'Blitz' Reviews: "Newcomer Elliot Heffernan, who plays our hero George, delivers a captivating performance, shouldering the at-times-unwieldy period drama with the same directness and confidence as its director"

         On November 1, 2024, with a streaming release on the 22nd, Apple Original Films released 'Blitz', which has received predominantly positive reviews from critics, currently holding at 77% on Rotten Tomatoes. In the film, "Sir Steve McQueen's "Blitz" follows the epic journey of George (Elliott Heffernan), a 9-year-old boy in World War II London whose mother Rita (Saoirse Ronan) sends him to safety in the English countryside. George, defiant and determined to return home to his mom and his grandfather Gerald (Paul Weller) in East London, embarks on an adventure, only to find himself in immense peril, while a distraught Rita searches for her missing son." Read the full review round-up below.

       Adam Sweeting of The Arts Desk notes, "You wouldn’t have pictured the creator of 12 Years a Slave or Widows as a sentimentalist, but he looks suspiciously like one in this opulent World War Two saga, which was the opening film of this year's LFF. Set amidst the terrors of the Luftwaffe’s bombing campaign over London in 1940, Steve McQueen’s film is driven by the bond between Kate (Saoirse Ronan) and her young son George (Elliott Heffernan, pictured above with Ronan and Paul Weller), and how it’s put to the test when George is evacuated to the safety of the countryside. Kate is pierced to the heart by George’s piteous plea – “please mum, don’t send me away” – and George won't be denied. As the evacuees’ train huffs its way through nostalgically green and wooded English scenery, he seizes his chance to leap to freedom and make his way back to his home in Stepney (where Paul Weller delivers a quietly effective turn as his grandad, Gerald.) His journey becomes a kind of pilgrim’s progress as McQueen uses it to explore the way the war affects various strata of society, though this somewhat formulaic approach means the film lacks a consistent narrative focus."

       Rogan Graham of Little White Lies says, "Academy Award winner Steve McQueen returns with wartime odyssey, Blitz, retelling key moments of the siege on the capital during World War Two as seen through the eyes of a biracial 9-year-old boy fleeing evacuation orders. Newcomer Elliot Heffernan, who plays our hero George, delivers a captivating performance, shouldering the at-times-unwieldy period drama with the same directness and confidence as its director. Beside McQueen himself, a big draw for audiences will be Saorise Ronan who slips seamlessly into the role of east-ender Rita, mother of George and daughter of Paul Weller’s piano-playing club crooner Gerald. Yet there’s perhaps a mite too little for Ronan to actually sink her teeth into."

       Monica Castillo of RogerEbert.com praises the film, stating, "As Rita, Ronan stands out in every shot thanks to her stellar performance as a concerned mother who will stop at nothing to do right by her son, McQueen’s direction, cinematographer Yorick Le Saux, and the production teams that meticulously color coordinated the sets, costume, and makeup to draw our attention to her.  Le Saux, whose previous credits include “Little Women,” “High Life,” and “Only Lovers Left Alive,” strikes this sumptuous tone in the lighting, bringing to life the rich colors and period details, like the dark wooden glow of a crowded dance hall, the sea of factory blues, and endless rows of brown brick walls. Rita’s scarlet lipstick and coat pop dramatically into the movie’s focus, not unlike the little red coat in Steven Spielberg’s “Schindler’s List.” The camera uses many closeups to enhance the characters’ experiences, like seeing the mud on George’s shoes after he’s traveled for hours or when Rita’s coworkers draw on tight lines to seem more sophisticated to the lads at the bar. The most rousing scene in the movie is the film’s passionate all-out dance scene in a small club where Rita and George’s father party. As McQueen did in “Lovers Rock,” he once again captures the intoxicating full-body experience of a good round of dancing, and it’s a pleasure to watch even when bookended by terrible events. These details aren’t related to the story, but they ground the audience in the time, emotions, and setting of its characters."

Photo by Andrew Neel on Unsplash

'A Real Pain' Reviews: "a witty, funny and tender emotional journey"

         On November 1, 2024, Searchlight Pictures released 'A Real Pain', which has earned rave reviews from critics, currently holding at 92% on Rotten Tomatoes. In the film, "Mismatched cousins David (Jesse Eisenberg) and Benji (Kieran Culkin) reunite for a tour through Poland to honor their beloved grandmother. The adventure takes a turn when the odd-couple's old tensions resurface against the backdrop of their family history." But what did the critics say?

       Jack Martin of Film Feeder says, "The film certainly has the mannerisms of a standard road trip comedy... but Eisenberg manages to avoid a lot of the typical tropes with an underlying gentleness that cuts to the core of our two central travellers." Adding, "Some have tried over the years to find the humour in the horror, including Jerry Lewis’s infamous (and infamously unreleased) The Day the Clown Cried, but writer-director Jesse Eisenberg opts for a slightly different angle with his film A Real Pain, which ends up making all the difference. It all boils down to the simple fact that it isn’t the Holocaust that is funny, but rather people’s reactions to it, particularly those who might have descended from those unfortunate to have been inside one of those camps. That actually does make for some plentiful laughs in this tender and rather touching comedy-drama about what it is to trace one’s ancestry, and not being particularly jazzed about what they learn, either about their ancestor or even themselves."

       Brianna Zigler of AV Club notes, "Eisenberg’s screenplay deploys the right kind of wry, subtle humor at the right moments, and gut-wrenching heartache in others. On the other hand, there is not much formal daring to Eisenberg’s direction, though the evolution of the on-screen relationship between Benji and David isn’t really in need of flashy camerawork. Maybe Eisenberg is aware of his stylistic limitations, or maybe he’s more interested in softer, more personal filmmaking. A Real Pain suffers from some of the same issues as When You Finish Saving The World, in that Eisenberg shackles him to a low-key style of filmmaking and storytelling that doesn’t allow his work to stand out from countless other small, personal indie films about families with problems. Still, A Real Pain ends not with the cousins making promises to repair their relationship—as a lesser film might have—but something slightly more cynical. There is no simple catharsis to reckoning the horrors of the past with the eases of the present day; all you can do is choose how to live with it, and Eisenberg’s refusal to wrap his film in a neat little bow elevates his sophomore film into something almost as difficult as its subject material."

       Avi Offer of NYC Movie Guru praises the film, stating, "The screenplay by writer/director Jesse Eisenberg is a witty, funny and tender emotional journey. Eisenberg understands the concept that the root of comedy can often be found in tragedy. He keeps the story lean by beginning at the airport after David and Benji's grandmother died. There are no flashbacks to their experiences with her, but during a dinner with others in the tour group, a lot gets revealed about how Benji was closer to his grandmother than David was and how blunt she was. Based on the way that they describe her, she seems like kindred spirits with Maude from Harold & Maude. He also confides in them something very personal regarding Benji's suicide attempt. It's a brief scene and a moving one, but underdeveloped as if Eisenberg were scared to allow the film to get too dark and unflinching. The evolving dynamics between David and Benji throughout the tour feels true-to-life, though, especially when they banter. Kudos to Eisenberg for providing them with different personalities. Benji comes across as an annoying, rude jerk as well as a bad influence initially, but there's more to him than meets the eye. He even has no shame in criticizing the tour guide, James (Will Sharpe). To be fair, much of the dialogue is on-the-nose and lacks subtlety. However, it never becomes maudlin or cheesy. Jennifer Grey has a supporting role as Marcia, one of the tour group members. Her character, though, just like everyone besides David and Benji, are underwritten and forgettable. Compared to Treasure, which has a similar plot, A Real Pain is much more captivating and heartfelt. In a double feature, it would be the A-movie while Treasure would be the vastly inferior B-movie. Also, Eiseberg deserves to be commended for keeping the running time at 90 minutes which means that he grasps the concept of restraint and that less is more."

Photo by Andrew Neel on Unsplash

'Scouting for Christmas' Divides Critics

         On October 20, 2024, Hallmark Channel premiered 'Scouting for Christmas', which has received a mixed reception from critics. In the film, "A single mom tries to make her daughter's Christmas special since her dad is working overseas for the holidays. She partners with her daughter's favorite baker for the Holiday Ball." The ensemble cast includes Tamera Mowry-Housley and Carlo Marks. Read the full review round-up below.

Photo Courtesy of Hallmark Media and David Strongman

        Liz Kocan of Decider says, Scouting for Christmas does for feminism and women’s unity what Katy Perry thought she was doing for the same cause when she released her video for “Woman’s World” this summer. Okay, that’s harsh, nothing set the women’s movement back more than that video. My point is that Scouting for Christmas spends an inordinate amount of time pitting Angela, a working, busy, single mom, against Den Mother Elizabeth, a stay at home mother who openly pities Angela, fears for Brooklyn’s development, and sneers at anything that’s not rooted in “traditional family values.” The movie might think that it’s winking at these warring women and the values they represent, but it’s just an odd feud that feels manufactured and outdated. And then there’s the romance between William and Angela. While these two characters are portrayed as lovely people and there’s absolutely nothing to dislike about them, there’s just no real chemistry between the actors. Their characters are both so apprehensive and cautious about taking the next step in the relationship that they – and we – really don’t get to know who they are, other than the fact that they’ve both been unlucky in love, dedicated to their work, and really love little Brooklyn." Adding, "While Scouting for Christmas certainly has most of the obvious charms of a Hallmark Christmas movie, the festive holiday backdrop, the likable characters, the boundless hope and optimism of single-parented children, it falls into the unfortunate category as one of the more generic, forgettable entries in the genre."

        TV Line's Mani Bierly notes, "The child matchmaker trope is alive and well. Sunny Scout Brooklyn (Audrey Wise Alvarez) would like her consciously uncoupled mother, busy realtor Angela (Tamera Mowry-Housley), to date again. So, she suggests Angela and sweet baker William (Carlo Marks) partner to pitch him as the caterer for the Sunny Scouts’ holiday ball. Cue cozy meet-ups for menu inspiration and things getting interesting when Angela’s globetrotting archaeologist ex makes it home for the holidays after all."

'Stream' Reviews: "an eyeball-gouging, tongue-in-cheek treat for horror fans"

         On October 15, 2024, 'Stream', which is released by Iconic Events, which has received rave reviews from critics, currently holding at 92% on Rotten Tomatoes. In the film, "As the Keenan's try to bring their family closer together, they unwittingly enter themselves into a game of life or death. With four deranged killers patrolling the halls of their hotel and competing for the most creative kills, the odds are definitely stacked against them." The ensemble cast includes Danielle Harris, Dee Wallace, Jeffrey Combs, David Howard Thornton, and Phuong Kubacki. But what did the critics say?

        Chris Sawin of Bounding Into Comics says, "Stream has a very limited budget, it relishes in a glorified B-movie atmosphere, and the storyline is familar. But it’s also an eyeball-gouging, tongue-in-cheek treat for horror fans. It’s worth checking out if you enjoy Terrifier or the horror film genre"

       Stephanie Malone of Morbidly Beautiful notes, "The gore is plentiful, and the effects look fantastic on a minimal budget, thanks to Leone’s capable craftsmanship.There’s a nasty kill at the midway mark I wasn’t expecting when director and co-writer Michael Leavy telegraphs that he’s eager to subvert expectations and prioritize meanspirited mayhem over all else — much to his credit, as the film is so much better when it leans into its gonzo B-movie schlock."

       Mike McGranaghan of Aisle Seat praises the film, stating, "Alternately gruesome and funny, it’s a nice throwback to some of the bolder 1980s horror films that dared to go “big” with their concepts." Concluding, "Like the last two Terrifier films, Stream is on the long side, running 123 minutes. It could have used a little tightening of the pace, but for the most part, director Michael Leavy keeps the story sufficiently hopping. Nobody is safe here, so characters you don’t expect to die do. And they die in gloriously gruesome ways. Damien Leone did the special effects makeup, and the manner in which the players slay the guests would make Art the Clown proud. A game of Tic Tac Toe, played by carving into a man’s chest, is especially unhinged. Enjoyable performances go a long way toward selling the material, and no one is having more fun here than Jeffrey Combs. The actor obviously understands how to walk the line between comedy and horror. He’s perfectly cast as the game’s overseer, giving Mr. Lockwood a humorous edge without dulling the fact that he’s a sicko. Seeing him sharing the screen with so many other notable names from the genre is a real treat."

Photo by Myke Simon on Unsplash

'Rivals' Reviews: "Rivals wears its ugly side on its sleeve, letting David Tennant sink his teeth into a juicy villain role while embracing the shameless entertainment value of a primetime soap"

         On October 18. 2024, Hulu released 'Rivals', which has received predominantly positive reviews, currently holding at 94% on Rotten Tomatoes at the time of this writing. In the series, "In 1980s England, a rivalry between two powerful men finally comes to a head." The ensemble cast includes Oliver Chris, Luke Pasqualino, David Tennant, Alex Hassell, Victoria Smurfit, and Katherine Parkinson. But what did the critics say?

Photo by Arun Sharma on Unsplash

        Abigail Stevens of Screen Rant says, "Rivals features some electrifying rivalries happening behind the scenes at a cutthroat television station, but it is overshadowed by personal drama." Adding, "Based on Jilly Cooper's second Rutshire Chronicles novel, Rivals sees cutthroat independent television station director Tony Baddingham (David Tennant) out to rise to the top of his industry, having poached both brilliant producer Cameron Cook (Nafessa Williams) from New York and radical journalist Declan O'Hara (Aiden Turner) from the BBC. Taking place in Thatcher-era England, Rivals showcases the fascinating professional world that is the chessboard of these determined players — for a few fleeting moments. Sadly, the rest of the initially promising show is spent on a tangled web of meaningless sexual entanglements among its interconnected cast."

       Gavia Baker-Whitelaw of TV Guide notes, "Rivals wears its ugly side on its sleeve, letting David Tennant sink his teeth into a juicy villain role while embracing the shameless entertainment value of a primetime soap."

        Nick Curtis of London Evening Standard writes, "Rivals is gloriously trashy and arch, the epitome of guilty-pleasure TV, everyone smoking and smirking in between the schtupping." Continuing, "There are knowing jokes. “Andrew and Fergie are a modern day fairytale,” someone says of the great royal romance of 1986, the year in which Rivals takes place. (Claire Rushbrooke played Sarah Ferguson in the recent drama about Prince Andrew’s car-crash Newsnight interview, A Very Royal Scandal.) Before hiring Declan, Tony’s biggest hit was Four Men Went to Mow, a series featuring shirtless agricultural hunks and an obvious nod to Aidan Turner’s iconic scything scene in Poldark. The talk of “revolutionary” satellite TV feels ironic from our fragmented disinformation age. Is Rivals good TV? God, no. It’s brash, obvious, cartoonish. Is it great entertainment. Phwoar, yes."

     

'Brothers' Divides Critics

         On October 10, 2024, with a streaming release on October 17, 2024, Amazon MGM Studios released 'Brothers', which has earned a mixed reception from critics, currently holding at 46% on Rotten Tomatoes. In the film, "the story of a reformed criminal (Josh Brolin) whose attempt at going straight is derailed when he reunites with his sanity-testing twin brother (Peter Dinklage) on a cross-country road trip for the score of a lifetime. Dodging bullets, the law, and an overbearing mother along the way, they must heal their severed family bond before they end up killing each other." Read the full review round-up below.

       Peter Debruge of Variety says, "With Palm Springs, Barbakow... found fresh wisdom in the overplayed Groundhog Day formula. Brothers also resembles countless films that have come before but lacks the original spin or improv-ready leads that might have set it apart." Adding, "While the entire ensemble comes across fully committed to roles that are well beneath them, it’s not at all clear what the point was in presenting the Moke and Jady characters as twins. Two weeks ago, a different Prime original — that one a tepid thriller called “Killer Heat” — featured identical twins who use their matching looks to switch places. That may be the oldest trick in the book, but it makes more sense than “Brothers,” which does nothing especially unique with the premise." 

Photo by Sebastian Enrique on Unsplash

       Justin Lowe of Hollywood Reporter notes, "Josh Brolin and Peter Dinklage play mismatched siblings with heavy jaws in Max Barbakow’s second feature, which finds him trading the subtler comic shadings of Palm Springs for ham-fisted humor, to disappointingly diminishing effect." Continuing, "If their appearances never before suggested a family resemblance, Brothers will now inevitably link Brolin and Dinklage, who find fertile terrain for their less-appreciated comedic talents in the slippery sibling dynamic between the estranged brothers. Close proves to be inspired casting as the underhanded and unrepentant Cath, who shows barely any indication of maternal concern for her sons in a quest to get her hands on the emeralds."

       Leigh Paatsch of Herald Sun writes, "Brolin takes a little longer than usual to hit his stride here – largely as a result of playing so radically against his usual type – but soon rises to the occasion." Concluding, "Without giving too much away, it won’t be too hard to identify where Brothers might have benefited from a leaner, meaner approach. Just take a closer look at any scene involving Brendan Fraser as the corrupt prison officer who wants a cut of Jady and Moke’s next job. Fraser’s continual mugging and shouty line readings undercut the movie time and time again. (It’s almost hard to believe now the same guy won a Best Actor Oscar less than two years ago.) However, when the focus is purely on Dinklage and Brolin, Brothers swiftly snaps back to the shape it should have held all along. Dinklage remains a fascinating actor, always able to establish the essence of a character in a matter of seconds."

'Goodrich' Reviews: "It's a refreshing, down-to-earth film for Keaton"

         On October 18, 2024, Ketchup Entertainment released 'Goodrich', which has earned a mixed reception from critics, currently holding at 68% on Rotten Tomatoes. In the film, "Andy Goodrich's (Michael Keaton) life is upended when his wife and mother of their nine-year-old twins enters a 90-day rehab program, leaving him on his own with their young kids. Thrust into the world of modern parenthood, Goodrich leans on his daughter from his first marriage, Grace (Mila Kunis), as he ultimately evolves into the father Grace never had." But what did the critics say?

       Roger Moore of Movie Nation says, "There’s no heavy lifting in “Goodrich,” the Michael Keaton/Mila Kunis dramedy about a workaholic second-time-around dad forced to reconnect with his kids, including the one old enough to be pregnant. The jokes about trying, after 60, to learn to be a dad, are easy to reach to the point of cute and mostly low-hanging fruit. The formula in play is another “I did my best” parent facing a sometimes comic, sometimes sad reckoning. At its most somber, it reaches for “Kramer vs. Kramer.” In lighter moments, one can wonder if all involved could have just turned this into a sequel to one of Keaton’s earliest hits, “Mister Mom.” The edgiest thing about it is its rating, “R,” for profanity. It would have reached a wider audience as a PG-13. But this it’s well-acted and it plays. More or less. Writer-director Hallie Meyers-Shyer was an actress before getting that first writing-directing (Reese Witherspoon’s “Home Again”), but is still most famously the daughter of writer-director couple Nancy Meyers and Charles Shyer, who remade “The Parent Trap” and “Father of the Bride” before divorcing. She doesn’t embarrass herself and give Hollywood “nepo babies” a bad name here any more than she makes her name with this slight, derivative star vehicle."

        Shawn Van Horn of Collider notes, "Written and directed by Hallie Meyers-Shyer, and co-starring Mila Kunis, Goodrich doesn't deal with superheroes or the supernatural. It's a refreshing, down-to-earth film for Keaton, with him playing an aging man who is going through a coming-of-age story in the last act of his life. It's a simple, cozy dramedy, one you've watched before with beats you can see coming a mile away, and while it's not going to go down as one of Keaton's best, him giving his best takes it from being another paint-by-numbers film to something sweet and worth seeing if you want to see a feel-good story to counter the likes of Joker: Folie à Deux and Terrifer 3 at the cinemas."

       Alexander Harrison of Screen Rant writes, "Keaton's performance is the heart of this success. He somehow conveys his character's self-examination as a layer underneath each scene, to the extent that in each interaction outside a work setting, Andy appears to be discovering how to behave. It's like he was dropped into this movie right when we were, snapped out of whatever illusion kept him running for so long and having to learn what's really been going on with the people around him for the first time."

Photo by Drew Beamer on Unsplash

Hallmark Channel Provides Viewers with Two Holiday Treats

         On October 18, 2024 and October 19, 2024, Hallmark Channel begins to unveil its newest class of holiday centric films starting with 'Holiday Crashers' (October 19th) and 'Twas the Date Before Christmas' (October 18th) for those not in favor of the Halloween fare on other stations. But what did the critics say?

Photo Courtesy of Hallmark Media/Photographer: Johann Wall

        Mandi Bierly of TV Line was my personal favorite reviewer of the holiday themed films last season, so it came as no surprise to me that the reviewer once more is knocking it out of the park in 2024. In regards to 'Holiday Crashers', she writes, "So you’re not quite ready to lean into the sentimental side of the yuletide? This more irreverent flick, about two friends crashing holiday parties and the totally preventable mix-up that ensues, is for you. Longtime pals Toni (Lyndsy Fonseca) and Bri (Daniella Monet) are stuck in limbo: Harvard law grad Toni fears a future following in her personal-injury lawyer father’s footsteps and walked out of the bar exam; Bri lives in survival mode and hasn’t dreamed that she’s a born event planner. They work together at a card shop, and Bri suggests they raid the printed invitations shred stack and crash seasonal soirees, pretending to be different people (a doula, Olympic skier, medium). It’s harmless escapist fun until Toni meets dashing venture capitalist Justin (Chris McNally) and, long story short, gets roped into being a consultant on his next acquisition — and fails to inform him that she’s not a licensed attorney. Lucky for her, Justin isn’t in the mood to work when he invites her and Bri to his company retreat at his Vermont lodge. Will you spend time debating your position on McNally’s longer hair and whether he’s pulling off Justin’s relaxed turtleneck-and-blazer combos? Yes. (The hair grows on you.) Mostly, however, you’ll be reminded how refreshing it is when Hallmark does a holiday movie in which the central relationship is between two friends whom we get to know equally well. And unlike in 2023’s Never Been Chris’d, these women don’t chase the same man. Bri has her own crush, in-demand valet Vinny (Jag Bal), who’s harboring a teensy secret himself. Both ladies may find love, but, even more satisfying, each finds her way."

Photo by Hallmark Media/Photographer: Peter Stranks

        The reviewer was less excited over the latter, stating, "Last year, we crowned The Santa Summit scene-stealer Amy Groening “Most Ready to be a Leading Lady.” So cheers to her headlining our runner-up pick, ‘Twas the Date Before Christmas (premieres Friday, Oct. 18 at 8 pm on Hallmark Channel), opposite Robert Buckley, who can charm the tinsel off a tree. Inspired by the true story of a woman using an app to score a (first!) date to her family’s fun-filled Christmas dinner, this heartfelt rom-com has Groening’s Jessie logging in to arrange a blind date for Christmas Eve so that her mother won’t cancel their clan’s 23rd annual Christmas Olympics in a misguided attempt to show grieving Jessie that change can be good. Enter Buckley’s Bryan, who’s always wanted to experience a big family holiday and could use a break from debating whether to step up as CEO of his late father’s development company. The actors’ natural ease makes it believable that these strangers would be game for a full-day meet-cute, which Bryan doesn’t expect to involve a wrap battle, snowball dodgeball, and pretending to be Jessie’s boyfriend. One quibble: The Hallmark faithful will sniff out the inevitable conflict quicker than they can ID the scent of a Balsam Fir candle."

'Kensuke's Kingdom' Wows Critics

Photo by Drew Beamer on Unsplash

         On October 18, 2024, 'Kensuke's Kingdom' was released by Blue Fox Entertainment, receiving rave reviews and a score of 96% on Rotten Tomatoes. In the animated film, "A young boy and his family set off on a sailing trip of a lifetime until a violent storm erupts, sweeping Michael and his dog overboard. After washing up on a remote island, terrified, they struggle to survive and adjust to life alone, One day, Michael discovers he is not alone when he is confronted by a mysterious Japanese man who has lived there secretly since World War II, angry that Michael has arrived. However, as dangerous invaders threaten their fragile island paradise, Michael and the old man, Kensuke, join forces to save their secret world." The ensemble cast includes recent Oscar winner Cillian Murphy, Sally Hawkins, Ken Watanabe, Aaron MacGregor, and Raffey Cassidy. But what did the critics say?

       Joseph Tomastik of Loud and Clear Reviews says, "Kensuke’s Kingdom is a British 2-D animated film … which, the more I think about it, I can’t remember the last time I ever saw one of those. This work of animation is based on Michael Morpurgo’s 1999 novel that I had never even heard of, but having seen the film and then read the summary of the book’s plot, I can almost guarantee it would have moved me had I read it as a kid. Thankfully, this film adaptation brought out that reaction of childlike wonder in a distinctly simple, heartfelt way that very few animated films – hell, very few films, period – manage to do."    

        Jack Martin of Film Feeder notes, "Animation is, always has been, and will continue to be a medium that gifts storytellers an entire new realm of possibility to bring their tales to life on the screen. Yet, there are still far too many people who prefer to label it as a “genre”, which has rightfully earned the ire of many an animator whose hard and underappreciated work is undeservedly dumped in the same category as action, horror, comedy et al. When will we learn, once and for all, that animation is no less a form of expression than live-action filmmaking is, especially when it is animated films like Inside Out 2 and Despicable Me 4 that are currently dominating the box office, and when others like Robot Dreams and now Kensuke’s Kingdom are gaining significant critical traction on the independent circuit? The latter animated film, from first-time feature filmmakers Neil Boyle and Kirk Hendry, shares some things in common with the Oscar-nominated Robot Dreams. For instance, it relies less on dialogue and much more on the visuals to do the lion’s share of the storytelling, and it refuses to overcomplicate a reasonably simple story that nonetheless explores some heavy themes, all in a fairly short runtime (though this film is shorter by about twenty minutes). Both movies, though, are also quite astounding in their visual storytelling, with Kensuke’s Kingdom in particular delivering some plentiful animation and tender emotion to carry itself, which ultimately makes it a lovely family-friendly delight."

       Peter Bradshaw of Guardian writes, "In some ways, Kensuke’s existence cancels the jeopardy of Michael and Stella’s arrival on the island and solves the terrifying question of how they are to get food and water; Kensuke obligingly (if mysteriously, at first) provides these. But then Michael is to find that the island is home to apes and other animals which are being hunted by sinister people who show up in a boat, and for a while these apes, and not Michael, assume a virtually centre-stage position in the story. Another type of story might have pondered the possibility that Michael would simply get older and inherit Kensuke’s position as “king” of the island and die there himself in due course, alone. Well, a happier and simpler ending is at hand. It’s rather Spielbergian in its way (Spielberg filmed Morpurgo’s War Horse) but more low-cal."

'It's Florida, Man' Reviews: Series "never quite matches the dim-witted brilliance of its premiere"

         On October 18, 2024, Max premiered "This irreverent late-night comedy series brings to life unbelievable ripped-from-the-headlines tales of the Sunshine State – straight from the people who live there. Featuring interviews from everyday Floridians and playful recreations starring a rotating cast of actors and comedians, including Anna Faris, Jake Johnson, Randall Park, Juliette Lewis, Sam Richardson, Ego Nwodim, and more, this hilarious and outrageous series sheds light on the viral, wacky, and weird. Covering diverse topics – from mermaids to witches, extreme fantasies, and feral bunnies with equal parts humor and heart, IT’S FLORIDA, MAN. is a love letter to the beaches, backwaters, and especially the people of a misunderstood yet magical state." But what did the critics say?

       Nick Schager of The Daily Beast says, "Having just survived the brutality of Hurricane Milton, the Sunshine State now gets battered—this time with good-natured blows—by It’s Florida, Man, a six-part HBO comedy that highlights the types of weird and wild stories that first gave birth to the “Florida Man” meme.Produced by The Righteous Gemstones’ Danny McBride and featuring a cast of comedians in absurd vignettes about crime, deviance, and general insanity, it’s a crazy companion piece to Drunk History, employing non-fiction interviews and over-the-top recreations to recount some of most moronic chapters in America’s recent past." Adding, "Sam Richardson, Ego Nwodim, and Randall Park play these real-life figures in It’s Florida, Man’s dramatizations, and their goofy performances convey the nuttiness of the scenario at hand. Better yet, Eastbound & Down legend Steve Little appears as Bassnectar, encouraging Richardson’s Phil to follow-through on the job by whispering in his ear and screaming from his DJ table. Little’s head-banging turn steals the episode, although just barely, since the actual Phil is a unique individual who unabashedly confesses that he eventually became gung-ho about sealing this deal, no matter the potential medical and legal consequences. A bit of closing irony concludes the saga in perfect fashion, underscoring the inanity that typifies so many outlandish “Florida Man” stories. At least in the three additional episodes provided in advance to press, It’s Florida, Man never quite matches the dim-witted brilliance of its premiere."

Photo by Jennifer Clasen/HBO

'Family Guy's First Halloween Special "makes a Halloween special feel natural and exciting to its world"

         On October 14, 2024, 'Family Guy' released its very first Halloween special on Hulu, which is entitled 'Peter, Peter, Pumpkin Cheater', which has received predominantly positive reviews. It is worth noting that the series has had episodes dedicated to the spooky holiday before, with one of the episodes containing my personal favorite moment from the series, but this could well be the start of an annual holiday tradition. The ensemble cast includes Glen Powell, Derek Jacobi, Alex Borstein, Mila Kunis, Seth Green, and Seth MacFarlane. But what did the critics say?

Photo by Jon Tyson on Unsplash

        Daniel Kurland of CBR says, "Halloween episodes can be a rich staple in animated series — just look at The Simpsons — but Family Guy has been rather selective with this holiday, and only indulged in it a handful of times. In fact, Halloween specials only started in the hit adult cartoon's ninth season. This is certainly territory that's still fresh for Family Guy to explore making the recent announcement that it will be exploring holiday specials that are exclusive to Hulu — rather than its terrestrial home, FOX — interesting. Family Guy has such a fluid reality that it makes a Halloween special feel natural and exciting to its world. This is true whether the show's special decides to do a more conventional and grounded take on the holiday, or a more grandiose genre parody like the “Blue Harvest” Star Wars specials. “Peter, Peter, Pumpkin Cheater” doesn’t attempt to recreate any holiday classics like A Nightmare on Elm Street or Halloween, but it’s also hardly a “normal” Family Guy episode. The special clocks in at the typical Family Guy episode length and more or less operates like a standard installment, rather than a more heightened and cinematic experiment that's akin to South Park's Paramount+ specials. "Peter, Peter, Pumpkin Cheater" certainly doesn't reinvent the wheel, but it still makes for an entertaining enough addition to anyone's Halloween watchlist that also takes advantage of an entertaining and well-utilized guest star." Adding, "Peter, Peter Pumpkin Cheater” begins simply enough, where a conversation about Halloween costumes becomes a microcosm of Stewie and Brian’s growing pains as friends. Stewie really isn’t asking for much here, but his need to lock in plans and put a label on their dynamic prompts claustrophobic and limiting feelings in Brian that wear down his patience. Previously, Family Guy demonstrated astute insight into how both Stewie and Brian only have each other and don’t have any real friends beyond one another, as much as they’d like to believe otherwise. Their riff hits a boiling point on Halloween night and prompts some Frankenstein-esque theatrics. This results in Rupert the teddy bear coming to life and seeking to settle Stewie’s feud in a very Chucky-meets-Ted manner. Stewie and Brian’s complicated relationship is one of Family Guy’s richest and most rewarding character dynamics. Family Guy confidently embraced this bond for many of its most important and successful episodes and arcs. It’s not surprising to see that “Peter, Peter, Pumpkin Cheater” turns to this friendship as one of its core ideas. In fact, there’s a satisfying simplicity to how such a wild episode essentially boils down to Stewie's and Brian’s toxic and codependent friendship. There’s nothing in this episode that hasn’t been said before in Family Guy, but there’s a newfound sense of urgency and higher stakes that are accomplished through the murderous roadblock that sets out to sever their ties."

'Smile 2' Impresses Critics

         On October 18, 2024, Paramount Pictures released 'Smile 2', which has earned predominantly positive reviews, currently holding at 82% on Rotten Tomatoes alongside a Critics Consensus that reads, "With a nerve-jangling star turn by Naomi Scott at his disposal, writer-director Parker Finn broadens Smile's conceit into a pop stardom nightmare that'll leave a rictus grin on horror fans' faces." The ensemble cast includes Naomi Scott, Kyle Gallner, Rosemarie DeWitt, Lukas Gage, Miles Gutierrez-Riley, and Ray Nicholson. Read the full review round-up below.

        Grace Randolph of Beyond the Trailer says, "A tour de force for Naomi Scott who gives a compelling and modern version of a Hitchcock Blonde. Writer/Director Parker Finn is equally impressive with his work behind the camera. Also the use of "celebrity" really elevates the film & makes it feel fresh."

       Jesse Hassenger of Paste Magazine was less impressed, stating, "Whenever Scott threatens to work the movie up into a proper frenzy, Finn stops her dead in her tracks, convinced that by dwelling on the vague idea of trauma, he’ll find something more to say about it." Adding, "The pop world is the perfect setting for Smile 2, Parker Finn’s follow-up to his unexpected Ring-ish horror smash from 2022. In that movie, the no-win rules of this demonic attachment were established: If you witness the death of someone momentarily possessed by this mostly-invisible demon with the telltale sign of a rictus grin, the curse jumps to you, causing reality-bending hallucinations until you, too, surrender to its quasi-suicidal whims, passing the curse along to a witness, and so the cycle perpetuates. Could this have something to do with the idea of… trauma?! If that seems like well-trod territory, just think of how those sorts of buzzwords get flattened and then reinflated by the “relatable” pop-industrial complex. Fake smiles, emerging from trauma, and stylized imagery are the currency of Skye Riley’s realm, which is rarified enough to take on a hallucinatory quality even without the aid of a demon. Are those fans silently grinning because they’re struck dumb by their love, or is it something more sinister? Is that a real stalker in her midst, or is her mind just spinning out from an uncomfortable earlier encounter? Finn must understand the hellish potential of it all; his movie has plenty of set pieces where characters frantically claw their way through a waking nightmare, starting from a bravura single-take opening sequence that’s half horror, half propulsive action with a doomy punchline."

       Carla Hay of Culture Mix writes, "As flashy as it is gory, Smile 2 is a rare sequel that's better than the original movie. Naomi Scott gives an impressive performance as a pop diva haunted by a sinister demon spirit. This movie improves from 2022’s Smile in almost every way."

Photo by Hannah Wernecke on Unsplash

       Joe George of Den of Geek notes, "Smile 2 might have the most uncomfortable scene in any movie this year, a notable feat given that Terrifier 3 is playing across the hall. Director Parker Finn throws the viewer in the middle of an argument between drug-addicted pop star Skye Riley (Naomi Scott) and her movie star boyfriend (Ray Nicholson). As the two race down twisting California roads, their argument gets increasingly intense, each hurling cruel barbs at the other and neither showing any tenderness. Finn puts the camera right between the two combatants and whip pans from one to the other, forcing the audience to look at the closeup of the other person’s face as they mock their partner. The entire argument plays out in a single take, not ending until the car crashes, giving Skye the central trauma that will haunt her throughout the movie." Concluding, "Smile 2 is best when it commits itself to pure horror, and the film does have some great spooks and some gory deaths. Finn proves himself adept at crafting different types of scares, ranging from stomach-churning (or, rather, stomach-ripping) gross outs to sustained suspense, to good ol’ jump scares. In the best sequence of the film, a crowd of smiling fans invade Skye’s apartment, contorting themselves like demented dancers as they invade her space and attempt to claim their pound of flesh."

'NCIS: Origins' Impresses Critics

         On October 14, 2024, CBS premiered 'NCIS: Origins', which has earned predominantly positive reviews from critics, currently holding at 86% on Rotten Tomatoes. "NCIS: Origins" follows a young Leroy Jethro Gibbs in 1991, years prior to the events of "NCIS." In the series, Gibbs starts his career as a newly minted special agent at the fledgling NCIS Camp Pendleton office where he forges his place on a gritty, ragtag team led by NCIS legend Mike Franks." The ensemble cast includes Mark Harmon, Austin Stowell, Kyle Schmid, Mariel Molino, and Tyla Abercrumbie. But what did the critics say?

        Joel Keller of Decider says, "NCIS: Origins is a solid NCIS prequel that promises some backstory for Gibbs while introducing us to how the agency operated when even other government agencies had no idea it existed." Adding, Stowell brings Harmon’s stoicism to the younger Gibbs, but one whose anger is still just under that stoic surface. In a lot of ways, though, this NCIS might be centered on Schmid’s character Mike Franks as much as it is on Gibbs. Schmid is somewhat old-fashioned, but with his quirks — he listens to power-pop ballads before interrogating suspects. He seems to have a rebellious streak, but he also respects the chain of command. He will of course be Gibbs’ mentor at the agency, and it seems like there’s a backstory developing with him and his significant other, but what that story is is largely undefined in the first two episodes. What the show also needs to stop doing is leaning on its period for atmosphere. We don’t need to hear cars blaring hits from the time period, or Randolf highlighting the new IBM PS/2 with the color monitor that is installed in the office. Gen Xers like us roll our eyes at these references, while the younger viewers (does NCIS have younger viewers?) don’t really care. Monreal and North need to let those references fade into the background; the only good time to reference the time period is to point out how investigations differed in the pre-internet, pre-smartphone era. Anything other than that makes the show feel like it’s trying to be an episode of The Goldbergs."

Photo by Tile Merchant Ireland on Unsplash

       Chris Willman of Variety notes, "As it turns out, NCIS: Origins does have a raison d’etre that doesn’t depend entirely on quickie corpse-of-the-week cases or on Shannon-and-Kelly redux." Continuing, "Watching Stowell land in the role of Gibbs presents a bigger hurdle. Even his entrance music asks fans to reconsider the hero they thought they knew: He drives onto the Camp Pendleton base cranking up the Pearl Jam. Is that just to establish some period flavor, or is it really meant to blow our minds that Gibbs was once an Eddie Vedder kinda guy? (Franks, for his part, is introduced with some circa-1991 Hank Jr., rather on the nose.) Stowell seems like a hunkier, taller, more chiseled Gibbs than the one we met deeper into middle age, and indeed, the women in the office meet his first arrival at their headquarters with quick but unmistakably lustful double-takes. If anything, Stowell resembles a Brian Dietzen with a bigger neck more than he does Harmon — and he occasionally acts like him, too, having to play the guy whose mouth is sometimes agape as he is educated into the ways of gruesome corpses and crime-solving. Stowell isn’t that much taller than Harmon in real life, but he seems to tower over every other cast member here, a beefy athlete thrust into the role of preternaturally intuitive agent. He’s so un-Harmon-like in most ways, in fact, that it almost makes “Origins” feel more like a reboot than a prequel."

       Matt Webb Mitovich of TV Line writes, "The 1991 setting, as you can imagine, lends itself to not just Asteroids and Galaga machines in the NIS break room, but all manner of “retro” technology and crimesolving methods. (Do not ask Franks how to start up the newly delivered PC, and do not expect fingerprint analysis back from Woody inside of two days!) A trip to a mall in Episode 3 doesn’t distract with ’90s fashion, but there are occasional needle drops — including a use of a Bangles tune that took me a second viewing to truly appreciate." 

'Conclave' Reviews: "Conclave is everything I could have ever hoped it to be, and more"

         On October 25, 2024, Focus Features released 'Convlave', which has received rave reviews from critics, currently holding at 93% on Rotten Tomatoes alongside a Critics Consensus that reads, "Carrying off papal pulp with immaculate execution and career-highlight work from Ralph Fiennes, Conclave is a godsend for audiences who crave intelligent entertainment." In the film, "Cardinal Lawrence (Ralph Fiennes) is tasked with running this covert process after the unexpected death of the beloved Pope. Once the Catholic Church’s most powerful leaders have gathered from around the world and are locked together in the Vatican halls, Lawrence uncovers a trail of deep secrets left in the dead Pope’s wake, secrets which could shake the foundations of the Church." The ensemble cast includes John Lithgow, Stanley Tucci, Lucian Msamati, Brian F. O'Byrne, and Isabella Rossellini. Read the full review round-up below.

        Clotilde Chinnici of Loud and Clear Reviews says, "Ultimately, Conclave is everything I could have ever hoped it to be, and more. The film is not only an excellent thriller, but also a very successful reflection on the Catholic Church and the system of corruption that it has come to represent." Adding, "The acting is where Conclave shines the brightest. Ralph Fiennes is excellent as the main character, solidifying his place in this year’s Oscar race and as one of the most fascinating and transformative actors of his generation. Stanley Tucci and Sergio Castellitto are also in their respective roles as Bellini and Tedesco, representing two polar opposites within the Catholic Church. The cinematography by Stéphane Fontaine is also particularly impressive."

       Peter Debruge of Variety notes,  Adapted from the Robert Harris novel by Edward Berger, who assumes a very different challenge after “All Quiet on the Western Front,” this thinking man’s thriller unfolds like a murder mystery behind the locked doors of the Domus Sanctae Marthae, where the College of Cardinals is cloistered, except no one suspects foul play in the previous pontiff’s death. Still, intrigues abound as the papabili — those considered next in line for the job, played by such formidable actors as Ralph Fiennes, Stanley Tucci and John Lithgow — pull whatever levers they can to be elected. But “Conclave” obviously concurs with Plato’s adage, “Only those who do not seek power are qualified to hold it,” featuring a host of candidates who seem positively British in their self-effacing humility, side by side with others ambitious enough to sabotage their rivals."

       Matt Neglia of Next Best Picture writes, "Following up his Academy Award-winning WWI film “All Quiet On The Western Front,” director Edward Berger returns with “Conclave,” a meticulously constructed thriller based on the novel of the same name by Robert Harris. Releasing during an election year here in America may draw more extreme parallels to today’s society than if it were released any other year. Still, there’s no denying the timeless quality of Berger’s film as man’s quest for power is as traditional as it gets and has, sadly, never faded away. Peter Straughan’s well-crafted screenplay pulls back the ornate curtains of the Vatican to reveal a world rife with ambition, conspiracy, and hidden secrets."

Photo by Matthew Schwartz on Unsplash

       David Ehrlich of indieWire praises the film, stating, "Much of the movie is confined to the red and gray marble corridors where the cardinals sleep at night, the nuclear bunker-like design of which helps deepen the impression that the fate of the outside world is at stake. The rest takes place in less oppressive spaces, where the various rounds of voting are interrupted by bombshell accusations worthy of US Weekly. Pushing against the unavoidable talkiness of Peter Straughan’s (piously faithful) script, Berger keeps the blood pumping with a forcefully gliding camera, a handful of static compositions so painterly they could be hung on the walls of the Vatican, and a Volker Bertelmann violin score so loud and oppressive that it sounds like it’s lobbying for a vote. When that doesn’t work, Isabella Rossellini is on hand to appear as the glowering Sister Agnes, who puts the fear of God back in any cardinals who might be worshiping at the altars of their own ambition. No matter how didactic the movie’s writing might be (read: very), “Conclave” is never dull. And while the tension between idealism and realpolitik might be thin and superficial, the pettiness of it all is as much of a feature as a bug in a story about a group of old and/or aging holy men whose little red skullcaps can’t disguise the fact that they’re still bullying each other in the cafeteria."

'Abbott Elementary' Impresses the Critics

         On October 9, 2024, ABC premiered the fourth season of 'Abbott Elementary', which has earned rave reviews from critics. In the series, "A group of dedicated, passionate teachers -- and a slightly tone-deaf principal -- find themselves thrown together in a Philadelphia public school where, despite the odds stacked against them, they are determined to help their students succeed in life. Though these incredible public servants may be outnumbered and underfunded, they love what they do -- even if they don't love the school district's less-than-stellar attitude toward educating children." The ensemble cast includes Quinta Brunson, Tyler James Williams, Janelle James, Lisa Ann Walter, Sheryl Lee Ralph, William Stanford Davis, and Chris Perfetti. Read the full review round-up below.

        Samantha Coley of Collider says, "Class is back in session for the Abbott Elementary gang, and Season 4 looks all set to pass with flying colors. When we last left off with our faves at Abbott, Janine (Quinta Brunson) was throwing the perfect end-of-year party catering to each of her co-workers in ways that only Janine can, and — perhaps most importantly — Janine and Gregory (Tyler James Williams) solidified their place in the will-they-won’t-they hall of fame with a steamy, season-ending kiss.We won’t spoil what the future may bring for Teddie (aka Teagues + Eddie), but we can confirm that Brunson continues to breathe fresh life into the very best sitcom tropes with Season 4. In the opening episode, titled “Back to School,” Janine is fully integrated back into daily life at Abbott after her time at the district, and we’re introduced to what will likely be a season-long source of conflict as the construction of a new golf course brings a wave of gentrification to west Philly. Though Janine has left the district, we’ll still be seeing some familiar faces from her personal and professional past pop up in guest capacities, bringing the jokes and some fun narrative conflict for our favorite teachers. Meanwhile, shifting dynamics keep the show's familiar formula from getting stale, and moving into the show’s fourth season, the cast only continues to feel more cohesive and lived-in."

Photo Courtesy of ABC/Disney and Gilles Mingasson

       Sarah Little of Screen Rant notes, "As if there was ever any doubt, Abbott Elementary season 4 continues the show's tremendous track record of providing a multitude of laughs, exciting character developments, and intriguing new conflicts that directly affect Willard R. Abbott Elementary School. Quinta Brunson's ABC mockumentary sitcom revolves around Abbott's teachers and staff workers, including Brunson's Janine Teagues. The series focuses on their relationships with one another and their personal and work struggles. The Emmy Award-winning series has routinely been praised for its humor and willingness to address real issues in the public school system, and season 4 isn't any different." Continuing, "The Abbott Elementary season 3 finale paid off Janine and Gregory's story. After a season full of obvious pining for one another, it ended with them kissing in her apartment while the documentary crew tried to sneak a peek inside. Although this development was exciting for those rooting for the couple, many also worried that season 4 would backtrack and separate Janine and Gregory once again. The good news is that Abbott Elementary season 4 rectifies its past mistakes while also taking what has worked in the past and making it new."

       Joshua Harris of Paste Magazine praises the series, stating, "Abbott’s writing remains as sharp as ever, seamlessly lending laugh-out-loud moments with earnest and heartfelt interactions. With a season-long arc focused on gentrification, the series promises to deliver fresh narratives while preserving its charm."

'This Time Each Year' Reviews: "Hallmark fans are in for a treat!"

         On October 24, 2024, Hallmark Channel premiered 'This Time Each Year', which has earned rave reviews from critics. In the film, "Despite a trial separation, Lauren pretends to still be with her husband, Kevin, to placate her overbearing mother. The ruse may be just what the couple needs to finally work on their marriage." The ensemble cast includes Alison Sweeney, Niall Matter, Victor Zinck Jr., Ezra Wilson, Craig March, and Laura Soltis. Read the full review round-up below.

        Girls Gone Hallmark says, "Hallmark fans are in for a treat! Alison Sweeney and Niall Matter, two beloved Hallmark stars, are appearing together for the very first time in This Time Each Year, a heartwarming holiday movie premiering as part of Hallmark’s Miracles of Christmas on Hallmark Mystery. Directed by Crystal Lowe, This Time Each Year promises to deliver a beautiful blend of love, second chances, and holiday magic." Adding, "With its heartwarming story and the exciting first-ever collaboration between Alison Sweeney and Niall Matter, This Time Each Year is shaping up to be a holiday favorite. If you love stories about second chances and family, this movie is sure to hit all the right notes."

Photo Courtesy of Hallmark Media and Jeff Weddell

'Georgie & Mandy's First Marriage' Will Impress Fans of 'The Big Bang Theory' Universe

         On October 17, 2024, 'Georgie & Mandy's First Marriage' premiered on CBS to positive reviews from critics. In the series, "Georgie and Mandy raise their young family in Texas while navigating the challenges of adulthood, parenting and marriage." The ensemble cast includes Raegan Revord, Montana Jordan, Emily Osment, Dougie Baldwin, Will Sasso, Jessie Prez, Rachel Bay Jones, Annie Potts, and Zoe Perry. But what did the critics say?

Photo by Joshua Jumarie on Unsplash

        Ana Dumaraog of Screen Rant says, "The Young Sheldon follow-up, Georgie & Mandy's First Marriage proves how far Chuck Lorre's TV franchise has come since The Big Bang Theory." Adding, "Having followed both The Big Bang Theory and Young Sheldon, I was concerned about Georgie & Mandy's First Marriage's change in format. Instead of being a single-cam show like its parent series, it transitions to a multi-cam series, which means it is filmed in front of a live audience. The Big Bang Theory had the same approach, and it just couldn't handle drama and emotional moments like Sheldon's origins did. So, I was pleasantly surprised to see that Georgie & Mandy's First Marriage is unexpectedly emotional. Don't get me wrong, it is still funny. Jordan and Osment have excellent chemistry, and Sasso is phenomenal as the McAllister patriarch who knows not to pick a fight with his wife. That said, the sitcom picks up just a couple of months after George's unexpected death. The Coopers are still reeling from the loss, which the new show handles so well. Georgie's scenes in particular are emotional, especially when he slows down and realizes that his dad is no longer around and how that relates to him also being a father now."

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       Rob Owen of Pittsburgh Tribune-Review notes, "Executive producer Chuck Lorre is known to course-correct when a show needs it. While the jury’s out on what Georgie & Mandy will become, an opening credits sequence of the title characters doing an energetic tango is a winner from the jump." Continuing, "All comedies take time to jell and executive producer Chuck Lorre is known to course-correct when a show needs it (see: “Mom”). While the jury’s out on what “Georgie & Mandy” will become, an opening credits sequence of the title characters doing an energetic tango is a winner from the jump."

'Don't Move' Reviews: "Netto and Schindler keep the audience on their toes and deliver a nail-biting good time"

         On October 25, 2024, Netflix releases 'Don't Move', which has earned predominantly positive reviews from critics. In the film, which is a Halloween treat, "When a killer injects her with a paralytic agent, a woman must run, fight and hide before her body completely shuts down." The ensemble cast includes Kelsey Asbille, Finn Wittrock, and Daniel Francis. But what did the critics say?

        Bee Dolores of Horrorverse notes, "Brian Netto and Adam Schindler throw their hats into the revenge/thriller ring with Netflix's Don't Move. Lean and mean, the film isn't reinventing the wheel but does offer a flip on the usual formula. Finn Wittrock plays unhinged killer Richard who injects Iris (Kelsey Asbille) with a paralytic agent. Stuck in the middle of the woods, Iris struggles against her failing body and proves she has more fight than Richard anticipated. Recovering from the loss of a child, Iris uses every trick in the book to outsmart her attacker, going as far as dragging herself into a nearby stream to get away. If she can buy enough time for the drug to wear off, she might have a chance. Netto and Schindler keep the audience on their toes and deliver a nail-biting good time that fits somewhere between Alone and Hunted."

Photo by Oscar Vargas on Unsplash

'Venom: The Last Dance' Divides Critics

         On October 25, 2024, 'Venom: The Last Dance' was released by Columbia Pictures, receiving a mixed reception from critics with a score of 40% on Rotten Tomatoes. In the film, "Tom Hardy returns as Venom, one of Marvel's greatest and most complex characters, for the final film in the trilogy. Eddie and Venom are on the run. Hunted by both of their worlds and with the net closing in, the duo are forced into a devastating decision that will bring the curtains down on Venom and Eddie's last dance." The ensemble cast includes Juno Temple, Chiwetel Ejiofor, Alanna Ubach, and Rhys Ifans. But what did the critics say?

        Alonso Duralde of The Film Verdict says, "Narrative cinema rarely cares this little about actual narrative, transforming what’s supposed to be the concluding chapter of an ongoing saga into little more than pure sensation — blobs of color, bursts of sound." 

        Mike Massie of Gone With The Twins writes, "Why are all these random concepts drummed up on a whim, with no background, no rules, and no reasons? With such pitiful writing, it’s impossible to take any of the scenarios seriously." Adding, "It begins by introducing a random new villain with random allies, foiled by random betrayers, who create a random way of imprisoning that villain for what is supposed to be eternity. But, of course, they also devise a random way for him to escape, which means that he must pursue a random way of tracking down that ludicrously contrived loophole. None of this is explained with any sensible justifications; it’s the most generic of fantasy setups, hoping that by narrating it with an ominous voice and forbidding imagery (murky creatures scurrying through inky environs), audiences will just accept it as the way it is. It’s the absolute laziest and most pathetic way to kick off a premise. It is, however, right in line with the last couple of Venom features, so it’s far from unexpected. Skipping past some of the multiverse nonsense, Eddie again strikes up his exhausting schtick with the invasive symbiotic goo, like a more divided, less cohesive, less amusing version of Jim Carrey’s Stanley Ipkiss as he fights the comically anarchic forces of the Mask. And it’s still painfully unfunny."

       Kate Sánchez of But Why Tho? A Geek Community was more impressed, stating, "While Venom: The Last Dance may be weaker than its predecessors (of which 2018’s Venom is the best), it’s still a good time, and you can tell leading man-turned-writer Tom Hardy is having one too." Concluding, "Hardy may not have embodied the villain we all expected through his run as the character, but he has brought chaotic fun and care to the character. It works, from leaning into fan service and the very funniest of AO3 shipping moments to the creativity of creating two completely different personalities portrayed by the same actor."

       Giovanni Lago of Next Best Picture notes, "We’ll miss watching Tom Hardy rock Hawaiian shirts, ride motorcycles, and argue with himself as Eddie Brock, but definitely not enough to have to sit through another one of these films again."

Photo by Erik Mclean on Unsplash

'I Will Never Leave You Alone' is a Spooky Season Treat

         On October 18, 2024, Dark Sky Films released 'I Will Never Leave You Alone', which has earned predominantly positive reviews from critics. In the film, "Richard is a mute who is on parole from prison and has been released into the mandatory custody of a superstitious real estate investor who pays him to stay alone in a haunted house for six days to rid it of evil spirits. This is his chance to return to a normal life, but there's a dark catch: if he fails to stay all six nights, the investor will send him back to prison. Once on the isolated property, Richard finds a creepy, old doll that unleashes the evil spirit of a witch murdered on the property centuries ago. The witch haunts him and eventually tortures him using the painful memories that led him to prison. Pushed to his limit after a few days, he can't leave or stay. Unable to ask for help or even scream, Richard is trapped and alone, struggling to cope with haunting as it destroys his reality. There's no telling what Richard will do if the witch-ghost fully invades his mind." The ensemble cast includes Kenneth Trujillo, Katerina Eichenberger, Emma Anne Wedemeyer, and Christopher Genovese. Read the full review round-up below.

        Kat Hughes of THN says, "I Will Never Leave You Alone is a film that is consumed by feelings of guilt and regret. As Richard begins his vigil, he finds himself tormented by his past. Regardless of whether the rumoured ghosts are real, Richard has the echoes of his former life to deal with. Prior to going to prison he lived with his wife and young baby. Sadly, their lives were less than idyllic, with Richard a destructive alcoholic and his wife Emma (Katerina Eichenberger) struggling with postnatal depression. As I Will Never Leave You Alone progresses, initial glimpses of Richard’s time before extend to fully fledged scenes. The longer they become, the more harrowing and confronting the story becomes. The true extent of the horror that Richard has endured is eventually revealed; it is thoroughly unpleasant and exceptionally bleak. If you thought The Coffee Table was upsetting, you haven’t seen anything yet." Adding, "As Richard is haunted by his past, he is simultaneously stalked by a wicked presence within the house. Unlike those before him, Richard does not crumble, the stoic and silent character seemingly accepts this treatment as punishment for his former actions. Instead of becoming increasingly more terrified, he is affected by his encounters in different and more dangerous ways. Watching him fall to pieces is tough to see, but Kenneth Trujillo gives a fantastic performance. Richard’s self-imposed silence means Trujillo has to convey a range of complex emotions through facial expression alone, and the actor does stellar work at making the audience invest in him. Not quite a tragic hero, Richard does still evoke empathy from the viewer. The closer the film gets to its conclusion, the higher the emotional toll on the audience."

       Anton Bitel of Projected Figures notes, A haunted man in a haunted house, hoping to exorcise his own damaged soul as much as the “evil spirits” within, even as this weeklong residency triggers all his deep, better-forgotten traumas – it is a premise that opens the film to both supernatural and psychological readings. For as things go bump in the night, and in this lonely, isolated place Richard’s own personal ghosts catch up with him as much as the legendary Crone who was already inhabiting his dreams and his mind before he even arrived here, we see different narratives resonating, different planes of existence intersecting and different metaphors mixing, with our mute, marginalised hero exhibiting the same longing and loss, grief and guilt, as the lonely stitch-mouthed witch who has been plaguing this farmhouse, once and always her own, for centuries.  I Will Never Leave You Alone is not only the title of writer/director DW Medoff’s second feature (after Pollen, 2023), but also a recurrent phrase in its narrative, uttered in flashback and written on scrap paper and emblazoned over the mantelpiece where Richard lights his expiatory candles. The words are equivocal, ambiguating between a promise of an everlasting commitment to love and a threat of eternal haunting – and Richard’s past failure to live up to the former is what has led him to these domestic interiors of horrific history and illusory wish fulfilment, where forever homes are found and lost lovers reunited – just so long as you never wake up."

Photo by Benjamin Cheng on Unsplash