'Armor' is a Real Turkey of a Film

         On November 22, 2024, Lionsgate released 'Armor', which has received negative reviews from critics and seems destined to become yet another turkey in the filmography for it's co-lead, Sylvester Stallone. In the film, "Academy Award Nominee Sylvester Stallone and Jason Patric star in an action-packed thriller about the lengths one man will go to save what's left of his family and reclaim his own life. James and his son Casey are armored truck drivers tasked with delivering a suspicious package. After a violent ambush on the road, James and Casey are trapped until they discover the value of what they have been carrying and join forces to outgun and outwit their attackers." But what did the critics say?

        Aidan Kelley of Collider says, "Where Lionsgate's other ill-fated action ventures like Borderlands and The Crow might be remembered as examples of what not to do for an action film, Armor may not even be remembered at all." Adding, "Armor's biggest strength is its lead character, James, and that's largely thanks to a solid performance from Jason Patric. James is the only character in the film who is given any sort of meaningful development, even if his alcoholic tendencies can be quite cliché and sometimes even downright goofy (such as the way he stores his secret stash of booze in the fridge). Despite the character's shortcomings, Patric still delivers a more than passable performance as a scared father who is trying to do everything to protect his family."

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       Avi Offer of NYC Movie Guru notes, "James (Jason Patric) and his son, Casey (Josh Wiggins) work as armored truck drivers fight for their lives when a gang of thieves, Smoke (Dash Mihok), Echo (Josh Whites) and Viper (Jeff Chase), led by Rook (Sylvester Stallone), ambush their truck and trap them on a bridge in Armor. Co-writers Cory Todd Hughes and Adrian Speckert take a simple premise and turn it into a meandering, dull and uninspired blend of drama and action with not nearly enough thrills. They try to humanize James and Casey by providing them with a backstory involving a tragic event that's the cause of James' feelings of guilt and shame as well as his alcoholism and rocky relationship with Casey. James is trying his best to get on the right track by going to AA meetings. The ambush will put his relationship with Casey to the test. Is there not enough dramatic tension within their dysfunctional relationship to propel the plot? If only it were the meat of the story instead of the ambush which is the least compelling part of the film. Rook remains a boring, underwritten villain, and the ending tries to be un-Hollywood and surprising, but doesn't make much sense in hindsight and becomes a weak, lazy ending that feels like a cop-out. The action scenes are lackluster and the dialogue sounds bland without comic relief that would've provided much-needed levity. Talented actor Josh Wiggins, who also stars in the super dramas Hellion and Giant Little Ones, deserves better material than this. At a running time of 1 hour and 29 minutes, Armor, directed by Justin Routt, opens at Cinema Village and on VOD via Lionsgate." Photo by Alex Kalligas on Unsplash

'Confessions of a Christmas Letter' Reviews: "The onesies might have stuck with me more than anything else in Confessions of a Christmas Letter, to be honest, and that’s probably not what the main takeaway should ultimately be"

         On November 17, 2024, Hallmark Channel released 'Confessions of a Christmas Letter', which has earneda mixed reception reviews from critics. In the film, "After years of losing her community's Christmas letter competition, Settie Rose hires Juan, a struggling novelist, to depict her dysfunctional family in the best possible light." The ensemble cast includes Angela Kinsey, Colleen Wheeler, Alec Santos, Andy Thompson, and Lillian Doucet-Roche. But what did the critics say?

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        Maddy Casale of Decider writes, "Hallmark continues to hit viewers with nostalgic stars we know and love by getting The Office‘s Angela Kinsey to lead Confessions of a Christmas Letter. This romantic dramedy manages to reunite Kinsey with her former The Office co-star, Brian Baumgartner, AKA Kevin Malone, as she plays another Angela Martin-like Type A, competitive woman who’s determined to go to extremes to get what she wants. In addition to Kinsey, Alec Santos and Lillian Doucet-Roche act as romantic leads who just might find their happy ending with one another, despite seeming like total opposites on paper." Adding, "The romance between Juan and Lily has its own issues, as in the movie’s efforts to hammer home that the two are total opposites, they end up appearing somewhat unsuited for one another. I fear that some of Juan’s affection towards Lily and the Roses might just be a product of Stockholm Syndrome by the end of his stay there (that is if they even let him leave). Once you’ve forced a guy to do silent disco on your front lawn and terribly tango in public, it seems like his will is pretty much broken. And lastly, I hate to say it, but I think I could have gone without seeing so many scenes where adults are wearing onesies. I like a onesie as much as the next person (unless that person is a baby, now they really love onesies), but I swear they wore those things every day (and night?). Did they ever even wash them? The onesies might have stuck with me more than anything else in Confessions of a Christmas Letter, to be honest, and that’s probably not what the main takeaway should ultimately be." 

'Interior Chinatown' Reviews: "Charles Yu's Interior Chinatown is a wonderfully mind-bending exploration of Asian-American representation in Hollywood brought down by one thing"

         On November 19, 2024, Hulu released 'Interior Chinatown', which has earned predominantly positive reviews from critics. In the series, "A background character trapped in a police procedural discovers secrets about the strange world he inhabits and his family's buried history" The ensemble cast includes Jimmy O. Yang, Lisa Gilroy, Chloe Bennet, Tzi Ma, Sullivan Jones, and Archie Kao. But what did the critics say?

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        Grant Hermanns of Screen Rant notes, "Charles Yu's Interior Chinatown is a wonderfully mind-bending exploration of Asian-American representation in Hollywood brought down by one thing." Adding, "The other area where Interior Chinatown truly shines is in its ensemble cast, with Jimmy O. Yang in particular nicely showcasing his range of acting skills as Willis. Though he certainly has explored the dramatic genre before, particularly with the Mark Wahlberg-led Patriots Day, he's arguably exclusively known for his work in the comedy sphere, whether it was his breakout turn in HBO's Silicon Valley or Netflix's Space Force. With the Hulu show, Yang gets the chance to deliver on both the serious and comedic fronts, while also displaying some solid fighting skills. Even while Yang may be at the forefront, Chloe Bennet is a wonderful counterpart as Lana. The first few episodes generally introduce her as a potential love interest for Willis and a no-nonsense detective, but as we spend more time with her, we get to see a better vulnerability from her that draws us further into her arc. It also lends nicely to some of the show's meta comedy, as she finds herself similarly confused by the boundaries of their world and why neither she nor Willis are able to break through to people."

       Rendy Jones of RogerEbert.com says, "Interior Chinatown" is a visceral and biting satire of the minuscule and stereotypical roles Asian Americans had to play in American television while being an engaging neo-noir comedy." Concluding, "Bennet is also terrific as Lana, a character on the opposite end of the same coin as Willis. In the show-within-a-show, Lana serves as the token Asian person, hired because of her 'Chinatown expertise,' and is often stereotyped onscreen. She exhibits strong-willed and intuitive qualities when she is in the natural world alongside Willis; on screen, she's shown as amateurish. Bennet does an impressive job of switching between those modes in mere seconds, and they both have delightful chemistry. "Interior Chinatown" is a visceral and biting satire of the minuscule and stereotypical roles Asian Americans had to play in American television while being an engaging neo-noir comedy. The bold liberties it takes fit the television medium pack a punch and only demonstrate Charles Yu's versatility as a creator. One of 2024's finest new shows."Photo by LexScope on Unsplash

'A Reason for the Season' Reviews: "Taylor Cole shines leading the way as Evie Lane, turning a character that could come across as bratty and unlikeable in the wrong hands into a warm, charming protagonist you root for"

         In November, Hallmark Channel released 'A Reason for the Season', which has earned predominantly positive reviews from critics. In the film, "In order to earn her trust fund and with the help of a handsome local attorney, Evie is tasked with granting Christmas wishes to the people who saved her life on the night of her birth." The ensemble cast includes Kevin McGarry and Taylor Cole. But what did the critics say?

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        Maddy Casale of Decider notes, "A Reason for the Season shares some similarities with the 2017 Netflix Original comedy-drama film Christmas Inheritance, namely the fact that both titles revolve around a spoiled heiress from New York City confronting her privilege in a small town over Christmastime so she can earn her inheritance. And of course, she’s got a budding romance with a local guy, too! Taylor Cole shines leading the way as Evie Lane, turning a character that could come across as bratty and unlikeable in the wrong hands into a warm, charming protagonist you root for. Cole also has a great natural chemistry with her co-stars, making every onscreen interaction entertaining and engaging." Adding, "A major staple of many Hallmark holiday movies is something that’s supposed to come across as a charming fictional small town, but A Reason for the Season actually delivers when it comes to Brookswood and its lovable inhabitants. Every single townsperson from the Polaroid photo was a delight and I genuinely enjoyed spending time with them and seeing their little side stories. I couldn’t help but root for their happiness and feel touched at the completion of their respective Christmas wishes. Even Evie’s baffled acknowledgment that everyone is so happy in this town felt like a winning tongue-in-cheek way of saying “Yes, we know we’re in a Hallmark movie and we’re going to have fun with it.” But while all of the side characters make a positive impact, Evie, Elizabeth, and Kyle especially pop as the film’s leads. Taylor Cole’s easy chemistry with Sarah-Jane Redmond and Kevin McGarry makes both the familial and romantic moments ring that much truer and pleasant to watch. There’s nothing particularly shocking or ground-breaking about the characters or the plot, but there doesn’t have to be. It’s just pure Christmastime escapism and easy viewing. And I think we can all raise a cup of cheer to that!" Photo by Mourad Saadi on Unsplash

'Jingle Bell Run' Reviews: "In this case, a holiday reality TV racing competition that takes place in real time right before Christmas is definitely something I’d watch"

         On November 16, 2024, Hallmark Channel released 'Jingle Bell Run', which has received rave reviews from critics. In the film, "Self-described bookworm Avery is paired with retired hockey star Wes to compete in a holiday race across America. The team struggles through themed challenges until romance runs its course." The ensemble cast includes Andrew W. Walker, Ashley Williams, Jinjara Mitchell, and Michelle Brezinski. But what did the critics say?

Credit: @2024 Hallmark Media/Photographer: Allister Foster

        Liz Kocan of Decider says, "Obviously they hate each other… at first. But then, as they travel by map all over the country, solving puzzles and racing to their next challenge, they begin to grow on each other. She’s the brains, he’s the brawn, and over time, they begin to share more of themselves with each other and form a bond. But when a producer asks Wes – behind Avery’s back – to play up a romance angle to hook more viewers in to the show, he obliges because, let’s not forget why he got into this, for the eyeballs." Adding, "Jingle Bell Run cleverly combines the reality TV show confessional with a rom-com, so we’re not only watching a movie version of events, but the reality show version, too. The show also introduces us to a few of the other competing couples, including an older woman named Shirley and her partner Katie, and Ramon and Brad, who were all strangers when they joined the show, but who have developed close relationships with each other with every passing challenge. By the end, it almost seems unnecessary for Avery and Wes to win, because the movie has us rooting for everyone. (Avery and Wes do win though, but ultimately they give some of their winnings to each of their competitors because that’s just the vibe they’re giving out.) While I don’t necessarily need a competitive aspect to my holiday films, there’s something really fun when movies like this introduce a concept that I wish existed in real life. In this case, a holiday reality TV racing competition that takes place in real time right before Christmas is definitely something I’d watch. (Similarly, in the recently released ‘Twas the Date Before Christmas, that movie prominently features a Christmas Day “Family Christmas Olympics,” which sounds incredible… if anyone in my family had the time or energy to execute such a thing.) That a reality TV competition is the construct around which the whole premise is based is a really fun way to bring a group of characters together and help each other find the true meaning of Christmas and all that good stuff." 

'The Night Before Christmas in Wonderland' Reviews: "it's just a bit too simplistic for its own good"

         On November 15, 2024, Hulu released 'The Night Before Christmas in Wonderland', which has earned a mixed reception from critics. In the holiday film, "St Nick (Gerard Butler) receives a delayed letter on Christmas Eve from the Princess of Hearts. He and his dedicated team of reindeer set off to Wonderland where they're greeted by the mean and miserable Queen of Hearts (Emilia Clarke) who hates all things Christmas... especially presents! Can St Nick, aided by Alice (Simone Ashley), the Mad Hatter and March Hare, show the Queen the true meaning of Christmas and save the day before it's too late?" But what did the critics say? 

Photo by Lynda Sanchez on Unsplash

        Mark Dujsik of Mark Reviews Movies says, "There's little denying the style of The Night Before Christmas in Wonderland, which looks like a children's storybook come to life. That approach is appropriate here, since the very concept of this story, a blending of the famous poem about Santa Claus visiting a home with the world and characters of Lewis Carroll's works about Wonderland, is simple enough for that kind of book. It's doubly appropriate, then, because author Carys Bexington and illustrator Kate Hindley indeed made that exact book. It's adapted here by screenwriter Sara Daddy and director Peter Baynton with several colorful characters and a bright, cheery spirit. The simplistic and flat animation helps for sure, as do some musical numbers that gradually lose their clever luster, especially since all of the characters, in traditional storybook fashion, speak in rhyme. The movie also possesses a sense of humor about itself, if only because the characters almost seem to be challenging themselves and each other to figure out a seemingly difficult rhyme, while the introduction of prose at one point lets everyone know someone's in a bad mood. The best way to describe the material is that it's perfectly agreeable. We quickly get a sense of exactly what the filmmakers are going to do with it, in terms of plot and characterization and tone, and they follow through with those expectations to the letter. This mostly feels to belong in the tradition of the animated television Christmas specials that have been doing the broadcast rounds for decades now. While the best of those were wise enough to know that a simplistic and gimmicky story could only sustain itself for so long, this one attempts to expand its concept to feature length. Sure, it's a very short feature, not even reaching 80 minutes without the credits, but even so, the thin material starts to feel repetitive and as if it's running in circles around its few worthwhile ideas." Adding, "An entire subplot is dedicated to a sickly young reindeer (voiced by Lenny Rush) attempting to bring Nick his lost emergency alarm, and once the gag that the reindeer has to use public transportation to make that journey is established, the screenplay doesn't expand the joke—not in any way that justifies the multiple cutaways and dips in momentum. The third act, which gets at why the Queen is so irritated with Christmas, is all about getting us to the big lesson here, which feels anticlimactic on its own and within the context of a movie that occasionally does indulge in some flights of fancy. Those displays of imagination are fun, particularly because the animation highlights the harmless innocence of this concept. There's a real charm to the movie's look and tone, but The Night Before Christmas in Wonderland is so set in its storybook storytelling that it's just a bit too simplistic for its own good."

'The Creep Tapes' Reviews: "At its best, The Creep Tapes transcends its content-mill trappings and becomes something approaching a work of art"

         On November 15, 2024, AMC and Shudder released 'The Creep Tapes', which has earned predominantly positive from critics, currently holding at 75% on Rotten Tomatoes. In the drama, "A serial killer lures videoographers into his world with the promise of a paid job documenting his life; little do they know the mistake they made; as the tape rolls, the killer's questionable intensions surface with his increasingly odd behavior." It also can be seen on Amazon Prime Video. Read the full review round-up below.

       Jarrod Jones of AV Club says, "If Patrick Brice and Mark Duplass’ Creep must be a franchise, then The Creep Tapes is the optimum playground for it. Honestly, it feels like their found-footage horror series was preordained to be an anthology, given the finale of 2015’s Creep, where it was revealed that its serial killer lead, “Peachfuzz” (Duplass), was far more prolific than viewers may have initially grokked. His murder of Adam (Brice) was just the latest in an archive of video-recorded slaughter. Had Brice and Duplass attempted to wring a movie from each name in this death gallery (they originally planned a trilogy), they’d be making Creeps from here to doomsday. Luckily, their horror-comedy concept (deployed with even more creative zeal in 2017’s Creep 2) is tailor-made for streaming. And should the viewing numbers justify more seasons of this particular brand of weird, The Creep Tapes could prove boundless as an anthology. What’s more, the cult following that has since assembled around Creep shows it has a built-in audience, and Brice and Duplass’ elegant premise can easily sustain multiple rounds of Peachfuzz’s mirth and mayhem." Adding, "This endorsement shouldn’t suggest that The Creep Tapes is entirely without flaws. Its fourth episode, “Jeremy,” stinks, which explains why it’s stashed in the middle of the other vastly superior installments in this darkly compelling, frequently hilarious season. But it’s easy to ignore. “Jeremy” is the extreme version of Creep that all other installments (films included) threaten to morph into, a broadly sketched goof-off session where Duplass goes full ham and the frightening aspects of his conceit (co-written with Brice) wilt into nothing. Creep needs to be funny (it would be far too bleak otherwise), but it also needs to be scary. When the balance tips too far in either direction, Creep becomes neither. “Jeremy,” a quickie concerning an online “gotcha” artist (Josh Fadem) who confronts a bawdy priest (Duplass in a cassock), proves this with grating clarity. That episode notwithstanding, Brice and Duplass are showcasing their mastery of the anthologized format here. As a subgenre, found footage can be a tricky gimmick. The immersion required to be effective demands an attentive storyteller, deft camerawork, and committed performances. There’s also a fourth-wall-breaking element at play, as the viewer should feel they’re in on what’s happening onscreen. The Creep Tapes maintains the hand-held immediacy of the films—with those obnoxiously effective jump-scares, moments where Peachfuzz lets his mask slip (on or off) while his victim carries on unaware, and other subtle forecasts of doom—which makes it feel absorbing, even transgressive, as if one has clicked too deeply into the forbidding corners of the internet. At its best, The Creep Tapes transcends its content-mill trappings and becomes something approaching a work of art."

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        Kaiya Shunyata of RogerEbert.com was less impressed, stating, "The first episode of the series, titled "Mark," unfolds similarly to how both films did. A man wielding a camera like a flashlight walks up to a nearly snowed-in cabin, greeted only by a sign on the door which reads: "Just double checking that you are already rolling! Further instructions await you inside!" He then enters the dimly lit interior before the camera jolts up, revealing Duplass' name-changing character, dressed as a vampire. Eventually, he's lured out into the cold and chased through the snow in an intense game of hide and seek. The cameraman's gasps and Duplass' gleeful cheers are the only things to be heard until he finally kills his victim with an ax. It's almost a direct rehashing of the previous two films, and while fun to watch, the beginning of episode two signals that this isn't going to change anytime soon. While "Creep" isn't necessarily a film that needs a prequel that examines why its villain is the way he is, blatantly recreating your franchise's "greatest hits" and selling it to your fans as a new product makes for a frustrating watch. While some episodes work and feel like fresh new products in the found footage genre, most do not feel so different from your average "V/H/S" film. It makes for a series that lacks depth, forcing you to question whether or not this show is coming too many years too late." Continuing, "Despite its lackluster storytelling, one of this series' shining qualities is that each episode has its own identity. While Duplass' jovial-but-sinister schtick gets old about halfway through each chapter, there's no denying that each still manages to make you feel uneasy. Although the first episode plays out too similarly to the films, the second comes along and proves that outside of a house or cabin, the villain of these stories is perhaps even more unhinged than he already was. But then, while still holding their own narrative, we're once again forced to watch these tricks play out similarly to the previous episode. With a runtime of around 30 minutes each, there's no reason for "The Creep Tapes" to drag, but there comes a point in each episode where you feel as if you're stuck in a groundhog-day scenario. It's unfortunate that the series' best episode comes so early in the six-episode run, breathing some much-needed life into a series that now feels like a product of its time. After a seven-year wait, some fans may be happy to see Duplass hamming it up on screen again, but unfortunately, that's the only thing this new series has to offer. The black humor is there, and so is the found footage that made the original films feel so cutting edge. However, the scares become redundant after the second episode until you feel this might have just been made into another film."