Category: Reviews

REVIEW: The Book of Boba Fett (2021-2022)

Boba Fett (Played by Temura Morrison) in Lucasfilm’s THE BOOK OF BOBA FETT, exclusively on Disney+. — PHOTO: Lucasfilm / Disney+.

Series Created by Jon Favreau — All Episodes Are On Disney+ Right Now.

Jon Favreau’s The Book of Boba Fett is a spin-off of the extremely popular Disney+ Star Wars live-action series The Mandalorian. The Book of Boba Fett follows the titular character (played by Temura Morrison), who became a fan-favorite character in the Original Trilogy (and who made his in-universe return in The Mandalorian), as he tries to become the new daimyo of Tatooine for the purpose of controlling the territory that once belonged to Jabba the Hutt. But he isn’t the only one who wants to control what can and can’t happen on the desert planet.

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REVIEW: Flugt (2021 – Documentary)

Amin in Flugt/Flee — Photo: NEON / Participant.

International Title: Flee — Directed by Jonas Poher Rasmussen.

The Danish submission for the upcoming 94th Academy Awards, Jonas Poher Rasmussen’s Flugt, is a mostly-animated documentary film about the experience of one refugee on his bumpy outer journey from Afghanistan via Eastern Europe to Denmark, as well as his complicated inner journey toward acceptance of himself so that he can open up to others and become the man that he wants to be, instead of running away from the sense of normalcy that he may desperately need.

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Did Showtime’s Revival Actually Fix the Controversial ‘Dexter’ Ending? | Review

Michael C. Hall and Jack Alcott in Showtime’s DEXTER: NEW BLOOD — Photo: Seacia Pavao / Showtime.

The following is a review of the mini-series ‘Dexter: New Blood,’ which was developed by Clyde Phillips.

Is it possible to salvage a once-iconic show that once ended terribly? The original run of Showtime’s Dexter (2006-2013), which was based on Jeff Lindsay novels, started great, picked up a massive fanbase in its first four fantastic seasons, and then, after a couple of underwhelming, but still at least watchable (and rewatchable), seasons of television, it ended in a way that has made the original show a textbook example of how not to end a show.

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REVIEW: Scream (2022)

The Ghostface mask is back on the big screen alongside members of the original cast in 2022’s SCREAM — Photo: Paramount Pictures.

Directed by Matt Bettinelli-Olpin and Tyler Gillett (also known as ‘Radio Silence’) — Screenplay by James Vanderbilt and Guy Busick.

What’s your favorite scary movie? That question instantly makes me think of Wes Craven and Kevin Williamson’s 1996 horror movie modern classic Scream, which revitalized the horror slasher genre while commenting on tropes in a really clever and funny way. The so-called Ghostface killer, dressed in black from head-to-toe except for his white mask that appears to be inspired by Edvard Munch’s unforgettable painting (The Scream), asked that exact question to a nervous teen back in the 1996 picture, and the question has since become quite iconic. And, just for the record, my favorite scary movie franchise has, in fact, always been Craven and Williamson’s Scream meta-slasher series of films.

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REVIEW: Ozark – Season Four, Part One (2022)

Jason Bateman as Martin ‘Marty’ Byrde and Julia Garner as Ruth Langmore in ‘Ozark.’ — PHOTO: Steve Dietl / Netflix.

All seven episodes of Ozark: Season Four, Part One are available now on Netflix.

Nowadays, fourteen years (or so) after the release of the iconic AMC crime thriller series Breaking Bad, there have been many shows and showrunners that have tried to ape its style or tone. But I think one of the better comparisons to Breaking Bad is Netflix’s crime darling Ozark, arguably the family-centered crime series equivalent of Pepsi to Breaking Bad‘s Coca-Cola. Of course, Ozark’s cold and blue aesthetic and color-grading also fit quite well with that comparison.

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REVIEW: Munich – The Edge of War (2022)

Jeremy Irons as Neville Chamberlain in ‘Munich – The Edge of War,’ — PHOTO: Netflix.

Directed by Christian Schwochow — Screenplay by Ben Power.

Netflix releases an overwhelming amount of films on their service every year, and while not all of them are as great as their awards players, there are several hidden gems in their content library. Sometimes, though, their library can also feel like a dumping ground. In January of 2022, I’ve been a little bit worried about their recent English-language releases. I thought Monika Mitchell’s Brazen (a Lifetime-esque thriller starring Alyssa Milano) was bland and lifeless, and Rick Jacobson’s The Royal Treatment was a very cheesy, very generic, and very predictable romantic comedy. Though it isn’t without faults, Christian Schwochow’s terribly titled Munich – The Edge of War (the main title makes me think of the Spielberg film and the subtitle makes me think of it as an extremely generic picture) was much more up my alley. Based on what I’ve seen, this is the best 2022 Netflix film released thus far this January.

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REVIEW: The Last Duel (2021)

Jodie Comer as Marguerite in Ridley Scott’s THE LAST DUEL — PHOTO: 20th Century Studios.

Directed by Ridley Scott — Screenplay by Nicole Holofcener, Ben Affleck & Matt Damon.

Based on the Eric Jager non-fiction book of the same name, The Last Duel tells the true story of one of the last judicial duels in France in 1386, when Jacques Le Gris (played by Adam Driver) and Sir Jean de Carrouges (played by Matt Damon) went head-to-head in a trial by combat to decide whether or not Le Gris was guilty of raping de Carrouges’ wife, Marguerite (played by Jodie Comer). However, all three of their lives were on the line. Because their rules stated that if her husband were to lose the duel (and his life in the process), then the courts would regard Marguerite as a false accuser and sentence her to death as a result of his loss.

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REVIEW: The Tragedy of Macbeth (2021)

Kathryn Hunter in Joel Coen’s THE TRAGEDY OF MACBETH, now streaming on Apple TV+ — PHOTO: Apple TV+.

Directed by Joel Coen — Screenplay by Joel Coen.

The Coen brothers are obviously one of the most influential and acclaimed filmmaking duos of the late 20th and early 21st Century. I have had the great pleasure of watching and enjoying several of their films, and I think all cinephiles wait eagerly every time one of their projects is announced. The Tragedy of Macbeth is, however, a special entry in their filmography since it is the first solo effort from Joel Coen. Even though his brother did not work on this film, Joel Coen didn’t lose a step. The Tragedy of Macbeth, obviously an adaptation of an oft-adapted Shakespeare play that needs no introduction, is one of the best-looking films of 2021.

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REVIEW: Eternals (2021)

Marvel’s team of Eternals unveiling themselves to the people of Mesopotamia in the film’s opening sequences — PHOTO: Marvel Studios.

Directed by Chloé Zhao — Screenplay by Chloé Zhao, Patrick Burleigh, Ryan Firpo, and Kaz Firpo.

Although their films are immensely popular, it isn’t every day that Marvel Studios work with Academy Award-winning film directors, which makes Eternals special even on paper. Chloé Zhao, the Chinese-born acclaimed filmmaker behind Best Picture winner Nomadland, did, however, choose to have a major superhero blockbuster film be her follow-up to her poetic Oscars-favorite. In my experience, Zhao’s films (of which I think The Rider is probably her best work), which often feature non-actors, are defined by their open landscapes, contemplative themes, and an unshakable feeling that her narrative films are documentary-like. Therefore, this superhero epic is almost certainly her most accessible film, but it is also true that it feels different than most Marvel Cinematic Universe (MCU) films. Frankly, while there is a lot that I like here, I think Eternals ended up being a little bit too ambitious for its own good.

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REVIEW: King Richard (2021)

Will Smith as the titular character (right) with the Williams sisters (played by Demi Singleton and Saniyya Sidney) in KING RICHARD — PHOTO: Warner Bros.

Directed by Reinaldo Marcus Green — Screenplay by Zach Baylin.

Reinaldo Marcus Green’s King Richard tells the story of how Richard Williams (played by Will Smith) helped to shepherd and develop the Williams sisters — Venus (played by Saniyya Sidney) and Serena (played by Demi Singleton) — on their journey to tennis stardom. His determination to make a better life for his daughters brought them far, but in order for them to take the final steps to superstardom, he had to learn how to step back a bit.

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