Third Season of 'The Traitors' Impresses Critics

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

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

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

Photo by LexScope on Unsplash

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

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

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

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

Image Courtesy of Disney+ and Disney Media

What to Watch and Skip This Week: Two

Image Courtesy of Disney and Mike Taing

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

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

What to Watch and Skip This Week: Part One

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

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

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

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

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

Photo by Georgia Vagim on Unsplash

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

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

Photo by Erik McLean

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

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

'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." 

Photo by Marcela Laskoski on Unsplash

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?

Photo by Riza Gabriela on Unsplash

      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." 

Third Season of 'What If...?' Captivates Critics

         On December 22, 2024, Disney+ premiered the third and final season 'What If...?', which has received predominantly positive reviews from critics. In the series, the multiverse comes to life in new and exciting ways. The ensemble cast includes Anthony Mackie, Mark Ruffalo, Teyonah Parris, Simu Liu, Sebastian Stan, David Harbour, Kathryn Hahn, Seth Green, Samuel L. Jackson, Oscar Isaac, Laurence Fishburne, Tom Hiddleston, Tessa Thompson, Emily VanCamp, Dominique Thorne, Wyatt Russell, Hayley Atwell, and Jeffrey Wright. But what did the critics say?

       Arezou Amin of Collider says, "What If Season 3 caps off the series with a bleaker final outing that ultimately manages to keep hope at the center of it all." Adding, "Without a doubt, Season 3 of What If...? is the show's bleakest yet. While the earlier seasons had riffs on Christmas movies, winks at the heist genre, or cartoonish showdowns with the episode's villains, moments like this are few and far between in Season 3. This isn't exactly a surprise. It feels as though the world around us has been moving in a bleaker direction for quite some time, and all media is a reflection of the time in which it was made, be it intentional or otherwise. The topics that What If...? Season 3 touches on are hardly new to the MCU, or even the wider superhero genre; greed, power, violence, prejudice, and subjugation remain at the heart of what drives the villains. Episode 6, "What If 1872," is particularly unafraid to directly call out the injustices its heroes are fighting, and unsubtly hints at similar issues still occurring today. What is new, however, is how utterly hopeless so many of the episodes feel.Yes, every story needs a low point in which the characters believe they cannot continue the fight; every Marvel movie has that moment. But the sheer, colossal, multiversal scale of the series really amplifies that helplessness, with the scenarios The Watcher (Jeffrey Wright) chooses to visit feeling more cataclysmic than they usually do. Absent from this season is the lighthearted air of "What If T'challa Became Star Lord" and "What If Happy Hogan Saved Christmas," or the groundbreaking nature of "What If Kahhori Reshaped the World." Season 3 does have its relatively lighter episodes with fun concepts — those starring Howard the Duck (Seth Green) and Agatha Harkness (Kathryn Hahn) come to mind — but even those are tinged with the larger, cosmic scale of everything happening around them."

       Alan French of FandomWire notes, "When you dig into the creativity of What If…, it starts at the animation stage. For all the cool storytelling tricks that the series hopes to pull off, What If… Season 3 has to push the boundaries of what is possible in the medium. Like the two seasons before, a mixing and matching of styles allows the show to soar. In the old West, the vistas and gunslinging shine bright. Beyond the cosmos, the monsters look bigger and badder than ever. Magic duels between movie stars are larger than life, and even adding film grain to the frames feels bold and interesting.What If… Season 3 does not work unless this integral piece of the puzzle works. It’s not only that it looks gorgeous, but it adds dramatic tension to every episode. The fight sequences remind us just how tired the action has become in the live-action movies. With stunning creativity, What If… pushes the physical limits and creative uses of the powersets of its heroes. Even better, the writers never focus only on battle. Their powers are just as integral to their interpersonal relationships and antics as they are in battle."

Image Courtesy of Disney

'Trading Up Christmas' Brings Christmas Joy

         On December 19, 2024, Hallmark Channel released 'Trading Up Christmas', which has earned predominantly positive reviews from critics. In the film, "Michelle tries to get her sister a new place to live and all she has is a Christmas stocking to trade with." The ensemble cast includes Italia Ricci, Michael Xavier, Taylor Love, and Connie Manfredi. But what did the critics say?

        Liz Kocan of Decider says, "Using a trading up scheme as the basis for a movie is a clever conceit, and Trading Up Christmas turns what is typically a fun, creative challenge into a heartwarming tale of kindness and community – but in doing so, it doesn’t get overly sappy. By having cynical Dan and Keri both expressing their doubts and realistic expectations for how the whole thing will play out, they both keep idealistic and optimistic Michelle grounded and, yes, of course they all serve as foils for one another. Michelle helps Dan’s heart grow three sizes and eventually he opens up about his feelings for her. But Michelle, always the proactive helper, finally lets someone else help her for a change, and in him, she finds a mischievous accomplice. Unlike many Hallmark movies which take place in a fictional town that’s named some variant of [Tree Species]+[Geographical Feature], like Sycamore Hills or Cedar Grove, this one takes place in the real city of Worcester, Massachusetts – the very city where this writer happened to grow up. If I had to make a very personal complaint, it’s that there is nary a B-roll shot of the giant Polar Seltzer polar bear off of I-290, nor a single reference to the traffic in Kelly Square. Putting that aside so I can be an real journalist like Dan is, the film has a satisfying romance that builds gradually and realistically as Michelle and Dan start their relationship as writer and subject, soon developing into flirty friends, and many of the supporting cast are genuinely funny and well-developed. The movie features several intertwining plots about sibling relationships, too, which help it feel like these characters are layered and would still be interesting outside of the trading plot. While it’s no surprise that this movie gets its happy ending, both in romance and real estate, it takes us on a slightly unpredictable ride to get there, which is always a plus considering how formulaic these films can often be." Adding, "Michael Xavier’s portrayal of Dan is prickly at first, but pretty soon, after he starts to throw himself into his role as Michelle’s trading buddy, his talent as a comedic actor starts to shine. The goofier he’s expected to be, the more believable and appealing a leading man he is."

Photo by Jamie Davies on Unsplash

'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."

'Hanukkah on the Rocks' Reviews: "Ultimately, the ensemble nature of this movie as well as the focus on celebrating Jewish culture and traditions help to make it feel worth watching for viewers of all backgrounds."

         On December 13, 2024, Hallmark Channel released 'Hanukkah on the Rocks', which has earned a predominantly positive reception from critics. The film pairs "Degrassi‘s Stacey Farber and The Secret Life of The American Teenager‘s Daren Kagasoff as two adults feeling lost in life just a week before Hanukkah. Luckily, they both end up finding some solace and purpose in a Chicago bar called Rocky’s, as well as its staff, patrons, and Hanukkah celebrations. But even as the holiday brings the two closer, they‘re unsure of the road ahead as the futures they’d planned clash with the new ones they inspire each other to chase." But what did the critics say?

Credit: ©2024 Hallmark Media/Photographer: Steven Ackerman

        Maddy Casale of Decider says, "Hanukkah on the Rocks might remind you of the 2022 Hallmark Hanukkah movie, Hanukkah on Rye, and not just because of their similar titles. Julie Sherman Wolfe actually wrote both films, which each showcase Jewish holiday foods and traditions in their own way. The warm neighborhood pub vibe may also remind you of the beloved sitcom Cheers, especially considering both titles feature a bar owner named Sam." Adding, "Although it has been trying to diversify its filmography slowly but surely over the past few years, Hallmark still doesn’t have many Hanukkah movies. With that in mind, I think that the mere existence of this movie is a win for representation, and the writing also shows that care, research, and personal experience went into the portrayal of this Hanukkah story. Especially coming to this movie as someone who was raised Christian, there are plenty of things that may have felt unfamiliar, but that didn’t mean that as a viewer, I cared about them any less. After all, at the heart of Hanukkah on the Rocks is a story about community, tradition, and family, things that anyone can relate to. You don’t have to be Jewish to enjoy watching the festivities because both the characters at Rocky’s and the movie itself welcome everyone in with open arms. That being said, there are some critiques and gripes that I think viewers of any religion or creed could likely agree upon. First of all, it’s a bit ridiculous to suggest that there would be only one box of a specific Hanukkah candle in a city as big and diverse as Chicago, but hey, that’s just Hallmark movies for you, so we can give it a pass. However, a major part of any Hallmark movie tends to be the romance, and the one here between Tory and Jay was just okay. They had some genuinely enjoyable moments of interaction and chemistry, but these were weighed down by some especially cheesy moments and the somewhat two-dimensional nature of the characters, themselves. You’re telling me that Tory has lived in Chicago her entire life and has zero friends besides her Bubby? I know she’s a workaholic but that seems impossible! But I guess if she didn’t have time for her sister and nephew, she really didn’t have time for any friends, which is a bummer. Really, I just wish the characters were a little more fleshed out so they could feel a bit more real and therefore easier to invest in and connect to. Ultimately, the ensemble nature of this movie as well as the focus on celebrating Jewish culture and traditions help to make it feel worth watching for viewers of all backgrounds. I’m glad to see Hallmark go for something outside of their usual Christmas story, and I hope that they will continue to do so in the years ahead!"

'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?

Photo by Content Pixie on Unsplash

        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."

Do Not Sleep on 'Dream Productions'

         On December 11, 2024, Disney+ premiered 'Dream Productions', which quickly earned a score of 100% on Rotten Tomatoes at the time of this writing. In the series, "Riley's growing up and her Core Emotions are on the job helping her navigate, but now Paula faces a nightmare of her own; her signature combination of dreams featuring Rainbow Unicorn and copious amounts of glitter just isn't working anymore." The ensemble cast includes Paula Pell, Amy Poehler, Maya Rudolph, Phyllis Smith, Lewis Black, Tony Hale, Richard Ayoade, and Kensington Tallman. But what did the critics say?

        Nick Schager of The Daily Beast says, "A clever and compassionate look at another corner of its protagonist’s mind—as well as a playful critique of the filmmaking process." Adding, "It’s nice that Poehler, Black, Smith and Lapira participate in Dream Productions, although Joy and company’s roles in this adventure are peripheral. That’s ultimately no huge loss, as Pell and Ayoade’s winning vocal performances are lively and their characters’ saga is fleet and funny, wasting little time on superfluous asides or running bits into the ground."

       Grant Hermanns of Screen Rant praises the series, stating, "Pixar's Dream Productions is a very inventive twist on the Inside Out formula, though it does somewhat suffer from feeling a bit rushed for a TV show." Concluding, "Ultimately, one of the few things the show does have working against it is the pacing of its story, which feels rushed in its latter half. Not counting credits, Dream Productions hardly clocks in at a 100-minute runtime, about the same length as both Inside Out movies. While a TV show may not need to have a 20-plus-episode run, a lengthier runtime would've benefited the full arc of its story, which the Disney+ spinoff really needed, as Paula and Xeni's storylines race to their finish lines."

Image Courtesy of @2024 Disney/Pixar All Rights Reserved

       Tara Bennett of AV Club was less impressed, stating, "Let it be known that if a third Inside Out feature gets made and it’s revealed that franchise heroine Riley Andersen’s (Kensington Tallman) anxiety has gotten worse, pointing the blame at her messed-up dream world is going to be expected, if not required. In fact, Dream Productions might be the first Disney-produced title to establish as canon that Hollywood studio culture is an ouroboros of dysfunction that originates from a toxic mini studio existing in all of our heads.  Pixar’s Dream Productions is a bridging mockumentary miniseries set between the events of Inside Out and Inside Out 2. Developed alongside the recent sequel, this series benefits from the animators getting full access to these updated characters and environments to make a really attractive streaming series that doesn’t look like it was made on the cheap. Unfolding like a side mission in the overall story of Riley’s young life, Dream Productions gives audiences a little more time with her as she’s growing up and trying to figure it all out. However, as a concept, its overall thesis that our dreams are produced by a brain-based “studio” that’s just as capricious and soul-crushingly focused on results as the real Hollywood is too meta for most kids to understand. Worse, it goes too far afield from the franchise’s mandate that Riley’s Emotions are always her biggest cheerleaders." Concluding, "That said, there are a couple of really well-executed musical numbers that elicit the exhilaration of a truly memorable dream. Also, the show’s construct of how a dream translates into Riley’s awareness—the camera is Riley—gets points for originality. The more comedic dreams (there’s an ’80s-inspired, David-Lynch-meets-The-Cure one, as well as a crush-focused sequence that unfolds like a Canadian rom-com) land nicely too. Character-wise, Ayoade’s signature style of line reading mixed with Xeni’s design and eccentric look make him a standout amongst a rather tepid ensemble that never reaches the success of the Core Emotions’ chemistry.  On the whole, Dream Productions is a fun idea that gets a bit derailed by its Hollywood setting and mockumentary format. And the meta playground of a studio backlot devolves too much into the negative with personal politicking and self-serving career ambitions. The Riley of it all is supposed to be the whole point of this wing of her subconscious. But that often gets subsumed when the series veers into a tame version of Robert Altman’s The Player."  

'Lucy Worsley's Holmes vs. Doyle'

         On December 8, 2024, PBS premiered 'Lucy Worsley's Holmes vs. Doyle', which has received rave reviews from critics. In the series, "British historian Lucy Worsley delves into the complex love-hate relationship between Sherlock Holmes and the man who created him, Arthur Conan Doyle." Read the full review round-up below.

        John Anderson of Wall Street Journal says, "Ms. Worsley -- who has grown more comfortable and conversational as her historical specials have progressed (and is dressing quite fashionably) -- provides many gems of anecdotal information." Adding, "There are certain nuggets of trivia that Sherlock Holmes fans hold dear, either about their favorite sleuth or his author, Arthur Conan Doyle. Holmes never said “Elementary,” not on Doyle’s pages. He never wore a deerstalker cap (a figment of illustrator Sidney Paget). And on the day “The Adventure of the Final Problem” was published, Doyle’s diary entry read, “Killed Holmes.” It was December 1893. Doyle was only 34 years old. The murder was only temporary. And Holmes was the most famous detective in the world—more famous, even, than his creator. Such is the heart of the conflict confronted by the host of “Lucy Worsley’s Holmes vs. Doyle,” a three-part examination of the love-hate relationship between the famous writer and what he calls the “monstrous growth” that became one of the classic characters in all of literature, never mind the detective story. The vintage interview footage featuring Doyle himself is one of the more fascinating aspects of the program, as is Ms. Worsley’s peripatetic journey to link Holmesian detection with modern methods of criminal investigation and prosecution. Sometimes Doyle was prescient; sometimes Holmes made himself a one-man system of justice."

       Anne Brodie of What She Said notes, "Sherlock Holmes fans take note.  Lucy Worsley’s Holmes Vs Doyle airing Sunday night on PBS offers a unique take on the famous detective created by author Arthur Conan Doyle and the relationship between the man and his muse who made him a sensation, even as their relationship soured. Holmes, a master of disguise, intuition and knowledge of human nature first appeared in A Study in Scarlet in 1887, then four novels and 56 short stories.  Holmes is considered one of the greatest fictional detectives, and the Guinness World Records lists him as the most portrayed human literary character in film and  television history. Truth is, Doyle came to hate Holmes, feeling trapped in continuing his story at the expense of his other writing.  But it’s a lot more interesting than that sounds. And what about that violin?"

Photo by huan yu on Unsplash

'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?"

'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."

'A Dance in the Snow' Reviews: "a sweet, family friendly film that may not be one you’ll watch on repeat, but it definitely scratches the itch if you’re looking for warm holiday comfort"

         On December 5, 2024, Hallmark Channel released 'A Dance in the Snow', which just might be the most heartwarming film of the holiday season this year. In the film, "Melanie wants to create an inclusive Christmas dance for her daughter Jenny, not realizing Jenny is planning a dance of her own to honor Melanie." The ensemble cast includes Erica Cerra, Dorian Giordano, Vanessa Burghardt, and Mark Ghanimé. But what did the critics say?

        Liz Kocan of Decider says, "A Dance In The Snow is a sweet celebration of inclusiveness and the normalization of things that, to the outside world, may not seem so normal. Melanie’s biggest struggle as Jenny’s mother is getting the outside world to understand her daughter, and so she takes matters into her own hands to raise awareness of Jenny’s struggles to the people in their community by planning a sensory-friendly dance. Jenny, on the other hand, may have her triggers, but she’s emotionally intuitive and has no difficulty realizing all that her mom does for her, which is why she wants to put on an event for her mother’s benefit. While the film does include romantic subplots for both of their characters, the real love story here is between a mom and her daughter, and their evolution as women who see one another for who they are outside the context of their mother and child relationship. Even though the film uses Jenny’s autism and Melanie’s work at a center for neurodivergent kids as a major plot point, it manages not to veer into after-school special territory thanks to the solid acting and the genuine chemistry, especially between the adult romantic leads, Cerra and Ghanimé. The film has a very specific energy that leans more family-friendly than romantic, but it’s also a powerful love letter to parenthood, and the fact that loving parents’ behavior is often mirrored by their observant children." Adding, "A Dance In The Snow is a sweet, family friendly film that may not be one you’ll watch on repeat, but it definitely scratches the itch if you’re looking for warm holiday comfort. STREAM IT!"

Photo by Markus Spiske on Unsplash

'Star Wars: Skeleton Crew' is a Welcome Return to the Franchise

         On December 2, 2024, Disney+ premiered 'Star Wars: Skeleton Crew', which has earned rave reviews from critics and a score of 95% on Rotten Tomatoes at the time of this writing. "Skeleton Crew tells the story of four kids searching for their home planet after getting lost in the Star Wars galaxy, and the strange aliens and dangerous places they encounter on their adventure." The ensemble cast includes Jude Law, Ravi Cabot-Conyersm Kerry Condon, Nick Frost, and Ryan Kiera Armstrong. But what did the critics say?

        Martin Robinson of London Evening Standard says, "The children are immensely likeable, the gags work and my nine-year old daughter was clinging to my arm with every kid-friendly jump scare and plot twist." Adding, "Episode two has the crew deposited in a pirate port where they discover their lovely home planet is something of mythical place for the locals, an El Dorado which nobody believes they’re actually from. But nobody dwells on that as the pirates get wind of the fact that Wim has some Old Republic credits on him, and soon the kids are running for their lives. Eventually, they wind up meeting Jod Na Nawood, played by Jude Law, a former pirate in chains, who seems to have Jedi powers…"

       Chase Hutchinson of TheWrap notes, "Yes, there are no actual wheels on their flying bikes and the tone isn’t as balanced as Spielberg’s films, though it has heart where it counts. It will most appeal to younger viewers, but adults who remember the Amblin era may too get swept up in it."

       Adrian Ruiz of But Why Tho? A Geek Community praises the series, stating, "The Star Wars: Skeleton Crew season premiere kicks off with a promise, laying down a mix of adventure, mystery, and those classic Star Wars vibes we’ve come to love. It’s clear from the start that this isn’t just another galaxy-spanning saga about Jedi and Sith—it’s something smaller, more personal, but no less exciting. These first two episodes focus heavily on the kids and their journey while leaving plenty of intriguing breadcrumbs about the larger galaxy they’re about to explore. Right from the opening moments, Skeleton Crew Episodes 1-2 tap into the DNA of Star Wars. The first episode,  ‘This Could Be A Real Adventure,” mirrors the legendary intro of A New Hope, but instead of the Empire looming large, we get pirates. And not the quirky, lovable kind—these are brutal, self-serving marauders who’ll turn on each other the second it benefits them. It’s chaotic, gritty, and perfectly sets the stage for a series more about surviving the galaxy’s dangers than fighting for a cause." Adding, "One of the standout elements of the premiere is the world-building. From the opening suburban-like setting to the gritty, alien-packed pirate hub of Borgo, Skeleton Crew makes the galaxy feel alive in a way that not every Star Wars project does. The practical effects on the aliens are stellar, and the environments feel immersive, like something you’d experience at Galaxy’s Edge or on the Galactic Starcruiser."

Photo courtesy of Lucasfilm. ©2024 Lucasfilm Ltd. & TM. All Rights Reserved.

'Beatles '64' Revisits an Iconic Time

         On November 29, 2024, Disney+ released 'Beatles '64', which has earned rave reviews from critics, earning a score of 94% on Rotten Tomatoes. In the documentary, "On February 7, 1964, The Beatles arrived in New York City to unprecedented excitement and hysteria. From the instant they landed at Kennedy Airport, met by thousands of fans, Beatlemania swept New York and the entire country. Their thrilling debut performance on The Ed Sullivan Show captivated more than 73 million viewers, the most watched television event of its time. Beatles '64 presents the spectacle, but also tells a more intimate behind the scenes story, capturing the camaraderie of John, Paul, George, and Ringo as they experienced unimaginable fame." But what did the critics say?

       Owen Gleiberman of Variety says, "The powerful pull of Beatles 64... is that it takes this fabled, high-swoon moment of pop-music history, almost all of which we now view through a mythological lens, and humanizes it in an exhilarating way." Adding, "Another thing that sets “Beatles ’64” apart is that the film is full of incisive commentary: latter-day reminiscences by several of those fans, as well as meditations on the meaning of it all by figures like David Lynch, Joe Queenan, Jamie Bernstein, and Smokey Robinson, who speaks with fierce perception about the nature of women’s unguarded emotionalism in dictating the shape of pop-music culture. Whether it’s Jamie Bernstein (Leonard’s daughter) talking about how she dragged the family TV into the dining room to watch the Sullivan show, or David Lynch evoking what it is that music like that of the early Beatles does to you, or Betty Friedan, in an old TV clip, speaking with daunting eloquence about how the Beatles incarnated a new vision of masculinity that threw over the old clenched model, these testimonials color in the consuming quality of our collective passion for the Fab Four."

       David Ehrlich of indieWire notes, "Though it’s much shorter than [The Beatles: Get Back], Tedeschi’s 106-minute film operates on much the same principle: It never feels the least bit new or necessary, and yet almost every second of it sparks the joy of a genuine revelation."

Photo by Minha Baek on Unsplash

        Pat Mullen of POV Magazine praises the film, stating, Tedeschi and Scorsese, a regular presence in the contemporary footage, underscore the positive impact of the Beatles through concerts. Shows in Washington D.C. and Miami Beach that followed the Ed Sullivan appearance offer more screaming fans wailing in ecstasy at the sight of four dapper dudes bopping on stage. Sound engineer Giles Martin mixes and restores this material especially well. The high-pitched frequency of fans’ delight benefits from contemporary remastering. Moreover, the consideration of fandom resonates especially as Taylor Swift winds down her Eras tour, evoking memories of Beatlemania wherever she goes. This doc’s a reward for all the parents who braved The Eras Tour in person or on film. Both docs could bridge generational divides and inspire parents and their kids to be more forgiving of musical tastes. Call 1964 “The Beatles Era.” Where Beatles ’64 proves most interesting, though, is in its look outside Beatlemania. An interview with Ronnie Spector early in the film sees the Ronettes’ singer remember the event. She tells how the Ronettes visited the Beatles’ hotel and helped them escape the throngs of fans. Spector says she brought them to Harlem where they could chow down on ribs and barbeque without worry. Nobody in Harlem, Spector says, recognized the Beatles or cared if they did. It’s a nice humanising story about these young celebrities. But it’s also a telling account of the racial divides in cultural consciousness. Like many music docs, Beatles ’64 considers how music bridges races and cultures. Interviewees like Smokey Robinson, for example, talk about shared influences and visibility. But especially humorous is 16mm footage of interviews on the streets of Harlem being asked about the Beatles. Some of the girls love them, but most of the passersby say they don’t give a toot about the Beatles. They prefer Coltrane." Adding, "Lennon grasps this complexity of Beatlemania in an archival interview that closes the film. No one band defines a generation. He says the Beatles were on the same ship as the Rolling Stones and company—they just spotted America first. The rest is history—toe-tapping, ageless history."