'September 5' Reviews: Film "will pin you to your seat"

         On December 13, 2024, Paramount Pictures releases 'September 5', which has received rave reviews from critics, earning a score of 88% on Rotten Tomatoes at the time of this writing. In the film, which is generating Oscar buzz, "During the 1972 Munich Olympics, an American sports broadcasting crew finds itself thrust into covering the hostage crisis involving Israeli athletes." The ensemble cast includes Peter Sarsgaard, John Magaro, Ben Chaplin, Leonie Benesch, and Zinedine Soualem. But what did the critics say?

        Peter Travers of ABC News says, "The massacre of the Israel team at the 1972 Munich Olympics becomes a riveting docudrama on journalism under fire as seen through the contro lroom of ABC Sports doing live coverage. Peter Sarsgaard, John Magaro and Leonie Benesch will pin you to your seat" Adding, "Scaling this testosterone wall is "The Teachers' Lounge" breakout Leonie Benesch as Marianne Gebhardt, the only German-speaking member of a boys club unashamed of underestimating women. Start an Oscar campaign pronto for the brilliant Benesch, who is so good you want to cheer. All the actors could not be better or more fully committed."

       Lucia Ahrensdorf of The Film Stage writes, "September 5 may aim to represent the uncomfortable ethics of media, but this is no Ace in the Hole. About the final shootout that results in hostage deaths, Marianne (Benesch) tearfully says, “I stood with hundreds of people, waiting for something to happen so we could take a picture of it.” This line is meant to implicate our protagonists as voyeurs, media vultures. Yet this moment doesn’t resonate deeply when the film goes out of its way to cast these characters as blameless. (What can they do? It’s their job!) With a matter-of-fact, procedural tone, September 5 treats journalism as a sport––not one of blood and sweat, but something more like ping-pong. The plot builds up to the infamous moment when the journalists misreport the escape of the hostages, only to then have to backtrack and report that, actually, they’ve died. The mistake evokes an emotional reaction from the staff, but the show must go on: they quickly pivot to working on tomorrow’s broadcast of the memorial service. The theatergoers around me exclaimed variations of “wow!” and “phew!” after the film had ended––as if they had just gotten off a roller-coaster ride. I wondered what value there is in these straight re-tellings of the reporting of historical events. It’s true to the characters’ experience to design the film as 90 minutes of adrenaline, but shouldn’t we ask more of films than simple recreation? Watching September 5, it’s hard not to miss the messy agony of Steven Spielberg’s Munich. Here, humanity is condensed and trapped in professional gestures––a bloodless upholding of American corporate-media machinations. Such moments of humanity among the bloodless professionalism are the point, the filmmakers might say. Some may feel a thrill, but I left feeling cold and blank, the buzz quickly worn off."

Photo by Josh Chiodo on Unsplash

        Gregory Ellwood of The Playlist notes, "A breezy 91 minutes, “September 5” is captivating on multiple levels and, frankly, a surprising success considering Fehlabum‘s previous work. Even though the fate of these hostages was determined over five decades ago and you witness the events from a distance, Fehlabum and his editor Hansjörg Weißbrich will keep you in suspense as the drama plays out. The filmmakers’ decision to use real broadcast footage could have easily backfired, but intertwining just McKay with Walker’s portrayal of Jennings strikes the perfect balance (it also helps they have the larger-than-life Howard Cosell call into the control room rather than have him appear on screen). It only reinforces the sense that you are part of a live news story and the genuine tension that accompanies it. Oh, and as a lesson in the craftsmanship that went into what is now “old school” analog television coverage, the movie will be eye-opening for many." Adding, "Quizically, the only aspect of the story “September 5” fumbles is the political ramifications of Black September’s actions. It gives the innocent Israeli victims their due but simply leaves it at that. This is not a movie that wants to seriously dive into the Palestinian-Israeli conflict. The terrorists are largely lifeless which, granted, was what was known during the actual broadcast. It’s mostly captivated by the inherent drama capturing the event. The balance of brilliant decisions and unfortunate mistakes that plague coverage of an event like this. And it’s smart enough to recognize that for these television creators, this isn’t something they will shake off in a day or two. But they did their job and like no one before them. You just wish what happened next was explored beyond the requisite title card before the credits roll."

'That Christmas' Reviews: Film "is engineered to keep the kids busy around 4 pm on Christmas Day while Mom and Dad sip their third Irish coffee in peace"

         On November 27, 2024, with a streaming release on December 4, 2024, Netflix released 'That Christmas', which has earned a mixed reception and a score of 59% on Rotten Tomatoes. "Based on the charming trilogy of children's books by beloved multi award-winning writer/director Richard Curtis (Four Weddings and a Funeral, Notting Hill, Love Actually, Yesterday), That Christmas follows a series of entwined tales about family and friends, love and loneliness, and Santa Claus making a big mistake, not to mention an enormous number of turkeys!" The ensemble cast includes Brian Cox, Fiona Shaw, Jodie Whittaker, Guz Khan, and Bill Nighy. But what did the critics say?

       Philip Bagnall of Next Best Picture says, “That Christmas” is engineered to keep the kids busy around 4 pm on Christmas Day while Mom and Dad sip their third Irish coffee in peace." Adding, "Richard Curtis has created his fair share of mawkish onscreen Christmas moments, but surprisingly, the creator of “Love, Actually” and “About Time” has never made a film expressly for children. He rectifies that gap in his resumé with “That Christmas,” an adaptation of three of his bestselling children’s books. The attempt to marry three barely connected stories together is just the tip of the iceberg of chaos. This adaptation is a sappy and hyper mess explicitly designed to appeal solely to younger viewers."

       Clotilde Chinnici of Loud and Clear Reviews notes, "Usually, the beauty of Christmas films is their appeal to a wide audience; they are meant to be watched by the whole family, after all. But Simon Otto’s latest movie seems to be targeting kids the most, with its child-like humour – expect at least one fart joke – and its rather straightforward plot. Very little is actually unexpected or surprising in the film: from a storyline point of view, it follows the classic structure and tropes of a Christmas tale without really adding anything for the new generation that might be watching it."

Photo by Andréa Villiers on Unsplash

       Damon Wise of Deadline Hollywood Daily praises the film, stating, "Tales of love, unrequited or otherwise, interwoven over the festive season, laden with pop songs and narrated by one of the biggest celebrities in show business, That Christmas is best viewed as a kid-friendly attempt by rom-com auteur Richard Curtis to atone for his long-standing seasonal hit Love Actually. Beautifully rendered by Simon Otto, head of character animation for the well-respected How to Train Your Dragon trilogy, it might be too busy, storywise, for younger audiences, and even rather scary towards the end, but the writer-director’s genius for dialogue is firmly on display here (an especially timorous character is afraid of infinity because “there’s just so much of it”). Adults will roll their eyes at the fart jokes; but then, kids will cringe at the sound of Ed Sheeran and Coldplay." Continuing, "Gathered up from Curtis’ short-story book of the same name, That Christmas takes place in a diverse but gentrified Suffolk seaside town that may as well be Notting-Hill-on-Sea. Taking voice-over duties from Hugh Grant is Santa Claus (Brian Cox), who looks back on four eventful days in the neighborhood following a big snowfall in the runup to Christmas Day. Like Love Actually, it features a multitude of interlocking stories and characters, but Curtis is humble enough to offer up his divisive rom-com for derision, poking fun at his 2003 film as a cheesy object of yuletide scorn (alongside Brussels sprouts and washing dishes). In that sense, the film finds Curtis, once again, having his cake and eating it, making fun of the tropes of sentimental feelgood fare (“The tradition of traditional traditions,” as one character puts it), while happily dialing them up to 11."

'Our Little Secret' is Not Worth Keeping

         On November 27, 2024, Netflix released 'Our Little Secret', which has received a mixed reception from critics, earning a score of 30% on Rotten Tomatoes. In the film, "Two resentful exes are forced to spend Christmas under the same roof after discovering that their current partners are siblings." The ensemble cast includes Lindsay Lohan, Kristin Chenoweth, Ian Harding, Katie Baker, Tim Meadows, Jake Brennan, and Jonathan Rudnitsky. But what did the critics say?

        Marya E. Gates of RogerEbert.com says, "After taking nearly a decade off, Lindsay Lohan made her return to the movies in 2022 with a starring role in the Netflix Christmas romantic comedy "Falling for Christmas." Since then, she has made two more rom-coms with the streamer: "Irish Wish" and this week's "Our Little Secret." What this pivot has proven is that Lohan is a sharp screwball comedienne who has decided to forge her own path in the new studio system as an actress-producer in the mode of some of Old Hollywood's most savvy stars. And the movies are richer for it. "Our Little Secret" is the slickest of the three, likely because director Stephen Herek has a strong background in traditional mid-budget studio fare. He's the helmer behind films as diverse as "Critters," "Bill & Ted's Excellent Adventure," "Don't Tell Mom the Babysitter's Dead," "The Mighty Ducks," and "Mr. Holland's Opus." While this film doesn't quite have the same Hollywood sheen as some of his better-known titles, it plays a lot more like a traditional film that's made to be seen on the big screen with your family during Thanksgiving vacation than most of the made-for-TV or streaming Holiday films that get churned out this time of year."

Photo by Andréa Villiers on Unsplash

       Brennan Klein of Screen Rant notes, "Netflix's latest holiday offering, Our Little Secret, is something of a step back from the streamer's efforts to go slightly spicier with their rom-com content this season following the shirtless-man-forward releases Hot Frosty and The Merry Gentlemen. The new movie — which follows exes Avery (Lindsay Lohan) and Logan (Ian Harding) as they pretend not to know each other over Christmas when they realize their respective partners are siblings — is a profoundly middle-of-the-road family comedy, minimally edgier than the average Hallmark Christmas movie but without enough texture to rub anybody the wrong way."

       Emma Kiely of Collider writes, "Lohan’s latest holiday romance for the streamer, Our Little Secret, seems to think it’s slightly above its twee comrades in that it has more of an edge, focusing on a series of embarrassing faux pas for its two leads (Lohan and Ian Harding) rather than developing a gushing romance between them. It catches itself in the middle of the Christmas spectrum. It in no way has the standard of writing to place it alongside the likes of The Family Stone (of which it is very reminiscent), but it doesn’t fully let itself get lost in the oogey-gooey Hallmark romance that we all pretend to hate. This middle ground makes it a stiff, poorly written comedy that is somewhat saved by the performances of its two leads."

Hallmark Scores a Touchdown and a Foul

         On November 30, 2024, Hallmark Channel released 'Holiday Touchdown: A Chiefs Love Story', which has earned a mixed reception from critics. In the film, "Chiefs superfan Alana tries to win the Fan of the Year Award as a Christmas gift for her family, falling in love with someone in the Chiefs front office along the way." The ensemble cast includes Tyler Hynes, Hunter King, Mary Beth McDonough, Ed Begley Jr., Christine Ebersole, and Richard Riehle. Richard Roeper of Chicago Sun-Times says, "You might have heard about dueling Christmas TV movies inspired by the real-life romance between Taylor Swift and Travis Kelce, but while Lifetime’s “Christmas in the Spotlight” is indeed an artificial-tree homage to the Swift/Kelce story, the Hallmark movie “Holiday Touchdown: A Chiefs Love Story” is NOT a football player/pop star love story, even though the latter film is set squarely in Chiefs Nation and even features a cameo by Mama Donna Kelce." Adding, "The wonderful Ed Begley is a warm presence as Alana’s grandfather, who was given a Chiefs hat by a local Santa Claus back in 1969 — a hat the family believes has magical powers come playoff time. A handful of former and current Chiefs make brief cameos. When Andy Reid makes a late appearance, the scene is filmed in a way that has us wondering if he was even with the actors that day, or just recited a couple of lines separately. If you’re a Chiefs fan, you’ll probably get a kick of out the whole thing. Not sure how well it’s going to play in Raider Nation."

Credit: ©2024 Hallmark Media/Photographer: Courtesy Vortex Media

        On the bright side, November 29, 2024 saw the release of 'A '90s Christmas', which received rave reviews from critics. In the film, "A workaholic lawyer destined to spend Christmas alone is transported back to 1999 after an unexpected run in with a particularly wise ride-share driver." The ensemble cast includes Chandler Massey and Eva Bourne. Liz Kocan of Decider writes, "There are loads of 1999-specific gags when we go back in time (weirdly generic posters on the wall for a film called She’s All There and bands that look like the Backstreet Boys and Hanson but aren’t), although there’s one based-in-reality joke, as Lucy picks up a notebook where she has scrawled out a love note for Joshua Jackson and sighs, “Oh, Lucy.” I mean, some things actually don’t change, the man is a fine wine. But when the magical Uber driver reappears, she explains to Lucy that this is real, and Lucy gets a chance for a do-over now that she’s back in the time and place where she actually had people around her who she felt close to and didn’t push away. The only person that Lucy can tell about the fact that she’s from the future is her old bestie, Nadine (Jenny Raven), who she’s grown apart from in the 2024 timeline. Nadine is a sci-fi geek so of course she immediately buys in to the fact that Lucy is from the future. Together they deduce that Lucy has been sent back to 1999 to re-do a kiss with Matt that cause things to get weird between them and completely cut each other off." Concluding, "STREAM IT! This film draws most of its humor from the many 1990s references and gags throughout, but ultimately it shines as a warm, time-travel-tinged take on a redemption story where our leading lady realizes that she can have it all, if she just opens her heart a little."

Reboot of 90s Classic Misses the Mark

         On November 21, 2024, Prime Video released 'Cruel Intentions', which is a reboot of the classic film of the same name. Unfortunately, fate was cruel as the series failed to win over critics, earning a score of 36% on Rotten Tomatoes. In the series, "At Manchester College, step-siblings Caroline and Lucien work to stay atop of the social ladder; after a hazing scandal, they plot to seduce, Annie Grover, the daughter of the Vice President of the United States, to maintain power." The ensemble cast includes Zac Burgess, Sarah Catherine Hook, John Harlan Kim, Laura Benanti, and Claire Forlani. But what did the critics say?

        Kate Sánchez of But Why Tho? A Geek Community says, "Savannah Lee Smith as Annie Grover, Khobe Clarke as Scott Russell, Sean Patrick Thomas as Professor Hank Chadwick, and Brooke Lena Johnson as Beatrice Worth are all serviceable enough in their roles. Still, the siblings should be the leading force of the series. Instead, Sarah Catherine Hook’s Caroline and Zac Burgess’ Lucien are too timid and mild to even sit at the same table as their Ryan Phillippe and Sarah Michelle Gellar-Prince counterparts. The entire series feels like kids cosplaying adults trying to shock a viewer. And none of it is endearing. There is no charisma, no fashion touchstones, and absolutely nothing memorable. This is a property that should have stayed in 1999. Cruel Intentions (2024) is not good, and I see no real possibility of season two taking it beyond a limited series."

       Hannah J Davies of Guardian writes, "Really, this feels like a generic teen series by any other name. You can’t help but wonder what the writers might have come up with had they not been confined by the streaming economy’s desperate need for nostalgia." Continuing, "Neighbours alumnus John Harlan Kim also proves that Ramsay Street remains a finishing school for some of TV’s best actors, taking on the role of Janus-faced frat boy Blaise with a thrilling mix of icy detachment and desperate insecurity. Also working overtime is Savannah Lee Smith, previously seen in the Gossip Girl reboot. Her character, Annie, is a reimagining of Witherspoon’s Annette: a new Delta recruit who is swept into Caroline and Lucien’s sexually manipulative games to the sound of an Olivia Rodrigo megamix."

       Carly Lane of Collider notes, "This Cruel Intentions wants to wield the same darker, taboo elements that the movie unapologetically displayed 25 years ago, but ultimately shies away from any real ruthlessness, and therefore fails at having any teeth at all."

Photo by Thibault Penin on Unsplash

Hallmark Brings a Gift and Coal

         On November 21, 2024 and November 23, 2024, Hallmark Channel premiered two movies that received polar opposite reactions from critics, 'A Novel Noel' and Three Wiser Men and a Boy'. Having personally watched both, I agreed with the critics on both, even though 'A Novel Noel' had the stronger performances in my opinion. 

Credit: @2024 Hallmark Media/Photographer: Allister Foster

        In 'A Novel Noel', "A NYC book editor takes on a temporary gig running a Maine bookstore. Battling with the owners' son, she rediscovers her passion for nurturing creativity." The ensemble cast includes Brendan Penny and Julie Gonzalo. Maddy Casale of Decider writes, "Julie Gonzalo gives a committed and emotionally open performance as Harper. She’s got an easy charm as Harper that makes you root for her." Adding, "As charming and cute as I find any independent bookstore, including The Book Cabinet, that same charm doesn’t seem to extend to the rest of A Novel Noel. While Julie Gonzalo does her best to carry the film, Harper’s romance with Sawyer doesn’t make for the most riveting or romantic viewing. I’m sorry, but she gives him so much more than he ever gives her. I mean, for Christmas, she got his manuscript PUBLISHED, while all he got her was… an impersonal necklace from the same market he goes to every year. Look, I know that many of us enjoy a good enemies or rivals-to-lovers story (myself included!) but having characters argue and disagree doesn’t automatically equate to romantic tension. In fact, many of those exchanges just made Sawyer come off as a bit of a snob or immature compared to Harper. You’re too good for him, girl! And when he continually teasingly calls you “city girl,” it isn’t as cute as he thinks it is! A Novel Noel also has a bit of an issue with showing versus telling, doing so much more of the latter that it can be hard to fully buy into some of what the movie is selling. For example, we’re told that Sawyer is this gifted writer, but never hear any of his actual work. We just get a brief shot of him clickity-clacking away on a laptop with a focused look on his face and have to assume he’s penning the next great American novel. I’m sure you did, Sawyer, I’m sure you did."

Credit: @2024 Hallmark Media/Photographer: Ricardo Hubbs

        In 'Three Wiser Men and a Boy', "The Brenner brothers are back and putting on a holiday pageant for young Thomas, while trying to cope with life's curveballs, including their mom's new boyfriend." The ensemble cast includes Andrew W. Walker, Paul Campbell, and Tyler Hynes. Fortunately, this film received rave reviews from critics, much like the first film in the series that united the three Hallmark fan favorites in one film for the first time. Movieguide writes, "THREE WISER MEN AND A BOY is a hilarious Christmas comedy on the Hallmark Channel. A sequel to THREE WISER MEN AND A BABY, the movie follows three brothers, Luke, Stephan and Taylor. They work to help Luke’s son put on a school Christmas play. Complicating matters is their mother’s new boyfriend, Roy, a pastor. The brothers aren’t taking it well. They resent Roy for invading their family’s Christmas traditions. Producing the Christmas play develops some big problems. A small school fire endangers the whole production. Can the brothers save the play and figure out how to coexist with their mom’s boyfriend in time for Christmas? THREE WISER MEN AND A BOY has high production values. The script is funny and heartfelt. The three lead actors give wonderful comedic performances. THREE WISER MEN AND A BOY has a strong moral worldview with positive references to Christmas. It stresses kindness, strong relationships with family and friends, and forgiveness. THREE WISER MEN AND A BOY has no violence, foul language or crude content. So, it’s suitable for nearly all ages." Adding, "The three lead actors, Andrew W. Walker, Tyler Hynes and Paul Campbell, deliver perfect comical performances. The movie’s humor is balanced with its emotional message of appreciating family, new and old, showing kindness, and forgiving other people." 

'Moana 2' Reviews: "a rousing, entertaining, and inspiring family adventure that hits all the right notes"

         On November 27, 2024, Walt Disney Pictures releases 'Moana 2', which has earned a predominantly positive reception from critics, currently holding at 70% on Rotten Tomatoes at the time of this writing. In the film, which is a sequel to the juggernaut hit animated film, "After receiving an unexpected call from her wayfinding ancestors, Moana must journey to the far seas of Oceania and into dangerous, long-lost waters for an adventure unlike anything she's ever faced." The Critics Consensus reads, "Riding high on a wave of stunning animation even when its story runs adrift, Moana 2 isn't as inspired as the original but still delights as a colorful adventure." The ensemble cast includes Auli'i Cravalho, Dwayne Johnson, Alan Tudyk, and Temuera Morrison. But what did the critics say?

        Matt Oakes of Silver Screen Riot was unimpressed, stating, "A limp and uninspired sequel that lacks a reason to exist and memorable tunes, Moana 2 washes ashore with all the grace of a dazed hermit crab—a lightweight spectacle scuttling for purpose. Much ado has already been made about its metamorphosis from a Disney+ series to a full-fledged, theatrically-released tentpole for the animation arm of the studio but it’s fair to point out that this creative retooling can be felt all over the final product. It’s a tedious sequel that doesn’t seek to engage anyone over the age of 12, adrift without purpose, slogging from one unremarkable set piece to the next, unmoored by instantly forgettable musical numbers. It’s one of Disney’s most baffling creative misfires in recent memory – even if it’s not a box office miss like Disney’s previous two efforts – is remains narratively empty and as uncharted as the ocean depths it pretends to explore." Adding, "For children already enamored with Moana, this sequel will likely deliver enough colorful vistas, noisy antics, and action-packed escapades to hold their attention for its 100-minute runtime. Parents might even find themselves swept up in the vicarious joy of their children’s delight – and who can blame them?  But for anyone watching Moana 2 without the buffer of a kiddo’s enthusiasm, it’s an endurance test. Those expecting the animated sequel to present as an actual movie with anything resembling actual movie weight – rather than a distraction or babysitter – will be deeply off put by Disney’s latest effort to pass replication off as innovation. One simply can’t forget that the entire endeavor was calculated as a means to extract maximum dollars from family wallets, a soulless exercise in merchandising masquerading as a movie."

        Andrew Parker of The Gate notes, "Despite never reaching the emotional or musical heights of its predecessor, Moana 2 is a rousing, entertaining, and inspiring family adventure that hits all the right notes. It’s one of those sequels that gets the band back together, takes them out to accomplish a new quest, and wraps things up in a tight, ninety-ish minutes package. Moana 2 isn’t breaking a lot of new ground, but it retains the original film’s dazzling sense of visuals, consistently taps into the talents of its voice cast, and follows an entertaining current from start to finish."   

       Ross Bonaime of Collider says, "2016’s Moana was all about looking to the past to improve the future. This wasn't just because the title character (voiced by Auli’i Cravalho) learned from the choices of her elders to pave a new path for her people; it also felt like a step forward for Disney animation, providing a strong female character with her hopes and dreams and not motivated by a love interest. Moana certainly played in the tropes of Disney animation, but it also charted its own course, using those elements to create something much stronger. For all its strengths, Moana often kept moving forward, keeping an eye on what was next. We are introduced to the people of Montunui before Moana goes on her own adventure, leaving them behind. Or after befriending the demigod Maui (voiced by Dwayne Johnson) near the end of the film, we don’t get the opportunity to experience this new dynamic that was formed. And how do you introduce a character as adorable as the pig Pua and leave her behind?? Like Moana, its sequel, Moana 2, learns from the choices of the past to create an intriguing future that allows us to spend more time with the threads set up in the first film. In doing so, Moana 2 expands this world greatly, taking time to play around with these new relationships, and builds this into a universe that demands exploring. In the first film, we are shown Moana’s passion for freedom and the possibilities of what could lie beyond her island. With Moana 2, we finally feel that excitement about expanding beyond what we’ve already seen, making this the best animated Disney film since Encanto."

Image Courtesy of ©Disney

       Mae Abdulbaki of Screen Rant states, "Sometimes a movie is only as strong as its villain, and Moana 2 could have used a better one. On paper, Nalo is interesting, though the fact that he doesn’t appear onscreen until the mid-credits scene (yes, really) is a glaring weakness of the film. We’re often told about Nalo — from Maui and Matangi (Awhimai Fraser), a goddess who’s also bound by Nalo’s curse — but the lack of him is strange. The characters claim he gains power by separating the islands, but we don’t see what that looks like from a visual storytelling standpoint, lessening his villainous power overall. I thought about this a lot while watching the film, which took away from the experience of enjoying it. Younger audiences may not be so worried about what Nalo is or isn’t up to and why, but it’s a hole in an otherwise decent sequel that pushes the limits of its main character and how far she’s willing to go to help her beloved island. Nalo’s absence undermines the Disney sequel as a whole. Without his appearance, Moana is left fighting a scary thunderstorm in the god’s place, which is far less effective. It’s a good sequence that ultimately falters."

'Christmas in the Spotlight' Reviews: "a thoroughly enjoyable bit of Christmas fluff that is perfect for kicking off the season"

         On November 23, 2024, Lifetime premiered 'Christmas in the Spotlight', which has received predominantly positive reviews from critics. Loosely based on the Taylor Swift and Travis Kelce love story, the film focuses on "a popular singer who develops an unexpected romance with Drew, a professional football player. As their feelings grow, they soon face mounting pressure from the press, the paparazzi, fans, and even their families." The ensemble cast includes Jessica Lord, Laith Wallschleger, Jeannie Mai, David Pinard, and Haley Kalil. But what did the critics say?

        Luna Guthrie of Collider says, "It tells the story of a pop star and a football player who fall in love over the holiday season, and struggle with the pressures of fame before conceding that their relationship is the most important thing. Is it original? No. Does it feature every single cliché of the rom-com genre? Absolutely. But with a decent script, some nice chemistry between its actors and just the right amount of sweetness, it manages to be a thoroughly enjoyable bit of Christmas fluff that is perfect for kicking off the season." Adding, "Watching this as a kick-starter to the holiday season, I was hoping for lots of atmospheric elements that would lend the appropriate mood to Christmas In The Spotlight, but it wasn't quite there. There is an attitude of throwing a bunch of Christmas trees into a shot and calling it a day, when what it could really do with is more of those frosty nighttime sequences with visible breath, where the characters are all bundled up while decorative lights twinkle in the background. I was supremely shocked that we didn't get a romantic 'kissing in the snow' sequence. It may be corny, but it's all these small things that come together to make a holiday rom-com extra seasonal, and that is what the movie is really missing. Despite taking place over Thanksgiving and eventually Christmas, it just doesn't feel Christmassy enough."

Photo by Monika Grabkowska on Unsplash

        Emma Stefansky of The Daily Beast notes, "The dialogue is peppered with Swiftian groaners, like the moment when Bowyn self-deprecatingly describes herself as “never the cheerleader type, more of a bleacher girl.” The only news program in this movie’s world is run by two catty sports commentators, one of whom notes, “The alchemy between these two is off the charts.” Har-har. The two immediately present themselves as even more idealized versions of their real-world counterparts. Bowyn is Swift if Swift could also dance like Tate McRae. Drew is Kelce as the Swifties love to imagine him: the beefy, affable, affectionate himbo whose only calling on this earth is to make our beloved pop star happy. “You need someone in your life whose sole purpose is to show you a good time,” he declares. Don’t we all!" Concluding, "Innocuous conversations recorded on the sly become PR crises. Your favorite pop star isn’t feeling up to performing. Your favorite football team keeps losing. Is it, perhaps, because of the intense pressure we ourselves put upon these people—even more when they just happen to be romantically involved? A movie like this is ostensibly made for the fans, and yet it’s bold enough to propose that maybe we should all, ahem, calm down."

'Spellbound' Fails to Enchant Critics

         On November 22, 2024, Netflix released 'Spellbound', which has earned a mixed reception from critics, earning a score of 57% on Rotten Tomatoes. "Spellbound follows the adventures of Ellian, the tenacious young daughter of the rulers of Lumbria who must go on a daring quest to save her family and kingdom after a mysterious spell transforms her parents into monsters." The ensemble cast includes Miguel Bernardeau, Jenifer Lewis, Rachel Zegler, Nicole Kidman, John Lithgow, Nathan Lane, and Dee Bradley Baker. Read the full review round-up below.

        Isabella Soares of Collider praises the film, stating, "With a star-studded cast voicing these characters/creatures and a creative team that brings originality to this material, Spellbound wraps 2024 like a bow." Adding, "When Zegler breaks into song for the first time, there is an immediate sense of relief. Musicals aren't just about singing in tune. It is about the emotions you convey, how the lyrics become a vessel for self-expression, and whether you would like to listen to a track beyond the film's runtime. All of these elements are present in this animation's musical imprint, which couldn't have been more masterfully handled. After all, the project's music was crafted by a duo that understands what it takes to make an instant classic soundtrack. With Alan Menken (Beauty and the Beast) and Glenn Slater's (Tangled) compositions, Spellbound's lyricism and soothing melody feel reminiscent of Disney's iconic repertoire, without it ever feeling like a do-over. Menken and Slater have vast experience when it comes to songs for princesses and fairy tale adaptations for the screen, and this is noticeable here through Ellian."

Photo by Karim Ghantous on Unsplash

       Mark Dujsik of Mark Reviews Movies says, "Eventually and thankfully, the monsters start talking, and we realize how much the story's central gimmick has kept any sense of these characters at bay. Solon, the King, is voiced by Javier Bardem, and Nicole Kidman voices Queen Ellsmere. They're thrilled to find their voices and realize who they are in relation to Ellian, but soon enough, the two are bickering over what to do next, who's the better protector, and which of them the daughter loves more. As a vortex of dark lines (A striking element amidst the movie's solid computer animation) keeps appearing whenever the arguing and other dark thoughts escalate, where all of this goes here is surprisingly mature. That's especially so, considering how broadly playful and jokey so much of the material is. It's a bit wise, too, with Ellian gradually realizing that the happy memories she's trying to bring to life again might not have been so happy in the first place." Adding, "With the emergence of the monsters as characters instead of a running gag, Spellbound does find its own voice and sense of purpose, too, serving as a fable about the strains of family and how a tenuous marriage can affect a child caught in the middle of it. There's a pretty good story here, in other words, once the filmmakers decide it's finally time to tell it."

       Cody Dericks of Next Best Picture writes, "Everybody wants to be Disney. In 1997, Don Bluth, the ostensible anti-Walt Disney, gave in and made “Anastasia,” a film very much in the vein of the animated musicals of the then-current Disney Renaissance. And the prize cow of DreamWorks Animation – the “Shrek” franchise – is basically a repudiation of all that Disney stands for in a very obvious retaliatory move from former Walt Disney Studios chairman turned DreamWorks founder Jeffrey Katzenberg. “Spellbound,” the new film from Skydance Animation and Netflix, is no different (I know what you’re thinking, and no, this is not a remake of the Alfred Hitchcock-Salvador Dalí collaboration of the same name). Its tone, subject matter, themes, and characterizations are all clearly pulled from the classics of The Mouse House. Heck, they even got Alan Menken of “The Little Mermaid” and “Beauty and the Beast” fame to compose the music. This is all well and good – aping such a successful film model is an admirable way to assure your audience that they’re in safe, well-established hands. And yet, “Spellbound” pales in comparison to even the least impressive of Disney’s offerings. Although it features an unexpected twist previously unseen in major animated films, it’s otherwise unoriginal, bland, and likely too slow-paced and unexciting to hold the attention of younger viewers."

'Get Millie Black' Reviews: "the production design and cinematography are ace, with the show hopscotching between vibrant daytime settings and disturbingly dark and shadowy nighttime ones that suck you right in (even if the mystery doesn’t)"

         On November 25, 2024, HBO premiered 'Get Millie Black', which has earned predominantly positive reviews from critics. In the series, "Former Scotland Yard detective Millie-Jean Black returns to Kingston to work on missing persons cases." The ensemble cast includes Joe Dempsie, Tamara Lawrance,  Gershwyn Eustache Jnr, and Chyna McQueen. Read the full review round-up below.

        Isabella Soares of Collider notes, "The ghosts from our past often come back to haunt us. HBO's limited series, Get Millie Black, uses this concept as its compass, following a detective returning to her hometown to solve a missing persons case and reconnect with her long-lost sibling. Although this is a British project, it is predominantly set in Jamaica, a Caribbean hot spot known for its paradisal beaches and welcoming atmosphere. Despite the country being idyllic in many ways, renowned novelist Marlon James takes us to Kingston's underbelly in his screenwriting debut, resulting in a visceral noir series. In a matter of five episodes, with only four provided for review, Get Millie Black is a brutal look at rampant crime, racism, and other social constraints." Adding, "Tamara Lawrance's character is burdened by the politics behind her work and her broken relationship with Hibiscus, who prefers to live with other members of the trans community than with her sister. Both actresses playing the siblings bring nuance to the trauma that their characters face. McQueen's Hibiscus still remembers getting whipped by her mother and not having her sister around to help her. In turn, Lawrance's Millie carries the weight of not being there for her sibling when she was needed the most and is restless trying to close the case. Although the series' writing does touch upon heavy subject matter that gives food for thought, the case itself feels hard to follow from a viewer's standpoint. Considering the proportions of Millie's criminal undertaking, there are a lot of moving parts, which many times lead to more loose ends and further efforts to connect all the dots. Since one episode was held back from critics, it's hard to tell if some of the questions left unanswered will be addressed by the finale."

Photo by Karim Ghantous on Unsplash

       Whitney Friedlander of AV Club says, "Working alongside executive producers like Jami O’Brien (Industry) and director Tanya Hamilton (Winning Time: The Rise Of The Lakers Dynasty), James & co. have assembled an engaging cast. In addition to star Lawrance, there’s also a standout performance by Shernet Swearine as Janet Fenton, an exceptionally alert young woman who is determined to rise from her predestined station in life. More pragmatic than Machiavellian, Janet is single-minded in what she knows she needs to do, giving a powerful monologue in a later episode that explains her choices. Similar praise should be awarded to Chyna McQueen, whose depiction of trans woman Hibiscus reminds that allies are great, but they will never really understand the fears and frustrations that this minority group encounters daily. Meanwhile, James’ dialogue mostly pops, especially in scenes involving Swearine and McQueen. And the production design and cinematography are ace, with the show hopscotching between vibrant daytime settings and disturbingly dark and shadowy nighttime ones that suck you right in (even if the mystery doesn’t)."

'The Merry Gentlemen' Divides Critics

         On November 20, 2024, Netflix released 'The Merry Gentlemen', which has divided critics. In the film, "To save her parents' small-town performing venue, a former big-city dancer decides to stage an all-male, Christmas-themed revue." The ensemble cast includes Britt Robertson, Colt Prattes, Maxwell Caulfield, Chad Michael Murray, Marla Sokoloff, Marc Anthony Samuel, Hector David Jr., and Beth Broderick. But what did the critics say?

        Sarah Musnicky of But Why Tho? A Geek Community says, "Because, on Murray’s end, Luke’s feelings for Ashley are pretty obvious. From the facial expressions, his physicality, and his actions towards Ashley during the story, there’s something there. But it’s unclear throughout The Merry Gentlemen that Ashley reciprocates. Instead, the love almost registers as one-sided despite Murray’s best efforts to generate chemistry. Something manifests towards the end. And even then, it’s a stretch. Putting aside the romance element, The Merry Gentlemen is held together by its delightful premise of saving a small business. With more towns becoming increasingly devoid of character as people move out to the cities, there’s a reason why saving the family business is a good old classic in romance, especially around the holidays. The extra special flair of having an all-male dance revue come to save the day is a lovely touch that works to bring in viewers but also reminds us that creativity can and will save the day."

Photo by Kevin Fitzgerald on Unsplash

        Benjamin Lee of Guardian notes, "It’s the classic tale of a woman lured back from the city by the charms of the small town (Be less ambitious! Be more married!) and while it’s slightly less gendered than the very worst of these films (we only get one scene of her cooking with her mother), it’s still preaching the same message. The potential raunch of the set-up is handled with maximum coyness and rather than even lightly dealing with the tensions that could arise from the increasingly puritanical world of small-town America handling a show built around female arousal, it’s just a delivery service for another by-the-numbers city girl meets small-town boy romance (despite being a successful Broadway dancer, Ashley is also, of course, an accident prone klutz in front of a man with a six-pack). There are blink-and-missed flashes of self-awareness (a character watches another Netflix Christmas movie, Murray’s lumber-jock is referred to as a “Hallmark handyman”), but it’s mostly just autopilot fluff without enough charm or Christmas spirit to get us on board. Robertson, who was once pushed as Hollywood’s Next Best Thing in films like Tomorrowland and The Longest Ride, is too bland of a lead, her romance with Murray too cut-and-paste for us to care and the journey from debt to victory far too easy to wake anyone out of an eggnog coma. The stakes here are too low and so is the entertainment value. I predict another hit."

        Samantha Bergeson of indieWire was less impressed, stating, "Murray and Robertson feel tired as leads, and while Murray is making it work onstage, the more conventional scenes all feel like they’re missing some holiday spice (among other things)." Concluding, "Beth Broderick is a standout, mostly for nostalgic purposes. And it’s really saying something when the most peppy and heartfelt scenes in “The Merry Gentlemen” come from the grandmother character."

'Surveilled' Shines a Light on A Shocking Issue

         On November 20, 2024, Max released 'Surveilled', which has earned rave reviews from critics. "SURVEILLED tracks Pulitzer Prize winning journalist Ronan Farrow as he investigates the growing business of commercial spyware, following the story from New York City to Tel Aviv, Israel, a center of espionage cybertechnology. Once a target of covert surveillance himself, Farrow explores the multi-billion-dollar industry, addressing the contradictory uses and implications of phone hacking -- the ability to monitor criminal activity and the attendant threats to civil liberties." But what did the critics say?

Photo by Fairuz Naufal Zaki on Unsplash

       Jason Bailey of RogerEbert.com says, "It's happened to just about anyone who spends at least part of their day on their phone: that peculiar moment when you open up a social media app and find yourself staring at a targeted ad for something you haven't shopped for or even searched for, but mentioned casually to a friend or partner. That's odd, you might think, and then (perhaps after ordering the item in question), you move on, choosing not to grapple with the implications of this transaction. It's just too chilling to consider that the phones are listening.Yet the new HBO documentary "Surveilled" informs us that they are doing just that, and the consequences are far more dire than runaway online shopping. The directors are Matthew O'Neill and Perri Peltz; the producer and star is Ronan Farrow, who immersed himself in the world of digital spyware for the "New Yorker." The primary focus of his investigation was Pegasus, developed by the Israeli private commercial spyware company the NSO Group; they sell Pegasus primarily to governments, which in turn (per his reporting) use the software to target journalists, activists, dissidents, and politicians." Adding, "Farrow's investigation is exhaustive, spanning two years and several continents. He travels to Tel Aviv, taking his cameras into the NSO Group headquarters, where he voices his sensible moral concerns to various spokespeople, who give him carefully-prepared responses about "all the good work" that they do. He gets more useful information from that former employee, who left the company (along with many others) after the 2018 murder of Saudi dissident journalist Jamal Khashoggi—an ambush made possible by Pegasus software. In a phone call captured by the documentary crew, Farrow's contact at NSO asks him to share which of their former employees he spoke with. (He, of course, protects his source.)At least 45 countries use Pegasus, we're told, and it's not just autocrats and dictators;  Western democracies are using spyware too, most of them under a veil of secrecy. "We live in a time where there's obvious, well-documented democratic backsliding," explains Ron Deibert of the Citizen Lab in Toronto, which is doing much of the investigation and exposure of this technology. "Authoritarian practices are spreading worldwide. I firmly believe the surveillance industry, unchecked as it is, is one of the major contributing factors to those trends." And this is the structural masterstroke of "Surveilled," because Farrow and directors O'Neill and Peltz understand that it's one thing for us to shake our heads at the targeting of journalists and activists in the UAE or even in Spain, but when the threat becomes a direct one to the viewer, as it does in the last 20 minutes or so, we sit upright. It's not just that employees of the United States government working abroad have been hacked by Pegasus; the NSO group pitched law enforcement agencies on a Pegasus-like software before the company was placed on an export blacklist in 2021, and many such agencies were unsurprisingly receptive to the idea. In March of 2023, the Biden administration issued an executive order prohibiting government agencies from purchasing foreign spyware, "but it's not a blanket ban on the purchase of all spyware," Farrow explains, noting that mere days later, we joined several other countries in a joint statement vowing to explore the use of this technology — but responsibly."

        Stephen Silver of The SS Ben Hecht writes, "It’s a fascinating subject and is presented compellingly. But it also feels more like a commercial for a New Yorker article that was already published." Concluding, "Plus, I’m still sort of upset that we never got a movie adaptation of Catch and Kill, Farrow’s memoir about his time investigating Harvey Weinstein, and one of the most cinematic nonfiction books I’ve ever read." Photo by Fairuz Naufal Zaki on Unsplash

'Wicked' Enchants Critics

         On November 22, 2024, Universal Pictures released 'Wicked: Part I', which has earned rave reviews from critics, currently holding at 92% on Rotten Tomatoes at the time of this writing, alongside a Critics Consensus that reads, "Defying gravity with its magical pairing of Cynthia Erivo and Ariana Grande, Wicked's sheer bravura and charm make for an irresistible invitation to Oz." The ensemble cast includes Michelle Yeoh, Bowen Yang, Ethan Slater, Jeff Goldblum, Marissa Bode, and Jonathan Bailey. Read the full review round-up below.

        Robert Kojder of Flickering Myth says, "Wicked: Part 1 rarely has a dull moment and puts almost every minute of its 160 into something majestically arresting and character-forward while concluding on an emotionally rich, natural stopping point."

        David Crow of Den of Geek praises the film, stating, "Wicked manages to levitate above whatever cynical commercial considerations weigh it down, or for that matter what any critic might have to say about those limitations. This thing is built to last as a monument to theater kids for generations to come." Adding, "Yet it is the movie’s old-fashioned theatrical impulses that prove to be its real superpower. Or, to put a finer point on it, Erivo and Grande can really sing, and they do so often in live and spectacular fashion. A friend I saw the picture with was even surprised to learn that most of their singing was performed in-camera, even when Erivo is being flung on wires and a broom 40 feet above the soundstage floor."

Photo by Alex Kalligas on Unsplash

       Fionnuala Halligan of Screen International notes, "A Black actress playing a green witch could seem to overload Elphaba’s outsider status, but Erivo masters every subtle grace note to give a performance that is both accomplished and emotional. Garland also captured that same sincerity of wounded, innocent yearning in an entirely different way (not a comparison that should be made lightly, admittedly). Composer and lyricist Schwarz fills the screen and the room with orchestrations that really do bring back the memory of the full-blown Hollywood musical. Adaptations that have taken this pre-Christmas exhibition slot of late – from Wonka to West Side Story, Mary Poppins, The Greatest Showman and beyond – have tended to shuffle around the full embrace of the screen musical’s baked-in staginess. Joker: Folie A Deux even denied itself as a musical. Holzman, who wrote the musical book and adapts it here, embraces it all, including the peculiar Ozian language, enhancing the otherworldliness of where the film is taking us. Combined, it’s a propulsive force to be reckoned with. Or should that be a melting force? What happens next? Wicked dares to leave the audience at the half-way mark, with Part II already shot and set for release this time next year (November 21, 2025).  That’s beautiful wickedness indeed."

'Armor' is a Real Turkey of a Film

         On November 22, 2024, Lionsgate released 'Armor', which has received negative reviews from critics and seems destined to become yet another turkey in the filmography for it's co-lead, Sylvester Stallone. In the film, "Academy Award Nominee Sylvester Stallone and Jason Patric star in an action-packed thriller about the lengths one man will go to save what's left of his family and reclaim his own life. James and his son Casey are armored truck drivers tasked with delivering a suspicious package. After a violent ambush on the road, James and Casey are trapped until they discover the value of what they have been carrying and join forces to outgun and outwit their attackers." But what did the critics say?

        Aidan Kelley of Collider says, "Where Lionsgate's other ill-fated action ventures like Borderlands and The Crow might be remembered as examples of what not to do for an action film, Armor may not even be remembered at all." Adding, "Armor's biggest strength is its lead character, James, and that's largely thanks to a solid performance from Jason Patric. James is the only character in the film who is given any sort of meaningful development, even if his alcoholic tendencies can be quite cliché and sometimes even downright goofy (such as the way he stores his secret stash of booze in the fridge). Despite the character's shortcomings, Patric still delivers a more than passable performance as a scared father who is trying to do everything to protect his family."

Photo by Alex Kalligas on Unsplash

       Avi Offer of NYC Movie Guru notes, "James (Jason Patric) and his son, Casey (Josh Wiggins) work as armored truck drivers fight for their lives when a gang of thieves, Smoke (Dash Mihok), Echo (Josh Whites) and Viper (Jeff Chase), led by Rook (Sylvester Stallone), ambush their truck and trap them on a bridge in Armor. Co-writers Cory Todd Hughes and Adrian Speckert take a simple premise and turn it into a meandering, dull and uninspired blend of drama and action with not nearly enough thrills. They try to humanize James and Casey by providing them with a backstory involving a tragic event that's the cause of James' feelings of guilt and shame as well as his alcoholism and rocky relationship with Casey. James is trying his best to get on the right track by going to AA meetings. The ambush will put his relationship with Casey to the test. Is there not enough dramatic tension within their dysfunctional relationship to propel the plot? If only it were the meat of the story instead of the ambush which is the least compelling part of the film. Rook remains a boring, underwritten villain, and the ending tries to be un-Hollywood and surprising, but doesn't make much sense in hindsight and becomes a weak, lazy ending that feels like a cop-out. The action scenes are lackluster and the dialogue sounds bland without comic relief that would've provided much-needed levity. Talented actor Josh Wiggins, who also stars in the super dramas Hellion and Giant Little Ones, deserves better material than this. At a running time of 1 hour and 29 minutes, Armor, directed by Justin Routt, opens at Cinema Village and on VOD via Lionsgate." Photo by Alex Kalligas on Unsplash

'Confessions of a Christmas Letter' Reviews: "The onesies might have stuck with me more than anything else in Confessions of a Christmas Letter, to be honest, and that’s probably not what the main takeaway should ultimately be"

         On November 17, 2024, Hallmark Channel released 'Confessions of a Christmas Letter', which has earneda mixed reception reviews from critics. In the film, "After years of losing her community's Christmas letter competition, Settie Rose hires Juan, a struggling novelist, to depict her dysfunctional family in the best possible light." The ensemble cast includes Angela Kinsey, Colleen Wheeler, Alec Santos, Andy Thompson, and Lillian Doucet-Roche. But what did the critics say?

Photo by Clem Onojeghuo on Unsplash

        Maddy Casale of Decider writes, "Hallmark continues to hit viewers with nostalgic stars we know and love by getting The Office‘s Angela Kinsey to lead Confessions of a Christmas Letter. This romantic dramedy manages to reunite Kinsey with her former The Office co-star, Brian Baumgartner, AKA Kevin Malone, as she plays another Angela Martin-like Type A, competitive woman who’s determined to go to extremes to get what she wants. In addition to Kinsey, Alec Santos and Lillian Doucet-Roche act as romantic leads who just might find their happy ending with one another, despite seeming like total opposites on paper." Adding, "The romance between Juan and Lily has its own issues, as in the movie’s efforts to hammer home that the two are total opposites, they end up appearing somewhat unsuited for one another. I fear that some of Juan’s affection towards Lily and the Roses might just be a product of Stockholm Syndrome by the end of his stay there (that is if they even let him leave). Once you’ve forced a guy to do silent disco on your front lawn and terribly tango in public, it seems like his will is pretty much broken. And lastly, I hate to say it, but I think I could have gone without seeing so many scenes where adults are wearing onesies. I like a onesie as much as the next person (unless that person is a baby, now they really love onesies), but I swear they wore those things every day (and night?). Did they ever even wash them? The onesies might have stuck with me more than anything else in Confessions of a Christmas Letter, to be honest, and that’s probably not what the main takeaway should ultimately be." 

'Interior Chinatown' Reviews: "Charles Yu's Interior Chinatown is a wonderfully mind-bending exploration of Asian-American representation in Hollywood brought down by one thing"

         On November 19, 2024, Hulu released 'Interior Chinatown', which has earned predominantly positive reviews from critics. In the series, "A background character trapped in a police procedural discovers secrets about the strange world he inhabits and his family's buried history" The ensemble cast includes Jimmy O. Yang, Lisa Gilroy, Chloe Bennet, Tzi Ma, Sullivan Jones, and Archie Kao. But what did the critics say?

Photo by LexScope on Unsplash

        Grant Hermanns of Screen Rant notes, "Charles Yu's Interior Chinatown is a wonderfully mind-bending exploration of Asian-American representation in Hollywood brought down by one thing." Adding, "The other area where Interior Chinatown truly shines is in its ensemble cast, with Jimmy O. Yang in particular nicely showcasing his range of acting skills as Willis. Though he certainly has explored the dramatic genre before, particularly with the Mark Wahlberg-led Patriots Day, he's arguably exclusively known for his work in the comedy sphere, whether it was his breakout turn in HBO's Silicon Valley or Netflix's Space Force. With the Hulu show, Yang gets the chance to deliver on both the serious and comedic fronts, while also displaying some solid fighting skills. Even while Yang may be at the forefront, Chloe Bennet is a wonderful counterpart as Lana. The first few episodes generally introduce her as a potential love interest for Willis and a no-nonsense detective, but as we spend more time with her, we get to see a better vulnerability from her that draws us further into her arc. It also lends nicely to some of the show's meta comedy, as she finds herself similarly confused by the boundaries of their world and why neither she nor Willis are able to break through to people."

       Rendy Jones of RogerEbert.com says, "Interior Chinatown" is a visceral and biting satire of the minuscule and stereotypical roles Asian Americans had to play in American television while being an engaging neo-noir comedy." Concluding, "Bennet is also terrific as Lana, a character on the opposite end of the same coin as Willis. In the show-within-a-show, Lana serves as the token Asian person, hired because of her 'Chinatown expertise,' and is often stereotyped onscreen. She exhibits strong-willed and intuitive qualities when she is in the natural world alongside Willis; on screen, she's shown as amateurish. Bennet does an impressive job of switching between those modes in mere seconds, and they both have delightful chemistry. "Interior Chinatown" is a visceral and biting satire of the minuscule and stereotypical roles Asian Americans had to play in American television while being an engaging neo-noir comedy. The bold liberties it takes fit the television medium pack a punch and only demonstrate Charles Yu's versatility as a creator. One of 2024's finest new shows."Photo by LexScope on Unsplash

'A Reason for the Season' Reviews: "Taylor Cole shines leading the way as Evie Lane, turning a character that could come across as bratty and unlikeable in the wrong hands into a warm, charming protagonist you root for"

         In November, Hallmark Channel released 'A Reason for the Season', which has earned predominantly positive reviews from critics. In the film, "In order to earn her trust fund and with the help of a handsome local attorney, Evie is tasked with granting Christmas wishes to the people who saved her life on the night of her birth." The ensemble cast includes Kevin McGarry and Taylor Cole. But what did the critics say?

Photo by Mourad Saadi on Unsplash

        Maddy Casale of Decider notes, "A Reason for the Season shares some similarities with the 2017 Netflix Original comedy-drama film Christmas Inheritance, namely the fact that both titles revolve around a spoiled heiress from New York City confronting her privilege in a small town over Christmastime so she can earn her inheritance. And of course, she’s got a budding romance with a local guy, too! Taylor Cole shines leading the way as Evie Lane, turning a character that could come across as bratty and unlikeable in the wrong hands into a warm, charming protagonist you root for. Cole also has a great natural chemistry with her co-stars, making every onscreen interaction entertaining and engaging." Adding, "A major staple of many Hallmark holiday movies is something that’s supposed to come across as a charming fictional small town, but A Reason for the Season actually delivers when it comes to Brookswood and its lovable inhabitants. Every single townsperson from the Polaroid photo was a delight and I genuinely enjoyed spending time with them and seeing their little side stories. I couldn’t help but root for their happiness and feel touched at the completion of their respective Christmas wishes. Even Evie’s baffled acknowledgment that everyone is so happy in this town felt like a winning tongue-in-cheek way of saying “Yes, we know we’re in a Hallmark movie and we’re going to have fun with it.” But while all of the side characters make a positive impact, Evie, Elizabeth, and Kyle especially pop as the film’s leads. Taylor Cole’s easy chemistry with Sarah-Jane Redmond and Kevin McGarry makes both the familial and romantic moments ring that much truer and pleasant to watch. There’s nothing particularly shocking or ground-breaking about the characters or the plot, but there doesn’t have to be. It’s just pure Christmastime escapism and easy viewing. And I think we can all raise a cup of cheer to that!" Photo by Mourad Saadi on Unsplash

'Jingle Bell Run' Reviews: "In this case, a holiday reality TV racing competition that takes place in real time right before Christmas is definitely something I’d watch"

         On November 16, 2024, Hallmark Channel released 'Jingle Bell Run', which has received rave reviews from critics. In the film, "Self-described bookworm Avery is paired with retired hockey star Wes to compete in a holiday race across America. The team struggles through themed challenges until romance runs its course." The ensemble cast includes Andrew W. Walker, Ashley Williams, Jinjara Mitchell, and Michelle Brezinski. But what did the critics say?

Credit: @2024 Hallmark Media/Photographer: Allister Foster

        Liz Kocan of Decider says, "Obviously they hate each other… at first. But then, as they travel by map all over the country, solving puzzles and racing to their next challenge, they begin to grow on each other. She’s the brains, he’s the brawn, and over time, they begin to share more of themselves with each other and form a bond. But when a producer asks Wes – behind Avery’s back – to play up a romance angle to hook more viewers in to the show, he obliges because, let’s not forget why he got into this, for the eyeballs." Adding, "Jingle Bell Run cleverly combines the reality TV show confessional with a rom-com, so we’re not only watching a movie version of events, but the reality show version, too. The show also introduces us to a few of the other competing couples, including an older woman named Shirley and her partner Katie, and Ramon and Brad, who were all strangers when they joined the show, but who have developed close relationships with each other with every passing challenge. By the end, it almost seems unnecessary for Avery and Wes to win, because the movie has us rooting for everyone. (Avery and Wes do win though, but ultimately they give some of their winnings to each of their competitors because that’s just the vibe they’re giving out.) While I don’t necessarily need a competitive aspect to my holiday films, there’s something really fun when movies like this introduce a concept that I wish existed in real life. In this case, a holiday reality TV racing competition that takes place in real time right before Christmas is definitely something I’d watch. (Similarly, in the recently released ‘Twas the Date Before Christmas, that movie prominently features a Christmas Day “Family Christmas Olympics,” which sounds incredible… if anyone in my family had the time or energy to execute such a thing.) That a reality TV competition is the construct around which the whole premise is based is a really fun way to bring a group of characters together and help each other find the true meaning of Christmas and all that good stuff." 

'The Night Before Christmas in Wonderland' Reviews: "it's just a bit too simplistic for its own good"

         On November 15, 2024, Hulu released 'The Night Before Christmas in Wonderland', which has earned a mixed reception from critics. In the holiday film, "St Nick (Gerard Butler) receives a delayed letter on Christmas Eve from the Princess of Hearts. He and his dedicated team of reindeer set off to Wonderland where they're greeted by the mean and miserable Queen of Hearts (Emilia Clarke) who hates all things Christmas... especially presents! Can St Nick, aided by Alice (Simone Ashley), the Mad Hatter and March Hare, show the Queen the true meaning of Christmas and save the day before it's too late?" But what did the critics say? 

Photo by Lynda Sanchez on Unsplash

        Mark Dujsik of Mark Reviews Movies says, "There's little denying the style of The Night Before Christmas in Wonderland, which looks like a children's storybook come to life. That approach is appropriate here, since the very concept of this story, a blending of the famous poem about Santa Claus visiting a home with the world and characters of Lewis Carroll's works about Wonderland, is simple enough for that kind of book. It's doubly appropriate, then, because author Carys Bexington and illustrator Kate Hindley indeed made that exact book. It's adapted here by screenwriter Sara Daddy and director Peter Baynton with several colorful characters and a bright, cheery spirit. The simplistic and flat animation helps for sure, as do some musical numbers that gradually lose their clever luster, especially since all of the characters, in traditional storybook fashion, speak in rhyme. The movie also possesses a sense of humor about itself, if only because the characters almost seem to be challenging themselves and each other to figure out a seemingly difficult rhyme, while the introduction of prose at one point lets everyone know someone's in a bad mood. The best way to describe the material is that it's perfectly agreeable. We quickly get a sense of exactly what the filmmakers are going to do with it, in terms of plot and characterization and tone, and they follow through with those expectations to the letter. This mostly feels to belong in the tradition of the animated television Christmas specials that have been doing the broadcast rounds for decades now. While the best of those were wise enough to know that a simplistic and gimmicky story could only sustain itself for so long, this one attempts to expand its concept to feature length. Sure, it's a very short feature, not even reaching 80 minutes without the credits, but even so, the thin material starts to feel repetitive and as if it's running in circles around its few worthwhile ideas." Adding, "An entire subplot is dedicated to a sickly young reindeer (voiced by Lenny Rush) attempting to bring Nick his lost emergency alarm, and once the gag that the reindeer has to use public transportation to make that journey is established, the screenplay doesn't expand the joke—not in any way that justifies the multiple cutaways and dips in momentum. The third act, which gets at why the Queen is so irritated with Christmas, is all about getting us to the big lesson here, which feels anticlimactic on its own and within the context of a movie that occasionally does indulge in some flights of fancy. Those displays of imagination are fun, particularly because the animation highlights the harmless innocence of this concept. There's a real charm to the movie's look and tone, but The Night Before Christmas in Wonderland is so set in its storybook storytelling that it's just a bit too simplistic for its own good."

'The Creep Tapes' Reviews: "At its best, The Creep Tapes transcends its content-mill trappings and becomes something approaching a work of art"

         On November 15, 2024, AMC and Shudder released 'The Creep Tapes', which has earned predominantly positive from critics, currently holding at 75% on Rotten Tomatoes. In the drama, "A serial killer lures videoographers into his world with the promise of a paid job documenting his life; little do they know the mistake they made; as the tape rolls, the killer's questionable intensions surface with his increasingly odd behavior." It also can be seen on Amazon Prime Video. Read the full review round-up below.

       Jarrod Jones of AV Club says, "If Patrick Brice and Mark Duplass’ Creep must be a franchise, then The Creep Tapes is the optimum playground for it. Honestly, it feels like their found-footage horror series was preordained to be an anthology, given the finale of 2015’s Creep, where it was revealed that its serial killer lead, “Peachfuzz” (Duplass), was far more prolific than viewers may have initially grokked. His murder of Adam (Brice) was just the latest in an archive of video-recorded slaughter. Had Brice and Duplass attempted to wring a movie from each name in this death gallery (they originally planned a trilogy), they’d be making Creeps from here to doomsday. Luckily, their horror-comedy concept (deployed with even more creative zeal in 2017’s Creep 2) is tailor-made for streaming. And should the viewing numbers justify more seasons of this particular brand of weird, The Creep Tapes could prove boundless as an anthology. What’s more, the cult following that has since assembled around Creep shows it has a built-in audience, and Brice and Duplass’ elegant premise can easily sustain multiple rounds of Peachfuzz’s mirth and mayhem." Adding, "This endorsement shouldn’t suggest that The Creep Tapes is entirely without flaws. Its fourth episode, “Jeremy,” stinks, which explains why it’s stashed in the middle of the other vastly superior installments in this darkly compelling, frequently hilarious season. But it’s easy to ignore. “Jeremy” is the extreme version of Creep that all other installments (films included) threaten to morph into, a broadly sketched goof-off session where Duplass goes full ham and the frightening aspects of his conceit (co-written with Brice) wilt into nothing. Creep needs to be funny (it would be far too bleak otherwise), but it also needs to be scary. When the balance tips too far in either direction, Creep becomes neither. “Jeremy,” a quickie concerning an online “gotcha” artist (Josh Fadem) who confronts a bawdy priest (Duplass in a cassock), proves this with grating clarity. That episode notwithstanding, Brice and Duplass are showcasing their mastery of the anthologized format here. As a subgenre, found footage can be a tricky gimmick. The immersion required to be effective demands an attentive storyteller, deft camerawork, and committed performances. There’s also a fourth-wall-breaking element at play, as the viewer should feel they’re in on what’s happening onscreen. The Creep Tapes maintains the hand-held immediacy of the films—with those obnoxiously effective jump-scares, moments where Peachfuzz lets his mask slip (on or off) while his victim carries on unaware, and other subtle forecasts of doom—which makes it feel absorbing, even transgressive, as if one has clicked too deeply into the forbidding corners of the internet. At its best, The Creep Tapes transcends its content-mill trappings and becomes something approaching a work of art."

Photo by Lynda Sanchez on Unsplash

        Kaiya Shunyata of RogerEbert.com was less impressed, stating, "The first episode of the series, titled "Mark," unfolds similarly to how both films did. A man wielding a camera like a flashlight walks up to a nearly snowed-in cabin, greeted only by a sign on the door which reads: "Just double checking that you are already rolling! Further instructions await you inside!" He then enters the dimly lit interior before the camera jolts up, revealing Duplass' name-changing character, dressed as a vampire. Eventually, he's lured out into the cold and chased through the snow in an intense game of hide and seek. The cameraman's gasps and Duplass' gleeful cheers are the only things to be heard until he finally kills his victim with an ax. It's almost a direct rehashing of the previous two films, and while fun to watch, the beginning of episode two signals that this isn't going to change anytime soon. While "Creep" isn't necessarily a film that needs a prequel that examines why its villain is the way he is, blatantly recreating your franchise's "greatest hits" and selling it to your fans as a new product makes for a frustrating watch. While some episodes work and feel like fresh new products in the found footage genre, most do not feel so different from your average "V/H/S" film. It makes for a series that lacks depth, forcing you to question whether or not this show is coming too many years too late." Continuing, "Despite its lackluster storytelling, one of this series' shining qualities is that each episode has its own identity. While Duplass' jovial-but-sinister schtick gets old about halfway through each chapter, there's no denying that each still manages to make you feel uneasy. Although the first episode plays out too similarly to the films, the second comes along and proves that outside of a house or cabin, the villain of these stories is perhaps even more unhinged than he already was. But then, while still holding their own narrative, we're once again forced to watch these tricks play out similarly to the previous episode. With a runtime of around 30 minutes each, there's no reason for "The Creep Tapes" to drag, but there comes a point in each episode where you feel as if you're stuck in a groundhog-day scenario. It's unfortunate that the series' best episode comes so early in the six-episode run, breathing some much-needed life into a series that now feels like a product of its time. After a seven-year wait, some fans may be happy to see Duplass hamming it up on screen again, but unfortunately, that's the only thing this new series has to offer. The black humor is there, and so is the found footage that made the original films feel so cutting edge. However, the scares become redundant after the second episode until you feel this might have just been made into another film."