'Creature Commandos' is an Animated Hit

        On December 5, 2024, Max released 'Creature Commandos', which has earned rave reviews from critics and a score of 100% on Rotten Tomatoes. In the series, "A black ops team is formulated out of prisoners, laying the foundatoin for the Suicide Squad." The ensemble cast includes Viola Davis, Zoe Chao, Sean Gunn, Indira Varma, Frank Grillo, David Harbour, Maria Bakalova, and Alan Tudyk. Read the full review round-up below. 

Photograph by Courtesy of Max

        Tyler Robertson of IGN Movies says, "James Gunn’s classic recipe of lovable weirdos, great music, and lots of jokes and violence is on full display, but in a new, fresh way that’s presented well in animation." Adding, "The performances are an across-the-board highlight here, even those from actors more accustomed to live-action projects. Grillo and Varma are the deep-in-character standouts, but Zoë Chao and Viola Davis do great work as Nina Mazursky and Amanda Waller, respectively, and Alan Tudyk and Sean Gunn are well suited for their various roles. David Harbour doesn’t always hit the sweet spot as the curt and aloof yet irrationally immature Eric Frankenstein, but that might be more about the writing for the lovestruck monster. But when it works, it works, and it’ll be interesting to see how these characters are translated to live-action – according to Gunn, the actors will reprise their roles in other corners of the DCU."

       Jarrod Jones of AV Club notes, "Even with all these messy feelings and messier body parts flying around, Gunn’s monster mash achieves the level of gravitas it so often seeks. Even when he’s running in circles, the guy still knows how to deliver cheap thrills." Continuing, "Gunn, ever adept at pulling compelling beats from the most absurd characters, made the Guardians of the Galaxy a household name simply by giving space aliens motivations we understood, which is also why Creature Commandos works as well as it does. What motivates a supervillain is only a cliché if the writer lets it be, and Gunn is too canny a storyteller, too fascinated by the make and psychology of these esoteric freaks and geeks to let their stories be generic. So, Gunn takes detours from the series’ pandemonium to explore the Commandos’ origins, painting a vivid picture of who these oddballs are and why they’re so willing to march to Waller’s drum. (For most, it’s redemption by hellfire.) Even Tudyk’s cackling radioactive man gets a tragic backstory that explains why he’s so picky about when, where, and how he uses those melting powers of his. He may have a permanent rictus grin, but he ain’t smiling."

       Reuben Baron of Looper.com writes, "Gunn knows how to keep this material entertainingly twisted while still treating his silly characters with emotional sincerity. The only major downside is that the show is doing almost nothing new." Concluding, "Fans looking for clues as to the future of the DCU will find some potential Easter eggs relating to bigger-name superheroes, but will leave with many more questions about what the rest of the cinematic universe will look and feel like. "Creature Commandos" feels like a solid preview of the tone of the TV-MA "Peacemaker" Season 2-slash-"Waller" segment of the DCU, largely because it's completely in line with "The Suicide Squad" and "Peacemaker" Season 1 segment of the DCEU. But there's no way Gunn's "Superman" movie will be a tonal match for "Creature Commandos" — not when some uncomfortable scenes here border on the edge of Gunn's "Super."

'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)."

'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

Three Must See Shows on Max

       

Photograph by Lloyd Bishop/HBO

        On October 26, 2024, Max released 'Seth Meyers: Dad Man Walking', which has earned predominantly positive reviews from critics. In the comedy special, "Known for his dry wit and sharp topical commentary as host of “Late Night with Seth Meyers,” the veteran comedian shifts his focus to his personal life – from the chaos of raising three young kids, to navigating different communication styles in marriage, to the proper way to cross the street in New York City." But what did the critics say?

       Richard Roeper of Chicago Sun-Times says, "This is a no-frills special consisting of Meyers talking to the audience as if we’re all friends and we can all relate to the stories culled from his experiences as a husband and father — stories exaggerated for comedic effect, of course."

       Sean L. McCarthy of Decider notes,  "Late Night fans, take note: There’s a lot more about his home life than his work life or the current political landscape here, so this hour is much more “A Closer Look” inward on how Meyers is managing (or not) to balance it all personally. “I am happy to inform you I have no anti-trans material,” he makes a point of saying, but not so much to weigh in on his edgelord colleagues in comedy, as much as to draw a contrast between gender identity and dietary identity. In his worldview, transitioning to veganism, as Seth’s brother has, is much more of a disruption. And yet, even in his annoyance, he’s got to hand it to his brother for looking much healthier than him as a result. Although he sounds much more annoyed with his wife and kids than he is with his brother, his parents or even his in-laws. Making himself the put-upon dad who can only find peace by lingering underneath the couch for a few extra moments after crawling to fetch the dice his kids had thrown there during a board game. He and his wife might be teaching their children not to use the word “hate” in their vocabulary, but Seth has more than a few things he hates about them (kidding not kidding), to the point where he finds himself taking pleasure out of ripping the sweaters off of his children as a substitute for actually hitting them. And when he gets into arguments with his wife, Seth finds an ally in his mother-in-law. This is all kinda classic sitcom dad material to be sure, imagining Meyers as a version of Ray Romano’s Everybody Loves Raymond, for instance."

        On November 2, 2024, Adult Swim and Max released 'Invincible Fight Girl', which has earned rave reviews from critics. In the series, "A young girl named Andy, living in Wrestling World, endeavors to become the best pro-wrestler ever and takes on the alies of "Fight Girl." Sherin Nicole of RIOTUS says, "That’s where this show dives deeper, exploring the complexities of family expectations versus personal passion. Watching Andy hide her aspirations will ring true for anyone who’s ever felt the weight of familial pressure. Every beatdown, found friend, and new challenge resonates with resilience, redefining identity, and the unapologetic pursuit of greatness." 

Photograph by Courtesy of HBO

        On November 3, 2024, 'Like Water for Chocolate' was released, receiving a mixed reception from critics at the time of this writing. In the series, which is based on the novel of the same name, one "explores the idea that sometimes traditions can become a prison, an obstacle for love. Tita de la Garza and Pedro Múzquiz are two souls deeply in love, yet unable to be together due to entrenched family customs. The protagonists navigate a world of magical realism and rich flavors as Tita struggles between the destiny imposed on her by her family and her fight for love. Along the way, the audience will witness her greatest refuge: the kitchen. For Tita, her magical connection to cooking becomes an active resistance against oppression, allowing her to channel her deepest desires and passions into her recipes, transforming those who taste them. Set during the Mexican Revolution, the series also addresses the struggle of women to control their own destinies. The breathtaking locations in Tlaxcala and Mexico City provide an authentic and powerful backdrop for this adaptation of a beloved Mexican literary classic." The ensemble cast includes Irene Azuela, Azul Guaita, Andrés Baida, Andrea Chaparro, and Ana Valeria Becerril. Read the full review round-up below.

        Cristina Escobar of RogerEbert.com praises the series, stating, "HBO’s new “Like Water for Chocolate” is sumptuously shot. And it’s not just the costumes or the sets, although they are both clearly rendered with care. Gathered skirts, wide-brimmed hats, and lace-up black boots. Colonial archways and formal sitting rooms. What makes this show feel so rich is the cinematography, framing a kiss between the young lovers, an ill-fated wedding feast, and a painful birthing scene in ways that evoke magic. It’s all emotion and beauty and that’s before we get to the food. And the food is lovely too. I stayed through the credits to catch the close ups of bowls and big wooden spoons, ingredients combining and transforming. It didn’t make me hungry so much as comforted, offering a vision of food as an end in itself. The making is an art form and the consumption is the delightful result. Now, for those not familiar with “Like Water for Chocolate,” this famous tale originated in a 1989 book by ​​Laura Esquivel before hitting theaters in the States in 1992. The HBO series is the first adaption in more than 30 years, and it faithfully renders the tale of Tita de la Garza (Azul Guaita), the youngest daughter of bitter widow Mamá Elena (Irene Azuela)." Adding, "Parts are imperfect – Nacha (Ángeles Cruz), Tita’s de facto mother and the one who teacher her how to cook, may get more of a backstory, but it is still grating that the darker-skinned woman exists solely as a vessel for Tita to learn. Yet still, it succeeds in making the decades-old story, set one hundred years ago, feel fresh and alive."

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

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

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

Photo by Jennifer Clasen/HBO

'Salem's Lot' Reviews: Stephen King Adaptation "should leave fans of vampire tales with enough to feel satisfied when the credits roll"

Photo Courtesy of New Line Cinema/Max

         On October 3, 2024, Max premiered 'Salem's Lot', which is based upon the iconic Stephen King novel of the same name that famously received the big screen treatment. In this newest adaptation, "Author Ben Mears returns to his childhood home of Jerusalem’s Lot in search of inspiration for his next book only to discover his hometown is being preyed upon by a bloodthirsty vampire." With a score of 56% on Rotten Tomatoes currently, the film has received a mixed reception from critics. The ensemble cast includes Lewis Pullman, Alfre Woodard, Makenzie Leigh, John Benjamin Hickey, and Bill Camp. Read the full review round-up below.

        Alexander Harrison of Screen Rant says, "At this moment, it's hard to disconnect the new Salem's Lot from its nearly two-year release delay, during which many feared the film would never, ahem, see the light of day. That's an unfortunate situation. On the one hand, it clearly didn't deserve to sit on the shelf for so long, caught up in the leadership change at Warner Bros. On the other, it doesn't quite live up to the expectations that inevitably built as Stephen King pressured the studio to release it." Adding, "I hope, with time, it can exist on its own terms. But my viewing experience was shaped by this context, which seemed to make the movie's virtues and failings equally glaring. I can't speak to how well it adapts its source material; I've never read King's original book, nor have I seen either of the two miniseries versions. I can only say I found the script inconsistently effective, balanced out by an often strong sense for horror image-making that should leave fans of vampire tales with enough to feel satisfied when the credits roll."

        Bill Bria of Discussing Film notes, "Salem's Lot (2024) is far better than some Stephen King fans might be expecting thanks to how much fun it has with the source material." Continuing, "Tobe Hooper’s Salem’s Lot is generally regarded as the definitive screen version of the novel, given how its length allows for the majority of the book’s characters, subplots, and scenes to appear, as well as capturing Stephen King’s palpable sense of dread. This new feature film adaptation of Salem’s Lot, written and directed by Gary Dauberman (best known for his work on the Annabelle trilogy and Andy Muschietti’s It duology), cannot hope to contain as much material as either the ’79 or 2004 miniseries. Dauberman, however, doesn’t try to compete with the eerie, unsettling tone of Hooper’s version. What the filmmaker does do is make King’s story into the best kind of B-horror flick: a fun, spooky, engaging romp that has just enough of a heart and a brain to not be trashy."

       Emmanuel Noisette of The Movie Blog writes, "Salem’s Lot is a thrilling and entertaining ride that will satisfy horror fans, but with a slightly lighter touch than other horror films." Continuing, "From the get-go, one thing I really appreciated was how quickly the characters understand the seriousness of their situation. There’s no dragging things out or wasting time. By the end of the first act, you’re already neck-deep in the action, and it only gets more intense from there. By the time we hit the third act, the stakes are sky-high, and no one feels safe. When characters start meeting their ends, it’s genuinely shocking and not predictable in the least. The cast does a solid job, with Lewis Pullman delivering a strong performance, especially in his scenes with Makenzie Leigh. But for me, Jordan Preston Carter stole the show. As a young kid caught in a terrifying situation, his authenticity shines through. He steps up when needed but still maintains that childlike vulnerability, which makes his moments hit harder."

       Robert Taylor of Collider praises the film, stating, "There's nothing about the new feature-film adaptation of Stephen King's Salem's Lot that feels particularly fresh or novel — unless you count the fact that it has no interest in being anything other than an earnest, old-fashioned spookfest. That's going to be music to some horror fan's ears, but it might also explain why Warner Bros. chose to sit on this film for two full years, finally deciding to release it directly to Max (following a premiere at Beyond Fest). Sturdy and workmanlike without ever being exceptional, Salem's Lot doesn't feel like it would have been a surefire bet for movie theaters and suggests the possibility that maybe it's actually fine for some movies to head straight to streaming." Adding, "There are a few other small details to push Salem's Lot over the hump and make it a solid spooky-season watch. I like the way the crosses glow a bright white whenever they're utilized as a weapon, blasting the vampires backward like they'd just been hit with a shotgun blast. Salem's Lot has always been about the death of the small, American town, and enough of that metaphor makes it into this version. It's going to be tough for anyone to argue that this is the best version of this particular story, and the vampire tropes the movie so seriously deploys — crosses, holy water, etc. — are so long in the tooth (see what I did there?) that it definitely runs the risk of coming across as corny. (Vampire myths have been deconstructed, reconstructed, turned YA, and everything in between since King's book was published.) Yet Dauberman's film is competent enough that I think it will manage to find an audience who's into an overly traditional take on vampire lore, as well as win over King fans who have been onboard with this tale, in all its incarnations, since day one."

'The Penguin' Reviews: "A must-watch! A thrilling expansion & exploration of Oswald Cobblepot & Matt Reeves' corrupt & violent Gotham City"

         On September 19, 2024, Max premiered 'The Penguin', which has earned rave reviews and currently holds at 93% on Rotten Tomatoes. "The next chapter in The Batman saga, this crime drama follows Oz Cobb’s quest for power and control in Gotham City." The Critics Consensus reads, "Depicting Gotham through bone-breaking punches rather than popping onomatopoeia, The Penguin is a grounded crime saga given gravitas by Colin Farrell and a scene-stealing Cristin Milioti." The ensemble cast includes Berto Colon, Michael Kelly, Shohreh Aghdashloo, and Myles Humphus. But what did the critics say?

        Daniel Fienberg of Hollywood Reporter was less impressed, stating, "I’m not saying HBO’s The Penguin is derivative, but it’s the second TV show in less than six months in which Colin Farrell plays a character obsessed with the glamour of black-and-white Old Hollywood movies — specifically using clips from Gilda to evoke nostalgia for a period that our hero is too young to have experienced firsthand, a poignant yearning for a world with mystique and morality that no longer exist."

        Christian Holub of Entertainment Weekly notes, "It manages to tell an entertaining crime saga without leaning too much on the absent Dark Knight -- although it still ends up falling prey to some of the weaknesses inherent in Batman adaptations."    

        Fico Cangiano of CineXpress praises the limited series, stating, "A must-watch! A thrilling expansion & exploration of Oswald Cobblepot & Matt Reeves' corrupt & violent Gotham City. A highly entertaining street-level gangster drama that delivers. Colin Farrell is phenomenal. Perfect before TB2."

       Aramide Tinubu of Variety writes, “The Penguin” is set one week after the events of Matt Reeves’ 2022 movie “The Batman,” but it would be too simplistic to call it a villain origin story. Instead, HBO’s limited series — created by Lauren LeFranc — revolves around the rise of Oz “the Penguin” Cobb (an unrecognizable Colin Farrell), whose fixation on power blossoms into something so grotesque it becomes uncontainable. A masterful examination of criminality, the show is twisted, disturbing and deeply enthralling. LeFranc’s robust narrative picks up after the Riddler’s attack on Gotham in the film. With the most vulnerable and underprivileged neighborhoods in the city decimated, and Oz’s boss Carmine Falcone dead, Oz decides this is the perfect time to strike. Quickly piecing together a risky, poorly thought-out plan, he begins seizing control of the underworld while the Falcones scramble to restructure and maintain their decades-long hold on Gotham. Though sinister in his thinking and boasting a gift for gab, Oz fails to anticipate two things as he works feverishly to propel himself to the top. The first is an encounter with Victor Aguilar (Rhenzy Feliz), a teenager displaced by the floods, whom Oz initially intends to scare but instead takes under his wing. The second is the return of Sofia Falcone (a mesmerizing Cristin Milioti), whom Oz used to drive when he worked for Carmine. Sofia’s release from Arkham Asylum on the eve of her father’s murder isn’t something that even Oz could have prepared for." Adding, "Despite losing so much in the Riddler’s attack, Vic is gentle-hearted and fearful, and has a stutter. Yet Oz senses something in his new protégé that once brewed inside him — a desire to fit in somewhere. Oz uses Vic’s vulnerability to build a bond with him. Across eight episodes, their father-son relationship showcases glimmers of who Oz could have been if Gotham and his mother, Francis (a fantastic performance by Tony winner Deirdre O’Connell), hadn’t hardened him long before he reached manhood. Feliz brings such tenderness to Vic that in spite of the heinous activities he participates in, the viewer can readily forget how diabolical Oz’s plans are."

Photo by Jordan McDonald on Unsplash

'Wise Guy: David Chase and The Sopranos' Reviews: "Wise Guys is a must-watch that will make you want to revisit Tony and his gang all over again

         On September 7, 2024, HBO premiered 'Wise Guy: David Chase and The Sopranos', which has earned rave reviews from critics, currently holding at 100% on Rotten Tomatoes. In the documentary, "Acclaimed filmmaker Alex Gibney delves deep into the psyche of renowned “Sopranos” creator and writer, David Chase, to illuminate his life and career while offering a unique window into his unparalleled work on the iconic program." Other famous faces featured in the project include Edie Falco, Lorraine Bracco, Michael Imperioli, Drea de Matteo, and Steven Van Zandt. But what did the critics say?

Photo by Frank Okay on Unsplash

        Verne Gay of Newsday says, "Filled with dozens of original interviews, clips, and the myriad (also fun) details that went into the making of a TV classic, this is also probably the most complete film they're ever likely to get on the subject, too."

       Owen Gleiberman of Variety notes, "Overflowing with insight; stuffed with revelatory interviews and anecdotes and archival footage; as bursting with flavor as a baked ziti; and as immersive, in its way, as the show itself." Adding, "As for James Gandolfini’s audition, he left all the actors in the dust the way that Brando left the entire studio system in the dust. When Gandolfini reads for the role of Tony, he has a volcanic intelligence, a speed of anger that guarantees that Tony, regardless of how depraved his actions, will always be the smartest, most compelling guy in the room. As for the guilt-tripping, castrating, borderline homicidal Livia Soprano, Chase explains that the character absolutely was his mother. That was a big part of what gave the show its screwily personal dimension."

       Daniel Fienberg of Hollywood Reporter writes, "I loved a lot of the stories from the available stars — Bracco, Drea de Matteo, Steven Van Zandt and Edie Falco all have standout moments — and mostly didn’t miss the countless supporting actors who are missing. The absence of Jamie-Lynn Sigler and Robert Iler is more head-scratching. I obviously know nothing about Sigler’s health or either of their availabilities. But not having those two regulars, who grew up on the set and would have had a different relationship with Chase, the rest of the cast and the general industry at large, is a large gap, probably this project’s biggest. It’s here that I could either keep working my way down my “Why didn’t Gibney include …” and “Why didn’t Gibney and Chase discuss …” checklists. Or I could leave it at this: Wise Guy: David Chase and The Sopranos isn’t a be-all and end-all documentary, but it’s still an essential glimpse into an essential show through the eyes of its essential creative force."

       Shawn Van Horn of Collider praises the documentary, stating, "If you're a fan of The Sopranos, from its unpredictable beginning until that frustrating end, Wise Guys is a must-watch that will make you want to revisit Tony and his gang all over again." Continuing, "Some stories David Chase tells hardcore fans might already know about, while others are more detailed than you may have previously heard before. Gibney takes Chase back to the beginning of his life, not because this is going to be a documentary more about him than The Sopranos (don't worry, it's not), but because The Sopranos was formed through Chase's life. Chase is an Italian who grew up in a similar atmosphere as The Sopranos, and Tony's mother, Livia (Nancy Marchand), is modeled after his own. Listen to David Chase talk, and you get the impression that The Sopranos is all about him trying to find a way through issues with his mother, which makes the therapy session setup even more impactful."

'Taken Together: Who Killed Lyric and Elizabeth?' Introduces Viewers to a Shocking Case

         On August 8, 2024, Max premiered 'Taken Together: Who Killed Lyric and Elizabeth?', which is a documentary series that focuses on the 2012 double abduction of two cousins, 10-year-old Lyric Cook-Morrissey and 8-year-old Elizabeth Collins, in Evansdale, Iowa. The series has received a mixed reception from critics, but what exactly did the critics say?

        Karina "ScreamQueen" Adelgaard of Heaven of Horror says, "The three episodes all end on virtual cliffhangers leading to a new suspect and more victims. It’s the ideal setup to keep audiences engaged. However, it doesn’t mean it won’t still end with many unanswered questions. One main suspect is dead, which alone makes for a terrible situation as he can’t be questioned. Many fall under suspicion over these three episodes and the police aren’t too forthcoming with information to the families." Concluding, "Of course, some things cannot be revealed in an open investigation, but it’s hard to witness the desperation of the family members. Evansdale, Iowa, seems permanently scarred by the case which still hasn’t been officially closed."       

Image by DC Studio on Freepik

         Radhika Menon of Decider writes, "There isn’t anything groundbreaking about the filmmaking, but the true crime at the center of the story is compelling." Continuing, Using typical talking head interviews and archival footage, the series pieces together the logical narrative that the investigation went through, but to no avail. There’s nothing incredibly flashy about this presentation, and the story is presented plainly and completely. Aside from the tragedy, the most compelling aspects of the three-part series is that the mystery is as-yet unsolved and that Elizabeth’s parents aren’t entirely convinced that Lyric’s parents aren’t involved—even after they are absolved by the police. And with a cliffhanger that alludes to a larger child abduction ring, the series does offer a lot for true crime junkies."

       Nick Schager of The Daily Beast notes, "What it proffers, ultimately, isn’t a definitive answer to its title question, but rather a snapshot of the pain, fury, and annihilation wrought by senseless, mysterious tragedy." Adding, "Bolstered by home movie clips, archival photographs, and commentary from Drew, Heather, Misty, and Dan (from multiple chats recorded since 2015), Taken Together: Who Killed Lyric and Elizabeth? proves a comprehensive and deeply empathetic overview. Sires’ interviews are rife with tears, heartache, and candid confessions about the tormented feelings that never go away; hearing Drew admit that he felt some relief when Lyric and Elizabeth’s bodies were found—and, ever since, he’s been wracked by guilt over those feelings—epitomizes this docuseries’ warts-and-all portrait of the grieving process. In its many sit-downs with parents, grandparents, cousins, aunts, and detectives (some of whom struggle to refrain from crying while discussing this ordeal), the proceedings provide a bracing up-close-and-personal perspective on this most horrific of situations, putting the emphasis as much on the survivors as on their deceased loved ones."

Third Season of 'Industry' "is the increasingly rare television show that follows a weekly release schedule, and it's incredibly well suited for it"

         On August 11, 2024, HBO and Max premiered the third season of 'Industry', which has received predominantly positive reviews from critics. In the series, graduates compete for full-time employment at one of London's top investment banks. The ensemble cast includes Marisa Abela, Mark Dexter, Myha'la Herrold, Harry Lawtey, David Jonsson, and Kit Harrington. But what did the critics have to say?

       Meghan O'Keefe of Decider writes, "Industry Season 3 is a fabulous level up for an already great show. The impressive ensemble cast continues to excavate the beautiful, broken characters the play." Adding, "However, the two new characters who are apt to get the most attention are the aforementioned Sir Henry Muck and Sarah Goldberg’s Petra Koenig, an ice queen portfolio manager in Harper’s orbit. Kit Harington gets to shed the dour honor of Jon Snow for the oft unintentionally hilarious Henry Muck. His green energy company, Lumi, is a huge bet for Pierpoint, but it’s unclear if Muck, or the organization, has the goods to back up the risk. Petra, on the other hand, is skeptical of the green energy movement her company is dead set on investing in. Harper impresses her with her ruthless streak and inside intel on how Pierpoint works."

        Allison Picurro of TV Guide praises the series, stating, "Without spoiling too much (Industry is the increasingly rare television show that follows a weekly release schedule, and it's incredibly well suited for it), the Season 3 finale wraps things up so precisely and satisfyingly that it leaves you wondering whether co-creators Mickey Down and Konrad Kay planned it as a series finale. A fourth season has not yet been confirmed, and while there's certainly enough story to leave the door open for more, it would be so fitting to get out right when the show (potentially) blows up. Maybe that would be the ultimate reward for those who were on the ground floor of the spectacular journey that is Industry."

        Abe Friedtanzer of Awards Buzz says, "Myha’la, Abela, and Lawtey offer even more depth in their exploration of their original characters, guiding a show that often seems like it lacks any moral compass with a vivid fidelity to stressful and satisfying storytelling."

       Sophia Ciminello of AwardsWatch notes, "Industry’s third season is bolder and even more lavish (complete with a Barry Lyndon reference), reflecting both the rise in the show’s critical acclaim and the characters’ salaries and responsibilities at their Pierpoint desks." Continuing, "One of those key partnerships is with Pierpoint’s new client, Henry Muck (Game of Thrones’ Kit Harington), and his green energy tech company/rich boy pet project, Lumi. Lumi aims to bring affordable energy to as many people as possible, so it’s a natural fit for Pierpoint’s new strategy. Robert is managing the firm’s relationship with Lumi, which is further complicated when Henry expresses interest in Yasmin. Robert, with his heart of gold and cocaine, is still in his Sunset Boulevard phase with Nicole (Sarah Parish) but continues to pine for Yasmin. The sometimes exhausting “will they/won’t they” dynamic that dominated the show’s first two seasons is even more discouraging this season, given one man has a salary and the other a net worth. Lawtey is perfectly vulnerable as Robert, convincing us he’s one of the only characters worth rooting for. Harington is a wise casting choice for Henry as he effortlessly channels the type of bravado only found in a gorgeous man who has no clue what he’s doing–a particular Cruel Intentions-inspired pool scene is naturally a highlight. His over-the-top aggression at the Lumi offices doesn’t feel much different than Jon Snow heading into battle in The North, though, and is less interesting than the scenes that expose his insecurities more subtly. With a kink straight out of an episode of Girls and a bottle of wine so expensive that it could be up for auction at Sotheby’s, Henry feels at times like a composite sketch of some of the world’s richest playboys and, at others, a less-realized take on Succession’s Lukas Matsson (Alexander Skarsgard)."

Photo by Brooke Cagle on Unsplash

An intimate and Informative Interview with a Hollywood Icon Hits Max

   

                                              Photo by Nathan DeFiesta on Unsplash

   

On August 3, 2024, Max released ‘Elizabeth Taylor: The Lost Tapes’, which has received predominantly positive reviews, holding fresh at 80% on Rotten Tomatoes. In the documentary, access to archives and a newly discovered interview between the Hollywood icon and journalist Richard Meryman is presented with the star unafraid to tackle not only her success but her scandals. Read our full review round-up below.

Christopher Llewellyn Reed of Hammer to Nail says, “In 1964, journalist and biographer Richard Meryman sat down with actress Elizabeth Taylor for a series of taped interviews, covering a range of topics, from childhood to early stardom to her tempestuous personal life and more. In the new documentary Elizabeth Taylor: The Lost Tapes, director Nanette Burstein (Gringo: The Dangerous Life of John McAfee) uses these recordings as the spine of a fascinating look at this great cinematic icon. On top of that wonderful archive she adds a wealth of film clips, photographs, other period interviews, and the occasional artistic recreation for effect. It’s a well-crafted, engaging celebration of the woman and her œuvre.” Concluding, “For those looking for entertaining anecdotes about production histories, there are many, including tales of the vastly over-budget Cleopatra, during the initial shooting of which Taylor almost died from pneumonia. She survived, but emerged with a scar on her throat from the hole doctors cut there so she could breathe. During her recovery, she won her first Oscar for Butterfield 8 (a film she apparently hated, as she makes clear many times), a fact she explains to Meryman thusly: “I won the award for my tracheotomy.” Perhaps, but she was also terrific in most of her roles (my personal favorite, not mentioned here, is Reflections in a Golden Eye).”

Chris Cassingham of In Review Online was less impressed, stating, “If the material at Burstein’s disposal holds within it deep insights about the toxic nature of hypervisible celebrity, about an industry’s exploitations, her film deploys them hesitantly.”

Pete Hammond of Deadline Hollywood Daily writes, “Meryman got Taylor to sit for some tape-recorded sessions in 1964, so he would be able to write the book as if Taylor did it herself. Sixty years later, those presumed “lost” recordings have been found and cleared for release by Taylor’s and Meryman’s estates. They have been in Meryman’s wife’s possession all these years, but now filmmaker Nanette Burstein (Hillary, The Kid Stays In The Picture) has rediscovered a treasure trove of about 40 hours of interview in order to produce the new HBO Documentary, Elizabeth Taylor: The Lost Tapes.” Adding, “Using the visual device of an old reel-to-reel tape recorder rolling along, and mixing in film clips, newsreels, interviews and home movies, the film meticulously follows the dots of the highs, lows and marriages of this great and iconic star. No one was bigger in her day. Even as a kid she was considered an extraordinary beauty, and by the time she got discovered by Lassie Come Home producer Sam Marx, they didn’t even bother with a screen test and rolled the dice that she could act. Her looks were that powerful.”

Caryn James of Hollywood Reporter notes, “As she did in Hillary, about Hillary Clinton, and The Kid Stays in the Picture, based on Robert Evans’ autobiography, Burstein stays out of her celebrity subject’s way. Taylor’s voice is playful, almost girlish. Occasionally she is blunt, but more often seems cautiously aware of being recorded. Richard Meryman, the Life magazine reporter doing the interviews, is heard asking questions at times, but Taylor is firmly in control, at least on the surface.” Continuing, “Beneath that you can tell how beautifully Burstein and her editor and co-writer, Tal Ben-David, shaped the visuals. The archival photos and news clips offer a telling backdrop of images and sound bites, often more informative than what Taylor says — from shots of crowds filling the streets of London to see her on the day of her second wedding, to the actor Michael Wilding, to film of her in mourning black at the funeral of her beloved third husband, the producer Mike Todd, who died in a plane crash. The visual exceptions are the clichéd, recurring establishing shots of an old-fashioned reel-to-reel tape recorder, next to a martini glass.”