'Night Call' Reviews: Film "stands with better efforts due to its relentless high stakes and a believable and sympathetic performance from its lead"

     On January 17, 2025, with a streaming release on January 24th, Magnet Releasing released 'Night Call', which has earned predominantly positive reviews from critics. In the film, "One evening, Mady--a young student by day, locksmith by night--receives an emergency call from Claire to open a lock. But the door the young woman wants to open isn't hers, and the bag she runs away with isn't hers either. It belongs to Yannick, a vicious mobster who blames Mady and will stop at nothing to retrieve his stolen goods. Mady has only one night to prove his innocence and save his neck. What started out as an ordinary night shift turns into a brutal descent into violence. NIGHT CALL is a no-holds-barred crime thriller that ambitiously combines genres, from film noir to action-packed survival." The ensemble cast includes Jonas Bloquet, Thomas Mustin, Romain Duris, Jonathan Feltre, and Natasha Krief. But what did the critics say?

    Shawn Van Horn of Collider says, "Oftentimes, it can feel like if you've seen one action thriller, you've seen them all. The genre often follows the same beats, with the same action set pieces, and the usual results. Night Call, a French-Belgian movie filmed and set in Brussels, has a familiar plot you've come across many times, but thanks to the writing efforts of Michiel Blanchart and Gilles Marchand, with Blanchart also in the directors' chair, Night Calls stands with better efforts due to its relentless high stakes and a believable and sympathetic performance from its lead, Jonathan Feltre. Night Call does nothing new, but it does the standards the right way." Adding, "Deciding that Night Call would happen throughout one night is Blanchart's best choice. The film could have dove deeper into who Mady, Yannick, and a select few other characters are, giving us many more scenes of them outside the plot, but instead of questions being answered, we're dropped into the middle of the action and have to figure things out as we go along. We're not even going to get answers to the motivation of every character, but that's not needed. Do we need to know every detail behind why Mady is a good person, or why Yannick does what he does? We're given just enough, because it's not the backstory we're here for, but the chase."

   Avi Offer of NYC Movie Guru notes, "Mady (Jonathan Feltre), a locksmith, gets into serious trouble when Claire (Natacha Krief) tricks him into opening the door of someone else whom she steals from and runs away. The owner, Yannick (Romain Duris), a crime boss, returns and holds Mady hostage while demanding that he find the stolen goods from Claire before dawn or he'll kill him in Night Call. Screenplay by writer/director Michiel Blanchart and co-writer Gilles Marchand is a by-the-numbers, witless and shallow crime thriller that's low on palpable thrills. Yannick, the villain, is among the many underwritten characters with little to no backstory which makes him a weak and forgettable villain. He's more like a caricature of a villain. Mady is also a character who's poorly introduced. It seems like every character merely exists to move the plot forward. It's never a good sign when you can feel the wheels of the screenplay turning nor does it help that the plot becomes increasingly preposterous. Sure, there's some violence and gritty cinematography, but those strengths aren't enough to compensate for the unimaginative and pedestrian screenplay. Tarantino and Luc Besson could've turned this premise into a much more wildly entertaining ride rather than one that just goes through the motions while often falling flat. At a time of 1 hour and 37 minutes , Night Call opens in select theaters via Magnet Releasing."

Photo by Mike Von on Unsplash

    

'Survive' Reviews: Film "gets off on the right foot, but it quickly becomes clear that Jardin doesn’t have the money to do much with the premise"

     On January 10, 2024, Samuel Goldwyn Films released 'Survive', which has earned predominantly positive reviews from critics, currently holding at 70% on Rotten Tomatoes at the time of this writing. "In SURVIVE, Julia and her loving husband celebrate their son's birthday on their boat in the middle of the ocean. When a violent storm nearly capsizes them, the family awakes in a desert land. Earth has undergone a tragic polarity reversal, draining water from the oceans. The family must race to safety before the water returns all while battling hungry creatures from the abyss that hunt for fresh flesh." The ensemble cast includes Émilie Dequenne, Lucas Ebel, Lisa Delamar, and Andreas Pietschmann. Read the full review round-up below.

    Jennie Kermode of Eye for Film says, "One of those films that’s always going to be at its best when watched in a group, this really packs in the action, with Dequenne’s intensely physical performance and Nicolas Errèra’s energetic score ensuring that it keeps its grip throughout." Adding, "We live in a world which is undergoing massive changes, and perhaps that’s what this kind of film, and those kind of games, really exist to prepare us for. Once things really get bad, there’s no time to think about the long term. With Survive, the less you think, the more fun you’ll have."

   Phil Hoad of Guardian notes, "This directorial pep, along with invested performances across the board, allows Survive to build a sense of family vulnerabilities that is rawer than the standard cheap audience-identification tactics usually used in blockbuster disaster movies." Continuing, "With a stark preference for visual over verbal storytelling, Jardin woozily milks this surrealistic canvas (filmed on location in Morocco) for dreamlike snapshots: their boat exploding in the wilderness, bats escaping a stricken private jet, a hammerhead shark in a watercourse. But he doesn’t settle just for that: Jardin also goes for vigorous camera moves – to the point of occasional effortfulness in wringing out fresh juice from familiar setups, like the wild-eyed “man with the harpoon” (Arben Bajraktaraj) who torments the family."

Photo by Mike Von on Unsplash

   Brian Orndorf of Blu-ray.com was less impressed, stating, "While Jardin is committed to following characters as they experience an unthinkable situation of self-preservation, his sense of upheaval could use some work, as the endeavor is missing a more intense appreciation of global ruin." Concluding, "“Survive” gets off on the right foot, but it quickly becomes clear that Jardin doesn’t have the money to do much with the premise. Tom’s family regains consciousness in the middle of dry land that was once the ocean, only understanding what’s happened after making contact with Nao (Olivier Ho Hio Hen), the submersible team leader who can offer shelter for two more individuals before the water returns. Parental duty kicks in, as Tom and Julia set out to make sure Cassie and Ben remain safe, encountering a series of survival challenges along the way. There’s growing thirst, a need for shelter, open wounds, and falling rocks, but perhaps most pressing is a violent stranger looking to claim the family’s resources. Questions about this development are mostly unanswered, but Jardin is primarily pursuing visceral highlights as the drifter threatens to kill everyone. “Survive” shows some surprising ruthlessness during this sequence, but it ends up becoming the last offering of suspense until the climax."

'Hazard' Reviews: "a well-intentioned picture, bolstered by two very strong central performances"

     On January 10, 2025, Emphatic Films released 'Hazard', which has earned predominantly positive reviews from critics. In the film, "Will, a reluctant drug dealer played by Alex Roe, fights to shield his family from the same devastating addiction that has ravaged their community. Despite his efforts, every choice threatens to pull him and his loved ones deeper into chaos. Co-starring Sosie Bacon, HAZARD is a powerful portrayal of resilience and sacrifice, as Will must decide whether to succumb to the addiction he despises or rise above it to save his family." but what did the critics say?

Photo by Tim Mossholder on Unsplash

   Mike McGranaghan of Aisle Seat says, "The specifics of the plot will be recognizable to any viewer who has ever seen an addiction movie. At times, it’s poignant, as when Will’s father, screaming in agonizing pain, begs his son for drugs. Other times, it’s a bit manufactured, as in the scene showing a doctor who sits in a downtown store front, writing bogus prescriptions for the paying addicts lined up on the street. The best moments are the ones between Will and Sara, as they try to figure out their relationship amid two different states of sobriety. In fact, the performances are the main reason to see Hazard. Alex Roe authentically captures the distracted energy of an opioid addict who can only focus on anything for a certain amount of time before a craving for the drug hits. The actor also makes Will a fully fleshed-out character we care about, as opposed to the one-dimensional scumbag he could have come off as. Sosie Bacon brings a wounded quality to Sara, showing how she’s stared into the abyss and fears her husband will inadvertently drag her right back to it. Together, the stars create a portrait of addiction and codependency that’s heartbreaking. Hazard absolutely gets you thinking about the toll opioids take on a community, especially one that’s already dealing with economic despair. It’s a well-intentioned picture, bolstered by two very strong central performances." 

   Richard Propes of TheIndependentCritic.com notes, "In some ways, you can likely predict the story that's going to unfold, though Mensore does take some unique angles along the way. Truthfully, I doubt I'd be recommending it if not for the strong chemistry and relationship between Will and Sara. It's a relationship brought powerfully to life by Roe, who is absolutely riveting here, and Bacon, one of the younger Bacons who is rapidly proving her acting chops. Individually, they're both fantastic here and the screen really lights up when they're together. I suppose "lights up" isn't the best way to put it. Hazard isn't the easiest film to watch, however, Mensore has captured a vivid and realistic portrayal of addiction and its impact on rural life. Lensing by Matthew Boyd impresses throughout the film's 88-minute running time and original music by Mauricio Yazigi amplifies the film's emotional rhythms without ever feeling manipulative. While Hazard occasionally crosses the line into cliche', Mensore has created characters we care about brought to life by a leading duo that's always worth watching. Yes, you've probably seen this story before but it's a timely and vital one and it's easily worth it to watch Alex Rose and Sosie Bacon bring it all to life so powerfully." 

'Bring Them Down' Reviews: "Taut and mournful, it’s a lament for the mistakes made in anger, the wounds that fail to heal, and the past that never truly seems to be past at all"

     On February 7, 2025, MUBI releases 'Bring Them Down', which has earned rave reviews from critics, currently holding at 93% on Rotten Tomatoes. "Starring Oscar-nominee Barry Keoghan (Saltburn, The Banshees of Inisherin) and Christopher Abbott (Possessor, Sanctuary), BRING THEM DOWN is a tense and gripping thriller about two warring families set against the harsh landscape of rural west Ireland. When the ongoing rivalry between farmers Michael (Abbott) and Jack (Keoghan) suddenly escalates, it triggers a chain of events that take increasingly violent and devastating turns, leaving both families permanently altered. From first-time filmmaker Christopher Andrews and co-starring Colm Meaney, Paul Ready and Nora-Jane Noone, this is a fierce, muscular debut that signals a bold new cinematic voice." Read the full review round-up below.

   Nick Schager of The Daily Beast says, "Taut and mournful, it’s a lament for the mistakes made in anger, the wounds that fail to heal, and the past that never truly seems to be past at all."

    Kate Erbland of indieWire notes, "Fans of dramas so dark and bitter that they make the most screwed-up parts of the Bible look funny and frisky? They’ll likely spark to what Andrews is dishing out here, but some questionable storytelling conceits eventually dilute even that power."

Photo by Tim Mossholder on Unsplash

   Brittany Patrice Witherspoon of Screen Rant writes, "Every so often, there comes a film that sticks with you long after your first viewing. For me, that film is Christopher Andrews’ directorial debut, Bring Them Down, which premiered at the 2024 Toronto International Film Festival. The story chronicles a turf war between neighboring families in a rural Ireland town, where trauma, desperation, and revenge are at the forefront. Featuring an exceptional Christopher Abbott performance and stunning cinematography from Nick Cooke, the film reveals the ugly side of survival and proving your worth. Bring Them Down is 105 minutes worth of violence and misery, but it’s great storytelling, nonetheless." Adding, "Riddled with tension and terror, Bring Them Down is an experience that never lets up on its intensity. The film is filled with violence, while creatively showcasing the aftermath of trauma. Abbott’s performance as a ticking time bomb is the kind of experience that will stick with you for a while. Simultaneously, Cooke’s cinematography offers a sense of hope in a somber setting. These clashing elements of Andrews’ feature make for a fascinating watch while never explicitly showcasing a true hero versus villain story. The different perspectives demonstrate the fight for survival when everything and everyone stands in your way." 

'The Day the Earth Blew Up: A Looney Tunes Movie' Delights Critics

     On February 28, 2025, Ketchup Entertainment releases 'The Day the Earth Blew Up: A Looney Tunes Movie', which is currently holding at 100% on Rotten Tomatoes at the time of this writing. In the film, "Porky Pig and Daffy Duck, one of the greatest comedic duos in history, are making their hilarious return to the big screen in the sci-fi comedy adventure, THE DAY THE EARTH BLEW UP: A LOONEY TUNES MOVIE. This is the first-ever fully animated Looney Tunes feature-length movie created for a cinema audience. Porky and Daffy are our unlikely heroes and Earth's only hope when facing the threat of alien invasion. In this buddy-comedy of epic proportions, they race to save the world, delivering all the laugh-out-loud gags and vibrant visuals that have made the Looney Tunes so iconic, but on a scope and scale yet to be experienced. It's going to be out of this world!" The ensemble cast includes Eric Bauza, Candi Milo, Fred Tatasciore, and Peter MacNicol. Read the full review round-up below.

    Douglas Davidson of Elements of Madness says, "The Day the Earth Blew Up is by no means perfect. Daffy is, perhaps, just a little *too* daffy for the story’s own good, creating problems frequently enough to make one ponder if they should just get on with moving to the next scene. There’s also a comment made about Porky’s stutter which feels slightly offensive within the negative connotation the dialogue creates. Looney Tunes aren’t exactly saints with the characters frequently pushing the bounds of what is and is not transgressive (see: Bugs Bunny, queer icon), but they do tend to be inoffensive at their core. To that end, the first is mere annoyance and respective to personal taste while the second can be explained (though not excused) within the context of the scene and what Daffy is trying to articulate. This version of Daffy is so well-intentioned that his stupidity and resulting damage is not charming exactly, but forgivable. If there’s a favorite moment for this reviewer, it’s one that comes very late and breaks the fourth wall in a manner that harkens to another atomic age homage, Return of the Killer Tomatoes (1988), as Daffy acknowledges that they’re in a movie. It’s a choice that works as a gag in the moment, but also throws a great deal of complaints about inconsistency or preference for the depiction of Porky and Daffy out the window — this isn’t *them*, they’re playing characters just like Duck Dodgers and Space Cadet — therefore allowing a bit more leeway in how the writers of this film play the characters."

   Peter Debruge of Variety notes, "Daffy (whose greatest desire is to smash things with his wooden mallet) wears on the nerves after a while, but the entire project -- including a handful of fun fourth-wall-shattering asides -- is crafted with love and a genuine respect for the franchise."

Photo by Jared Murray on Unsplash

    Rafael Motamayor of IGN Movies praises the film, stating, "Despite the '50s sci-fi plot, it all feels quite modern. The (gorgeous) animation is slick and fluid, and the pacing relentless – the jokes-per-minute ratio is astounding. The influence of 21st century cartoons like The Marvelous Misadventures of Flapjack and Chowder is apparent; there’s a randomness to the humor that echoes absurdities like the running Nosferatu gag on SpongeBob SquarePants. At the very least, The Day the Earth Blew Up proves that these characters are more than capable of carrying their own movie (and without Bugs Bunny!) and make it a laugh-out-loud riot. Hopefully, the lack of a "That's all Folks!" tag at the end means this is not the last we’ll see of the Looney Tunes on the big screen." Continuing, "The Day the Earth Blew Up: A Looney Tunes Movie has enough gags per minute to leave audiences short of breath with laughter, but also a big heart that shows why these characters are so beloved even after nearly 90 years. With crisp animation, some truly hilarious and bizarre gags, and a  plot that hearkens back to 1950s sci-fi, this is the Looney Tunes movie fans have been waiting for."

'Wolf Man' Reviews: "a worthy, thoughtful addition to Universal’s monster movie canon and a compelling argument that the wolfman still has plenty of bite"

     On January 17, 2025, Universal Pictures releases 'Wolf Man', which has received a mixed reception from critics, currently holding at 61% on Rotten Tomatoes at the time of this writing. "From Blumhouse and visionary writer-director Leigh Whannell, the creators of the chilling modern monster tale The Invisible Man, comes a terrifying new lupine nightmare: Wolf Man. Golden Globe nominee Christopher Abbott (Poor Things, It Comes at Night) stars as Blake, a San Francisco husband and father, who inherits his remote childhood home in rural Oregon after his own father vanishes and is presumed dead. With his marriage to his high-powered wife, Charlotte (Emmy winner Julia Garner; Ozark, Inventing Anna), fraying, Blake persuades Charlotte to take a break from the city and visit the property with their young daughter, Ginger (Matlida Firth; Hullraisers, Coma). But as the family approaches the farmhouse in the dead of night, they're attacked by an unseen animal and, in a desperate escape, barricade themselves inside the home as the creature prowls the perimeter. As the night stretches on, however, Blake begins to behave strangely, transforming into something unrecognizable, and Charlotte will be forced to decide whether the terror within their house is more lethal than the danger without." But what did the critics say?

   Seth Katz of Slant Magazine says, "After such high-profile flops as 2010’s The Wolfman and 2017’s The Mummy, the latter of which failed to launch Universal Pictures’s intended Dark Universe franchise, came a rare standout amid the studio’s ongoing project of rebooting its classic horror movies: Leigh Wannell’s The Invisible Man, which reframed the 1933 film (based on H.G. Wells’s novel) as an extreme case of stalking and gaslighting. While this ostensibly feminist spin on the story earned the film some appreciation, its pointed topicality was less compelling than Wannell’s masterful orchestration of suspense and, during the middle stretch, use of a single location. Following that success, Wannell has been given the reins to Wolf Man, nominally based on the 1941 version with Lon Chaney Jr. that, along with its sequels, proved to be one of the most influential entries in Universal’s monster cycle. As with The Invisible Man, there isn’t much tying this new version to the original other than the title. In fact, Wolf Man retains almost none of the well-known lore around the werewolf. There’s nothing here about the full moon or a silver-handled cane, nor is the word “werewolf” even used. The most familiar and predictable notion is that someone who’s wounded by a werewolf and survives will become one." Adding, "The theme gets muddled here, though, as the film contrasts Grady’s stern parenting with Blake’s gentler approach, with the idea being—as the infection takes hold—that he’s trying not to turn into his father. Third-act revelations telegraphed within the first few minutes are treated as big surprises as Wannell struggles to overcome the obviousness of his story construction. More confounding, the wolfman design is more generally demonic than specifically lupine. Blake’s transformation—which for some reason sees him going bald even as his body hair grows—occurs gradually rather than recurrently, and the use of special makeup effects is convincing. Yet the film misses out on the rich gothic atmosphere traditionally mined for this genre, opting instead for murky compositions and a self-serious tone that robs the proceedings of any potential fun. Wolf Man neither embraces the fundamentals of the werewolf folklore from which it draws nor convincingly reinvents them, landing instead in somber, predictable territory, dully satisfied with a few cheap jump scares and a perfunctory nod to thematic resonance."

Photo by Jared Murray on Unsplash

   Matt Oakes of Silver Screen Riot notes, "Much of what makes Wolf Man effective is its economy. The story revolves primarily around the family trio, with only a handful of minor characters appearing along the outskirts. This tight focus works in the film’s favor, creating an intimacy that amplifies the tension and the tragedy. As Blake shares with Charlotte after his father’s death, “I realized that you’re all the family I have left.” But like a rabid dog, friend and foe become indiscernible under the confusing spell of instinctual violence. Whannell roots much of the emerging terror in this family’s isolation, underscoring how small their world becomes—trapped in the woods, far from their city life—as they are stalked by a beast that once sought only to protect them. This theme of inverted instinct is mirrored in Blake’s transformation, where his primal instincts threaten to consume the connections he’s dying to preserve. Wolf Man suffers from being a little too tidy, its narrative edges smoothed to a fault, and its mythology only faintly sketched. While there are nods to deeper lore—such as an introductory title card invoking an obligatory Native American legend—the film never fully commits to weaving these elements into its DNA. The result is a climax that feels restrained when it could have been explosive, leaving a lingering sense that Wolf Man is content to stop just shy of greatness. The ending, while thematically consistent with the film’s balance of heart and horror, resolves too neatly, missing the kind of raw emotional devastation that might have elevated it into a modern classic. Nevertheless, Whannell’s craftsmanship and clear affection for the material shine through, making Wolf Man a thoroughly satisfying thrill ride that doesn’t shortchange its own internal logic or well-established melodrama. It’s a chilling fable about being unable to protect your family from the forces of the world — from both external threats and the internal forces that pull us apart. And, like a derelict pickup truck, while it may not quite shift into the next gear, it’s a worthy, thoughtful addition to Universal’s monster movie canon and a compelling argument that the wolfman still has plenty of bite."

   Emma Kiely of Collider writes, "What makes the majority of Wolf Man such a disappointment is the first twenty minutes. The opening act promises a far more interesting tale than the one we eventually get. The insight into Blake’s childhood is a Leave No Trace-type story, blending horror mythology with tense human drama. But just when the film starts garnering steam, it skips 30 years, and the whole story falls into the same, repetitive trappings of the latest Blumhouse fare. A family of half-written characters who, in an attempt to come closer together, find themselves in the crosshairs of a waking nightmare. Blumhouse yet again promises a horror experience like no other only to serve up a boring, contrived family drama that lacks scares and hammers home the importance of the all-American family unit." 

'Love Again' Reviews: "While Stewart and Yeun are great performers, their characters are too blank for their own good"

     On January 31, 2024, Bleecker Street releases 'Love Again', which has earned a mixed reception from critics, currently holding at 47% on Rotten Tomatoes. "In a story that spans billions of years, a buoy and a satellite meet online long after humanity's extinction. As they learn what life was like on Earth, they discover themselves and what it means to be alive and in love. In this groundbreaking first feature from directors Sam and Andy Zuchero, Love Me explores contemporary topics surrounding technology and identity, though at its heart is a simple, emotionally resonant tale of transformation. Thrillingly utilizing filmmaking techniques from live-action, practical animatronics, classic animation and game engines, and anchored in enthralling performances by Stewart and Yeun, Love Me culminates in the longest-spanning love story ever told." The ensemble cast includes Steven Yeun and Kristen Stewart. Read the full review round-up below.

    Louisa Moore of Screen Zealots says, "The film’s structure is a disaster, weaving together different time periods in a mess of virtual, surreal, and real world applications. The lovers are portrayed by Yeun and Stewart in different forms, from inanimate objects to computer simulations to humans. The best version of the pair is the very first, featuring quirky and fun banter that’s based in nerdy humor. The story gains momentum as the buoy and satellite connect through archived social media posts, but it falls apart as the Zucheros begin telling their story through animated avatars. Eventually, it all devolves into a semi-mindless sitcom that feels extremely disappointing after such a strong, eclectic start. After an exhausting clip show of filler material and bombarding the audience with unpleasant relationship arguments, the story finally trends upwards towards the end. Ultimately, it’s too late to save the disappointing “Love Me.” The creativity and inventiveness simply doesn’t work well enough."

   Lisa Trifone of Third Coast Review notes, "As interesting as the film's central question is, with a cast of two and not much more to do than watch the different iterations of the buoy and the satellite navel gaze their way through their rocky relationship, it does start to wear."

    Mae Abdulbaki of Screen Rant writes, "Much of Love Me plays out in animated form, which also lends itself to Stewart and Yeun’s underwhelming performances. The animated portion isn’t itself a problem, but the implementation is uninspired and lackluster, devoid of true feeling. That’s, in part, because the scenes grow tired and there’s a lack of ambition when it comes to moving from one point to another in the story. We get the point early on, but the writer-directors seem determined to hit us over the head with it before finally moving on. The culmination is haphazard at best, nor does it resonate emotionally. The concept is no doubt thought-provoking and, occasionally, even creative. But it’s hard to get behind the journey the AIs go on when it’s so detached, the film itself attempting to be a gripping narrative conveying heartfelt emotions that just don’t land. The beginning showed some promise, but you’ll be waiting for Love Me to be over long before it actually ends."

   Chris Evangelista of Slashfilm was less impressed, stating, "Stop me if you heard this one before: in a post-apocalyptic world, a lonely buoy and a friendly satellite fall in love. That admittedly bonkers scenario is at the core of Sam and Andy Zuchero's sweet but frustrating "Love Me." Dealing with the trappings and limitations of social media, "Love Me" uses its end-of-the-world scenario to stage an unlikely love story. After some cataclysmic event has wiped out all of humanity, a smart buoy named Me drifts alone through a recently thawed sea just outside of the ruins of New York. One day, a satellite named Iam floats overhead and catches her eye. The two strike up a conversation and Me decides to pass herself off as a "lifeform" in order to grow closer to Iam. To do so, she scrolls through the internet — still alive and kicking even after the apocalypse — and happens upon a sickeningly sweet series of videos from content creator Deja (Kristen Stewart) and her husband Liam (Steven Yeun). Using that relationship as a blueprint, Me and Iam enter a Sims-like world where their animated avatars attempt to spark love. But can love even exist between these two objects play-acting as humans? This is a great set-up, and Stewart and Yeun are more than game for the material. Unfortunately, "Love Me" begins to grow tiresome, spinning its wheels and devolving into a series of arguments between the characters as they struggle to learn who and what they really are. From a purely aesthetic level, the film is a winner — the opening sequences on post-apocalyptic Earth immediately recall Pixar's "WALL-E," while the digital animation used to render the characters into not-quite-flesh is fascinating. But "Love Me" can't quite find the right spark to deliver on its premise. While Stewart and Yeun are great performers, their characters are too blank for their own good — how could they not be? They're artificial. Quirky and occasionally charming, "Love Me" comes up short in the end."

Photo by Alice Voigt on Unsplash

Third Season of 'The Traitors' Impresses Critics

     On January 9, 2025, Peacock premiered the third season of 'The Traitors', which has earned predominantly positive reviews from critics. In the series, reality show stars and celebrities "play the ultimate murder mystery game. Hosted by award-winning actor Alan Cumming at an ancient castle in Scotland, they will work together on exhilarating missions to build a prize fund worth up to $250,000. But hidden amongst the Faithful contestants are the Traitors, whose goal is to eliminate the Faithful and claim the prize for themselves. Under the cover of darkness, the Traitors will murder the Faithful one by one in a treacherous spree while the players try to uncover the Traitors and banish them from the game. If the Faithful contestants banish all the Traitors, they will share the prize fund, but if a Traitor makes it to the end, they will steal all the money." Read the full review round-up below.

   Johnny Loftus of Decider writes, "Look at its Survivor player polycule, or its Housewives contingent – The Traitors season 3 is leaning heavily and wonderfully into all of its players’ small screen histories. “I don’t think I’d do well as a traitor,” infamous Vanderpump villain Tom Sandoval tells host Alan Cumming as he lobbies for position, to which a smirking Cumming retorts, “But what if I made you one?” (It’s almost illegal how much fun Cumming is having as host.) And when she is left to wallow on a pontoon in a dark Scottish loch, Dorinda “Meddler” declares she’s pissed enough to begin feeling “a little Housewife right now.” Yes! Please do! In its standard format, Traitors is already able to generate a ton of deceit and scrumptious backstabbing. But add into its existing mix the collective and potentially chaotic energy of this many past reality competitions and appearances, and Season 3 of the series is operating at an absurdly potent level. At the same time, that contingent of reality format vets on Traitors should also check their confidence at the Castle Ardross portcullis. While they have been conditioned to build in fake-outs and feints, series producers could easily use that competitive experience against them, especially with so much potential for new talent to rise up. Are you gonna bet against Nikki Garcia of the Bella Twins causing some trouble? She’s a WWE Hall of Famer!" Adding, "Stream It! Season 3 of The Traitors is its biggest yet. With a top-notch host in Alan Cumming, tricky, high-level game play, and a tantalizing cross-section of reality show talent as its players – competitive Survivor styles up against Real Housewives wiles, or reality randos confronting established format schemers – Traitors is taking reality competition to stylishly outrageous new levels."

    Personally, this season is already shaping up to be my favorite as these players are ready and willing to go for it. Bob the Drag Queen and Dylan Efron are naturals, but somehow "Boston Rob" Rob Mariano is even more adept at playing this game than at 'Survivor'! Tom Sandoval actually is tolerable on this show, which is even more strange though. Not saying that I am rooting for him, but seeing him in pure confusion mode is a gift. Gabby Windey is proving to be a natural at the game as well, which is amazing to see. 

Photo by LexScope on Unsplash

'The Prosecutor' Reviews: An Action Spectacular

     On January 10, 2024, Well Go USA Entertainment released 'The Prosecutor', which earned predominantly rave reviews from critics, currently holding at 95% on Rotten Tomatoes. "Inspired by an actual legal case in Hong Kong, THE PROSECUTOR follows the story of a man who falsely pleads guilty to drug trafficking after being framed. Despite the confession, the veteran policeman-turned-prosecutor (Donnie Yen) handling the case is convinced of the man’s innocence and pursues his own investigation, risking both his career and his life to bring the real perpetrator to justice." But what exactly did the critics say?

   James Marsh of Deadline Hollywood Daily says, "The prosecution never rests in Donnie Yen’s new action-infused legal drama The Prosecutor, in which the veteran martial artist plays a righteous cop who quits the force to join the Department of Justice when he feels the legal system is letting too many criminals slip through its fingers.Yen directs as well as stars alongside a host of familiar faces including Francis Ng, Julian Cheung and the increasingly ubiquitous Michael Hui, but Yen’s hardcore action fanbase may be left wanting. The Prosecutor too often feels more invested in bludgeoning its audience into submission using the tenets of Hong Kong’s rule of law, rather than the iron fists of traditional street justice." Adding, "Though the legal details sewn throughout The Prosecutor may well be accurate, the script regurgitates facts, figures and procedures with such relentless force that the sheer volume of information soon becomes overwhelming. This is only exacerbated further for non-Cantonese speakers forced to skim-read reams of subtitles detailing complicated legalese at a breakneck pace, while also catching the frequent online captions detailing the various stages of the trial, and attempting to follow the unfolding action. The Prosecutor arrives at a sensitive moment for Hong Kong, where the recent introduction of the National Security Law and subsequent passing of Article 23 of the city’s Basic Law — often referred to as its mini-constitution — have sent shockwaves through not only the legal system but all areas of society. These legal tenets, designed to quash criticism of, and political opposition to, Beijing’s ultimate authority are vaguely worded and far-reaching in application. While not specifically addressed in the film, The Prosecutor repeatedly emphasizes that upholding justice is of paramount importance, even when evidence and truth remain elusive or prove insufficient."

Photo by LexScope on Unsplash

   David Ehrlich of indieWire notes, "To that point, “The Prosecutor” is perhaps best enjoyed as the meta story of an action star who refuses to be aged out of his metier; at a time when the Hong Kong film industry might be expecting less of Yen, he’s actively finding ways to ask more of himself. His full-bodied commitment to this movie creates a charismatic undercurrent all its own, and while the various obstacles and villains introduced to Fok’s case range from “sure” to “whatever” before limply — and inevitably — doubling back to invoke the character’s previous life as a cop, the movie works because Yen brings the same grinning relish to the courtroom scenes as he does to, say, the brawl where he takes on 20 different guys in the middle of a rooftop bar. And while Yen makes sure to acknowledge that he isn’t as young as he used to be, such admissions prove needlessly self-effacing. Maybe the digital trickery he leans on during the opening skirmish is just a clever way of lowering the bar for the rest of the movie to come, but Yen is still an elite martial artist with a rare knack for combining balletic grace with brutal force. Sure, his foley effects have never been louder (every punch sounds like a golf club swinging into the trunk of an oak tree), but Yen flings his body around with tremendous purpose, and he knows how to mine real fun out of seemingly banal locations. Even something as bland as the back of a cargo truck can turn into a visual playground within the span of a single kick."

Movies that Deserved Better: 'Jimmy Carter: Man From Plains' (2006)

     First and foremost, may the late, great President Jimmy Carter rest in peace knowing that his legacy is now finally being appreciated. In 2006, I watched 'Jimmy Carter: Man from Plains' in awe as a President of the United States that I felt connected to despite being born many years after his tenure continued to bring light to the world. An icon on many levels, the film focuses on the President "on the promotional tour for his 2006 book "Palestine: Peace Not Apartheid." From small towns to network talk shows, Carter offers his views on the Middle East peace process while contending with a media machine that frequently distorts those views. While critics condemn his comparison of the situation in Palestine to the apartheid of South Africa, Carter responds to their barbs with beguiling equanimity and customary thoughtfulness." Unfortunately, the film has been less seen since then, which is a downright shame as it currently holds at 80% on Rotten Tomatoes. but what did the critics say?

   Ronnie Scheib of Variety says, "The story that emerges, illustrated with footage from the time, delivers a surprising lesson in the importance of small details and the ultimate power of negotiation."

Photo by Library of Congress on Unsplash

   Roger Ebert of Chicago Sun-Times notes, "The fact is that Jimmy Carter is an immensely good man, as far as I can tell from Demme’s film and everything else I know about him. One reason to see this film might be to learn more about his views on the Middle East, but a better reason might be to observe how he attends to the privilege and responsibility of doing what he believes is the right thing. It cannot be a pleasure, the never-ending round of airports, buses, taxis, hotel rooms and interviews. He doesn’t make things easy on himself by accepting the use of private jets, and he waits in line along with everyone else. He doesn’t accept fees for speeches. I think he flies first class more because of the Secret Service than his own insistence." Adding, "I don’t see any ego-gratification going on. He seems to believe he is doing his duty, and if I am ever 83, or 73, I hope I can find the same energy and dedication in my own little sphere. I saw this film for the first time in September at the Toronto Film Festival. On the same day, I read a news story about the new book Dead Certain by John Draper, in which President George W. Bush confided some of his plans for retirement. Bush told Draper: “I’ll give some speeches to replenish the ol’ coffers — I don’t know what my dad gets; it’s more than $50,000-$75,000 per speech — Clinton’s making a lot of money.” In another interview, Bush noted Clinton’s recent work with the U.N. and said that after he retired, “You won’t catch me hanging around the U.N.” I wrote about that in my report from Toronto, closing with the reflection that everyone should choose the retirement plan that is right for him."

    As an adult, I will forever remember the man that just connected so easily with those around him and made his White House retirement something that was not only commendable but inspiring. To think of everything he accomplished within his life, I can only imagine that politicians and non-politicians alike must be feeling like under-achievers.

   

'Goosebumps: The Vanishing' Reviews: "it's refreshing to see not just a promising young adult horror anthology, but one that's dusting off the cobwebs stuck to the Goosebumps name"

     On January 10, 2024, Disney+ released 'Goosebumps: The Vanishing', which received predominantly positive reviews from critics. In the series, teenagers embark on solving a mystery. Based on the iconic book series, fans will see episodes based on specific entries, much like last season. The ensemble cast includes Ana Ortiz, David Schwimmer, Sam McCarthy, Jayden Bartels, Galilea La Salvia, Francesca Noel, Elijah M. Cooper, Stony Blyden, and Arjun Athalye. But what did the critics say?

   A.A. Dowd of IGN Movies says, "A little extra TV-14 gore and David Schwimmer’s committed attempt to out-dork Justin Long are welcome, but they can’t dispel the sense that this is a mad science experiment gone wrong, an ill-conceived attempt to turn Goosebumps into Riverdale." Adding, "Goosebumps comes alive most when it resembles, well, Goosebumps. Between scenes of chaste romance, the kids narrowly escape various Roger Corman-grade monsters lifted, loosely, from Stine’s Scholastic pageturners: a seeping blob, some hungry flora, a training-wheels Christine that blares System of a Down’s “Chop Suey!” while it’s zigzagging madly down city streets. There’s a surprising amount of gore around the edges of the series, as when Schwimmer digs a hungry bulb out of his arm or turns to reveal a nasty ocular surprise. This stuff is very much in the spirit of the books, which left young readers emboldened by their own courage to keep reading, and feeling like they were getting something past Mom and Dad. But the monsters that are Stine’s bread and butter have become almost secondary to the show’s equation. They’re basically accents on its aspirations to a tamer Riverdale or Stranger Things – a few Halloween thrills wedged between its stock teen drama and the kind of overarching mythology that’s frequently mistaken for a foolproof shortcut to bingeability. If you liked the first season of the show, there’s no reason to think you won’t like the second: Despite the all new cast and story, it’s more of the same. But regardless of your generation or your familiarity with Stine’s massive library of colorful titles and covers, you deserve more goosebumps than this Goosebumps provides."

   Kelcie Mattson of Collider notes, "Whether Goosebumps: The Vanishing will stick the landing remains to be seen. Still, it's refreshing to see not just a promising young adult horror anthology, but one that's dusting off the cobwebs stuck to the Goosebumps name." Concluding, "Although not the main focus, as the cast member with the biggest name recognition and the season's lead adult (like Justin Long before him), Schwimmer proves a natural fit as the dad who adores his kids but is slightly out of touch with their lives, and whose childhood loss makes him more than a little overprotective."

Image Courtesy of Disney+ and Disney Media

What to Watch and Skip This Week: Two

Image Courtesy of Disney and Mike Taing

     In this second article this week in this series, I found two options that are not only complete opposites, but also have surprised critics in a positive manner. The first of these is 'Shifting Gears', which premieres on ABC on January 8, 2024. In the series, "Matt is a stubborn, widowed owner of a classic car restoration shop; when Matt's estranged daughter and her kids move into his house, the real restoration begins." The ensemble cast includes Tim Allen and Kat Dennings. Dave Nemetz of TV Line says, "Tim Allen knows his niche. Between Home Improvement and Last Man Standing, Allen has spent nearly two decades on network TV playing a blue-collar, no-nonsense dad who loves his kids despite all his grumbling (and grunting). Now he’s back on ABC with Shifting Gears — debuting this Wednesday at 8/7c; I’ve seen the first two episodes — a new sitcom that’s built to be right in Allen’s wheelhouse. And despite some flat jokes and predictable turns, it’s built surprisingly well, with a lot of the credit going to co-star Kat Dennings, who proves she can go toe-to-toe with Allen and match him jab for jab." Adding, "To the show’s credit, though, Matt isn’t just heralded as a patriotic hero who’s right about everything. He’s challenged on his views, with Dennings making a more than capable sparring partner. The two have an entertainingly feisty dynamic right away as they bicker back and forth — they actually seem like father and daughter — and Allen even reveals a tender side in the scenes where Matt and Riley try to process the death of her mother. Dennings is a seasoned sitcom pro, too, from her years on 2 Broke Girls, and she brings plenty of sharp sass as Riley, who’s just as headstrong (and just as flawed) as her dad. The supporting cast is solid as well, including Seann William Scott and Daryl “Chill” Mitchell as a pair of wise-cracking mechanics who work at Matt’s shop. (Scott’s character Gabriel is obviously being set up as a love interest for Riley, but they don’t know it yet.) There aren’t a lot of surprises to be found in Shifting Gears’ first two episodes, but we don’t tune into shows like this to be surprised, anyway. We tune in to laugh, and Allen and Dennings deliver on that front as a sturdy comedy duo. No, this show doesn’t try to reinvent the wheel… but it does give that wheel a pretty decent restoration job." 

    On January 13, 2024, 'Peter Pan's Neverland Nightmare' is released to a unusual amount of anticipation as it is the third entry into the Twisted Childhood Universe. In the film, "Wendy Darling encounters a twisted Tinkerbell as she tries to rescue her brother, Michael, from the evil clutches of Peter Pan." The ensemble cast includes Megan Placito, Peter DeSouza-Feighoney, Martin Portlock, and Kit Green. Connor Petrey of Pop Culture Leftovers says, "Scott Chambers’ Peter Pan’s Neverland Nightmare is the third entry in the Twisted Childhood Universe and manages to become the best yet, being an outlandish reimagining full of delusion, drugs and brutal kills. For those unfamiliar with this recently established universe, we were treated a few years ago with a Winnie-the-Pooh horror film titled Blood and Honey as soon as the popular character hit public domain. The first film, while I sped out to the theater to see it, was a daunting task to sit through, although back then we called it “The Room of Horror”. Not surprisingly the film was a box office success during its limited event release and a sequel was spawned the year after. The sequel, appropriately titled, Blood and Honey II was a major improvement over everything the first did and where the first ended with a 3% score on Rotten Tomatoes, the sequel satisfied with a 47%. Some of horror’s most prestigious fail to crack the “Fresh” barrier such as 2004’s Saw (50%), Jennifer’s Body (46%), and Final Destination (36%). Blood and Honey II reincarnated an allotment of classic horror personalities and placed them inside the world of the Hundred Acre Wood and with this trajectory it’s hard to say how crazy this universe can get. Which leads us here to Neverland’s Nightmare and the introduction of the one and only Peter Pan… Martin Portlock’s Peter Pan is genuinely horrifying, fluctuating between a voice with childlike wonder and the deep scornful voice of a killer. His costume design fully embodies that of what a true Peter Pan lunatic would wear, with tattered clothes a size too small and an eerie mask that adds an extra touch of fear. Peter Pan’s Neverland Nightmare follows titular Peter as he prepares multiple children for their voyage to “Neverland”. One of the unlucky children Peter chose happens to be the brother of Wendy, who attempts to locate and rescue her younger brother. It’s a simple premise, one that many horror fanatics should be used to. Megan Placito’s take on the familiar Wendy transforms from a friend of Peter with a taste for the fantastical in the commonly known telling, to a gore-covered final girl seeking vengeance with satisfying fanfare. While there are serious changes to the aforementioned Peter and Wendy, audiences aren’t prepared for Chambers’ distressing take on Tinkerbell."

What to Watch and Skip This Week: Part One

    2025 is upon us and in order to decide what to watch and what to avoid, here are a few tips for the year so far in regards to new television.

    The most intriguing of the offerings, at least to me, is 'Going Dutch' on FOX, which premiered on January 2, 2025. In the series, "After an epically unfiltered rant, an arrogant, loudmouth U.S. Army Colonel is reassigned to the Netherlands, where he is punished with a command position at the least important army base in the world. After serving with distinction in every warzone of the last three decades, he now finds himself in charge of a base with no guns, no weapons and no tactical purpose. Instead, it has a Michelin-star-level commissary, top-notch bowling alley and the best (and only) fromagerie in the U.S. Army. Surrounded by a diverse group of underdogs, the colonel tries to reinstall military discipline and professionalism with the help of the base's previous interim leader, who just happens to be his estranged daughter." With a score of 86% on Rotten Tomatoes, the ensemble cast includes Danny Pudi, Denis Leary, and Joe Morton. But what did the critics say?

    Joel Keller of Decider says, "There’s potential in Going Dutch, though the pilot was less funny than we expected, given the presence of Leary and Pudi. Denis and Jack Leary are among the executive producers, with Joel Church-Cooper as the showrunner. Church-Cooper’s past series, with Brockmire being the most prominent, indicate to us that the potential we saw in this first episode is what is going to help it improve over time. In the first scenes, where the old-fashioned, un-PC-but-trying Col. Quinn can’t seem to process how he landed at Stroopsdorf, we get mostly standard gags about the tough commander railing against the perceived “soft” troops he’s inherited. Then there’s a scene when Patrick and Maggie have an actual heart-to-heart talk about their relationship, and how Patrick acknowledges that they’ll have to mesh their respective styles, where the potential of this show reveals itself. Leary is especially good in this scene, recalling his best work in his best-known series, Rescue Me. What we hope is that Church-Cooper can refine the show so that the “hard-ass commander vs. ragtag troops” trope becomes grounded more in character than anything else. There were a couple of chuckleworthy moments where we see soldiers making cheese and other non-military activities, but we know that for Going Dutch to succeed, we’re going to have to explore all the characters beyond what we saw in the pilot."

    On the opposite side of the coin, 'Beast Games' on Prime Video is a complete mess. In the series, "1,000 contestants compete in physical, mental and social challenges, for a chance to win a five million dollar cash prize; contestants use their strength and wit to stay in the game, with the hope of being the multi-million-dollar winner." Critics were quick to give it a score of 14% on Rotten Tomatoes, but what did they say?

   Chase Hutchinson of IGN Movies writes, "Beast Games isn’t just surprisingly dull. It's also almost entirely devoid of anything to get invested in. Though future episodes may delve deeper into competitors’ personalities and motivations – the bread and butter of any reality show – once their ranks are whittled down, the beginning of the series is so impatiently frenetic that we’re barely introduced to any of them. Some of this, again, carries over from YouTube, where MrBeast’s output often feels like a bunch of TikTok videos crammed together out of fear that you’ll get bored unless something new is thrown in your face right this second. But Beast Games is uniquely out of its depth. The spread of games is vast – they include contestants trying to convince their teammates to eliminate themselves and a block-stacking challenge – but they all prioritize breadth over depth. The ones that could be more psychologically tense have no weight, passing with breakneck speed so we can get to the next one then the next one and so on. They all feel like they were made up in five minutes, and there’s nothing memorable about them aside from how they steal the iconography and callousness of Squid Game. An ongoing TV series requires more than a YouTuber bludgeoning his audience with reminders of what’s at stake. Even when Beast Games stumbles into a potentially fun challenge – like a trivia game where we get to see the personalities of the players briefly shine through – each sequence is so edited to pieces that you don’t actually feel any of its impact. It’s headache-inducing rather than anything close to harrowing or humorous. When Donaldson jumps in to brag via voiceover how they have thousands of cameras on set (a weird flex if there ever was one), it made me wish he had fewer. An editor who could’ve built some breathing room into the proceedings would’ve been nice, too."

Photo by Georgia Vagim on Unsplash

'Number 24' Reviews: "Despite a few teething issues with the editing, the film gets the message across without compromising the story"

    On January 1, 2025, Netflix released 'Number 24', which has earned predominantly positive reviews from critics. In the film, "On the brink of the Second World War, a young Norwegian man's drive to resist the Nazis sets a new course for his future -- and the future of his country." The ensemble cast includes Lars Berge, Ines Høysæter Asserson, and Erik Madsen. But what did the critics say?

Photo by Erik McLean

    Daniel Hart of Ready Steady Cut says, "Number 24 powerfully portrays Gunnar Sønsteby’s heroic fight for freedom during World War II. Despite a few teething issues with the editing, the film gets the message across without compromising the story." Adding, "Number 24 is heavy on one subject in particular—freedom. During a time when our freedoms are questioned and what it means, the film opens up with Gunnar’s stance on the human concept while in conversation with his close friend, Erling Solheim. Their conversation took place before World War Two, but the rise of German Nazism was prevalent. Gunnar is surprised at how Erling’s ideology (which leans more toward Nazi ideas) trumps the requirement for freedom. He’s dismayed that Erling would consider a world whereby people are not free to have an opinion (and in the case of the premise of their discussion, “even if they are communists”). Clearly, the director has a modern-day view of freedom and free speech and mostly extrapolates that aspect of Gunnar’s personality. In 2025, we hopelessly debate what freedom and free speech mean, and the debate is aggressively circulating on social media. I’m a free-speech purist. Number 24 enforced my belief in this due to Gunnar Sønsteby’s character examination. The film takes his stance seriously: He refused to enjoy the fruits of life until Norway was free again: no women, no alcohol, no nuances of enjoyment. It was all-purpose, and the movie displays this soberingly and uncompromisingly."

   Robert Daniels of RogerEbert.com notes, "The framing device for “Number 24” is obvious but no less effective: Through Sønsteby’s lecture we jump back and forth from his presentation to his memories. We leap backwards to 1937 Rjukan. Sønsteby (Sjur Vatne Brean) is hiking in the mountains with his best friend Erling Solheim (Jakob Maanum Trulsen). Elsewhere, the Nazis are burning books, but only one of these men is frightened. Solheim believes the Nazis aren’t so bad; they’re only targeting communists. Sønsteby, as you can guess, has other thoughts on the matter. The ideological split between friends will fade into the background but will nevertheless be felt in every scene of this nerve-wracking drama." Continuing, "A different type of apprehension affects the contemporary-set scenes. Sønsteby‘s relationship to these students isn’t a one-way street of him talking at them. They also levy questions at him, probing the morality of his wartime operations, especially the copious assassinations he took part in. Sønsteby doesn’t back down. To him, the situation is black and white; it’s either freedom or oppression. But one young woman tests his resolve, asking him a question that nearly opens every mental and emotional compartment he’s locked away over the decades. Anderson turns to a bold needle drop of Radiohead’s “Exit Music (For a Film)” that in some fashion works (it’s emotionally gripping) but also feels tonally inadequate (the anachronistic music is misplaced in such a detailed period piece). In other parts of the film, Anderson does balance the methodical nature of this historical figure (the unhurried Trulsen is indispensable) with the charged subject matter. There are grim moments of torture and betrayals, and some surprising humor. When one student asks Sønsteby why he and his comrades didn’t follow Gandhi’s non-violent teachings rather than resorting to murder, Sønsteby frankly replies: “Gandhi didn’t face the Nazis.” That’s the closest Anderson comes to interrogating Sønsteby’s actions or his personality. Instead, the director crafts a mostly patriotic picture of a man solely dedicated to duty. It’s an uncompromising approach that often makes for a stirring watch even through a narrow lens."

TV that Deserved Better: 'Sins of the Amish'

     On May 24, 2022, Peacock released 'Sins of the Amish', which earned rave reviews from critics. In the series, "Little is known about the secretive world of Plain communities beyond the image they present through their multimillion-dollar tourism industry. Despite their reputation as peaceful, gentle people, Amish congregations are fraught with horrific abuse that the outside world rarely hears about. A group of survivors takes a stand against century-long traditions to speak out against oppression in the hopes of effecting change for future generations. Despite teachings that the Amish should never go outside the church for help, some women are brave enough to take their abusers to court." Unfortunately, the series did not receive the accolades that it richly deserved. But what did the critics say?

   Fletcher Peters of The Daily Beast writes, "The new docuseries is a horrifying portrait of the pattern of dark behavior and victim silencing that has pervaded the Amish community for generations—and gone largely unnoticed."

Photo by Demure Storyteller on Unsplash

    Johnny Loftus of Decider notes, "Investigations into child sexual abuse in Amish communities have recently appeared in national news outlets like NPR and the Associated Press. But Sins of the Amish feels more intensely personal, given that the documentary series is centered on first-person testimony from abused individuals themselves. The women speak plainly to the camera about their experiences, often with an air of careful detachment, as if the violence they encountered has already been categorized and boxed away. But that doesn’t make it forgotten. There’s a raw, nervy energy to the way Mary manipulates her knitting needles during interviews – anything to keep her hands busy, her thoughts active elsewhere – and her box of Amish community artifacts is damning. She reaches for a kind of sex education manual designed for eleven-year-old girls, which seems to blame the victim and absolve any sexual attacker, in particular a male sibling. “He suddenly finds himself a victim of your carelessness and the lust of his own body,” Mary reads aloud. It’s harrowing stuff. Sins of the Amish is powerful on a personal level, it doesn’t always provide enough narrative detail. For example, how the apparent existence of psychiatric facilities exclusive to the Plain communities play into their traditionalist belief system isn’t explored, or how such places can remain unlicensed and unregistered. But it’s nevertheless a tantalizing facet of the doc, which shares with the Mormon-centered true crime drama Under the Banner of Heaven a sense of unfolding the shroud from a famously insular community." Adding, "STREAM IT. Sins of the Amish gives voice to formerly silenced ex-members of the Plain communities, whose collective story of chronic sexual abuse is compelling from a personal and true crime perspective."