give you enough that it's semi-interesting. I don't want anybody to really know me." Famous last words for a man the world will see for exactly who he is whether he wants them to or not."

Photo by Oscar Vargas on Unsplash

        Garrett Martin of Paste Magazine says, "Wrestling fans have been desperate for details on Mr. McMahon ever since it was first announced almost four years ago. Produced by Bill Simmons of 30 for 30 and The Ringer fame, and directed by Tiger King producer and American Movie director Chris Smith, Mr. McMahon is the first biography of wrestling impresario Vince McMahon to be made with the cooperation of WWE, the industry-dominating wrestling company McMahon ran for 42 years until stepping down in disgrace earlier this year. Crucially, it was announced that McMahon and WWE wouldn’t have editorial control over the film, despite cooperating with its production; given McMahon’s Trumpian history of lying about himself and his company, and his attempts to control every facet of his company and its press coverage to a minute detail, this meant Mr. McMahon would be the incredibly rare piece of media that would have access to McMahon and WWE and also the freedom to portray them in an honest light. With the sordid history of McMahon and the wrestling industry in general, it seemed Mr. McMahon had the potential to open some eyes." Continuing, "Having seen the show, I can say that it might. But not those of wrestling fans, who have spent the last few decades collectively obsessed over McMahon, his industry-reshaping hubris, his genius on-screen character, and the batshit tales of his real-life, behind-the-scenes sociopathy. The hardcore wrestling fan who has consumed backstage news and rumors, “shoot” interviews with old wrestlers, shows like Dark Side of the Ring, and countless message board posts won’t learn anything new about Vince McMahon, his immediate family (all of whom have worked prominently for WWE), or his company. And the one major story Mr. McMahon could have expanded on, the ongoing lawsuit accusing McMahon of sex trafficking and assault, broke late in the show’s production; it’s covered in more than one episode, but not with the depth or access you might hope for."

Movies that Deserved Better: 'Dead Silence'

         On March 16, 2007, with a streaming release on November 19, 2013, Universal Pictures released 'Dead Silence', which received a mixed reception from critics, currently holding at 21% on Rotten Tomatoes. In the film, "After his wife meets a grisly end, Jamie Ashen (Ryan Kwanten) returns to their creepy hometown of Ravens Fair to unravel the mystery of her murder. Once there, he discovers the legend of Mary Shaw (Joan Heney), a murdered ventriloquist whose eerie presence still looms over the town. As he desperately digs for answers, Jamie encounters the curse that took his wife's life and threatens his own." The ensemble cast includes Donnie Wahlberg, Amber Valletta, Bob Gunton, and Judith Roberts. But what did the critics say?

       Felix Vasquez Jr. of Cinema Crazed notes, "Dead Silence” is less a film about a killer puppet, and more a film about the madness behind the puppet. Was Mary Shaw really undead, or were her puppets keeping her alive? Whanell and crew never really make it clear to us, but they do create a truly creepy horror character that works mainly because she’s so utterly horrifying to look at. “Dead Silence” has a genuine novelty to it, and one that works to compliment the puppets that play as constant plot devices. Wan’s direction is just great as he has a blast using darkness as a truly interesting characteristic for the film, all the while using swooping camera angles and good old fashioned creepy settings to build the suspense all the while attempting to build a story." Adding, "Aside from having a bland leading character, and an obnoxious antagonist (really, what was Donnie Wahlberg’s purpose in this affair?), the film never truly has a clear narrative in mind until the second half where it all comes crashing down. I won’t say this was a complete win for the boys from “Saw.” The film most definitely has plenty of inherent flaws, but in spite of it all, it’s also a very creepy little ditty that works once it rears up to the second half."

        Frank Scheck of Hollywood Reporter praises the film, stating, "Director Wan demonstrates that he's equally effective working in a more classical vein, especially with his skillful use of chilling low-key sound effects and silence in several scary sequences."

Photo by Robert Zunikoff on Unsplash

        Scott Collura of IGN Movies says, "It's great seeing Wahlberg getting the chance to have fun with the character, who proves to be a highlight of the film, and one almost wishes he might get his own spin-off film or series at some point"

       Scott Tobias of AV Club was less impressed, stating, "Even without the mechanized death that made the Saw movies such a sensation, it doesn't take long to realize that director James Wan and writer Leigh Whannell are merely trying to replace one twisty, gimmicky franchise with another."

        Personally, I really enjoyed this movie. Ryan Kwanten was the standout in terms of acting, giving his best performance outside of 'True Blood'. Donnie Wahlberg was solid as well and his performance during the big reveal scene was equal parts great and hammy all at once. The script could have progressed less rapidly and quite honestly, this movie would have been better as a television limited series. Given the year, 'AHS' could have had some competition. 

'Apartment 7A' Reviews: "I give it points for the impeccable production design and the always magnificent Julie Garner, but 7A doesn't have the X factor that the beloved original has"

         On September 27, 2024, Paramount+ premiered 'Apartment 7A', which has received a mixed reception from critics, currently holding at 48% on Rotten Tomatoes. In the limited series, "When a struggling, young dancer (Julia Garner) suffers a devastating injury, she finds herself drawn in by dark forces when a peculiar, well-connected, older couple promises her a shot at fame." The ensemble cast includes Jim Sturgess, Dianne Wiest, Kevin R. McNally, and Andrew Buchan. But what did the critics say?

        Ryan Lattanzio of indieWire says, "It doesn’t blow open or reinvent the Rosemary’s Baby mythology, but it’s a decent primer to attract younger audiences back to the 1968 classic film." Adding, "How well do you know your “Rosemary’s Baby“? In Roman Polanski’s 1968 film and in Ira Levin’s novel published the year before, new Bramford tenant Rosemary Woodhouse meets a young woman in the basement laundry room, Terry Gionoffrio, who says the Castavets rescued her from drug addiction and homelessness. Smash cut to the next day, and her mangled corpse is found in a pool of her own blood outside the Bramford apartment complex, having jumped to her death. (The actual building is the Dakota, a German Renaissance-inspired, 94-unit coop on 72nd Street on the Upper West Side.) “Apartment 7A,” the atmosphere-drenched, classed-up new film directed by talented “Relic” filmmaker Natalie Erika James, is a direct prequel to “Rosemary’s Baby” that focuses entirely on Terry’s story and the events that led to her suicide. It doesn’t blow open or reinvent the “Rosemary’s Baby” mythology, but it’s a decent primer to attract younger audiences back to the 1968 classic film. Terry is played by the ever superb “Ozark” triple Emmy winner Julia Garner, eventually in a Gwen Verdon-style, brunette coiffure that suits the blonde-haired, fair-skinned, sharp-cheekboned actress recently cast as Madonna. As Minnie and Roman Castavet — played by Oscar winner Ruth Gordon and Sidney Blackmer in Polanski’s movie — “Apartment 7A” features the great Dianne Wiest and Kevin McNally, who both eerily resemble and sound like their predecessors. Close your eyes while Wiest, in horned-rimmed sunglasses and outrageous hats and outfits, is speaking, and she’s a dead ringer for Gordon in speech."

       Lee McCoy of DrumDums notes, "I give it points for the impeccable production design and the always magnificent Julie Garner, but 7A doesn't have the X factor that the beloved original has."

       James Preston Poole of But Why Tho? A Geek Community writes, "Natalie Erika James showcases her talent enough to prevent Apartment 7A from becoming a slog. Still, outside of Julia Garner’s commitment, there’s nothing fresh under the hood to recommend visiting Apartment 7A."

       Cody Leach of Cody Leach says, "Garner & Wiest shine in an otherwise predictable prequel. The look and atmosphere is a commendable recreation of 1968 but the story being told plays too much like a loose remake of Rosemary's Baby. Better than expected...but nothing remarkable."

Photo by Bermix Studio on Unsplash

        Meagan Navarro of Bloody Disgusting was less impressed, stating, "It’s been a year of horror prequels, with The First Omen and A Quiet Place: Day One renewing faith in the prequel’s ability to find unexpected, poignant story threads still left to explore, especially with talented voices driving them. That Apartment 7A, the prequel to Rosemary’s Baby, stacks the talent in front of and the behind the camera instills hope for the prequel’s continued hot streak. Unfortunately, a bland script and limiting story choices bind this prequel so thoroughly that it winds up a tedious retread of Rosemary’s Baby. Apartment 7A opts to explore the story of Terry Gionoffrio (Julia Garner), the friendly dancer who befalls a grim fate shortly before Rosemary Woodhouse moves into the Bramford. It introduces Terry just as she’s about to join the stage for a dance number, which is abruptly cut short by a brutal snapping of Terry’s ankle, effectively crippling her career. A series of setbacks and failed auditions eventually leads her to Alan Marchand (Jim Sturgess), a show producer who also happens to be a resident at the Bramford. In Terry’s bid to get into Marchand’s good graces, she finds herself taken in by the generous, warm Castevets – Roman (Kevin McNally) and Minnie (Dianne Wiest). But Terry obviously will discover her good fortune comes with a steep cost." Continuing, "Director Natalie Erika James, who delivered a stunning, poignant debut in 2020’s Relic, feels trapped by this prequel. It hits every expected plot beat with rote efficiency, seamlessly matching the prequel’s ending to Terry’s fate in Rosemary’s Baby. With a lack of scares or any new narrative revelations, Apartment 7A brings nothing new for audiences to grab hold of. That it bears a lot in common with The First Omen doesn’t help at all, either. While it ultimately will be more welcoming to newcomers unfamiliar with Rosemary’s Baby, those who are will likely find this a handsomely made but overly familiar slog."

'Brilliant Minds' Reviews: "Being crabby but brilliant is a prerequisite for good TV doctoring"

          On September 23, 2024, NBC premiered 'Brilliant Minds', which has received predominantly positive reviews from critics. In the series, "Dr. Oliver Wolf is an eccentric but incredibly gifted neurologist who suffers from a rare condition that gives him a unique perspective on care, fueling his mission to change the way the world sees his patients. After his unusual methods result in his dismissal, he takes his unconventional approach to a new hospital: Bronx General, where he leads a team of bright young interns in tackling some of the world's most puzzling psychological cases. With their help, he must also challenge his own personal and social limitations by navigating all the expectations, politics and complicated relationships that come with the job." The ensemble cast includes Tamberla Perry, Zachary Quinto, Ashleigh LaThrop, Alex MacNicoll, and Spence Moore II. Read the full review round-up below.

        Sherin Nicole of RIOTUS says, "Being crabby but brilliant is a prerequisite for good TV doctoring. Okay, that’s an exaggeration, but the prickly doctors with good hearts are fun to watch. Deny it if you want, but NBC’s upcoming series Brilliant Minds proves it. Starring Zachary Quinto as Dr. Oliver Wolf, the show finds its lane at the intersection of neurology and mental health. Inspired by real-life neurologist Dr. Oliver Sacks, Quinto’s Wolf is a lone wolf who thrives in the comfort of a pack (more on that later). He’s an anti-authority genius, navigating the complexities of the human mind with a rebellious compassion that can’t be stymied. Early on, we learn his traumatic backstory couples with his disability to make sure he never gives up on people in need. His prosopagnosia, or face blindness, allows him to go past the obvious and truly see his patients—a duality that serves this series well." Adding, "What I enjoy most about Brilliant Minds is how it frames its group of leading doctors as a cohesive team You might see them as a sports squad with chemistry, or you could call them ‘gang gang’—either way, you’d be right. Each member brings a unique skill set to the table, and they play their positions well. There’s Wolf as the MVP and his bestie Carol (Tamberla Perry) as the coach. Ericka (Ashleigh LaThrop) is the rising star and a sweetie. Dana (Aury Krebs) is the bad girl with a sensitive side, while Jacob (Spence Moore II) plays the injury-prone hotshot, and Van (Alex MacNicoll) is the emotional hype-man. Together, they tackle medical mysteries with an engaging procedural style and a darker edge, balanced by well-placed lightheartedness that keeps you cheering for this squad."

       Robert Lloyd of Los Angeles Times notes, "Having been booted from a series of hospitals for his unorthodox, rule-ignoring ways, he has recently fetched up at Bronx General, where his mother (Donna Murphy) is his boss and old friend (Tamberla Perry) is his other, lower boss; their routine exasperation will be mitigated of course by Wolf’s eventual successes. A variety pack of interns attends him, striking poses from sweet to doubtful to caustic. As Quinto plays him, he’s a warmer version of his big-screen Spock — his best friend, seemingly, is a plant — and much humor is mined from Wolf’s utter unfamiliarity with popular culture. In the context of the series, he’s similar to a sensitive, empathetic version of Gregory House; like “House M.D.,” this is the medical show as mystery, and as in all such shows, the investigators will get it wrong before they get it right, offering plenty of occasions for sudden emergencies that lead into commercials. And as in most medical dramas, there are big questions about life and death one might find disturbing depending on one’s own life and circumstances. However, some comfort may be drawn from Wolf waxing thoughtful on a relevant element of human condition."

          Rob Owen of Pittsburgh Tribune-Review praises the series, stating, "The role suits Quinto. Wolf is a bit of a loner but having him work with his longtime friend, Dr. Carol Pierce (Tamberla Perry), and oversee a batch of interns who serve as audience stand-ins makes this series work quite well."

Photo by Bermix Studio on Unsplash

'Murder in a Small Town' Reviews: "it’s just a simple pleasure to be around these actors for an hour or so"

         On September 24, 2024, Fox premiered 'Murder in a Small Town', which has earned predominantly positive reviews from critics. In the series, "Karl Alberg moves to the idyllic coastal town of Gibsons to become the new police chief and soothe a psyche that has been battered by big-city police work. Unfortunately, the gentle paradise has more than its share of secrets, and Karl needs to call upon all the skills that made him a world-class detective in solving the murders that, even in this seemingly idyllic setting, continue to wash up on his shore. Cassandra, a local librarian, becomes Alberg's muse, foil and romantic interest. The show is based on the Edgar Award-winning, nine-book "Karl Alberg" series by acclaimed novelist L.R. Wright." The ensemble cast includes Rossif Sutherland, Kristin Kreuk, Mya Lowe, and Aaron Douglas. But what did the critics say?

        Rory Doherty of Paste Magazine says, "Murder in a Small Town hits its marks, with a likeable cast and a welcome emphasis on the dynamics between the outsider detective and the local suspects, but refuses to transcend the modest ambitions of your garden variety network mystery series." Adding, "It’s difficult to tell if each of this season’s eight episodes will adapt a different one of Wright’s novels; she only wrote nine of them, so Murder in a Small Town will have to get creative fast if that’s the case. Of course, it’s impossible, to a frustrating degree, to judge if the Karl Alberg mysteries is a well-structured and formatted season of television because we were only allowed to see a single episode, and therefore we’re reluctant to recommend the series beyond this single entertaining hour of drama. If head writer and executive producer Ian Weir makes the series as actor-focused as the slight but charming first episode, then audiences who want to solve crimes and switch their brain off should be thrilled. Thrilled might be the wrong word—they’ll feel a warm, pleasant glow."

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        Devan Suber of AV Club notes, "If it’s a little obvious in its intentions, it’s just a simple pleasure to be around these actors for an hour or so. And frankly, that’s its own kind of achievement." Continuing, "Murder In A Small Town doesn’t aim for the depth of the greatest procedurals, but it has enough low-key dramatics and small-town charm to keep us interested. That said, there is an edge that pops up in the back half of the show’s 90-minute premiere that throws a moral dilemma into the proceedings. As it stands now, it’s not entirely clear whether the series is building a season-long arc or planning to be something like a new Castle, an episode-of-the-week show that’s powered by a will-they-won’t-they (and one that, like that ABC mystery, also features Stana Katic). There are enough ingredients in both the cast and the setting to make for a pretty good small-town drama, and the nebulously Canadian backdrop is a refreshing change from all of the shows that have tried to cast that country as America. The comparatively sunny tone helps, too, though there is a feeling of not wanting to get too dark even as it alludes to, say, histories of domestic abuse."

       Rob Owen of Pittsburgh Tribune-Review was less impressed, calling it a, "Dull crime procedural based on the Karl Alberg book series by author L.R. Wright. Karl (Rossif Sutherland) moves to a seaside village to get away from big-city police work and falls for a local librarian (Kristin Kreuk) while investigating local crimes."

'Megalopolis' Reviews: "It’s a noble aspiration, if only the film actually said anything coherent"

         On September 27, 2024, Lionsgate releases 'Megalopolis', which has earned predominantly negative reviews from critics, currently holding at 51% on Rotten Tomatoes alongside a Critics Consensus that reads, "More of a creative manifesto than a cogent narrative feature, Francis Ford Coppola's Megalopolis is an overstuffed opus that's equal parts stimulating and slapdash." "MEGALOPOLIS is a Roman Epic set in an imagined Modern America. The City of New Rome must change, causing conflict between Cesar Catilina (Adam Driver), a genius artist who seeks to leap into a utopian, idealistic future, and his opposition, Mayor Franklyn Cicero (Giancarlo Esposito), who remains committed to a regressive status quo, perpetuating greed, special interests, and partisan warfare. Torn between them is socialite Julia Cicero (Nathalie Emmanuel), the mayor's daughter, whose love for Cesar has divided her loyalties, forcing her to discover what she truly believes humanity deserves." But what exactly did the critics say?

       Damien Straker of Impulse Gamer says, "Francis Ford Coppola only had a concept of a plan. Megalopolis is the American epic he has been attempting to develop since 1977. An entire generation or two of actors was ready to be cast in the film before the project was canned, revived, and derailed again. The plan in the 1980s was that the film would unfold over a single day in New York with the city juxtaposed against Catiline Rome. It never came to fruition. It was then to be filmed in the early 2000s, but shooting was disrupted by the September 11 terrorist attacks. The film has now finally opened albeit to mixed reviews and a dismal box office performance that aptly reflects its disappointing form. The poor reception has also been compounded by various industry scandals, including but not limited to inappropriate behaviour, fake reviews in the film’s trailer, and hilariously Coppola rating the film himself five-stars on his own Letterboxd account. There is extensive information about how chaotic and unprofessional the actual shooting process was at times too. The noise aside, what is indisputable is that Megalopolis was not worth the drama. It is a poor film that fails to sustain its dramatic tension or utilise its rich cast. Consequently, this terrible passion project should see this once great director go quietly into the night."

       Chris Evangelista of Slashfilm disagrees, stating, "Megalopolis" may be a mess, but gosh, it's a beautiful mess — an unapologetically earnest film aching to be seen on the biggest screen possible, even if some of its imagery is ugly and flat thanks to questionable visual effects. After failing for so long to get the movie off the ground, and set back by years of box office disappointment, Coppola funded the film himself, putting up an eye-popping $120 million to get "Megalopolis" made on his own terms. The final result arrives on a wave of behind-the-scenes rumors and controversies (Coppola is currently suing Variety over some of those rumors), and also the foregone conclusion that the movie will ultimately flop." Adding, "But a movie's box office does not determine its quality, and one has to assume that the 85-year-old Coppola isn't really concerned with "Megalopolis" being a hit at this point. He just wants people to see it, and see it they should, flaws and all. In an era where Hollywood dreck becomes more homogenized and dictated by venture capitalists who don't give a flying f**k about actual art, the fact that "Megalopolis" exists at all is something of a miracle. I do not love the final film itself, but gosh, I love that I got to see it."

       Maureen Lee Lenker of Entertainment Weekly was less than impressed, stating, "Despite being nearly three hours long, more substantive sentences have probably been written about what Megalopolis might be than what is actually in the script. Francis Ford Coppola changed cinema as we know it, and his Godfather films will remain hallmarks of American filmmaking. But his latest film (and possibly his last) is a stain on his legacy. Somehow Megalopolis manages to be both chaotic and unspeakably boring. Coppola melds Ancient Rome with modern-day New York, which is a stab at commentary on America’s own declining empire (look out for the “Make Rome Great Again” sign and the pointed line about politicians only needing to be entertainers). It’s a noble aspiration, if only the film actually said anything coherent."

       Andrew Webster of The Verge notes, "There’s a refreshing idealism to Megalopolis. In a time overflowing with grim, nihilistic postapocalyptic stories, Francis Ford Coppola’s latest film is a retrofuturistic parable about creating a better world through architecture, science, and dreams. Unfortunately, that sheen fades almost immediately. The film wants viewers to imagine an idealistic future. But its vision for that future is so vague as to be meaningless. For all of its good intentions, Megalopolis is a confusing, bloated disaster. This shouldn’t be too surprising, as the lead-up to the film’s release has mostly been focused on one controversy after another. There’s the long development time, with director Coppola working on the movie in some form since 1982, forced to self-finance the entire $120 million production because studios passed on it. There are the reports of inappropriate on-set behavior (and a subsequent lawsuit), specifically hiring actors “who were canceled at one point or another,” and all of those fake AI-generated review quotes. The four-decade-long process of bringing Megalopolis to theaters was an absolute mess, much like the film itself."

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        Jackson Weaver of CBC News writes, "Sanctimonious to the point of insulting, Megalopolis is a cautionary tale — though not about the entropic nature of empires and civilization. It's a warning about what too much money, too much self-seriousness and too little editing can do to an artist." Adding, "The intent to compare the fall or Rome with the projected fall of the U.S. does lead to one of Megalopolis's sole points of value. The parallels between Megalopolis's Cicero and Catilina and their Roman counterparts' competing interpretations of the value of the republic — as well as their involvement in the Catilinian plot to overthrow it — will be interesting to those with an eye for history."

'Sleep' Reviews: "Writer-director Jason Yu and his sharp cast keep things funny and warm as the nastiness creeps in, unsettling us in ways that cut to the bone"

         On September 27, 2024, Magnet Releasing released 'Sleep', which has earned predominantly positive reviews from critics, currently holding at 94% Recent on Rotten Tomatoes. "SLEEP follows newlyweds Hyun-su (Lee Sun-kyun, PARASITE) and Soo-jin (Jung Yu-mi), whose domestic bliss is disrupted when Hyun-su begins speaking in his sleep, ominously stating, "Someone's inside." From that night on, whenever he falls asleep, Hyun-su transforms into someone else, with no recollection of what happened the night before. Overwhelmed with anxiety that he may hurt himself or their young family, Soo-jin can barely sleep because of this irrational fear. Despite treatment, Hyun-su's sleepwalking only intensifies, and Soo-jin begins to feel that her unborn child may be in danger." Read the full review round-up below.

       Rich Cline of Shadows on the Wall says, "Writer-director Jason Yu and his sharp cast keep things funny and warm as the nastiness creeps in, unsettling us in ways that cut to the bone. So even if the story as a whole feels somewhat unfinished, it still leaves us shaken." Continuing, "The actors are so natural that they feel like real people. Even their more extreme reactions are easy to identify with, which adds to the suspense. Jung and Lee are also thoroughly likeable, so we root for both of them to overcome this together, as a sign on their wall encourages them to do. But it also becomes clear that the danger isn't only coming from the spirit realm. Meanwhile, each of the supporting roles feels bracingly realistic, including the psychic who arrives to give them a reading."

       Alistair Harkness of Scotsman notes, "Seasoned gore-hounds might not find it scary or bloody enough to disturb their own sleep, but there are still some properly jumpy moments that mark Yu out as a director to watch." Continuing, "Debut writer/director Jason Yu (who got his start working for Bong Joon-ho) is pretty adept here at melding humour and horror, ending the first chapter with a gloriously bad-taste escalation of Hyun-su’s nighttime activity before shifting gears with the second chapter, which takes place after Soo-jin gives birth and sees her own mental state disintegrating as deep-rooted fears about her baby’s safety start plaguing her own sleep and waking moments. The switch in perspective gives the film an added charge as this hitherto happy and trusting couple’s sudden paranoia about the other is amplified by the everyday stresses of having a newborn. As anyone who’s had one will know, a baby will test even the most solid of relationships and the film has sly fun challenging the mantra Hyun-su and Soo-jin have etched on a panel on their wall — “Together we can overcome anything” — by filtering their increasingly freaky experiences through the frazzled psyche of new parents operating on minimal sleep."

       Adam Sweeting of The Arts Desk writes, "Yu steers his film deftly to a turbulent climax, though after all that’s gone before his conclusion feels a little too tidy, not quite the cathartic eruption that he seemed to be leading us towards."

Photo Courtesy of Magnet Releasing

        Peter Bradshaw of Guardian praises the film, stating, "Kim Gook-hee gives an amusing, unsettling performance as their neighbour Min jeong who has a brattish son: she gets a dog exactly like theirs, something which Soo-jin interprets as an intolerable insult, for reasons she can’t fully explain. The movie expertly hits funny notes and light-relief moments that give us a break from fear while promising more to come, while the couple’s relationship with this ambiguously friendly neighbour is effectively managed. It is only with the explicit possibility of a supernatural explanation, combined with full-on psychiatric breakdown, that the movie loses its light touch and its plausible detail. Yet there’s always a hyper-vigilant twinge of fear."

'Nöthin' but a Good Time: The Uncensored Story of '80s Hair Metal' Reviews: Series "confronts the misogyny and longtime celebration of addiction-ladled revelry associated with the era, the music, and the artists as things to now look back at in shame"

         On September 12, 2024, Paramount+ released 'Nöthin' but a Good Time: The Uncensored Story of '80s Hair Metal', which has earned a mixed reception from critics. In the documentary series, "A fresh and candid behind-the-scenes look at one of music's most iconic eras; each episode showcases the insanity and blazing ambition that has enthralled generations of music lovers and continues to influence culture to this day." But what did the critics say?

       Christopher Campbell of Nonfics says, "If Nöthin' But A Good Time is good for anything, it’s the way it confronts the misogyny and longtime celebration of addiction-ladled revelry associated with the era, the music, and the artists as things to now look back at in shame." Adding, "For the most part, Nöthin' But A Good Time: The Uncensored Story of '80s Hair Metal offers nothin’ new to the history of ‘80s hair metal. It’s a basic behind the music that you used to find on VH1 and now see on Paramount+ with little aesthetic value and a lot of anecdotes in favor of insight. Still, just when I got to thinking that I’d rather recommend The Decline of Western Civilization Part II: The Metal Years instead of this three-part docuseries from Jeff Tremaine (Jackass), it took that classic rock doc to task for its treatment of substance abuse as comedy."

        Joel Keller of Decider notes, "Putting a heavy emphasis on the backstage stories, with all of the sex, drugs, and strange behavior they entail, is what makes this docuseries so entertaining. Tremaine isn’t shy about showing bands surrounded by topless female fans, and he encourages the people he interviews to reveal some outrageous stories. Then some of those stories were animated, making them even funnier." Continuing, "Tremaine is going in a rough chronological order, but doesn’t adhere to it religiously, allowing him to follow a path that connects bands, gigs, songs and songs in a way that makes sense. There is some attention paid to the sticks-in-the-mud who thought bands like Mötley Crüe were “satanic,” but it feels that Tremaine would rather adhere to ethic of the series’ title than be a downer about the fuddy-duddies who didn’t realize one of the Crüe’s first hits was called “Shout At The Devil.”

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       Nick Schager of The Daily Beast writes, "The 1980s hair metal scene has already received a definitive documentary account courtesy of Penelope Spheeris’ The Decline of Western Civilization Part II: The Metal Years, and Nöthin' But a Good Time: The Uncensored Story of '80s Hair Metal doesn’t outdo it. Paramount+’s three-part docuseries, which premieres Sept. 17, is a non-fiction power ballad for the era of big hair, tight spandex, and rampant debauchery and depravity, reminiscing with an affection that isn’t, alas, matched by its incisiveness. Light on the decade’s biggest luminaries and even lighter on insight, it merely opts for sketchy nostalgia." Concluding, "Hair metal was all about excess, so Nöthin' But a Good Time (based on the book by journalists Tom Beaujour and Richard Bienstock, who appear) is invariably most entertaining when its talking heads recount anecdotes about their over-the-top heyday."

'Rescue: HI-Surf' Reviews: "Set on Oahu’s North Shore, “Rescue: HI-Surf” delivers just what its title promises. Surf. Rescues"

         On September 22, 2024, FOX premiered 'Rescue: Hi-Surf', which has received a predominantly positive reception from critics. In the series, "the personal and professional lives of the open-water lifeguards who patrol and protect the North Shore of O'ahu, the most famous and dangerous stretch of coastline in the world. Each episode features dedicated, heroic and adrenaline-seeking first-responders saving lives in the difficult and often life-threatening conditions of Hawaii's Seven Mile Miracle." The ensemble cast includes Adam Demos, Robbie Magasiva, Arielle Kebbel, Kekoa Kekumano, Alex Aiono, and Zoe Cipres. But what did the critics say?

        Therese Lacson of Collider notes, "There's a plethora of first-responder television shows out there. From paramedics to firefighters to cop procedurals, the land of network television is littered with these types of shows. Normally, the series follows a ragtag gang made up of a mix of veterans and rookies who tackle day-to-day emergencies and save the lives of the locals around them. In that manner, Rescue HI-Surf follows the typical procedural formula: A group of open-water lifeguards patrol the perilous waters on the North Shore of Oahu. Created by Matt Kester, who is probably best known for his work on Animal Kingdom, the freshman season of Rescue HI-Surf offers a perspective on an often forgotten group of first responders, but as far as TV shows go, Rescue HI-Surf doesn't live up to the potential of some of its contemporaries." Adding, "Despite the authenticity of the series regarding being a lifeguard, where it fumbles is where the show is meant to build the most heart: its leading characters. Rescue HI-Surf primarily centers around the team's captain, Sonny, played by Robbie Magasiva, and his fellow lifeguards. Arielle Kebbel plays Em, an experienced veteran who is a natural leader and often acts as Sonny's right hand. Adam Demos plays Will, an Australian who had a previous relationship with Em and is currently trying to leave the beach to become a firefighter. Kekoa Kekumano plays Laka, a seasoned guard who is also a carefree partier, with a wild lifestyle that may become a problem. Joining the lifeguards are two rookies, Alex Aiono as Kainalu, the son of an influential politician on the island who has to prove he's far from just a nepo baby to his fellow co-workers, and Zoe Cipres as Hina, one of the few female guards coming in who has shown a lot of promise and graduated at the top of her class."

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       Robert Lloyd of Los Angeles Times says, "Set on Oahu’s North Shore, “Rescue: HI-Surf” delivers just what its title promises. Surf. Rescues. (Fox is currently running two other rescue shows, “9-1-1” and “9 1-1: Lone Star,” whose final season begins this week.) Here again is that combination of lightly developed workplace issues, romantic complications and wisecracking banter one finds in most every broadcast procedural, a formula that can keep viewers watching for years. All conflicts are put aside, naturally, when lives are at stake, which here requires regular plunges into the Pacific in aid of tourists too dim to read the posted warnings or follow a lifeguard’s good advice, as well as the merely unlucky. Robbie Magasiva plays the captain of the ocean safety team, who has bad dreams and oversees a crew leaning appropriately, if slightly, to Hawaiian and Asian actors; Arielle Kebbel is his lieutenant, who wants to be a captain herself. Adam Demos is her engaged ex, a laid-back Australian studying to be a firefighter, Kekoa Kekumano the hard-partying wolf, Alex Aiono the rich kid whose politician father weasels him a place on the team and Zoe Cipres the more talented poor girl whose place he takes (though she’ll get her own by the end of the pilot)." Adding, "John Wells, of “The West Wing” fame (and “ER” and “Third Watch” and so on), who worked with creator Matt Kester on “Animal Kingdom,” directs the first two episodes and shoots the action in a dizzying array of camera angles and lenses, careening movements, drone shots, underwater shots and on-the-water shots, rapidly piled one upon another higgledy-piggledy; the effect is akin to being slammed by big waves, which might be the intended effect but makes the crises and the rescues seem more staged than not. I would have liked a little boring local culture instead of the B-roll clips that speed by between scenes — lots of chickens — but that’s just me. Everybody’s pretty, the scenery’s nice, there’s some surfing. I can see people tuning in. “Baywatch” ran for 11 years."

       Rob Owen of Pittsburgh Tribune-Review was less impressed, stating, "Rescue Hi-Surf” (9 p.m., Fox): Lifeguard drama set and filmed in Hawaii. Some character arcs, but largely it’s all about the rescues. Much less wild (and less entertaining) than “9-1-1.”

Movies that Deserved Better: 'Bad Match' (2017)

         On November 3, 2017, Gravitas Pictures released 'Bad Match', which received rave reviews from critics, currently holding at 100% on Rotten Tomatoes and little reaction from the viewing audience...that were missing out. In the film, "Harris seems to have it all -- a great job, plenty of friends, and an active sex life thanks to a range of dating apps. That all changes when he matches with Riley, a clingy girl who's hiding something sinister." The ensemble cast includes Lili Simmons, Jack Cutmore-Scott, and Brandon Scott. But what did the critics say?

        Anton Bitel of SciFiNow says, "David Chirchirillo is perhaps best known for co-writing E.L. Katz’s Cheap Thrills (2013) with Trent Haaga (who has a cameo here as a police detective), but Bad Match is Chirchirillo’s feature debut as both writer and director (if we discount 2013’s Paranormal Incident 2, which he directed under a pseudonym). Like Cheap Thrills, it locates its genre scenario within a recognisable social reality, and shows an ordinary if not particularly likeable individual spiralling ever downward into monstrous moral decline as he makes one binary choice after another (like the casual swiping on a Tinder account) that constantly leads to worse trouble for himself.  Best, or worst, of all, the film’s plotting carefully manoeuvres Harris into carrying out the most repellent of masculine behaviours – cyberstalking and real-world stalking, imposture, roofying a woman’s drink, violent abduction, false imprisonment, coercion and worse – all in the service of protecting himself from someone who has beaten him at his own game. It is a twisty battle of the sexes where the Internet’s simple, reductive surfaces, all avatars and flattering selfies, also prove highly effective masks."

       Jennie Kermode of Eye for Film notes, "As Harris, Cutmore-Scott is very effective at coming across as an everyman whilst maintaining an edge of darkness that's vital to the film keeping its balance. Simmons gives us a character who is more visibly damaged but still seems, at heart, very ordinary. Crucially, she's ready to acknowledge the sometimes unreasonableness of her actions, whereas it doesn't occur to Harris, comfortably positioned at the centre of his own narrative, that any behaviour of his could overstep the mark. As the tension between them escalates, it becomes apparent that somebody has seriously overstepped the mark, and that an initially awkward situation is headed for tragedy, but Chirchirillo plays on our uncertainties (and cultural prejudices) to keep us guessing."

Photo by Adrian Swancar on Unsplash

       John DeFore of Hollywood Reporter praises the film, stating, "The action of the next few days escalates effectively, provided that one buys the shallow psychological profiles we’re being offered. (The actors certainly seem to.) But any moviegoer really interested in the effect an infinite buffet of swipeable sex has on human interactions should look elsewhere. Zachary Wigon’s The Heart Machine, released the same year as Cheap Thrills, did just that, dramatizing the new kinds of distance techno-intimacy makes possible. But here, the only critique of the Tinder mindset comes from a woman the film is busy characterizing as off her rocker. That may be beside the point, as Bad Match clearly only aspires to be a thriller with a surprise or two up its sleeve. On that front, it’s adequate (despite offering none of the sex appeal its grindhouse-y premise suggests). As Harris’ life is increasingly wrecked by the exposure of both things he has and hasn’t done, some twists aren’t that hard to guess. But one pleasant one is that Riley isn’t entirely the needy lightweight she initially seems."

'Matlock' Reviews: "show’s breezy tone should win over CBS viewers with ease"

         On September 22, 2024, CBS premieres 'Matlock', which has earned rave reviews from critics, currently holding at 100% on Rotten Tomatoes. In the series, "Brilliant septuagenarian Madeline "Matty" Matlock, who, after achieving success in her younger years, decides to rejoin the workforce at a prestigious law firm where she uses her unassuming demeanor and wily tactics to win cases and expose corruption from within. Matty is assigned to Olympia, a senior attorney and key rainmaker with a thirst for justice, while Olympia's ex-husband, Julian, the son of the head of the firm, is intrigued by Matty and her clever skills. Matty works alongside the firm's younger associates -- the charismatic Billy and the uber ambitious Sarah -- as she endeavors to establish herself in her new high-stakes world." The ensemble cast include Kathy Bates, Jason Ritter, David Del Rio, and Leah Lewis. But what did the critics say?

       Rob Owen of Pittsburgh Tribune-Review says, "This “Matlock” isn’t really the reboot it appears to be. Unlike many CBS procedurals, this one’s lighter and while the lawyering isn’t always in the realm of reality, the show’s breezy tone should win over CBS viewers with ease."

       Cristina Escobar of RogerEbert.com notes, "This earnestness, combined with Bates’ performance and the show’s strong and consistent use of humor, makes for a good watch. “Matlock” isn’t exactly throwback TV, but it delivers on the comfort food of solving at least one complex problem in forty-two minutes. That it’s funny and heartfelt along the way just adds to the charm, particularly as the suspense mounts. Toying with our expectations of a recognizable persona like Matlock, CBS’s newest legal drama honors the original while creating something new entirely."

Photo by Tingey Injury Law Firm on Unsplash

        Carly Lane of Collider praises the series, stating, "Although Madeline Matlock initially presents herself as a modest, well-meaning grandmotherly figure with an abundance of Southern charm, Bates never feels confined in the role. In fact, the CBS legal drama gives her even more opportunities to showcase the true extent of her range on-screen as the episodes (six of which were provided for review) progress. In one moment, Matty's endearingly fumbling her way through figuring out how to text a photo to her grandson; in the next, she's becoming an unexpected source of comfort for a client the firm is defending. Bates' character might give off a very specific energy at first, but she's also an observer, and, when paired with her utterly disarming personality, this allows her to notice things about people and figure out how to speak to them in a way others might overlook. But Matty's not always sage words of wisdom and pocketfuls of hard candies, either; she gets to express sadness, frustration, grief, anger, and everything in between."

        Terry Terrones of Paste Magazine writes, "Modern audiences may have a place in their heart for classic TV shows, but they still want something novel. This is an incredibly difficult maneuver to pull off, which is what makes CBS’ excellent reboot of Matlock so impressive." 

'Agatha All Along' Reviews: "Kathryn Hahn is magic"

         On September 18, 2024, Disney+ premiered 'Agatha All Along', which has earned predominantly positive reviews from critics, currently holding at 79% on Rotten Tomatoes. In the limited series, "Set after the events of "WandaVision," Agatha Harkness recruits some unlikely allies on her quest to regain her former powers." The ensemble cast includes Aubrey Plaza, Kathryn Hahn, Joe Locke, Sasheer Zamata, Ali Ahn, and the legendary Patti LuPone. But what did the critics say?

        Liz Shannon Miller of Consequence says, "Say whatever you want about the Marvel Cinematic Universe shows that have been produced for Disney+ since 2021: The flagship series, WandaVision, proved conclusively that Kathryn Hahn is magic. Sneakily introduced over the course of the season as dastardly witch Agatha Harkness, the beloved character actress got an incredible showcase for her talents — thus making the arrival of spinoff series Agatha All Along most welcome, even during what might charitably be called the MCU’s “rebuilding season.” For those feeling exhausted by keeping up with all the different Marvel plot threads out there, Agatha All Along, based on the first four episodes provided for review, exists very much as a stand-alone adventure. (That is, provided your memory of WandaVision isn’t too fuzzy.) Things begin with Agatha still trapped in the Scarlet Witch’s spell — once she escapes, though, she’s still wildly underpowered, and the only way she knows to reclaim her former abilities is to walk the treacherous Witches’ Road." Adding, "Taking on the Witches’ Road — a treacherous series of magical tests, the completion of which will grant the survivors what they most desire — isn’t the sort of thing you do on your own. So, to help her ease on down the road, Agatha accumulates a new coven of acquaintances with witchy gifts: Patti LuPone plays a fortune teller, Sasheer Zamata is “the potions guy,” Ali Ahn does blood magic, and Debra Jo Rupp reprises her role from WandaVision as a nice neighbor with a bit of a green thumb."

       Tania Lamb of Lola Lambchops was less impressed, stating, "Agatha All Along is a slow burn, much like WandaVision was. However, without Wanda or the stakes that she offers, the show is dull. Agnes was a hoot and a fan favorite in WandaVision. Kathryn Hahn is still fantastic, and can change voices, movements, facial expressions seamlessly, but her character is underwhelming in this series."

       Nick Schager of The Daily Beast notes, Marvel’s CGI-ified gloom remains one of the studio’s least attractive hallmarks, so it’s a relief to find Agatha All Along intermittently entering lighter lit spaces during various stops along the witches’ expedition. The first of those is a luxurious home where they face a trial that involves deciphering a riddle and concocting a potion from random household ingredients. Their subsequent destination is a ’70s-style recording studio where they must sing a Fleetwood Mac-ish version of the aforementioned ballad in order to destroy a curse. In both cases, as soon as the witches pass through the front door, they’re bestowed with location- and era-specific outfits, allowing them to cosplay as, respectively, the 1 percent and as rock stars. Such gimmickry is cute, but it’s barely enough to make up for the general thinness of the show’s characters, most of whom are defined by a single hang-up and a shared distrust of Agatha, who cares more about herself than her cohorts."

Photo by Adrian Swancar on Unsplash

        Jen Lennon of AV Club praises the series, stating, "It’s got the vibe of the early seasons of Netflix’s Daredevil and Jessica Jones, telling a story that recognizably takes place within the MCU but isn’t worried about proving it with constant references and a plot that exists only to be shoved into a larger narrative. Agatha All Along seems content to tell a smaller story, off to the side of the MCU’s usual big super-heroics and overarching narrative, about a woman reclaiming the power that’s been stolen from her. When Marvel first announced the Agatha spinoff three years ago, it felt like a bad idea, reactionary in a way that Marvel had never been before. Sure, Agatha was fun in WandaVision, and she quickly became a fan favorite, but that’s not enough to support an entire show. Did Marvel even have an idea for what the show would be about, or did they just green light “a show about Agatha Harkness” and hope to find a halfway decent story somewhere along the way? It felt like the second one, and the three years between WandaVision’s end and Agatha All Along’s premiere only added to that feeling. Maybe that’s why I didn’t give it much grace at the beginning. But I’m happy to admit that I was wrong and even happier that the message was delivered with all the bluntness of a naked Kathryn Hahn yelling at her very polite neighbor for the unspeakable crime of trying to be nice to her."