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

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

Photo by Chris Sowder on Unsplash

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

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

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

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

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

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

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

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        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."

Movies that Deserved Better: 'Beauty and the Beast: The Enchanted Christmas' (1997)

         In 1997, eight-year-old me was enamored with an animated film called 'Beauty and the Beast: The Enchanted Christmas', which is a sequel to the Oscar winning Disney classic. Unfortunately, the film did not strike the same joy in critics, who gave the film a score of 13% on Rotten Tomatoes. In the film, "the lovely Belle (Paige O'Hara) and her monstrous beau, Beast (Robby Benson), are in the midst of the holiday season. While Belle has no problem getting into the Christmas spirit, Beast isn't so easily swayed into a celebratory mood. Meanwhile, the castle's pipe organ, Forte (Tim Curry), becomes opposed to Belle's presence, as well as to her holiday decorating, and schemes to put an end to both her relationship with Beast and any Christmas festivities to boot." The ensemble cast includes Bernadette Peters, Angela Lansbury, David Ogden Stiers, and Jerry Orbach. But what did the critics say?

        Sandie Angulo Chen of Common Sense Media says, "Nothing could compare to the original Beauty and the Beast's splendor. But once audiences lower their expectations to meet the level of direct-to-DVD films, THE ENCHANTED CHRISTMAS is an amusing if unnecessarily dark installment in the "tale as old as time." The musical numbers are catchy and the story compelling, but it doesn't always feel like an actual Christmas movie. The focus on Forte's mission to stop Beauty and the Beast from falling in love takes away from the holiday spirit that permeates the rest of the movie. But on the bright side, Curry is always pitch-perfect playing evil characters, and his desperation to remain BFFs with the Beast is upsetting but surprisingly understandable. O'Hara's Belle is lovely to behold, whether she's dancing around with Chip or telling Beast she just wants him to be happy. She's the heart of the story, and her loving charm makes every Beauty and the Beast ultimately enchanting."

Photo by Brian McGowan on Unsplash

        Tim Brayton of Alternate Ending notes, "Continuing the story makes no damn sense, which is perhaps why The Enchanted Christmas actually doesn't continue the story, but we'll get to that in a moment. In the meanwhile, I was busy making an ass of myself by declaring, in public, that I'm pretty much okay with this spectacularly unworthy sequel. If nothing else, by the standards of the three DTV features that had already been released by that point, the animation in this film is incomparably better, good enough in points that if you didn't know, you might think it was a legitimate production by a legitimate studio - not Walt Disney Feature Animation itself, of course, but certainly better than a TV animation outfit had any right to put out, and maybe this has something to do with The Enchanted Christmas being one of a small number of projects made at Disney's TV animation studios in Canada, something I didn't even know existed until watching the movie's credits." Adding, "But not all is lost: the enchanted objects, the comic sidekicks voiced by the likes of Jerry Orbach, David Ogden Stiers, Angela Lansbury, and newcomer Bernadette Peters (it's kind of stunning how successfully this sequel kept the whole cast intact; the only sub was Haley Joel Osment as upbeat preteen teacup Chip, presumably owing to previous actor Bradley Pierce coming down with a bad case of the puberty) are all, within the relative frame that this is a much cheaper project, entirely fair recreations of the original characters, moving with approximately the same flexibility and expressed with more less the same amount of caricature. The villainous Forte, despite his considerable dramatic flaws, is brought to life with CGI that would have been a whole hell of a lot more impressive in 1997 than it is today, allowing that for this reason, he does not cut together with the other, cel-animated characters at all, and perhaps to minimise this problem, he very rarely appears in the same frame." 

        As for myself, seeing the 'Beauty and the Beast' characters back on screen as a kid was a glorious sight. Who doesn't love the sight of everyone's favorite talking candle and clock back in action? As an adult, it is darker in tone than the film from which it stems at times, but you have to remember the whole "kill the beast" scene and the part about throwing Belle's dad in an institution as blackmail to realize the original is not so clean cut as we think. And that is not mentioning how close Belle came to getting a castle with non-verbal furniture. So watch this with that in mind as Forte is nothing compared to those stakes. 

'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

'The Count of Monte-Cristo' Reviews: Film "brings both new life and stifling tradition into this arena"

        Alexandre Dumas will forever be my personal favorite author, but not until now has an adaptation of 'The Count of Monte-Cristo' has not wowed me. Trust me guys, having watched all the adaptations to date, this is by far the best and deserves the perfect score of 100% at time of this writing on Rotten Tomatoes. In this adaptation, which was released on December 3, 2024 by Samuel Goldwyn Films, "Edmond Dantes becomes the target of a sinister plot and is arrested on his wedding day for a crime he did not commit. After 14 years in the island prison of Château d'If, he manages a daring escape. Now rich beyond his dreams, he assumes the identity of the Count of Monte-Cristo and exacts his revenge on the three men who betrayed him." The ensemble cast includes Pierre Niney, Anamaria Vartolomei, Bastien Bouillon, Anaïs Demoustier, Laurent Lafitte, Pierfrancesco Favino, and Vassili Schneider. But what did the critics say?

Photo Courtesy of Samuel Goldwyn Films 

        C.J. Prince of The Film Stage says, "While these large-scale productions typically get the life taken from them by committee in Hollywood, this film’s stone-faced commitment to executing such silly spectacle makes for an uneven, mostly good time." Adding, "Unfortunately, not everything can be fun and games, and much of The Count of Monte Cristo’s final act stumbles as it leans into sappy romance and character drama. Part of the issue is that, for the most part, this film has no real interest in engaging with the source beyond materialist enjoyment. There’s a bit of hypocrisy in telling a story about an ordinary man who infiltrates high society to take them down using his education, wit, and sheer self-determination, then filming it in such a lavish way that you can practically see the Euros on the screen. But that’s where the escapist part of escapist entertainment kicks in; thus attempts to grapple with actual ideas fall flat and lead to a disappointing climax. For a good stretch of time, though, The Count of Monte Cristo is a prime example of popcorn fun, even if its filmmakers might have not intended for it to be laughed at as much as I did. But whether it’s for the right or wrong reasons, a good time is still a good time."

       Jordan Mintzer of The Hollywood Reporter notes, "It’s a lot to take in at first, but Delaporte and de la Patellière are specialists at dishing out plot points both smoothly and expeditiously. The Count of Monte Cristo is the kind of movie where, after 180 minutes and many, many more plot points, you walk out of the theater without having felt the time pass. That’s a good thing if you’re looking for a fairly entertaining, swords-and-puffy-shirts revenge tale — and Dumas’ novel is probably the mother of all revenge tales. But if you’re looking for something with more depth and staying power, this polished adaption (budgeted at $47 million, which is huge for a French film) offers lots of conniving and scheming without anything more meaningful."

       Josh Parham of Next Best Picture praises the film, stating, "In many ways, “The Count of Monte Cristo” feels like a take that brings both new life and stifling tradition into this arena. The stunning imagery is a wonder to behold, impressive at conveying a grand scale that is arresting in its pageantry."

'The Last Showgirl' Reviews: Pamela Anderson Could Nab an Oscar Nod!

         On December 13, 2024, Roadside Attractions releases 'The Last Showgirl', which has earned predominantly positive reviews from critics and a score of 80% on Rotten Tomatoes at the time of this writing. In the film, "a glamorous showgirl who must plan for her future when her show abruptly closes after a 30-year run." The ensemble cast includes Pamela Anderson, Dave Bautista, John Clofine, Jamie Lee Curtis, and Billie Lourd. Read the full review round-up below.

        Gregory Ellwood of The Playlist notes, "When Curtis walks onto a table in the middle of a casino and starts dancing to Bonnie Tyler’s “Total Eclipse of the Heart,” throwing her job away as visitors barely notice, you know there is something special here. You just wish there was more of it" Concluding, "For most of the film, Anderson has played her role, for lack of a better description, as very demure, very mindful. It’s been mostly a quiet, confident performance. Shelly has her own set of street smarts but has almost lived her entire life in this Vegas strip bubble. When the bubble pops, Anderson unleashes an unforeseen wave of emotion encapsulating Shelly’s pain. Many may have recognized that Anderson was an underrated actress before “The Last Showgirl.” That being said, few believed she could project this from deep within her soul. Describing it as a revelation may be a stretch, but it’s damn close."

Photo Courtesy of Roadside Attractions

        Amber Wilkinson of Eye for Film says, "The script marks a step up from TV shows for Kate Gertsen (The Good Place, Mozart In The Jungle) and she brings a lot of verve to the dialogue, especially in early scenes where talk of the price of lemons mixes with costume snagging and general conversation as the dancers scramble about backstage, captured with grace by cinematographer Autumn Durald Arkapaw. But while Gertsen proves sure-footed in the melee, her characterisations lack the detail in the film's more quiet moments to fully sell the emotional beats. Anderson, for her part, acquits herself well, bringing an edge of panic to the perpetually sunny-side-up Shelley as she finds the illusions she has carefully crafted for herself start to crumble. The supporting cast are uniformly strong, particularly Bautista, who brings a real soulfulness to his role and Jason Schwarzman (Coppola’s cousin), enjoying a sharply written cameo."

       Peter Debruge of Variety was less impressed, stating, "The Last Showgirl intends to reclaim the nobility of these women, to remind that they’re real people, with dreams and disappointments of their own. But a little more dimension would have gone a long way." Continuing, "Granted, there’s something poignant and vulnerable in Anderson’s decision to play a Las Vegas dancer who’s lost her sparkle. Shelly joined the “Razzle Dazzle” revue in 1987 (two years before “Baywatch” debuted on TV), sacrificing everything — including the traditional duties expected of parents — to live her dream of performing on the Strip. More than three decades later, she struggles to keep up with the younger girls, whom she treats like adopted daughters. While Jodie (Kiernan Shipka) and Marianne (Brenda Song) are flexible enough to get other jobs, Shelly is knocked sideways when she hears from stage manager/old flame Eddie (an uncharacteristically gentle Dave Bautista, doing his best Kris Kristofferson) that the show is closing."

'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."

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