'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."

'Avicii - I'm Tim' Hits the Right Notes

    On December 31, 2024, Netflix releases 'Avicii - I'm Tim', which has earned rave reviews from critics at the time of this writing. In the film, "Before there was Avicii, there was just Tim. For the first time through his own words, witness the journey of a shy but prodigious musical talent who would soon become one of the defining artists of his generation." But what did the critics say?

    Will Bjarnar of Next Best Picture says, "Charting the life and accomplishments of Tim Bergling – the Swedish DJ known to anyone who has listened to music in the last 10-plus years as Avicii – Burman’s film does, indeed, follow the tired cradle-to-grave formula that has dulled projects of a similar ilk in the recent past (Bergling tragically took his own life in 2018 at the age of 28). But what this documentary possesses that hundreds of others lack is a rare sense of soul. It doesn’t rely on sit-down interviews with journalists who have deemed themselves the foremost authorities on an artist’s career, instead placing an emphasis on industry personalities and, especially, close friends of Bergling, with the two often intersecting. More than any other, to the film’s ultimate credit, we hear from Bergling himself. It’s evident that Burman and co. were working with Avicii’s team on a documentary of sorts for years before his death, but “I’m Tim” employs a great deal of archival behind-the-scenes footage of Bergling’s rise that was clearly filmed in an effort, from the moment he pieced together the beat to his first hit, “Levels,” to the moment something clicked within him leading to a change in his sound and taste. We see Bergling working with artists like Chris Martin – he produced Coldplay’s “A Sky Full of Stars” – Dan Tyminski, who provided the vocals for “Hey Brother,” and Aloe Blacc, who sings on “SOS” and Avicii’s biggest sensation, “Wake Me Up.” This footage is intercut with interviews with said artists, as well as conversations with some of Bergling’s closer personal confidants, like his longtime manager Arash “Ash” Pournouri and the nightclub promoter Jesse Waits, who became a brother to Bergling over the course of their years long friendship." Adding, "Most prominently and notably, we hear Bergling discussing his complicated relationship with fame and his struggles with mental health. Almost always heard in voiceover, he  notes that he never felt like much of an artist or producer but a person “filled with music.” You can see that mentality in his early performances, in particular; Bergling, often donning an Atlanta Braves or Oakland Athletics cap because of the “A” logos they featured on the front, typically wore plaid button-ups one might pull off the clearance rack at Kohl’s while performing at EDM (electronic dance music) festivals like Miami’s heralded Ultra. While his fans donned skin-tight neon digs, the artist known as Avicii appeared as though he was about to accept an academic excellence award at his high school. Such habits make it clear that Avicii was merely a mask for the man named Tim, the artist serving as an alternate personality, not quite something he’d consider an escape. A friend recalls that “Tim and Avicii weren’t really getting along for a long time,” almost like the DJ within was a Venom-esque syndicate itching to control the man’s body and soul. Tim himself says, “I didn’t like [having] to be Avicii and then [having] to be Tim… Then I didn’t even enjoy making music.” It’s heartbreaking, an internal sparring not at all worthy of chalking up to the price of fame." 

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Should there be a 'Squid Game' prequel?

         On December 26, 2024, the second season of 'Squid Game' was released to acclaim. As an avid fan of the series, I was enthralled by the drama of it all as well as the new characters, which actually might be more fun that the first group of the game's victims. Unpopular opinion, so have at me lol. Saying that, any fan knows that the show's creator has stated it will only last three seasons, which is sad yet makes me happy since the series has a clear ending in mind. After the last season of 'Game of Thrones', which was a really mixed bag, this is actually calming in a weird way. But, and this might seem all very 'House of the Dragon' here, I believe that a prequel about how the games began would be amazing. Hear me out:

1)The Various Time Periods: Since it really was not established how old the games are, the sky is the limit here. Let's say the games began in the 1980s for example. It would be cool to see how it all started plus the fashions, technologies, and whatnot.

2)Oh Il-nam: When we last saw him, Ph Il-nam was "The Old Man" that deceived us all. But what was he like when he created the games? Was he more emotional? Less? Was he seeking revenge on society or someone in particular? Who helped him create the games? Who was the first winner? Were there any hiccups in the early gameplay? The questions go on and on. In my mind, he would be played by Park Seo-joon or Lee Moo-saeng, but I am sure the line would be out the door to audition for such a juicy role.

    In short, the ball is your court Netflix!

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Second Season of 'Squid Game' is Not as Dynamic but Still Worth it

     On December 26, 2024, Netflix released the second season the of the award winning 'Squid Game', which quickly amassed a score of 85% on Rotten Tomatoes. In the series, "Hundreds of cash-strapped contestants accept an invitation to compete in children's games for a tempting prize, but the stakes are deadly." All the while, the recent winner re-enters the game in order to take it down internally. The ensemble cast includes Lee Jung-jae, Wi Ha-joon, Lee Byung-hun, Gong Yoo, Im Si-wan, and Yang Dong-geun. But what did the critics say?

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      Belen Edwards of Mashable says, "With every effort to dial up an element from Season 1, be it the voting mechanic or the Front Man's role, Squid Game Season 2 weakens its own mystique and appeal." Adding, "Squid Game's overemphasis on voting is just one symptom of Season 2's overarching problem: Recycling Season 1 plot points with twists that run themselves into the ground. Let's start with an obvious one. Once again, the games' player 001 is a plant from the people controlling the games. This time around, it's none other than Front Man Hwang In-ho, who's snuck into the games to watch over Gi-hun, and who ends up becoming one of his closest allies. All the better to break his spirit once he finds out his true identity! The only problem is, Gi-hun doesn't learn who 001 really is this season, so we lose the feeling of brutal catharsis we got with the Oh Il-nam (O Yeong-su) reveal from Season 1."

       Sara Wallis of Daily Mirror praises the series, stating, "By mid-season, the twists and turns will be coming so fast, you won’t be able to look away until the final, devastating, flourish. Let the new games begin." Continuing, "When you finally see him on a bunk bed in that familiar green tracksuit labelled ‘456’, you’ll sit bolt upright and grab the popcorn. There’s comedy amid the trauma - the new batch of players complain about everything from the colour of the uniforms to the secrecy of the staff. They don’t know what’s coming… but Gi-hun does, and so do we. Some parts are familiar - the gigantic doll with the laser stare makes a reappearance - but there are scary new games. A clever new rule brings even more tension and rivalry within the group, while there are plenty of players to get emotionally attached to and to hate."

   Joel Keller of Decider notes, "The long-anticipated second season of Squid Game lives up to what Hwang Dong-hyuk accomplished in the first season, with Gi-hun back in the game, but for very different reasons than when he first played it." Concluding, "The first episode shows that Hwang isn’t into repeating what made the show such a global success back in 2021. We suspect that even the games Gi-hun plays will be different, giving him less of an advantage than he might think he has given his previous experience. That’s certainly a good thing, as will meeting a new group of players once he re-enters the game. Also, at the same time, Jun-ho will keep probing from the outside, looking for his brother and trying to put a stop to the game in his own way."

   Annie Banks of The Mary Sue says, "If anything, Squid Game Season 2’s uneven seven-episode stretch closes itself out with a cliffhanger that might just be worth the watch. It’s simply too bad the season couldn’t offer much more than that." Adding, "The socioeconomic commentary that contributed to what make Squid Game so fascinating upon its initial arrival is slow to arrive in Season 2, but its emergence midst episode one looks to one of the series’ strongest elements. When The Salesman (Gong Yoo) offers a homeless man the choice between a bread roll and a lotto ticket, the first value-driven conflict is introduced. After the scratch-off ticket doesn’t reveal any major winnings and The Salesman asks for his coin back, Squid Game Season 2’s simple-yet-effective depiction of apathy for the impoverished begins to unfold. As this pattern continues throughout the second season, Squid Game Season 2 leans back on its commentary of classism. These moments that provoke conversation around the show’s major points of contention are Squid Game Season 2’s strongest, and hopefully, fleetingly, their impact will influence its audience." 

'Carry-On' Reviews: Film Truly Take Flight

         On December 13, 2024, Netflix released 'Carry-On', which has earned predominantly positive reviews and a score of 84% on Rotten Tomatoes. In the film, "A young TSA agent fights to outsmart a mysterious traveler who blackmails him into letting a dangerous package slip onto a Christmas Eve flight." The ensemble cast includes Sofia Carson, Taron Egerton, Jason Bateman, and Danielle Deadwyler. But what did the critics say?

        Nick Schager of The Daily Beast says, "The ’80s and ’90s were a golden age of high-octane action-thrillers, and that tradition is continued with exciting aplomb by Carry-On. Following two misguided forays into tentpole extravaganzas (Jungle Cruise, Black Adam), director Jaume Collet-Serra returns to the sort of terrain he successfully tilled with Liam Neeson in Unknown and Non-Stop via this fleet and clever tale of a TSA agent who finds himself blackmailed by a mysterious villain into letting a carry-on bag pass through security. A clockwork genre contraption that consistently devises new ways to keep its protagonist in do-or-die crisis, this breakneck Netflix offering confirms the enduring vitality of its chosen formula—and, in the process, proves an unexpected and welcome Yuletide streaming gift." Adding, "Bateman, meanwhile, channels his Ozark protagonist’s amorality for the cool, calm, and ruthlessly sociopathic Traveler, whose flat, business-like demeanor is reflected in his nondescript clothing and baseball cap. They make for a fine cat-and-mouse pair, and Deadwyler, Norris, and Logan Marshall-Green (as a Department of Homeland Security official assigned to assist Elena with her investigation) provide colorful, convincing support."

        Jim Vorel of Paste Magazine notes, "The result is a hamstrung thriller that feels cheaper than it should, like a feature-length episode of FOX’s 9-1-1, bogged down by a sense of malaise radiating outward from its protagonist in waves." Concluding, "Taron Egerton would no doubt very much appreciate it if you would take the bait and compare his new, holiday-adjacent Netflix action thriller Carry-On to Die Hard … or perhaps Die Hard 2, actually. And indeed, this is absolutely a vintage thriller in its DNA, perhaps more of a ‘90s homage than an ‘80s one; the kind of flick where a workaday white male schmuck has to rise to the occasion to thwart some seemingly omniscient bad guys while rediscovering the true meaning of … I don’t know, family? Christmas? Unpaid overtime? The point is, our protagonist learns a lesson, shoots some guys and emerges with his life and priorities newly sorted out. The only problem, of course, is that this vanishing breed of modestly budgeted thriller typically revolves almost entirely around the magnetic draw of a star whose easy confidence and charisma can make you fond of the character, even against your own will. And for whatever reason, Egerton is not that star for Carry-On, a film whose protagonist remains an awkward, unreadable cipher from start to finish, dragging down the stronger supporting work surrounding him. His “Ethan Kopek” feels like he should be a minor character in someone else’s film, rather than the star of his own."

        Mitchell Beaupre of The Film Stage praises the film, stating, "Carry-On keeps you on the edge of your seat with its myriad turns, always being sure to ground itself in realistic characters who offer the opportunity to question what we would do if presented with a similar scenario."

Photo by Josh Eckstein on Unsplash

        Matt Lynch of In Review Online was less impressed, stating, "Even lay viewers have seen this movie a dozen times, but there are still some cheap pleasures to be had with the back and forth between the mastermind and the hostage as Ethan continues desperate but clever attempts to either get someone’s attention and help or to foil the Traveler’s plans altogether. Those attempts almost unfailingly get somebody killed in addition to being increasingly implausible, but Collet-Serra at least keeps things mostly moving at a good clip. The film’s major problem, then, isn’t its familiarity, but its other parallel half, which features a police detective (Danielle Deadwyler) who finds herself investigating the Traveler and his goons, and whose exploits outside the airport grind the film’s momentum to a full stop. Forcing these twin storylines to inevitably intersect at Carry-On‘s end utterly destroys the pace of these crushingly overlong two hours. Collet-Serra clearly understands the assignment and delivers sturdy work, but any time the movie steps away from its core premise and contained setting, it crashes."

'The Kings of Tupelo: A Southern Crime Saga' Reviews: "a unique look at the ways people can become radicalized for a cause within the oxygen-free internet echo chamber"

         On December 11, 2024, Netflix released 'The Kings of Tupelo: A Southern Crime Saga', which has earned predominantly positive reviews from critics. In the series, "An Elvis impersonator's conspiracy theory sets off a feud that spirals into an attempted presidential assassination." But what did the critics say?

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        Andrew Parker of The Gate says, "A wildly entertaining, naturally humorous, and jaw dropping descent into the world of online conspiracy theories, familial rivalries, and Elvis impersonators, Chapman and Maclain Way’s documentary miniseries The Kings of Tupelo: A Southern Crime Saga is the definition of the word flabbergasting. A sprawling stranger-than-fiction yarn revolving a man with a misplaced hero complex who constantly proves to be his own worst enemy (on top of being an annoyance to many caught in his blustery path). The Kings of Tupelo weaves a masterfully told story of deception and hidden truths, but not the ones envisioned originally by the documentary’s (unfortunately) gregarious subject." Adding, "But just when it feels like things have led down the dark path the Ways hinted at early on, the third and final instalment of The Kings of Tupelo masterfully stages a huge rug pull on the viewer and flips everything on its head. I wasn’t entirely familiar with the story at the heart of the Curtis’ case (or maybe I just forgot about it over time), but the third act drops some major bombshells involving another possible conspiracy and a very different kind of impersonation. At this point, The Kings of Tupelo becomes a story that one reporter at the time all of this was going down likened to a Coen Brothers movie, but really it plays more like a shockingly layered, southern fried dipshit version of Inception, where the rabbit hole grows deeper, more large personalities enter the fray, and things become even more baffling. The final episode is a masterfully edited and paced piece of work that hits like the Ways have been sitting on a royal flush since the start and have been bluffing their way towards the biggest payoff with devilishly creative glee. That huge reveal and the film’s elaborately parsed conclusion make the viewer’s investment of time well worth it. But The Kings of Tupelo more poignantly looks at the complicated nature of conspiracy culture. People tend to believe whatever suits their mood, temper, and world outlook, and any bit of validation, enabling, or vindication can lead to a sometimes unwarranted inflation of self-confidence. When someone in this mindset is given an inch, they see acreage. The Kings of Tupelo is a unique look at the ways people can become radicalized for a cause within the oxygen-free internet echo chamber. It’s also hilarious, shocking, and cringe inducing in the most crowd pleasing of ways."

'A Nonsense Christmas with Sabrina Carpenter' Brings a Twist to Traditional Holiday Fare

         On December 6, 2024, 'A Nonsense Christmas with Sabrina Carpenter' was released on Netflix to predominantly positive reviews. In the holiday special, "Pop icon Sabrina Carpenter jingles all the bells in her first-ever variety music special full of Christmas hits, unexpected duets and comedic cameos." But what did the critics say?

       Sean Boelman of FandomWire says, "Don’t expect to add it to your yearly viewing rotation unless you’re a Carpenter megafan, nor should you expect to add these covers to your holiday playlist, but as far as 50-minute variety specials go, there have been much worse." Adding, "The best moments are when Carpenter cracks jokes about her image, pushing the envelope as far as she can with double entendres without crossing the line into all-out raunch. On the other hand, the show’s attempts to feel “grounded” by leaving in mistakes feel tremendously artificial and forced. Indeed, the best opportunity that A Nonsense Christmas had to feel grounded is wasted. In one section, Carpenter begins to share personal stories about her own childhood experiences during the holidays. Although this is a very common part of holiday variety specials, Carpenter is an excellent storyteller, and it’s easy to linger on every word she says — no matter how standard they may be. If only there were more of these intimate moments." 

Photo by Cristian Tarzi on Unsplash

        Johnny Loftus of Decider notes, "In A Nonsense Christmas with Sabrina Carpenter, now streaming on Netflix, you can expect Christmas classics, guest duets, goofy holiday sketches, and cheeky double-entendres inside every wrapped gift on the special’s “Recorded Live In Front of Studio Audience”-style stage. Sabrina Carpenter is the star of the show, of course, but don’t expect “Espresso,” or even her viral hit “Nonsense” – instead, Sabrina performs a few seasonal chestnuts with guests Chappell Roan, Shania Twain, Tyla, and Kali Uchs, appears in a few comedy bits that include notables like Kyle Mooney, Megan Stalter, Quinta Brunson, and Cara Delevingne, and generally hams it up, just in time for Christmas. “So if you’re hot and you’re young and you’re stocking’s well hung…by the chimney with care, it’s the most nonsense time of the year…” Adding, "Stream It! A Nonsense Christmas with Sabrina Carpenter is having a lot of laughs and fun – and Sabrina herself is having the most fun – but it also brings in a few nice versions of songs for season. And really, it never once takes itself too seriously, which itself is refreshing. Why don’t more celebrities just cut loose and riff on their own branded version of what in another TV era would be called a Christmas variety show?"

'Mary' Reviews: Film "isn't really Mary's story in any way that counts or that feels distinct from the version we already know"

         On December 6, 2024, Netflix released 'Mary', which has received a mixed reception from critics. In the film, "Mary is shunned following an otherworldly conception and forced to flee when Herod's insatiable thirst for power ignites a murderous pursuit for the newborn." The ensemble cast includes Anthony Hopkins, Noa Cohen, Eamon Farren, and Ido Tako. But what did the critics say?

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        Isabella Soares of Collider says, "With an underbaked script by Timothy Michael Hayes and several add-ons to the biblical narrative that harm more than elevate the plot, the cast doesn't get the opportunity to impress or show an inspiring new take on Mary's trajectory." Adding, "The truth is, despite Mary being the title of Caruso's latest directorial effort, there is little that the filmmaker does to help audiences who are both aware and unaware of this story have a more nuanced understanding of its central figure. Aside from a scene during Mary's youth, in which she shows compassion to the poor by bringing them bread, the movie doesn't give you further insight into her character or even her internal conflict about her pregnancy. Despite being looked down upon by the people in her community and having no luck finding a place to stay to give birth to Jesus, viewers never get to know what is going through the character's head or how she is growing from this experience. A coming-of-age project should focus on the protagonist's personal growth, which doesn't happen here."

       Catherine Bray of Guardian notes, "You know the way Dracula likes to deliver a dramatic speech, then turns into a bat, and flies away? It turns out that the angel Gabriel does something similar, only he turns into a blue scarf, the same kind of snazzy number you might get in Monsoon as a birthday present for your mum. Whoosh! Away he goes. Unfortunately, Gabriel-as-knitwear is about as entertaining as it gets in this fairly straightforward biblical adaptation of the early years of Mary, mother of Christ. Actually that’s not quite fair. Anthony Hopkins as Herod understands the assignment, bellowing lines such as “KNEEEEEEEL!” with requisite gusto. We’ve seen him serve more fully flavoured ham before, however, in lavish tosh like The Silence of the Lambs sequels Hannibal and Red Dragon; this is more ham-lite, the sort of villainy Hopkins can deliver in his sleep. Not that it’s not pleasurable to watch, but his Herod could have used at least twice as much screen time as he gets." Adding, "The titular Mary (Noa Cohen) is a bit of a drag, prone to pieties such as “I find pleasure every day in the mysteries of the Lord.” Fair enough, she’s the future mother of God. But when she tells a man who has just been brutally blinded by Herod that “vision comes in many forms”, you can see how people end up so virulently anti-religion. A very late stage swerve into Marvel heroine vernacular – “You may think you know my story. Trust me, you don’t” – doesn’t help matters either. It does, however, come right after the film’s best sequence, in which the infant Christ is saved from the swords of Herod’s minions as Bethlehem burns and our heroes get the hell out of the raging inferno on a horse. There is also a good bit where Mary is urged to stick baby Jesus in a wicker basket and lob him off a roof. Alas, you have to sit through a lot of turgid Bible studies dramatisations of bits of scripture to get to the good stuff. All in all, last year’s Journey to Bethlehem, a musical covering the same material with Antonio Banderas as Herod, represents more bang for your biblical buck."

       Mark Dujsik of Mark Reviews Movies says, "Looked at from either a religious or a more realistic perspective, the story of Mary, the mother of Jesus, is a fascinating one. If some divine power was involved, here's a teenager who unexpectedly finds herself with the weight of becoming pregnant by heavenly intervention, giving birth to the spiritual savior of humanity, and knowing that her son's story will end in a violent death. If none of that is the case, here's a girl burdened with the societal stigma of being young, pregnant, and unwed but who overcomes all of that to raise a child who will become one of the most influential figures in all of history. In other words, Mary could choose either option for the foundation of its story—a religious or secular one—and have plenty to work with in regards to its eponymous character. That screenwriter Timothy Michael Hayes selects the religious angle, then, is of little concern to the potential success of this movie, because it's not as if Mary's life is of much concern to any official Christian scripture. There's plenty of room for interpretation and imagination to get at the heart of this young woman and her story." Concluding, "There's the exposition involving her parents. Her future husband Joseph (Ido Tako) spots her by a river one day, after Gabriel suggests he head in her general direction, is her partner by way of an arranged marriage, because Mary's parents hear him speak of the angel's guidance. She's banished from the temple, becomes a target of rumors and gossip, and is eventually forced to leave home to give birth, as Herod's megalomania reaches its apex. Even Lucifer (Eamon Farren) shows up on occasion to tempt some characters, including Mary, into giving up on all of this, but it's not much of a conflict when all of these characters simply accept the role put to them. Who is Mary here, if not simply someone being influenced, coerced, and pushed around by everyone and everything around her? That's a question the filmmakers seem to have little interest in answering. The movie's goal, it seems, isn't to turn Mary into an active figure in her own story or even to understand how an ordinary person might deal with the unthinkable pressure of being at the center of a divinely ordained plan. Cohen occasionally suggests some underlying doubts, fear, and resilience in her performance, but Caruso seems to have directed his star to mainly appear vulnerable and, as that old phrasing goes, full of grace. The movie looks fine enough, perhaps, and it feels sincere about its intentions in a general sort of way. Mary, though, isn't really Mary's story in any way that counts or that feels distinct from the version we already know." 

'The Six Triple Eight' Reviews: "there won’t be a dry eye for this holiday release"

         On December 6, 2024, with a streaming release on December 20, 2024, Netflix released 'The Six Triple Eight', which has earned a positive response from critics. "The Six Triple Eight is inspired by the first and only Women's Army Corps unit of color to serve overseas in WWII. Despite facing racism and sexism -- and grueling working conditions -- they were committed to serving their country with honor and distinction. Given an extraordinary mission and united in their determination, these unsung heroes delivered hope and shattered barriers." The ensemble cast includes Kerry Washington, Shanice Shantay, Oprah Winfrey, Sam Waterston, Gregg Sulkin, Susan Sarandon, Pepi Sonuga, Ebony Obsidian, Kylie Jefferson, and Sarah Jeffery. But what did the critics say?

        Christopher Lloyd of The Film Yap says, "This historical drama shines a light on the forgotten history of the all-Black Women's Army Corps unit that came through when called upon despite being ignored and degraded by the military." Adding, "It’s a handsomely shot movie (cinematography by Michael Watson), with slightly washed-out colors, and authentic period costumes, vehicles and sets (production design by Sharon Busse). “The Six Triple Eight” may not earn any stripes for originality, but it’s a strong story well-told about some courageous Black women who gave a lot of comfort to war-torn families."

       Ema Sasic of Next Best Picture notes, "Though rough around the edges in many ways, like with its awkward dialogue and some overly cheesy moments, once this film gets to the heart of this troop’s mission, it’s a crowd-pleaser that’ll enlighten and inspire viewers."

Photo by shraga kopstein on Unsplash

        Pete Hammond of Deadline Hollywood Daily praises the film, stating, "Perry’s script though first zeroes in on the human beings, particularly in opening the film back home where we meet the real-life Lena Denniecott King (nicely played by Ebony Obsidian), whose budding romance with her friend Abrams is interrupted when he is sent off to war. We see him in battle near death as he puts a blood-soaked letter inside his uniform. As the war goes on Lena is distraught, not knowing anything of what has become of him, not receiving any letters. Her story is key here in bringing a personal connection to the greater job this massive group of women must achieve." Continuing, "Washington, complete with Southern accent, starts out a bit as an Officer and a Gentlemen Louis Gossett-style-taskmaster to keep her troops in line, but eventually lets us see the very good-hearted and dedicated person behind the uniform, ultimately earning our tears and respect. She nails it. Norris (Breaking Bad) leaves subtlety at the door, but if every story needs a bad dude to root against, then here it is him. The herculean task of outfitting some 300 or so women ready to go into their own kind of battle is expertly achieved by costume designer Karyn Wagner, and Sharon Busse’s production design puts us right back in that era. Aaron Zigman’s score is effective as is a soaring Diane Warren song “The Journey,” emotionally sung by H.E.R. over the photographic images of the real deal during end credits. The Six Triple Eight smartly avoids over-sentimentalizing the story of these stoic and patriotic women, but also knows when to open the floodgates. In others words, there won’t be a dry eye for this holiday release, a perfect time to reflect on the gift that the 6888th gave to their country."

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

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

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

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

Photo by Andréa Villiers on Unsplash

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

'Our Little Secret' is Not Worth Keeping

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

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

Photo by Andréa Villiers on Unsplash

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

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

'Spellbound' Fails to Enchant Critics

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

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

Photo by Karim Ghantous on Unsplash

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

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

'The Merry Gentlemen' Divides Critics

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

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

Photo by Kevin Fitzgerald on Unsplash

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

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

'Meet Me Next Christmas' Reviews: "Meet Me Next Christmas brings the typical Hallmark holiday movie to Netflix as two people unlucky in love find themselves connecting at Christmas"

         On November 6, 2024, Netflix released 'Meet Me Next Chriistmas', which has earned predominantly positive reviews from critics. In the holiday film, "In pursuit of a fairytale romance with the man of her dreams, Layla must race through New York City to get her hands on the hottest ticket in town: the sold out Pentatonix Christmas Eve Concert." The ensemble cast includes Pentatonix, Christina Milian, Kevin Olusola, and Devale Ellis. But what did the critics say?

        Ben Gibbons of Screen Rant says, "Meet Me Next Christmas brings the typical Hallmark holiday movie to Netflix as two people unlucky in love find themselves connecting at Christmas." Adding, "While most holiday films that revolve around getting to a big event don't feature the event in a big way, Meet Me Next Christmas clearly made an effort to include Pentatonix, the a cappella group specializing in Christmas music. The band appear throughout the movie, adding a distinctive additional plot and playing up their celebrity superstar status, which highlights their willingness to be playful and be the butt of the joke."

       Jonathon Wilson of Ready Steady Cut was less impressed, stating, "But Meet Me Next Christmas is a really weird movie. It’s mostly a feature-length advertisement for the Grammy-winning a cappella group Pentatonix if anyone remembers those guys. I have no idea why this is the case." Concluding, "But the scenes between Layla and Teddy aren’t terrible. There’s chemistry between the leads and some of the jokes are okay, especially once Kalen Allen arrives to lead us off on a silly but pretty fun subplot in which the leads compete in a lip-synch battle for the tickets."

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'Hot Frosty' Reviews: "Chabert, having recently abdicated the throne as the reigning queen of Hallmark movies, nimbly negotiates the broader comedic tones of the material, grounding the magical realism in emotional honesty"

         On November 13, 2024, Netflix released 'Hot Frosty', which has received predominantly positive reviews from critics. In the film, "Two years after losing her husband, Kathy magically brings a handsome snowman to life! Through his naïveté, the snowman helps Kathy to laugh, feel and love again, as the two fall for each other just in time for the holidays... and before he melts." The ensemble cast includes Lacey Chabert, Katy Mixon, Lauren Holly, Dustin Milligan, Chrishell Stause, Joe Lo Truglio, and Craig Robinson. But what did the critics say?

        Courtney Howard of Variety says, "The narrative delivers some refreshing highlights for the benefit of Netflix’s Holiday Cinematic Universe, specifically acknowledging its target audience’s yearning for a sprinkling of cheeky, wanton lust alongside its gentle yet genuine dramatics." Adding, "Chabert, having recently abdicated the throne as the reigning queen of Hallmark movies, nimbly negotiates the broader comedic tones of the material, grounding the magical realism in emotional honesty. She gifts her protagonist with deep wells of wisdom, perseverance and vulnerability. Milligan turns in a muscular performance, channeling naive innocence with dashing wit and a compelling command, outfitting his character with a bright interiority. Although Katy Mixon Greer is dealt short shrift in her supporting role as Kathy’s friend Doctor Dottie, Lo Truglio’s doofy cop shtick augments the proceedings. Robinson is also funny as the foe, but he has the misfortune of pulling off the film’s weakest scene when his character mistakes simple wordplay for a metaphor."

        Amy Nicholson of New York Times writes, "Here’s the pitch for “Hot Frosty”: A widow wraps an enchanted scarf around a hunky snowman who springs to life and professes his love. Here are the two possible audience reactions: “How dumb!” and “How dumb — can’t wait to watch!”

Photo by Wouter Supardi Salari on Unsplash

       Sarah Musnicky of But Why Tho? A Geek Community praises the film, stating, "Hot Frosty is ultimately a silly, fun time. The premise of a snowman coming to life as a flesh and blood man and engaging in shenanigans around town lends itself to that, and therein lies its strength." Continuing, "That said, there must be something in the town’s water in Hot Frosty because the speed at which everyone jumps on the train of, “Yes, this snowman is very much alive,” is gobsmackingly hilarious. Granted, this is a film set in the Netflix Holiday Movie Universe, so it does lend itself to characters accepting the unacceptable rather quickly.  It’s just glaringly obvious how quickly everyone, except for the Sheriff (Craig Robinson) the town barely tolerates, jumps on the Jack train." 

'Mr. Plankton' Impresses Critics

         On November 8, 2024, Netflix released 'Mr. Plankton', which has earned predominantly positive reviews from critics. In the series, "A man plagued by misfortune and his ex, the unluckiest bride-to-be, are forced to accompany one another on the final journey of his life." The ensemble cast includes Lee Yoo-mi, Woo Do-hwan, Oh Jung-se, Kim Hae-sook, and Lee El. Read the full review round-up below.

Photo by Alice Voigt on Unsplash

        Sarah Musnicky of But Why Tho? A Geek Community says, "Mr. Plankton, the latest Netflix K-drama from the writer of It’s Okay Not To Be Okay, is a testament to the complexities of life, particularly when confronting one’s end. Shining the spotlight on its three pivotal characters, all are forced to examine themselves in the wake of changes thrust upon them. From abandonment to child cruelty to having one’s life entirely planned for them, the three are united by their desire for authentic love and acceptance. At just ten episodes, Mr. Plankton showcases Jo Yong‘s writing prowess and why one should have tissues on hand when watching her work play out." Adding, "Lee Yoo-mi plays Jae-mi with a lightness needed to balance out her more selfish and immature moments. As a character, though, Jae-mi is incredibly relatable, particularly when she asks Heung if he’d chase her to the ends of the earth to find her. Her desire to love and be loved stems from an honest place, a pain that mirrors Hae Jo’s own, and when that pain is breached, Yoo-mi bares Jae-mi’s soul to the camera. As for Heung, he falls more in line with the sheltered only son trope. He’s been both commanded and sheltered by his mother, Beom Ho-ja (Kim Hae-sook) since he’s the only successor to the Eo Family. Every inch of his life has been planned out for him, but his love for Jae-mi is his first step towards breaking his mother’s iron grip. Despite the age gap between Heung and Jae-mi, they are almost in sync. How Oh Jung-se gradually transitions his Heung from a bumbling, lovable oaf to someone collapsing in on himself is heartbreaking. But it is necessary for Heung’s transition."

'Pedro Páramo' Reviews: "if unfamiliar with the source material, many may feel turned off by its nonlinear plot"

         On November 6, 2024, Netflix released 'Pedro Páramo', which has earned predominantly positive reviews from critics, currently holding at 74% on Rotten Tomatoes. In the film, which is "Based on Juan Rulfo’s masterpiece novel, considered one of the most important books in the history of Mexico and Latin America, the novel narrates the story of Juan Preciado, who upon his mother’s death, goes to the remote village where he was born in search of his father, Pedro Páramo. He encounters a ghost town, where he meets a series of mysterious people and learns about his dead father’s ruthless quest for wealth and power. The past makes itself present as we learn the truth behind Pedro Páramo’s own search for the love he once knew as a child. The line between the dead and the living and the past and the present is constantly blurred in this surreal tale of desire, hope, regret and resentment." The ensemble cast includes Manuel García-Rulfo, Tenoch Huerta, Delores Heredia, Ilse Salas, and Héctor Kotsifakis. Read the full review round-up below.

        Christian Zilko of indieWire says, "Even when the storytelling falls short, Pedro Páramo never fails to offer up ideas worth pondering. The theme of forgiveness unsurprisingly looms heavily over the film, which oozes Catholicism from every frame." Adding, "Prieto — a legendary cinematographer who shot “The Irishman,” “Killers of the Flower Moon,” and “Barbie” before stepping into the director’s chair on his own — translates Rulfo’s prose to the big screen with all of the visual mastery that cinephiles have come to expect. But while there’s still every reason to believe he has a bright directing career ahead of him, the storytelling of “Pedro Páramo” is too muddy, lethargic, and repetitive to make much of a narrative impact. Much of that is likely intentional, as the film prioritizes the overwhelming evil that Páramo exudes over any specific plot point. But the character of Juan is too one-dimensional to elicit sufficient audience investment in the tragic memories he encounters."

       Sara Clements of Next Best Picture writes, ”Pedro Páramo” can often feel weighed down by its own story, as its runtime is too little to begin to capture its full scope. Additionally, if unfamiliar with the source material, many may feel turned off by its nonlinear plot." 

Photo by Alice Voigt on Unsplash

        Brennan Klein of Screen Rant was less impressed, stating, "Oddly, the sound design of Pedro Páramo is even better than the cinematography, using hushed whispers, stamping feet, and many other aspects of the sonic landscape of Comala to unsettle and overwhelm. These solid elements prevent the movie from being a miserable slog, but for the most part, it is an adaptation that fails to argue for its own existence when simply sitting down to read or reread the novel would categorically be a much more pleasurable experience."

'Time Cut' Reviews: "The film is unable to sustain any tension and is seemingly afraid of its own potential for violence, despite gesturing toward the creative weapon choice that is practically a bar for entry into the slasher genre"

         On October 30, 2024, Netflix released 'Time Cut', which has earned predominantly negative reviews and a score of 17% on Rotten Tomatoes. In the film, "A teen in 2024 accidentally time-travels to 2003, days before a masked killer murders her sister. Can she change the past without destroying the future?" The ensemble cast includes Madison Bailey, Michael Shanks, Summer H. Howell, and Antonia Gentry. But what did the critics say?

        Isabella Soares of Collider says, "Although Time Cut is a slasher, it winds up being much more sentimental than audiences would initially presume. That is in part because of the chemistry between Bailey and Gentry as the main duo. From their first interaction, the idea that they are siblings just getting to know each other is conceivable because their onscreen portrayal comes off as genuine. One can't help but feel drawn to their growing friendship, even though they've only hung out together for just a few days. Lucy's makeover scene in Summer's bedroom, putting on heart-shaped sunglasses and low-rise jeans, is a stand-out moment between them because it not only shows how organic their relationship is, but also tips the hat for a type of sequence that was integral to an early-2000s movie." Adding, "It might be nerve-wracking to think that a time-traveling movie would consider 2003 enough of a throwback, but maybe that is because I grew up watching coming-of-age projects that came out during or close enough to that year. What A Girl Wants, Freaky Friday, The Lizzie McGuire Movie, I could go on and on about how formative these films were to me. So when Lucy lands in 2003 and roams the hallways filled with students wearing Juicy Culture tracksuits, tennis shoes with squeaky wheels, and colorful hair clips, the sights are a blast to the past. Having Hilary Duff's "So Yesterday" playing in the background when Lucy spots her sister walking by was the icing on top of the cake. The wardrobe and needle drops in Time Cut make the early 2000s just as iconic as the '80s or '90s, even though it feels like yesterday that flip phones were on trend."

Photo by Alice Voigt on Unsplash

       Alexander Harrison of Screen Rant notes, "The horror sequences are even less successful. The film is unable to sustain any tension and is seemingly afraid of its own potential for violence, despite gesturing toward the creative weapon choice that is practically a bar for entry into the slasher genre. The killer lacks any presence or personality, and, in part because of the rigidness of the time-travel premise, has no real power to surprise. The character's design has an unfortunate resemblance to that of last year's Totally Killer, but with a less inspiring execution, which leaves it fairly toothless." Continuing, "I should linger on that comparison a moment. Time Cut and Totally Killer have remarkably similar premises, often separated by technicalities like sister vs. mother, 2000s vs. 1980s. Time Cut was announced and filmed first, but not only did Totally Killer beat it to market, it's also (while more good than great) clearly superior in every area I've dissected so far. I don't know quite what to make of this coincidence, except that Netflix's movie undoubtedly suffers from its competitor's existence."

Movies that Deserved Better: 'A Biltomore Christmas' (2023)

         In 2023, Hallmark Channel released 'A Biltmore Christmas', which became a classic for the network but deserved a bigger reception due to the big screen quality of the proceedings. In the film, "A magical hourglass sends modern-day screenwriter Lucy Hardgrove to the set of the 1947 holiday movie classic "His Merry Wife!" However, before she can return to the present, Lucy must make things right or threaten to alter the future forever." The ensemble cast includes Kristoffer Polaha and Bethany Joy Lenz. It can currently be seen on Hallmark Channel, Peacock, Amazon Prime Video, Netflix, and Apple TV+. But what did the critics say? 

        Kristen Maldonado of Pop Culture Planet says, "A Biltmore Christmas! seamlessly weaves the glamour of old Hollywood into the world of Hallmark. The Biltmore Estate is a stunning backdrop, while the time travel aspect gives this film a wonderful balance of freshness and nostalgia." Adding, "While the end is a bit abrupt, this is definitely a stand out of the Hallmark holiday slate. I’d love to see a version of their black and white classic His Merry Wife! next!"

Photo by Toni Cuenca on Unsplash

       Maddy Casale of Decider praises the film, stating, "A Biltmore Christmas is a lot of fun! The movie felt like it flew by as we witnessed the many mishaps and entertaining moments that were a product of Lucy’s time traveling. Between the story, characters, and backdrop of the actual gorgeous Biltmore Estate, itself, this was a very unique kind of Hallmark movie that felt both nostalgic and current, and definitely seemed to be imbued with plenty of Christmas magic. The comedic moments hit throughout the film, but the romance between Lucy and Jack especially shines, as their different home times and backgrounds also kept me guessing and feeling invested over what the outcome of their relationship would be (and if you want to find out for yourself, you’re just going to have to watch the movie). The holiday season is often one where we feel the pull of the past while also making space for the new, and A Biltmore Christmas really seemed to understand all of this as it paid homage to old Hollywood and the famed Biltmore Estate while also delivering a clever and endearing finished product that feels very much of our present moment. There’s no shortage of holiday magic, self-aware cheesiness, and much merriness in A Biltmore Christmas, which makes it a pretty darn successful season movie in our book."

'Family Pack' Reviews: "an ideal movie for families with younger viewers"

         On October 23, 2024, Netflix released 'Family Pack', which has earned predominantly positive reviews from critics. In the film, "When an old card game comes to life, a family travels back in time and lands in a medieval village where they must unmask werewolves in order to return to their own time." The ensemble cast includes Franck Dubosc, Jean Reno, Jonathan Lambert, Suzanne Clément, and Grégory Fitoussi. Read the full review round-up below.

        LaNeysha Campbell of But Why Tho? A Geek Community says, "Performance-wise, the cast creates believable chemistry to enhance their family unit, which is essential for the film since family dynamics and relationships are at its heart. The story tries to balance some heavier issues but does not dive too deeply into its characters’ emotional arcs. It does enough to make the audience stay intrigued and care about them." Adding, "Visually, Family Pack does a decent job creating its medieval village set and costume designs. While the special effects aren’t groundbreaking, the werewolf transformations are impressive, but not all hold the same quality throughout the film. Despite its werewolf-themed adventure, the film keeps the tone light and fun for the most part. There is some violence but nothing too graphic or explicit, making it an ideal movie for families with younger viewers."

       Meagan Navarro of Bloody Disgusting notes, "The plot is predictably wholesome. But it’s also so cozy and earnest with a mature depth of emotion lurking beneath that it’s hard not to leave this werewolf adventure with a big grin and likely a few tears shed." Continuing, "Also refreshing is the way Uzan doesn’t skimp on the werewolves. While the filmmaker does employ some VFX, both with the werewolves and the family’s unique abilities, the werewolves are largely practical. Don’t expect any serious bloodletting or horror, though; this is a medieval romp through and through. They get a few scenic moments to raise the proverbial stakes for the family, but time, thematically, is the bigger threat to the family. Time always is, isn’t it? For as much that’s heavy-handed about Family Pack‘s sense of humor, that humor belies a depth of emotion about the family unit that’s growing up in ways that can’t be stopped. It’s that sincerity and warmth, along with a charming cast and wonderful production design, that breathes life into a seemingly rote board game adaptation. The jokes are appropriately silly for the target demographic, and its plot is predictably wholesome. But it’s also so cozy and earnest with a mature depth of emotion lurking beneath that it’s hard not to leave this werewolf adventure with a big grin and likely a few tears shed."

        

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