'Sonic the Hedgehog 3' Reviews: Latest Entry into the Franchise Thrills Fans

         On December 20, 2024, Paramount Pictures released 'Sonic the Hedgehog 3', which has earned predominantly positive reviews from critics, currently holding at 87% on Rotten Tomatoes at the time of this writing. In the film, "Sonic, Knuckles, and Tails reunite against a powerful new adversary, Shadow, a mysterious villain with powers unlike anything they have faced before. With their abilities outmatched in every way, Team Sonic must seek out an unlikely alliance in hopes of stopping Shadow and protecting the planet." The ensemble cast includes Keanu Reeves, James Marsden, Jim Carrey, Idris Elba, Krysten Ritter, Adam Pally, Colleen O'Shaughnessey, Tika Sumpter, Ben Schwartz, and Lee Majdoub. Read the full review round-up below.

        Robert Kojder of Flickering Myth says, "Frenzied action and loopy comedy aside, Sonic the Hedgehog 3 has heart and is aware it doesn’t always “gotta go fast,” occasionally slowing down to ensure we care about these characters while laying out its themes with affecting sincerity" Adding, "With Sonic the Hedgehog 3, Jeff Fowler and company have found the right balance of humor (even Jim Carrey feels reinvigorated and energized more than in the first two, up for the goofy acting challenge presented that is right inside his slapstick wheelhouse, while also simply given mostly funnier material to work with) and frenzied action elevated by strong, vibrant CGI (this is unquestionably one of the better-looking special-effects extravaganzas of recent memory) alongside an engaging story. There is a case to be made that Shadow’s back story could have been even longer and not limited to a couple of flashbacks, but the right characters here are put front and center, which makes all the difference for a Sonic adaptation to click."

       Rodrigo Perez of The Playlist notes, "If you’re not a parent, you may have no interest in seeing Paramount’s “Sonic” movie franchise unless you’re like my dear friend Caleb, who is in his early 30s, loves anime, and seemingly has the same taste as my eight-year-old son. ¯\_(ツ)_/¯ But this is fine, “Sonic” movies are definitely movies for children first and foremost”— and there’s nothing wrong with that either—and “Sonic 3” mostly continues down that same path." Concluding, "However, presuming you don’t know the “Sonic” movies—I certainly would have never seen them without my kiddo—they’re actually quite surprisingly endearing, lighthearted, amusing and entertaining. And when they’re at their best, they’re essentially stories about outsiders trying to fit in, our collective need to belong and the heartening qualities of found families; all good emotional qualities that put an extra pep into the wacky energy of these fun movies."

Photo by Adam Mills on Unsplash

       Jordan Hoffman of The Daily Beast was less impressed, stating, "This is a movie you take your 9-year-old nephew to when he won’t shut up about Pokémon and you need something to occupy him for a few hours before you lose your mind." Continuing, "There’s a big battle in Japan that involves lasers flying all over the screen. Then, after some Japanese marshmallows sing The Jackson 5’s “I Want You Back,” the trio joins forces with their former nemesis, the Eggman, aka Dr. Ivo Robotnik, played by Jim Carrey. Carrey, who has pretty much stopped appearing in studio movies except for the Sonic franchise, has decided on a performance style that I suppose you could politely call “a choice.” It mainly consists of sticking his belly out and doing a voice that sounds like Robin Williams at his most zany crossed with the “I Got Starbies Girl.” What else did it remind me of? Hmmn, let me think. Ah, yeah, the time I had to see a doctor for an inflamed hemorrhoid. It reminded me of that."

'Better Man' Reviews: Robbie Williams Like You Have Never Seen Him Before

         On December 25, 2024, Paramount Pictures releases 'Better Man', which has earned predominantly positive reviews from critics, earning a score of 87% on Rotten Tomatoes. "Better Man is based on the true story of the meteoric rise, dramatic fall, and remarkable resurgence of British pop superstar Robbie Williams, one of the greatest entertainers of all time. Under the visionary direction of Michael Gracey (The Greatest Showman), the film is uniquely told from Robbie's perspective, capturing his signature wit and indomitable spirit. It follows Robbie's journey from childhood, to being the youngest member of chart-topping boyband Take That, through to his unparalleled achievements as a record-breaking solo artist -- all the while confronting the challenges that stratospheric fame and success can bring." But what did the critics say?

       Will Mavity of Next Best Picture says, "Better Man” is probably (and hopefully) the closest we’ll ever get to a “Deadpool” musical. The Robbie Williams biopic is crass, meta, and self-aware, full of F-bombs, dick jokes, winking asides to the audience via narration, copious amounts of CGI, and even its share of graphic violence. And, just like Deadpool, it’s not nearly as groundbreaking as it thinks it is. Because, at the heart of “Better Man,” for all the tools it uses to earn its R-rating, it’s still yet another musician biopic following the rise/fall/redemption arc, complete with failed marriages, substance abuse, and daddy issues. This is one that just so happens to feature a CGI chimpanzee instead of Williams. Yes, you heard that correctly. Former Visual Effects Supervisor-turned-Director Michael Gracey (“The Greatest Showman“) collaborated with the visual effects team at Weta – who brought you Gollum and the “Avatar” aliens – to render Williams as a photorealistic CGI chimpanzee in every single scene. The chimpanzee progresses through the classic beats of a musician biopic otherwise. Williams grows up with a neglectful father, hustles his way into show business in large part to try and find the love and acceptance he was denied as a child, joins a band, finds success (and drugs), sets out on his own, has a rocky marriage, sees his substance abuse worsen and almost derail his career, confront his inner demons, and then perform a redemption performance. What makes “Better Man” stand out is, well, aside from the fact that there is a CGI chimpanzee in every scene, is that, whereas most musician biopics sanitize their subjects, Williams is depicted unrelentingly as an asshole – even from the very beginning. This film does not want to make you particularly like or even root for its subject. Williams’ narration feels like a cross between Deadpool and Ewan McGregor in “Trainspotting” and further hammers this home with constant jokes. An example is when Williams is getting a handjob and makes eye contact with his manager, quipping, “For once, Nigel wasn’t the biggest Wank in the room,” and says things like, “For legal reasons, I am required to tell you that X is a super nice person.” The quips are often low-hanging frat-type humor, but they sometimes land. However, they do little to endear Williams, who spends the majority of the movie brash and arrogant to the extreme, abusing every substance under the sun, cheating on his wife, and berating his friends."

       Gregory Ellwood of The Playlist notes, "As the screenplay, written by Gracey, Oliver Cole, and Simon Gleeson, unfurls predictably, the musical numbers do not. Many may have written “The Greatest Showman” off as a one-hit wonder for Gracey and given the songwriters and stars of that word-of-mouth blockbuster too much credit. With “Better Man,” Gracey proves he’s a visionary when it comes to crafting an engaging and, perhaps most importantly, surprising musical number. “Better Man” is essentially a jukebox musical, mostly featuring songs from Williams’ catalog even for the Take That sequences. One lengthy number finds the band dancing through the streets of London’s SoHo neighborhood to his 2000 hit “Rock DJ.” Sure, a plethora of visual effects are used to pull it off, but from the choreography to the cinematography to the production design to the visual framing, the number is an absolute knockout. It’s almost euphoric. And it’s not the only one. While the musical elements often take the movie to impressive artistic heights, it’s not just the storyline that ends up hindering “Better Man.” In theory, the idea to portray Williams as a CG monkey (physically captured by Jonno Davies and Williams himself as an adult), is a creative masterstroke. Perhaps for a short film or music video, this thematic choice would have a greater impact. As this 134-minute film unfolds, you simply tire of experiencing Williams being portrayed in this context. The visual effects work from WETA are superb, but the human element is increasingly absent. At some point during the film you just want the monkey to transform into the real Williams or an actor portraying him. You want someone real to bring Williams’ life story back to earth. Moreover, in the context of the film, the musical numbers would have been just as stellar without the monkey, perhaps even more so. It was a gutsy and admirable choice from Gracey to go in this direction, but it eventually just leaves you wanting."

Photo by Lynda Sanchez on Unsplash

        Pete Hammond of Deadline Hollywood Daily praises the film, stating, "Michael Gracey‘s wildly inventive musical biopic of superstar British entertainer Robbie Williams rolls the dice on a unique star casting decision to play Williams that separates it from every showbiz biopic that has come before. A CGI monkey (actor Jonno Davies) plays the singer in what is otherwise a recognizable cradle-to-comeback story so familiar to those who rise to the top, only to fall and rise again. This is the equivalent to casting Lassie to play Frank Sinatra. OK, maybe not that crazy, but close enough. So guess what? It really works, even if in America the subject of this major studio film (Paramount picked up the independently produced production) is not widely known, but an icon who has sold over 80 million albums across the rest of the globe, and was recently the subject of a four-part Netflix docu series." Concluding, "The use of Williams narrating, expletives and all, his own story never gets in the way and actually seems necessary so that after a while you forget the monkey gimmick and accept it willingly. Much of the credit here has to go to Davies, who may be CGI’d in the final product, but had to be convincing working opposite the humans in all the song and dance to dramatic moments. He doesn’t miss a beat. Gracey plays a lot of it in close-ups of his eyes, a haunting effect itself. Andy Serkis would approve. The large supporting cast is also quite fine, including a superb Pemberton in a key role as his father, and notably Raechelle Banno as a pop star romantically involved with Williams until a decision to have an abortion changes things. Veteran British actress Allison Steadman lends much needed warmth as Williams’ beloved Grandmother Betty, and Damon Herriman seems just right as manager Nigel Martin Smith."

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

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

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

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

Photo by Josh Chiodo on Unsplash

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

'Gladiator II' Impresses Despite a Mixed Reception to Lead Performance

         On November 22, 2024, Paramount Pictures releases the highly anticipated 'Gladiator II', which has earned predominantly positive, currently holding at 78% on Rotten Tomatoes at the time of this writing. In the film, "Years after witnessing the death of Maximus at the hands of his uncle, Lucius must enter the Colosseum after the powerful emperors of Rome conquer his home. With rage in his heart and the future of the empire at stake, he looks to the past to find the strength and honor needed to return the glory of Rome to its people." The ensemble cast includes Paul Mescal, Denzel Washington, Connie Nielsen, Joseph Quinn, and Pedro Pascal. But what did the critics say?

        Ignatiy Vishnevetsky of AV Club says, A product of our era of legacy sequels and zombified intellectual properties, Ridley Scott’s Gladiator II sets out to one-up its fondly remembered predecessor with more grandiose set pieces, more convoluted political intrigues, and twice as many creepy, pasty emperors. The overarching idea of this exercise in maximalism à la late-period Scott has something to do with Rome (and, perhaps, any present-day institutions that Rome might stand in for) becoming a twisted parody of itself, ruled by a perverted Romulus and Remus duo who entertain the populace by recreating ancient naval victories in a flooded Colosseum. But whatever the thematic parallels (intended or not), one can’t help but feel as though the whole movie were periodically bellowing the original’s most famous line: “Are you not entertained!?” The answer is no, not really, and no amount of digital gladiatorial carnage or bug-eyed overacting can mask the prevailing air of exhausted, decadent imperial decline." Adding, "There’s political plotting and big talk about overthrowing tyranny and “the dream of Rome,” which, given the tone of Gladiator II, feels like a weak plea for the nominal values of liberal democracy.  It’s bad history, but so was the original; the problem is that it’s also bad historical fiction, doubling down on the destinies and soap-operatic machinations while grasping for parallels with the present. For all of its scale and spectacle, the original Gladiator was, at its core, a story of old-fashioned righteous vengeance, with the populist instincts to back up its speechifying. Unlike that film, Gladiator II never attempts to identify us, the audience, with the spectators in the stands of the arena. Nonetheless, a viewer might, by the end, find themselves in a mindset not too different from theirs: bored by the long-winded introductions and processions of senators and soldiers and craving a more visceral level of violence."

       Johnny Oleksinski of New York Post writes, "There is nothing wrong with a grunting, violent, ancient Roman holiday, especially when it boasts a supporting performance as delicious as Denzel Washington’s Machiavellian Macrinus." Continuing, "Mescal isn’t the rousing force that Crowe was, but his often-silent character isn’t written to be. He’s contemplative and open-hearted as he attempts to run from his murky past — until he chops your arm off."

       Damien Straker of Impulse Gamer was less impressed, stating, "Gladiator II is bigger, louder, and more fragmented than its predecessor but not better. It looks strong but lacks emotion and concludes with a terrible finale."

        Howard Waldstein of CBR felt conflicted about the film, stating, "Gladiator II is set 16 years after the events that led to the deaths of both Commodus (Joaquin Phoenix) and Maximus. Rome has undergone several changes in the wake of the former Caesar's demise. For one, Colosseum attendance is at an all-time low (perhaps the under-crowding has to do with the sequel's laxer sense of scale). The plebeians have grown less interested in numbing themselves with violent entertainment as things continue abysmally apace in the outside world. At the same time, the ruling class has become pastier, generally more effete and hedonistic, and more susceptible to syphilitic madness. If one thing is not of interest to Rome's dual rulers and their cohort, it's maintaining even a semblance of good managerial acumen. Geta and Caracalla, splitting duties as emperors, are likelier to throw childish tantrums and elect animals to the senate over pursuing what Marcus Aurelius in the first Gladiator referred to as the "dream of Rome," a fragile idea that is far easier to talk about than it is to put in action." Adding, "It would be remiss to not mention the one and only Denzel Washington as Macrinus. Washington — one of the few actors who seems not only to be able to rely on a familiar suitcase full of tics and mannerisms, but can actually make audiences thankful for being served something similar in each cinematic meal he serves — is just fantastic. He futzes incessantly with his jewelry and adjusts his robe sleeves to the point that audiences begin to wonder whether they just forgot to customize his whole wardrobe. Washington is, as expected, an almost-supernatural force of nature. He's 100cc of refreshing, often hilarious, vitality embedded within Gladiator II's self-serious storytelling. As Macrinus navigates his budding political career through swift, mercurial movements, audiences realize just how little of the sequel's rinse-repeat story and half-baked subtext really matters. Here's a character with the chutzpah to waggle a severed head in front of aghast onlookers; here's the only real reason to see Gladiator II."

         Photo by Daniel Azevedo on Unsplash

'Smile 2' Impresses Critics

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

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

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

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

Photo by Hannah Wernecke on Unsplash

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

'Transformers One' Reviews: 'Transformers One breathes new life into the Transformers franchise in the most superb ways, while keeping it rooted in the canon that’s so beloved by fans everywhere"

         On September 20, 2024, Paramount Pictures releases 'Transformers One', which currently holds at 88% on Rotten Tomatoes after predominantly positive reviews from critics. In the film, "the untold origin story of Optimus Prime and Megatron, better known as sworn enemies, but once were friends bonded like brothers who changed the fate of Cybertron forever." The ensemble cast includes Jon Hamm, Chris Hemsworth, Brian Tyree Henry, Scarlett Johansson, Keegan-Michael Key, Steve Buscemi, and Laurence Fishburne. But what did the critics say?

        Chauncey K. Robinson of People's World says, "The movie touches on several themes, like exploitation, corruption, and worker empowerment, in an engaging, entertaining, and fun way for the whole family. Viewers would be wrong to dismiss Transformers One as a “mindless’ cash-grab kids movie."

       Matt Fernandez of Geeks of Color notes, "Transformers One excels, especially in the context of the previous Transformers film canon, in its exploration and definition of its characters, humanizing them and underscoring the tragedy that led former brothers-in-arms to become deadly enemies." Adding, "Transformers One wisely limits itself to a handful of core characters and spends time developing their personalities’ nuances and the dynamics between them. There are still many minor side characters and cameos from recognizable bots for longtime fans to enjoy, but these are more like the cherry on top of the cake: a nice touch but not a distraction from the main dish."

       Swara Salih of But Why Tho? A Geek Community praises the film, stating, "Transformers One breathes new life into the Transformers franchise in the most superb ways, while keeping it rooted in the canon that’s so beloved by fans everywhere." Continuing, "Tyree Henry, already a prolific voice actor with his role as Miles Morales’ dad, Jefferson Davis, in the Spider-Verse films, brings incredible pathos, clarity, and resonance in his performance, making you sympathize with the miner bot, and worry for him and his decision-making."

Photo by Jonathan Cooper on Unsplash

       Tom Jorgensen of IGN Movies writes, "Hemsworth does good work evolving his performance over the course of the 104-minute runtime to account for the gravitas and responsibility that come with his growing status. Starting off as a powerless Energon miner, Orion Pax’s good nature makes his ascension to Prime status somewhat gratifying, moreso as the big climactic battle approaches." Concluding, "Key’s B-127 scores a few laughs with his stir-crazy enthusiasm for his new gang, but B’s usefulness to the story is spent immediately, turning what could have been an effective cameo into a distraction from the more prominent bots. Most of Transformers One’s humor is pretty basic – broad enough for everyone to be in on the joke, but generally nothing that rises above quippy, robot-themed banter. The shortest end of the stick for characterization goes to Johansson’s Elita-1, for reasons that have little to do with her performance. The Black Widow star has turned in plenty of strong voice performances – Her and The Jungle Book immediately come to mind – but Elita is drawn here as a caricature of a girlboss devoid of any real personality traits other than “stern.” Playing one of the only two female Cybertronians in the movie (the other’s an angry spider lady) in the unenviable position of basically having to shout at the boys to stop getting them into trouble for the whole 104-minute runtime."

'Rear Window' Returns to Wow a New Generation of Fans

         On August 25, 2024, Paramount Pictures re-released 'Rear Window', the Alfred Hitchcock classic that has wowed generations since 1954, garnering a Rotten Tomatoes score of 98%. In the film, a photographer with a broken leg watches his neighbors, leading to him witnessing a murder. Can the trio of himself, his nurse, and his wife catch the killer? The ensemble cast includes James Stewart, Grace Kelly, Wendell Corey, Raymond Burr, and Thelma Ritter. Here is the review round-up.

       Jane Corby of Brooklyn Daily Eagle writes, "The suspense accumulates until it reaches a point when the whole picture seems electrically charged. It is this desultoriness, with the accompanying attention to small angles of the story that helps to make It full-bodied, adult entertainment."

Photo by Florencia Viadana on Unsplash

        Edwin Schallert of Los Angeles Times says, "Rear Window spares nothing in its build-up and its climax, which it achieves with big decisiveness and it is alive with masterly touches for which its guide and creator is distinguished."

        Cole Smithey of ColeSmithey.com was less impressed, stating, "What starts out as a cautionary tale about the dangers of voyeurism and surveillance, flips to confirm that such grassing behavior is not only correct but is also a responsible way of looking at your neighbors." Adding, "Rear Window” may hold a special place in the hearts of Alfred Hitchcock’s legions of fans, but the film breaks with a bizarre thematic reversal that emphasizes a web of American hypocrisy at its core. It is a film with no empathetic character. Jeff Jefferies is a Joseph McCarthy wanna-be. Grace Kelly is a woman overcompensating for her low self-esteem by hiding behind expensive fashion and beauty rituals. Even Jeff’s insurance company nurse Stella (Thelma Ritter) is revealed to be a woman capable of far less independent thought than she seems to possess. As a result of this film’s bait-and-switch meaning, it remains one of Alfred Hitchcock’s more minor efforts."    

        Gerard Fay of Guardian notes, "The last scenes, in which we learn whether or not the murder was done, are as good as anything in Hitchcock's long list of exciting finishes."

       Marion Aitchison of Miami Herald praises the film, stating, "Easily the most unusual and surely one of the most absorbing pictures of many months, Rear Window is suspense drama at its best The fact that it was made by Alfred M. Hitchcock guarantees that."