'Fight Night: The Million Dollar Heist' Reviews: Performances from A-List Stars Save this Drama

         On September 5, 2024, Peacock released 'Fight Night: The Million Dollar Heist', which has received predominantly positive reviews from critics, currently holding at 89% on Rotten Tomatoes. In the miniseries, "In a city bursting with fight night anticipation, streetwise hustler Gordon "Chicken Man" Williams plants himself at the center of the action. His big ambitions, and even bigger talk, put him on a collision course with ruthless criminals, each consumed by their own insatiable hunger for the spoils of the event. As dawn breaks on a city reeling from the heist, JD Hudson, a pioneering Black detective, is thrust into a high-stakes game of cat and mouse as the body count rises. With time running out, JD and Chicken Man race against the clock to clear Chicken's name and survive the dangerous forces closing in." The ensemble cast includes Kevin Hart, Samuel L. Jackson, Taraji P. Henson, Don Cheadle, and Terrence Howard. Read the full review round-up below.

       Julian Lytle of RIOTUS praises the drama, stating, "Ali, Crime, and Ambition: ‘Fight Night: The Million Dollar Heist’ Is a Must-Watch Miniseries" Adding, "Cheadle is great here, but after seeing him as an actor for thirty years, he’s always good. He has excellent onscreen scenes with Hart and later Jackson, who some might be used to because of the MCU, but his character is very much just as empathetic as Hart’s Chicken Man, even if you’re on some F*** the Police ethos. Taraji P. Henson plays Vivian Thomas, who is Chicken’s hustle partner and mistress. At the same time, he’s married and has this Black working-class suburban dreamlife of sorts elsewhere; Vivian is very much his real partner in life up until now. Henson plays a character that feels familiar for her, at least for the viewer, and I wish there were a bit more to her overall, but Henson is enjoyable to watch on screen and has a good arc throughout the entirety of the series. She’s great in many of the scenes she’s in with her co-stars, and that’s something you can say with the whole cast."

       Terrell Smith of What To Watch says, "When Peacock announced the cast of Fight Night: The Million Dollar Heist, it was understandably easy to get excited about the limited series without even knowing its premise. After all, you have four Oscar nominees in Samuel L. Jackson, Taraji P. Henson, Don Cheadle and Terrence Howard, and arguably one of the most marketable men in Hollywood, Kevin Hart, leading an A-list cast. Plus, there was the safe assumption that there would be tons of on-screen chemistry given a few of the stars had previously worked together. WTW had it pegged as one of our most anticipated fall TV shows. Yet, with all this star power and assumed chemistry, the performances offered in Fight Night: The Million Dollar Heist were disappointingly just solid. To be clear, the performances weren't horrible by any means. However, it just seemed as if the stars could be replaced with other actors and my fascination with the series would relatively remain the same."

Photo by Viktor Hanacek on picjumbo

        Carla Meyer of San Francisco Chronicle notes, "Shaye Ogbonna and its talented directors, including former Vallejo resident Craig Brewer (“Hustle & Flow”), rarely let the proceedings grow self-indulgent the way those other all-star heist stories featuring Cheadle (the “Ocean’s” movies) often did."

        AV Club's Josh Spiegel writes, "The ingredients that make up the new limited series Fight Night: The Million Dollar Heist will be all too familiar to anyone who’s paying attention to this TV moment. The eight-episode series is inspired by a true-crime podcast that itself was an unearthing of a shocking robbery connected to Muhammad Ali’s return to boxing in 1970. It’s available on Peacock, one of a host of streaming services continuing to battle for audience attention. It boasts a recognizable ensemble cast, as well as a well-known director and producer. It starts in medias res to potentially amplify the tension and make the audience wonder how its antihero lead could wind up with a gun in his face. And it is, as is almost a requirement with new shows, at least two or three episodes too long—to the point of raising the question of why the series exists at all. The story it tells is indeed fascinating, but at heart, its intent is to prove that A-list actor and stand-up Kevin Hart has a secret well of dramatic talent. And in that respect, it’s a miss."

'The Perfect Couple' Reviews: "With a great ensemble cast, the series does a great job of twisting and turning these relationships in and around each other"

         On September 5, 2024, Netflix released 'The Perfect Couple', which has received a mixed reception  from critics, currently holding at 62% on Rotten Tomatoes. In the miniseries, "When a lavish wedding ends in disaster before it can even begin - with a body discovered just hours before the ceremony - everyone in the wedding party is a suspect." The ensemble cast includes Nicole Kidman, Liev Schreiber, Dakota Fanning, Meghann Fahy, Eve Hewson, Billy Howie, and Jack Reynor. But what did the critics say?

        Lucy Mangan of Guardian praises the series, stating, "If there is anyone who can resist bingeing all six episodes once they have started, I will eat a fruit basket." Concluding, "Once the police investigation starts, it becomes clear who the star of the show is – neither Kidman nor the mansion, nor even the knits, but Donna Lynne Champlin as Det Nikki Henry. What a performance. Every thought the detective is having about these awful people plays fleetingly across her face, although never for long enough to jeopardise the case, however much she hauls the local police chief, Dan (Michael Beach), over the coals for cosying up to the family that funds so much activity in the community."

Photo by Viktor Hanacek on picjumbo

        Elijah Gonzalez of Paste Magazine was less impressed, stating, "As The Perfect Couple reaches its lukewarm conclusion, it’s hard not to draw a comparison between this show and that line of thinking. Because, while this miniseries has great performances from its A-listers and a few deliciously dysfunctional family moments, it ultimately feels like the streaming equivalent of an airport novel, just entertaining enough to keep your divided attention but already fading out of memory as airplane wheels hit the tarmac. It’s another imperfect addition to Netflix’s catalog that’s neither bad nor good enough to stand out. Perhaps that’s its greatest crime."

        Archi Sengupta of LeisureByte.com says, "This Netflix series is neither ingenious nor is it particularly new but it’s the characters that are really fun and entertaining. You might be able to figure out who the killer is but the path to the end is engaging in a very dramatic way." Adding, "With a great ensemble cast, the series does a great job of twisting and turning these relationships in and around each other. Of course, there are a ton of overlapping “relationships” that give everyone the motive, but it’s always the ones that we least expect who end up subverting our expectations. The 6 episodes explore these relationships thoroughly, both with each other and with our victim, giving us an in-depth look at familial relationships and how even those who look the cleanest from the outside can be dirty and complicated."

       Kristen Baldwin of Entertainment Weekly notes, "Based on Elin Hilderbrand’s bestseller and adapted for the screen by Jenna Lamia, this arch and at times outlandish miniseries delivers the cheap and tasty thrills of a beach read on a lavish, prestige-streamer budget." Continuing, "In her recent TV roles, Kidman has been tormented, aggrieved, angry, sure — but just plain mean? Never. It’s a hoot to watch her embrace Greer’s underlying nastiness, which naturally stems from a Deep Dark Secret not even her family knows. Fanning has a ball as the snooty and condescending Abby, who cloaks all her insults with a sing-song lilt and a sunny smile. Reynor brings the tragicomic relief as Benji’s bullying, insecure brother Tom, and Champlin strikes just the right tone of unflappable bemusement as Detective Henry."

Movies that Deserved Better: 'Hazard' (2024)

         On May 10, 2024, 'Hazard' was released by Samuel Goldwyn Films, receiving rave reviews from critics as it currently holds at 100% on Rotten Tomatoes. In the film, "Noah really loves his girlfriend, his daughter, and his car, but he gets involved in a deadly driving job that will result in either losing his life, his family or his beloved car." The ensemble cast includes Frank Lammers, Gene Bervoets, Jennifer Heylen, Jeroen Perceval, and Monic Hendrickx. Read the full review round-up for this little known gem.

Photo Courtesy of Samuel Goldwyn Films

       Matt Donato of Slashfilm notes, "H4Z4RD" distances itself from modern action entertainment because there are no boundaries that Govaerts' film is afraid to soar over, like the Duke boys taking flight. A botched suburban robbery leads to gory animal attacks, grenade explosions, hardcore Mechanophilia, and you'll see that "Titane" ain't got nothing on "H4ZARD." As greasy lackeys with Hitler mustaches meet appropriate violence and Noah donut-turns on dimes to avoid pursuers, Haaga's midnighter sensibilities keep audiences entranced by a grab-bag of sequences that challenge what we believe could happen next. Noah's hardly contained to the rules of the road as he chases Gecko drug pushers through crowded parks, up elevators, and down walkway tunnels. There's an overall jaw-slack absurdity to it all, accompanied by excitement that defies speed limits. From psychedelic dope hallucinations that turn basketballs into cartoon creatures to lady assassins blasting pistol rounds through Noah's exterior, "H4Z4RD" loves being an action flick that has to navigate its automotive focus."

        Bobby LePire of Film Threat writes, "H4z4rd is a modern-day Crank: high octane, all style, flashy direction, and editing with plenty of exciting action and humor peppered in along the way. This is a purely cinematic experience as it cannot be replicated in any other medium and still have the same impact. And that’s why the film is so awesome.The plot is nothing that new. A person gets in over their head with the wrong crowd, who demand certain things back. This puts loved ones in danger. But Govaerts’s style is slick and fun, offering a fresh take on old material. Plus, the dialogue is often very witty. A lady confuses Noah for Carlos, as she hasn’t seen them in years. But she vividly recalls the two being hellions as young kids. Apparently, not much has changed. The trip sequence from Carlos’ perspective, in the middle of a car chase, adds the right amount of humor to the extremely impressive stunts and vehicular mayhem on display. It’s fun, funny, exciting, and just plain cool."

      Nathaniel Muir of AIPT says, "H4Z4RD is filled with hilarious moments that run the gamut from Carlos dropping profanity laced bars to a joke about a hook that comes out of nowhere. The comedy fits in perfectly with the rest of the story, as it as wild as the action. Ridiculously fun."

        

'Joker: Folie à Deux' Impresses Critics

 

Photo by Peter Schad on Unsplash

        At the 2024 Venice Film Festival, with a release date on October 4, 2024 by Warner Bros. Pictures, 'Joker: Folie à Deux' received predominantly positive reviews from critics. In the sequel to the Oscar winning, 'Joker', Arthur Fleck is awaiting his trial and is being held at Arkham. "While struggling with his dual identity, Arthur not only stumbles upon true love, but also finds the music that's always been inside him." The ensemble cast includes Lady Gaga, Joaquin Phoenix, Zazie Beetz, Brendan Gleeson, Steve Coogan, Jacob Lofland, Harry Lawtey, and Catherine Keener. But what did the critics say?

        Dorian Parks of Geeks of Color praises the film, stating, "In Joker: Folie à Deux, the story picks up two years after the events of the first film, where Arthur Fleck (Joaquin Phoenix), dressed as the Joker, murdered a talk show host (Robert De Niro) live on television, sparking an uprising throughout Gotham City. Now confined to a psychiatric ward and facing the death penalty, Arthur encounters Harleen “Lee” Quinzel (Lady Gaga), a fellow patient with an unsettling obsession with him—or, more accurately, with his Joker persona." Concluding, "Although Margot Robbie has solidified herself as THE live-action Harley Quinn of the DC universe, Lady Gaga’s depiction in Joker: Folie à Deux is incredibly strong yet drastically different from any iteration of the character we’ve seen before. While Robbie’s Quinn is characterized by her vibrant, chaotic energy and dark humor taking more inspiration from the Batman animated series, Gaga brings a more grounded and stripped-back softness to her role, and a calculated craze behind her eyes."

         Tim Grierson of Screen International was less impressed, stating, "Where the original Joker remains a stunning exception — that rare blockbuster with emotional shading, grownup themes and a genuine sense of grandeur — this sequel fails to stay on the beat."

        Hannah Strong of Little White Lies says, "It begs the question, why is Phillips so reluctant to embrace that the film is a musical? Why not add a little more colour, some flourish to the production design?" Adding, "Gaga’s much-fêted follow-up to her impressive turns in A Star is Born and House of Gucci is a let-down through no fault of her own – the character is hopelessly underwritten, and her musical classics were better executed in her 2014 album with Tony Bennett, ‘Cheek to Cheek’. Although her take on Harley Quinn is barely recognisable from the popular depictions of her as a gum-chewing, fast-talking diamond in the rough, there isn’t any attempt made to replace these characteristics with anything new or interesting. Lee’s role in the narrative is purely to encourage Arthur to embrace his “Joker” persona; she exists purely to be obsessed with Joker, which has always been the least interesting aspect of Harley Quinn’s story despite it being her initial purpose."

       Bill Bria of Slashfilm notes, "It feels remarkably honest and true to itself, demonstrating again that taking such a popular character seriously is nothing to laugh at." Continuing, "while Joker and Harleen "Lee" Quinzel are starring in their very own musical, the rest of "Folie à Deux" concerns Arthur being put on trial for the murders he committed during the first movie. Sure enough, as per a number of high-profile criminal trials over the decades, the proceedings become a media frenzy as cocky young prosecutor Harvey Dent (Harry Lawtey) attempts to portray Arthur as a competent killer while defense attorney Maryanne Stewart (Catherine Keener) tries to convince the world that Arthur and the Joker are two distinct personalities. In this way, "Folie à Deux" feels like an extension of the first "Joker," even a bit of an extended epilogue, rather than solely its own movie. While the lack of shenanigans happening in Gotham (or anything outside the asylum and courthouse, really) could frustrate some, the film does honor its "part two" status, even returning to some characters and events from the first movie that helps flesh them out better."

'Kaos' Reviews: "The saving grace of KAOS is Goldblum"

         On August 29, 2024, Netflix released 'Kaos', which has received predominantly positive reviews from critics, currently holding at 74% on Rotten Tomatoes alongside a Critics Consensus that reads, "A riff on Greek myth that is equal parts clever and overstuffed, Kaos falls just short of godly but still lands as a bolt of good fun." In the series, "As discord reigns on Mount Olympus and almighty Zeus spirals into paranoia, three mortals are destined to reshape the future of humankind." The ensemble cast includes Jeff Goldblum, Debi Mazar, Aurora Perrineau, and Fady Elsayed. But what did the critics say?

       Aramide Tinubu of Variety says, "Though the eight-episode series illustrates the dangers of power and greed, it falters due to bulky storylines and wearisome characters." Adding, "Kaos” has a similar tone to Netflix’s horror series “The Fall of the House of Usher.” Unfortunately, this dramedy struggles to remain captivating throughout. Though all of the gods, including Zeus’ yacht-living younger brother, Poseidon (Cliff Curtis), are intriguing on the surface, as the narrative moves forward, viewers discover there isn’t anything interesting about any of them. They are selfish, evil and solely focused on their own desires.  Moreover, while a garish, self-serving Zeus is amusing, even Goldblum, a master of wit and absurdities, can’t make the character compelling enough for the audience to care about his ruin or reign. McTeer, Rizwan and Curtis are all strong, but the characters themselves lack complexity and imagination. Instead, these gods are just versions of wealthy, revolting people we’ve seen depicted on-screen (and in real life) repeatedly."

Photo by Paul Bill on Unsplash

        Joel Keller of Decider praises the series, stating, "The saving grace of KAOS is Goldblum. As you might expect, he uses all of his signature neurotic, weird charm while playing Zeus, and when we see the human side of Zeus come out, we want to see nothing else. McTeer does a good job as Hera, playing off Zeus’ paranoia to make sure he doesn’t do anything rash."

       Andrew Murray of The Upcoming notes, "While the high levels of energy make for a highly entertaining watch, the overall quality is let down by a muddled script, which takes too long to get underway."

       Judy Berman of TIME Magazine writes, "It’s a clever, if not wholly original, premise, elevated by smart casting, sharp dialogue, and world-building that makes inspired use of some of Western culture’s most enduring lore." Continuing, "In the Netflix series KAOS, premiering Aug. 29, Prometheus—who was famously condemned by Zeus to be forever bound to a cliff and have his infinitely regenerating liver pecked out by an eagle—calls him a “transcendent, unmitigated bastard.” This kind of gloriously polysyllabic insult is a trademark of British comedy, and in this case, it comes courtesy of screenwriter and showrunner Charlie Covell, who created the cult teen dramedy The End of the F***ing World. With KAOS, Covell updates Greek mythology for a contemporary world where Jesus never arrived to chase away the old gods. In this telling, which mixes elements of comedy and political thriller, the Olympians are a sort of divine crime family; Jeff Goldblum, that master of oleaginous creepitude, stars as Zeus in a lightning-bolt-bedazzled tracksuit."

'The Well' Reviews: "an old-school Italian shocker that has a modern feel and twist, great production value, and an excellent lead-in Lauren LaVera"

         On September 3, 2024, after a limited theatrical release in August, Uncork’d Entertainment was released to an expanded audience via streaming. In the film, which as received a score of 88% on Rotten Tomatoes. "When novice art restorer Lisa Gray goes to a small Italian village to bring a medieval painting back to its former glory after fire damage, little does she know she is placing her life in danger from an evil curse and a monster born of myth and brutal pain." The ensemble cast includes Lauren LaVera, Claudia Gerini, Giovanni Lombardo, and Linda Zampaglione. Read the full review round-up below.

Photo by Peter Schad on Unsplash

        Dolores Quintana of Nightmarish Conjurings writes, "THE WELL (2023) is an old-school Italian shocker that has a modern feel and twist, great production value, and an excellent lead-in Lauren LaVera. The cast does terrific work and makes the film believable and scary." Adding, "LaVera is a great choice for the lead since, even though her character is quieter and less of a showy lead, she has more than enough charisma and intelligence to keep the audience’s attention. The actors who play the prisoners really give their all in the scenes of gut-ripping torment. Their commitment to the characters and their work is admirable and goes a long way to establishing the central idea that what is happening to them is wrong while still allowing the voyeuristic thrill of watching the admittedly rough scenes of the monster taking their lives."

        Michael Talbot-Haynes of Film Threat praises the film, stating, "Italy had a golden age of horror for thirty years in the late 20th century, with a parade of operatic, blood-soaked classics unrivaled in extremity. Many of these films were heavily censored in various countries, leaving it up to the laserdisc market in Japan to preserve the uncut prints. By the ’90s, Italy’s fear factory ground to a halt as markets and budgets shrank. However, the classic spaghetti nightmare movies amassed a following as the laser discs fed a thriving market of Japanese subtitled bootlegs. Then, at the turn of the century, the U.S. finally saw uncut, remastered prints of these movies on VHS and DVD through companies like Anchor Bay and Blue Underground. But it was all gore-soaked nostalgia until The Well. We had rumblings that a return to form was on the horizon. First, it was when the Italians released their best post-apocalypse film yet. Then, we saw earnest attempts at reviving the Anthropophagus and Diabolik franchises. It is The Well that has brought the beloved spaghetti nightmare back from the grave."

       Anton Bitel of Projected Figures says, "Federico Zampaglione’s gory gothic delves deep into Italian cinema past to restore and resurrect a particular kind of grotesquery." Concluding, "The Well exposes the rotten corruption of those who would like to be at the seat of power and beyond the ravages of time, while delivering a cynical ending reminiscent of the coda to Brandon Cronenberg’s Antiviral (2012) – and like any good restoration, it both dwells in the past (much as Lisa insists on residing in the same room as the old painting), while updating it for a new world where ancient magic has become a prisoner to modern science – but where little else has fundamentally changed about human (and inhuman) nature."

       Jennie Kermode of Eye for Film notes, "The bulk of the action happens, as it ought, in a magnificent but slightly dilapidated mansion owned by a formidable yet welcoming duchess who wears prim old fashioned satin blouses with very pointy bras, and keeps a pet crow in a cage. The duchess possesses a painting dating back to 1493 which, she insists, needs to be restored in accordance with a strict timeframe. Having been exposed to a fire, it’s covered in a thick layer of soot. Lisa, who believes that it can be done but is worried about damaging it by working at that speed, arranges to sleep in the same room so that she can get to know it. As more and more of the image is revealed, however, she begins to have disturbing dreams. Is it just a reaction to the solvents? Of course not. We all know what’s going on here – would do even if we hadn’t already been privy to something of the horrors going on in the cellar."

 

Angelina Jolie Becomes an Oscar Favorite in 'Maria'

         At the 2024 Venice Film Festival, Angelina Jolie established herself as an early Oscar contender in 'Maria', which has garnered predominantly positive reviews from critics, currently holding at 71% on Rotten Tomatoes. In the film, "The tumultuous, beautiful and tragic story of the life of the world’s greatest female opera singer, relived and reimagined during her final days in 1970s Paris." The ensemble cast includes Pierfrancesco Favino, Kodi Smit-McPhee, Alba Rohrwacher, and Haluk Bilginer. But what did the critics say?

  

Photo by Christina DelliSante on Unsplash

        Joey Magidson of Awards Radar says, "Between Jackie and Spencer, Pablo Larraín has become a filmmaker closely associated with tragic women. He returns once again to that subject matter for Maria, a look at the final days in the life of opera legend Maria Callas. In some ways, this is familiar territory to be trafficking in, but in other ways, it’s a far different work. Playing at the Telluride Film Festival, the movie is deeply sad, hauntingly beautiful, and features a career best performance from Angelina Jolie. Maria is a neater work than Jackie and Spencer in some ways, while in others, it’s a much sadder film, which is saying something. Jolie is incredible, as were Natalie Portman and Kristen Stewart before her, with Larraín capturing her perfectly. The investment in the character and the role pay off, as this is once again a chilly work, potentially keeping some at even more of a distance due to Callas being less well known to some audience members than Jackie Kennedy and Princess Diana." Adding, "Maria features Angelina Jolie's best work in Pablo Larraín's latest tragic biopic."

       Scott Menzel of We Live Entertainment writes, "Jolie disappears into the role thanks to her committed performance as well as the remarkable costume and hair & makeup team that worked alongside her." Continuing, "Pablo Larraín has slowly started to build an impressive body of work. His films have a distinct look, and his vision as a filmmaker is entirely on display with each new project. Larraín clearly has a passion for history and loves to blur the line between reality and fiction. Maria, like all of his previous outings, is absolutely gorgeous to look at. The cinematography by Edward Lachman is superb, as each frame looks and feels like a work of art. While the subject matter of Larraín’s films have limited appeal, it’s hard to argue that he knows how to get incredible performances out of all his actors, no matter how big or small their role might be. This is one thing that has consistently blown me away about Larraín. He is an actor’s director and has proven that time and time again."

       Stephanie Zacharek of TIME Magazine was less impressed, stating, "Maria may burnish her legend. But it also snuffs out her spark." Continuing, "Meanwhile, too many times to count, Jolie’s Maria gazes into the middle distance, mourning the person, the presence, the artist she used to be, reflecting aloud on her one true love, the “ugly and dead”—as she puts it—Aristotle Onassis. (When he appears in the movie's flashback scenes, a wily gnome in evening dress, he’s played by Turkish actor Haluk Bilginer.) Every gesture Jolie makes is tragic and quivering; when she smiles, it’s the wan, magnanimous kind, as if she really couldn’t be bothered. This is a performance from the “Don’t hate me because I’m beautiful” school, a great artist’s final days rendered with a self-conscious sheen that has nothing to do with the inherent grandness, or sadness, of Callas’s life."

       Nicholas Barber of BBC praises the film, stating, "Knight has written countless lines of spikily witty, quotable dialogue, and it's never a chore to watch a beautiful actor wearing beautiful outfits in beautiful Paris locations." Adding, "We all know from the opening scene that Callas's week is not going to end with a miraculous comeback, so her physical and mental wanderings don't have any tension or momentum. The film is also too adoring and reverential to let us sympathise with its supposedly fragile heroine. Unusually for someone who is drug-addled and terminally ill, Jolie's Callas never looks anything less than magnificent, and she is always supremely dignified, poised and confident, out-quipping everyone who crosses her path. "What did you take," asks her butler, after his boss has been to her well-stocked medicine cabinet. "I took liberties all my life," she replies, "and the world took liberties with me"."