JoshuaMercott

The Serpent Queen: All Saints Day (2024)

Elevated Historical-Fiction Intrigue! - Season 2 Review

The previous season was brilliant in its own right, and this one succeeded in taking things further. Based on the book "Catherine de Medici Renaissance Queen of France" by Leonie Frieda, this chapter continued to captivate.

With Queen Catherine de Medici helming another outstanding story arc, this time with the direct involvement of Queen Elizabeth I, "The Serpent Queen" season 2 bloomed into a feast for the historical-fiction senses.

With Queen Mary out of the way (see Season 1), Catherine now had to contend (in Season 2) with her tumultuous, cunning, and unpredictable Protestant cousin, HRM Elizabeth I.

Having expertly played the 'game of thrones', and experiencing tragedies and victories along the way, Catherine settled into her role as Regent of France.

Then along came Elizabeth I (portrayed exceptionally by Minnie Driver) who saw this as a ripe opportunity to kill two birds with one royal stone, thereby triggering an even more dangerous game, one in which Catherine may well have met her match.

With King Charles IX (played notably by Bill Milner) all grown up, Catherine had a lot more at stake than just her freedom - freedom through power, rather.

Samantha Morton (as Catherine de Medici) continued to impress with her remarkable attention to nuance and screen presence. This show wouldn't have turned out half as good with anyone else at the helm.

In fact, I can't see anybody else playing this Medici monarch other than her. Even when she broke the fourth wall, it only added to the style for which this series has grown popular.

Everyone brought their A-game to the final season of "The Serpent Queen". The historical drama delivered highs and lows, and suspense galore; heavily dramatised.

It was an outstanding and entertaining run, with modern end-credits soundtracks, shocking plot-twists, and more.

I will sorely miss this remarkable story and series enriched by numerous laudable performances, most powerful among them being Samantha Morton as Catherine de Medici, aka the Serpent Queen.

--- --- --- Memorable moments (old and new alike) from Emma McDonald (as Rahima; older version), Nicholas Burns (as Antoine de Bourbon), Danny Kirrane as (Louis de Bourbon), Raza Jaffrey as (François de Guise), Ray Panthaki (as Charles de Guise), Beth Goddard (as Antoinette Guise), Ludivine Sagnier (as Diane de Poitiers), Antonia Clarke (as Mary, Queen of Scots), Enzo Cilenti (as Ruggieri), Amrita Acharia (as Aabis), Alexandre Willaume (as Montmorency; older version), Stanley Morgan (as Prince Alexandre "Anjou" Edouard), Scott Folan (as Prince Hercule), Laura Marcus (as Princess Elisabeth), Philippine Velge (as Princess Margot), Isobel Jesper Jones (as Edith), Rosalie Craig (as Jeanne d'Albret), Angus Imrie (as Henry IV), Robin Greer (as Thomas), Ashley Thomas (as Alessandro de Medici), Alex Price (as Lord Throckmorton), Erick Deshors (as a protestant preacher), Henry Felix (as Lemur), Rupert Everett (as Charles V, the Holy Roman Emperor), Paulo dos Santos (as Prince Philip), and Joe Sheridan (as the Catholic League chief representative).

Mothers' Instinct (2024)

Uncompelling Blend of Shattered Psychology

The death of a child is always tragic. Imagine adding a silent blame-game to the mix. "Mothers' Instinct" concocted a passably engaging cocktail of emotion and intrigue.

It also adeptly portrayed one of the darker - not to mention rarer - sides of maternal grief.

The plot was based on Barbara Abel's novel, which was translated from its original French ("Derrière la haine") by Susan Pickford.

Anne Hathaway (as Celine) and Jessica Chastain (as Alice) were a powerhouse pair in the movie. As mothers, each brought a familiar yet exquisitely contrasting performance that was as nuanced as it was empathic.

An underlying ferocity and bewilderment kept tensions taut throughout the story. Despite their traditional lives and lifestyles, the two mothers - who were also homemakers, neighbours, and dear friends - saw themselves surrendering to a paranoia that slowly simmered until it boiled.

A scary side of a mother's love unfurled after one of the kids, Max, died while his mother Celine was busy cleaning. No matter what Alice did to warn her and the kid, it was too late.

After the accident, though, strange intentions began to manifest from Celine, who started behaving with Theo (Alice's son) as if he were her own while quietly blaming Alice for not doing more to save Max.

Eamon Patrick O'Connell (as Theo) and Baylen D. Bielitz (as Max) did noteworthy work. Both kids were focal points in the story and their performances - especially Theo, the kid who still lived - created heart-wrenching expectations.

Natural and amazing performances from Josh Charles (as Damien; Celine's husband), Anders Danielsen Lie (as Simon; Alice's husband), and Caroline Lagerfelt (as Jean; Celine's mother) made the movie feel rooted.

The 'shattered psychology' angle in this story enriched it in deep and fascinating ways. It complemented the 1960s setting and, at times, evoked psychological thrillers from that era.

The plot also covered gender roles and mildly anti-feminist aptitudes, which were prevalent in the 60s.

However, just when I thought they were going to do something redemptive with those elements, some portions of "Mothers' Instinct" began to feel like they were intentionally creating vulnerabilities and mental instabilities in its two leading women.

This seemed like an odd and lazy screenplay decision, especially considering already prevailing 60s-era portrayals of women.

Another inclusion I found strange was how some scenes felt as if they were deliberately 'put there' to progress the plot. Not to sound Scrooge-y but the kids - both of whom were old enough to understand personal safety - came across as stupid.

One (Max) didn't know to get away from a high drop that could kill him, and the other (Theo) was whiny and bratty. Theo even gravitated toward the very snack he was allergic to and that could kill him!

Apart from incredulous moments like these, the story stayed true to its promise of suspense. Anne Hathaway and Jessica Chastain carried the show across the finish line. I liked the modified take on 'a son for a son', which played out near the end.

"Mothers' Instinct" will certainly run like a horror movie to actual mothers. It also had a nefarious glaze that spoke to the low side of human nature, highlighted the nuances of misplaced instinct, and showcased a darker shade of motherly love.

Agatha All Along (2024)

Marvel Delivers a Fascinating Witchcraft-ian Twist - Season 1 Review

Witchcrafty magnificence met Marvel-style wonders in "Agatha All Along", a mini-series that enriched this year's Halloween with not just amazing performances and lore value but also a nifty tune that's been stuck in my head. I'm looking at you "Ballad of the Witches' Road".

Kathryn Hahn's dual performance as Agnes O'Connor (a detective in Westview) and, of course, coven-leader Agatha Harkness was astounding. She carried this series across the finish line in speedy witch-on-a-mission fashion.

I enjoyed how much depth, emotion (in connection to her son, Nicholas Scratch, whom she'd allegedly sacrificed), and badassery she brought to her character, thereby setting the tone for the rest of her magical co-stars to deliver a similar shade of excellence.

Remember the kid Billy Maximoff, Wanda's (i.e., the Scarlet Witch) son? Taking on the role of William Kaplan (alias), aka Billy Maximoff, was Joe Locke who, aside from some overtly emo vibes, did good work conveying the empathic essence of his character.

Everything that Patti LuPone (as Lilia Calderu) and Aubrey Plaza (as Rio Vidal) brought to the show further elevated it. Both their characters were unforgettable, especially considering the number of twists and turns in which they played their parts. Also, Evan Peters (as Ralph Bohner) made an amusing cameo-surprise.

After bringing Agatha back - in almost "Hocus Pocus" style - Billy, Lilia (Psychic witch), Jennifer Kale (Potions witch; played memorably by Sasheer Zamata), Alice Wu-Gulliver (Protection witch; played notably by Ali Ahn), Sharon Davis (Green witch; played witfully by Debra Jo Rupp), Rio (the next Green witch; Agatha's former lover turned reluctant ally; later revealed to be Death), along with Agatha herself, teamed up to seek safety from a dark coven of vengeful witches. They each also wanted to gain some power over their lives in the process.

Enter, the Darkhold. The dangerous grimoire spelled all sorts of serious trouble. In fact, it was the reason Agatha was trapped in a grand illusion, intricately connected to what we saw unravel in 2021's "WandaVision".

Speaking of which, the Darkhold belonged to the one and only Wanda Maximoff, aka The Scarlet Witch (previously portrayed by Elizabeth Olsen).

"Agatha All Along" pitted its titular protagonist against the Salem Seven - Vertigo (played by Okwui Okpokwasili), Coyote (played by Chau Naumova ), Crow (played by Bethany Michelle Curry), Fox (played by Athena Perample), Owl (played by Alicia Vela-Bailey), Rat (played by Britta Grant), and Snake (played by Marina Mazepa) - who, for centuries, have been eager to get their revenge on Agatha. It was a tad disappointing that their screen presence superseded any actual involvement in the script.

Secret ambitions and sinister goals defined the storyline as a magically impotent Agatha rose to meet the challenges posed by the trials of the Witches' Road, especially since it meant she could regain her full powers once more.

Add the fact that Billy's real identity - as Wanda's son - was kept hidden from Agatha and the other witches through the use of sigil magic, and the story took off in an intriguing direction.

Each of the trials brought something captivating to the tale. Classic spellcraft tropes confluenced into "Jumanji" style outcomes, resulting in a witchy showdown against fate itself. The showrunners wrapped it all up rather nicely in the final three episodes.

Only a handful of clichéd and contrived sequences made this script feel 'less than'. Otherwise, "Agatha All Along" delivered a steady stream of magical amusement that was well worth watching during the Spooky Season.

I don't think this should be classified as a mini-series anymore, not after that promising finale. Here's to a greenlight for "Agatha All Along" Season 2.

--- --- --- Memorable moments from Emma Caulfield Ford (as Dottie), David Lengel (as Police Chief Jones), Asif Ali (as Norm), David A Payton (as Herb), Elizabeth Anweis (as Lorna Wu), Scott Butler (as a hallucinated doctor), Laura Boccaletti (as Lilia's maestra), and Abel Lysenko (as Nicholas Scratch).

Lee (2023)

Extraordinary from Start to Finish

War photographers often rush into peril so they can capture a slice of history. More often, they end up experiencing dark and profound truths that change them, not always for the better.

Telling the story of the real-life Lee Miller was, I'm sure, not easygoing. She was one of the more complicated wartime photographers who could easily be defined as ahead of her time.

"Lee" saw the excellent Kate Winslet slipping into the skin of this iconic woman whose wartime footage set the standard for both women as well as men who aim to showcase the reality of battle from ground zero.

As a fashion model turned photographer and writer, Lee was an American who found herself clicking the truth of things during World War II.

One passionate romance stood out more than most. Lee's tryst with Roland Penrose - played superbly by Alexander Skarsgård - ended up staying with her till the very end. I liked how they portrayed their bond in this script.

Her later team-up with Life Magazine's Andy Samberg - played memorably by Davy Scherman - enriched the movie, and set spark to fuse on her wartime photography career. Winslet and Samberg had an interesting screen-presence combo - je ne sais quoi, if you will.

From early relatively carefree days with her European buddies, to her overtly free nature, this script did not shy from capturing the former Vogue magazine correspondent's own personal reality and hidden truths.

Before long, "Lee" transformed into a gripping and soul-searching biopic of one of the most acclaimed professionals to have lived and served during WWII.

With over 60,000 images and documents to her name, this prolific surrealist photographer and correspondent was long overdue a decent biopic. I found "Lee" to be one of the most soul-searching movies made in 2024.

"Lee" presented her story (Lee Miller's) with dignity, grace, and truth, to say nothing of how exceptional Kate Winslet was in what has become yet another career milestone performance for her to be proud of.

--- --- --- Captivating performances from Josh O'Connor (as Antony Penrose), Marion Cotillard (as Solange D'Ayen), Andrea Riseborough (as Audrey Withers), Seán Duggan (as Man Ray), Harriet Leitch (as Ann Douglas), and Arinzé Kene (as Major Jonesy).

Joker: Folie à Deux (2024)

Surprisingly Meaningful & Subtext-Rich

From a 'looney' opening to a spectrum of musical numbers, "Joker: Folie à Deux" definitively stated that it was going in an entirely different direction from anything the DCU - let alone the characters from Batman's rogues' gallery - had taken before.

In several regards, "Folie à Deux" took plenty of pages from the storytelling styles used in comic books, namely an artistic penchant to showcase alternate story arcs based on popular characters. Case in point, the "Absolute" series of comics from DC.

I honestly cannot understand the bad press this movie has received. It's almost as if some people never heard of musicals or even seen one before. Certain levels of illogic, fantasy, and imagined scenarios often hold sway in musicals.

I observed as much play out quite well in "Folie". Also, most of the songs were Broadway favourites immediately recognisable to audiences who cherish theatre.

Granted, the bold and showtunes-y decisions that went into this highly anticipated sequel should have made it a standalone movie in its own right. If only its Oscar-nominated (11, with 2 wins) prequel didn't exist.

Following that brilliant production with a risqué script like "Folie" wasn't altogether conventional. Regardless of its canon deviations, "Joker: Folie à Deux" turned out to be surprisingly meaningful.

The circus truly came to town, and in classic stage-musical fashion. "Joker: Folie à Deux" soon twisted into an intriguing portrayal of well-known characters who - in this seemingly alternate universe - conveyed their story through song.

It felt like Todd Phillips - the amazing Todd Phillips! - was trying to do something markedly different in the hopes of infusing the cinema-going public with a special flavour of vim and vigour.

Though a large number of people will disagree with my review, I personally stand by what Phillips set out to accomplish in "Folie".

He not only reignited some old musical favourites but also managed to weave together a captivating storyline that delved deeper into Joker's madness, to say nothing of how his already unstable mind - moulded by the hatred of Gotham society, I might add - met its match in Harley Quinn.

The sheer isolation and pushback he'd experienced in the outside world seemingly compelled him to drop into Quinn's romantic embrace. This too was a psychologically credible addition to the plot.

I also appreciated those portions of the movie where empathic elements took the stage and continued (much like in "Joker" 2019) to highlight the man behind the monster.

The split-personality elements as well as the more serious trial-related sequences all held merit where this infamous character was concerned.

It wasn't just hate that made Arthur 'hide' behind his Joker persona. In this movie, love made him do that as well. Where hate once made him the Joker, love bid him remain as Joker. This applied yet another layer of meaning to the plot.

Joaquin Phoenix (as Arthur Fleck) and Lady Gaga (as Lee Quinzel) were a great on-screen pair-up - even though their characters did not canonically meet like how they did in this movie.

Both artists lifted heavy loads to convey this tragically relevant story whose subtext apparently went over the heads of some moviegoers (tragic, this as well).

The story was slow-paced, which was ideal for this sort of script. Before long, "Joker: Folie à Deux" failed to live up to its critics and trolls and illuminated the creative pathway that Warner Bros. Chose to take with this DC project.

The total change in style - compared to the 2019 "Joker" - took little away from two of DC's most iconic baddies. In fact, it gave them an absolute makeover that convinced me to put aside my expectations and shift my perspective to see the world through their musical eyes.

Their (Phoenix and Gaga) powerhouse performances ensured the show went on, all the way through to that bombastic, and keenly interpretative, finish. Talk about a 'killing joke'!

We should also bear in mind that the Joker in the comics and cartoons - the Joker we've all come to love and loathe - wouldn't say no to a spot of singing. In fact, he sometimes broke into raucous song either to spite his nemesis Batman, torment his victims, or simply for the heck of it.

--- --- --- Engaging performances from Brendan Gleeson (as Jackie Sullivan), Catherine Keener (as Maryanne Stewart), June Carryl (as Dr. Louise Beatty), Jacob Lofland (as Ricky Meline), Harry Lawtey (as Harvey Dent), Steve Coogan (as Paddy Meyers), Leigh Gill (as Gary Puddles), and Connor Storrie (as an E-ward inmate).

The Substance (2024)

Perfection in Body-Horror Storytelling!

Just when I thought classic-era 'body horror" flicks couldn't be bested, "The Substance" happened to cross my scopes. The movie delivered big-time and showcased some of the finest filmmaking and performances in the genre.

"The Substance" also made enchanting Demi Moore (as Elisabeth) a 'comeback queen'. Her acting in this production rivalled some of her work in the 90s. She was, in so many ways, the heart, mind, body (in more ways than one), and soul of this script.

Her portrayal of Elisabeth, a has-been celebrity desperate to regain her glory days, was astounding on multiple levels. To achieve that outcome, Elisabeth said yes to a new drug making the rounds in the underground.

With the drug's incredible cell-replication biotechnology, she found herself instantly, albeit temporarily, growing a younger, more beautiful clone of herself.

Enter, Margaret Qualley (as Sue), who enriched every scene in which she featured. Her bold performance and confident screen presence - as Elisabeth's "other self" - added plenty of 'substance' to this movie.

The caveat - for almost-scientific reasons - was that the older and younger versions each had seven days at a stretch to spend in their respective bodies. If they failed to stick to their allocations, things could turn ugly and fast.

It was also intriguing to see what Dennis Quaid (as Harvey) brought to his role. He gave an interesting varied performance that complemented the core theme and message in this dark tale.

The longer I sat through "The Substance", the more I understood the acclaim it has garnered, and how it came to earn Best Screenplay at the 2024 Festival de Cannes.

Writer-director Coralie Fargeat has set a platinum benchmark in body-horror filmmaking. It's quite possible that "The Substance" will, for a while to come, be her best work in this genre.

There was so much to parse, slice, dice, and devour in this movie. It juxtaposed beauty and horror in ways that have to be seen to be fully appreciated, including that ultra-uncomfortable "Carrie" (-ish) finale.

And don't get me started on the social subtext throughout. That, in itself, made "The Substance" feel rich and relevant as a movie.

As for the nudity portions, they all felt portentous and personal instead of needlessly explicit. There was a hidden sense of disaster - creepy-skinwalker-like - in scenes as bare as those.

From the way Elisabeth came to access the strange bio-transformation drug, to how she went about auditioning for a younger role in the same studio that wanted her out because they believed she was too old to lift their ratings, and everything else besides, "The Substance" was a masterclass in storytelling, and I loved every frame of it.

To be grateful with who you are and what you have was the simple yet profound message in this unforgettable movie. It also went further and highlighted the prevailing plague of gender bias. But most importantly, this ingenious script reiterated the fact that beauty is definitely just skin deep.

--- --- --- Noteworthy moments from Robin Greer (as a nurse), Edward Hamilton-Clark (as Fred), Gore Abrams (as Oliver), Oscar Lesage (as Troy), Christian Erickson (as a diner), Hugo Diego Garcia (as Sue's boyfriend), and Yann Bean (as the mystery seller; voiceover).

Only Murders in the Building: My Best Friend's Wedding (2024)

Excitement meets Hilarity! - Season 4 Review

This show is a gift that just keeps giving. This season, it gave us more of Meryl Streep - my all-time favourite artist.

On another note, season 4 "Only Murders in the Building" also contained another masterfully twisty crime that elevated the story and its core characters.

Speaking of, Steve Martin (as Charles-Haden Savage), Martin Short (as Oliver Putnam), and Selena Gomez (as Mabel Mora) continued to captivate. They were, each in their own ways, funny, empathic, and amazing.

The wedding between Oliver and Loretta (Meryl) in the final episode was sentimental and sweet. She was off to New Zealand soon after, in keeping with her character's career demands. Perhaps season 5 of "Only Murders in the Building" will unfold on the island off Down Under.

Aside from magical Meryl, Eva Longoria, Eugene Levy, and Zach Galifianakis also guest-starred as their own real-life versions.

Special shout-out: Melissa McCarthy's (as Doreen) later appearance elevated this comedy series. Her scenes with Streep were outstanding, what with the both of them staying in character and giving fans a treat for our funny-bones.

Also, the catfight that broke out between the two of them evoked Meryl's performance in the 1992 cult-classic "Death Becomes Her" in which she'd starred with Goldie Hawn.

This season was essentially a 'movie within a series'. The plot contained Hollywood-filmmaking plans in the pipeline, which burst open in fits and starts as each episode rolled along.

The main characters were apparently so famous among their podcast audience that a movie was being scripted based on their work. Popular artists were cast to play their roles on the big screen, adding to the fun-funny business this show is renowned for.

Returning as well as new names did good work this season. Praiseworthy performances from Jane Lynch (as Sazz Pataki), Michael Cyril Creighton (as Howard Morris), Amy Ryan (as Jan Bellows), Da'Vine Joy Randolph (as Det. Donna Williams), Jackie Hoffman (as Uma Heller), Paul Rudd (as Glen Stubbins), and Kumail Nanjiani (as Rudy Thurber).

Sazz Pataki (Jane Lynch) was dead. The podcast-trio found themselves trying to solve her especially convoluted, not to mention personal, murder.

The 'reel-life' actors and their 'real-life' counterparts attempted to solve Sazz's (Charles's former stunt double) case, all the while believing that the real target was Charles. The 'screen trio' often got in the way of the 'real trio's' investigation, and funnily so.

Events picked up from there and progressed along a classic whodunnit route, with a just-as-classic "Only Murders in the Building" flourish, leading to an impressive - and wholesomely unexpected - finale, followed by a shocking twist.

Things weren't as laugh-out-loud funny this time round as in previous seasons. But that seemed intentional, given the subject in S04.

Nevertheless, this show never gets old; something I rediscovered watching the fourth innings. I loved their clever use of red herrings to keep us guessing until the almost-unpredictable killer reveal.

"Only Murders in the Building" has everything needed to have the last word in murder-comedy, at least for a few years to come. Here's to whatever they're cooking up for season 5.

--- --- --- Special shout-outs: Molly Shannon (as Bev Melon), Scott Bakula (as himself), Richard Kind (as Vince Fish), Daphne Rubin-Vega (as Inez), Lilian Rebelo (as Ana), Desmin Borges (as Alfonso), Veanne Cox (as Dr. Maggie), Jin Ha (as Marshall P. Pope), Catherine Cohen (as Trina Brothers), Siena Werber (as the Tawny Brothers), Griffin Dunne (as Milton Dudenoff), and Teddy Coluca (as Lester).

Caddo Lake (2024)

Beautifully Complex /w Artful Sci-Fi Bits

Taking the disappearance of a little girl and elevating it using chilling time-travel twists, "Caddo Lake" took me by complete surprise and delivered an unnervingly great story that sent chills down my spine at every turn.

One family seemed to be the victim of multiple disappearances in the vast stretch of bayou known as Caddo Lake - on the border between Texas and Louisiana. This cleverly written script superbly showcased what they didn't know.

Instead of focusing on disparate normal causes - which this plot contained in good measure anyway - "Caddo Lake" employed a sinister Science-Fiction element that worked wonders for its plotline.

That was where my surprise piqued and I couldn't help but enjoy the time-travel based layering this story possessed. The thrill and skill of it may, I think, have set a mid-level benchmark in the genre.

Remarkable performances from Dylan O'Brien (as Paris Lang) enriched the story. I have been O'Brien's fan for years and he didn't disappoint in this role. Weaving empathy and anxiety into a character who later proved to harbour more than a few secrets is not as easy to enact as Dylan O'Brien made it seem on screen.

On equal footing was Eliza Scanlen (as Ellie Bennett) whose screen presence and dialogue deliveries were compelling in all the ways that mattered.

Laudable contributions from Sam Hennings (as Ben Lang), Caroline Falk (as Anna Bennet), Diana Hopper (as Cee), Lauren Ambrose (as Celeste Bennett), and Eric Lange (as Daniel Bennett) further lent "Caddo Lake" everything it needed to stand out in the mystery-thriller crowd.

Out-of-place creatures (long-extinct wolves and moths), strange noises, missing people (especially the recently missing Anna), a maze-like bayou with a time-travel pocket dimension that took entrants back to 1952 (!), and unpredictable reveals connected to one family's (the Bennets) frayed past.

All of this made "Caddo Lake" run true to form. I thoroughly enjoyed watching this movie - and its stunning finish - enough to believe it is one of 2024's most underrated titles.

--- --- --- Notable addons from Lance E. Nichols (as Dr. Mitchell), Jules Hilillo Fernandez (as Claire), Zedrick Tinsley (as Zed), and David Maldonado (as Sheriff Mark Taylor).

Alien: Romulus (2024)

Intense & Suspenseful SciFi Nostalgia

Simply say the word "Alien" and chances are some of the people around you will either look up or around with eyes wide and hearts beating with enthralled expectations.

That word has been around for decades, evoking extra-terrestrial humanoid entities and planetary invasions. Though I'm not looking forward to a large-scale invasion of off-worlders just yet, I did have a keenly anticipated movie to look forward to.

"Alien: Romulus" proved to be a special for-the-fans project that deserves appreciation on numerous counts, particularly its attention to minimalistic horror, i.e., fewer moments with the actual monsters and more suspenseful moments leading up to them.

This production is part of the bigger more popular Alien movie franchise, which started with the hit 1979 misadventure. In keeping with the spirit of these movies, "Romulus" delivered a Science-Fiction Horror co-written by the ingenious Fede Álvarez along with Rodo Sayagues.

Elevating their remarkable script was a superb cast of artists. The first one who comes to mind is Cailee Spaeny who gave her character Rain an outstanding portrayal, equal parts nuanced and evocative of the original Ripley (played by the inspiring Sigourney Weaver).

Being essentially a spiritual successor to Sigourney Weaver's Ellen Ripley, Rain Carradine had a lot of actions and decisions revolving around her. Spaeny also lent her character some of that stubborn empathy we've come to love in Ripley.

Archie Renaux (as Tyler), Isabela Merced (as Kay), Spike Fearn (as Bjorn), and Aileen Wu (as Navarro) did notable work as the crew of the space shuttle.

David Jonsson (as Andy; the android) gave a most memorable performance in this movie. I have a good feeling he's going to become a favourite for a bunch of genre fans.

Just as important, if not more so, were Trevor Newlin and Robert Bobroczkyi's acting. The former suited up as some of the iconic Xenomorphs, and the latter (a recently famous former Romanian basketball player) lent outstanding screen-presence to the Offspring - an alien-human hybrid that resembled the entities I saw in the 2012 movie "Prometheus" within the franchise.

Special shout-out to Annemarie Griggs (as MU/TH/UR). Her intermittent voiceover was strongly reminiscent of the original ship's computer "Mother" (voiced by Helen Horton) in the first movie.

An even more special shout-out to Ian Holm (as Rook), whose facial overlay took me back to my younger years when I'd seen him in the original.

In this 2024 story, the plot was nestled between the events that occurred in the 1979 "Alien" movie and its 1986 sequel. A group of young space colonists were tasked by the Weyland-Yutani Corp. With scavenging the derelict space station Nostromo (the one and the same).

Before long, they ended up coming face to face with a terrifying alien species that was more predatory than they ever thought possible. A whole colony of them was alive now, having started as cocooned 'eggs' that looked like floating meteorites.

Now, don't be fooled into thinking "Alien: Romulus" is a run-of-the-mill story from a franchise that's being recycling the same tropes again and again. Remember, the setting of this story placed it sometime between the first two Alien movies - released in 1979 and 1986 respectively.

This script thus gave fans more to learn and love about what the iconic Ellen Ripley experienced as well as some extra-juicy origin details about the aliens in this particular filmverse.

I remember hearing about Disney presenting exclusive footage at CinemaCon that left most attendees in awe of the practical effects the team used in "Romulus". This nostalgic technique soon became the highlight of the movie.

I earnestly admired the old-school movie magic they integrated into this 2024 storyline, which tied in nicely with what Discussing Film shared online: "The small alien is brought to life via puppetry, with it coming out super slow and giving the audience enough time to notice the small details in its design. It's an incredible visual that makes Alien: Romulus feel more in line with the first Alien trilogy than the recent prequels. The footage ends with a montage of other moments from the film, including our first look at the full body of an adult xenomorph, which looks like an actor in a practical suit more than an animatronic."

Now to Ridley Scott, the OG "Alien" director (of the 1979 blockbuster hit). His seal of approval for "Romulus" came when he not only praised the movie's writing and overall quality but also when he stated that it was a promising addition to the franchise. He also happens to be one of the producers on this project.

I would like to wrap up by sharing the elevating words spoken by "Alien: Romulus" director Fede Álvarez himself to The Hollywood Reporter: "For the creatures, we brought in all the guys from Aliens. They were in their early twenties when they made Aliens, and they were a part of Stan Winston's (special effects) team. And now we had them at the top of their game. They have their own shops, and so we brought them all together to work on all the creatures, because we went with all animatronics and puppets at every level.

"I have this obsession with no green screens, so we built every creature and set. Everything had to be built so we were really living and breathing in these spaces. But I'm not an anti-CG guy. I still do VFX shots in my movies to this day. I'll cut and do VFX shots on my computer, sometimes. So it's just whatever is best for the shot, and when it comes to face-to-face encounters and moments with creatures, nothing beats the real thing.

"For the sets, we built spaceships and we built miniatures. We went back to all of that. And then we figured out ways to marry it with the CG world. There's (sic) some things that only CG can do for the scope and movement. So it really has to be the right tool for the shot. Ideally, you should never feel like you're watching CG. Ideally, there should be nothing there where the audience goes, 'Well, that was clearly CG.' It should always feel practical, but I prefer practical because I want to see it when I'm there (on set)."

Fede Álvarez certainly lived up to those words and - dare I say it - has made franchise history with "Romulus" which, I hope, inspires a new generation of movie enthusiasts to go watch the original masterpiece.

Suspense and surprise mingled with horror and intense Sci-Fi storytelling in this excellent instalment that, I believe, has created a golden benchmark in the space occupied by the "Alien" franchise.

Monsters: Hang Men (2024)

Peek into the Plague of Lies & Abuse - Season 3 Review

"Monsters: The Lyle and Erik Menendez Story" took the third season in a darker direction. Two sons guilty of murdering their parents may seem like a cliché, except for the nuances of their case which - seeing as how it's based on a true story - is still creating ripples in legal circles.

The parents, who later became victims, were Jose and Kitty Menendez, portrayed superbly by Javier Bardem and Chloë Sevigny; respectively. Both - especially Bardem, who deserves an award for this one - gave gripping performances that were convincing to a fault.

As for the sons, Cooper Koch (as Erik Menendez) and Nicholas Alexander Chavez (as Lyle Menendez) gave masterful performances that made them not only actors to watch but also powerful storytellers who took the pain and complexity of their respective characters and lent them a strange shade of humanity that deserves to be seen, though not necessarily indulged in the real world. Because, for all we know, they could well be guilty of committing pre-meditated parricide.

Set in the late 80s and 90s, this gruesome plot went where few such stories dare to go. It was amazing to note how the writers included relevant case points and criminal possibilities without sacrificing entertainment value.

Thus enriched, the series delivered a great third season that captured so many facets of Erik and Lyle's deeds during the fateful August of 1989. It has been alleged that the crime was committed due to sexual abuse on the part of the father toward his sons, both of whom seemed unusually naïve and oddly passive throughout their alleged ordeal.

Also, I'm not sure if the sexual tension bordering on incest that the two brothers shared in the show was based on actual evidence. I later learned that it probably did. This added another layer of psychological intrigue to the script. Also, the brother Erik seemed to be inclined toward men quite early in his life.

Gun control, or lack thereof, quickly became a key focal point in the story. After all, the brothers ended their parents after legally purchasing firearms from a store in LA.

As compelling as it all felt, though, viewers need to remember that the show is just a show. The team used what information was publicly available to weave a gripping tale for commercial consumption. There are still kinks in the brothers' case that haven't been properly ironed out, as evidenced by recent changes to their casework in 2024.

From a prolonged single-take that spoke to acting excellence (E05, between Erik and Leslie), to remarkable attention showered on script and character detail throughout, "Monsters: The Lyle and Erik Menendez Story" proved it could hold its own in the lake of outstanding anthologies comprising the "Monsters" TV series.

All in all, this season showcased the ignominies of abuse and its contagious power to pass from one generation to the next. So little is definitively known about why victims later become perpetrators. But this real-life dramatization came a little closer to shedding light on that sad and sinister psyche.

Whether or not the Menendez brothers were genuinely guilty of the crimes for which they were accused, this show succeeded in reminding us of the fallibilities of corrupt legal systems and how over-glamourized 'celebrity murder trials' continue to do less for justice than some people would like to believe.

--- --- --- Noteworthy performances from Dallas Roberts (as Dr. Jerome Oziel), Leslie Grossman (as Judalon Smyth), Ron Bottitta (as Police Chief Iannone), Jason Butler Harner (as Det. Les Zoeller), Salvator Xuereb (as Robert Shapiro), Brandon Santana (as Tony), Ari Graynor (as Leslie Abramson), Nathan Lane (as Dominick Dunne), Michael Gladis (as Tim Rutten), Orlando Pineda (as young Jose Menendez), Belle Shouse (as young Kitty Menendez), Hugo Medina (as Edgardo Diaz), Mara Casey (as Marzi Eisenberg), Alex Rollins (as Paul), Neil Vincent Smith (as John Thomas Sweeney), Jess Weixler (as Jill Lansing), Paul Adelstein (as David Conn), Patrick Breen (as a jury alternate), and Vicki Lawrence (as Leigh).

Beetlejuice Beetlejuice (2024)

Campy Chills & Nutty Nostalgia!

The hype was real and the juice indeed got loose in "Beetlejuice Beetlejuice". The highly anticipated sequel delivered big-time this year, not only on the nostalgia angle but also the many thrills-n-frills this franchise - and its titular bio-exorcist - are famed for.

It was iconic to see Michael Keaton reprise his role as Beetlejuice. In addition to Tim Burton returning to direct, this movie had the right witchy ingredients needed for bubbling success.

It's been 36 years! The 1988 "Beetlejuice" is still Halloween gold. But the latest 2024 sequel came close to hitting the mark. I wish they showed more of Keaton and Bellucci's antics, but oh well.

This time round, the Deetz family were heading back to their roots in Winter River, Connecticut, following the death of Charles Deetz (formerly played by Jeffrey Jones). Also, Lydia was going back with a teen daughter, the rebelliously witty Astrid.

It was fantastic to see Winona Ryder (as Lydia Deetz), Catherine O'Hara (as Delia Deetz), and Jenna Ortega (as Astrid Deetz) pack so much nostalgia value into this script.

I also liked the romance angle they explored between Astrid and Jeremy (played memorably by Arthur Conti). Those two gave off classic 'like attracts like' sparks until things turned ghastly-ghostly rather quickly.

Then there was Willem Dafoe (as Wolf Jackson) and Danny DeVito (as the afterlife janitor), both of whom were unforgettable in their roles. They also brought back fan-fave sidekick Bob (performed by Nick Kellington).

Now we come to the majestic Monica Bellucci (as Delores). She gave a gripping-good gothic performance as Betelgeuse's (actual spelling) undead Frankenstein-ian ex-wife. She was out for bloody vengeance and, in the process, redefined the phrase 'drop dead gorgeous'.

I highly recommend you see the original movie - even if you already have - before leaping headlong into this sensational (could've been a tad better) sequel.

That dratted town model, which doubled as some sort of summoning 'circle', once again became the source of supernatural chaos when Betelgeuse was unwittingly called forth from the afterlife.

Macabre madness soon unfurled with sinister glee, illicit subtext, and dark comedy galore. Everything about this sequel screamed fun-funny moments but, as I stated before, the script had wiggle-room to do better.

--- --- --- Laudable contributions from Justin Theroux (as Rory), Sami Slimane (as Le Tigre), Burn Gorman (as Father Damien), Amy Nuttall (as Jane Butterfield), and Santiago Cabrera (as Lydia's dad).

Hellboy: The Crooked Man (2024)

Extraordinary Folk-Horror Fan Flick

Making a remarkable case for fan-made ingenuity in filmmaking, "Hellboy: The Crooked Man" was a strangely welcome surprise.

The movie not only captured a lot of the essence of Mike Mignola's original Hellboy character - from the "Dark Horse" comic of the same name - but also went on to tell a dark and riveting story that most fans like myself will certainly appreciate.

Jack Kesy's portrayal of Hellboy was at once outstanding and weighty. He gave the character the look, voice, and presence (most importantly) that he's known to possess in the comics.

Set in the late 50s (1959, to be precise), this plotline saw Hellboy and a B. P. R. D. agent - a para-psychologist named Bobbie Jo Song (played notably well by Adeline Rudolph) - embarking on a serious supernatural mission, which took them to the Appalachian Mountains in North America.

Impassioned performances from Jefferson White (as Tom Ferrell), Hannah Margetson (as Cora Fisher), Leah McNamara (as Effie Kolb), and Joseph Marcell (as Reverend Watts) further enriched this script.

Witchy goings-on and a demonic entity known simply as the Crooked Man (played superbly by Martin Bassindale) - whose sole purpose was to collect souls for the Devil - took centre stage and gave Hellboy a run for his sulphur.

Even without A-grade CGI, "Hellboy: The Crooked Man" was more than entertaining, not to mention intriguing. It also possessed plenty of "Resident Evil" and "Silent Hill" style moments.

After a short while, I stopped caring about its B-movie vibes and thoroughly enjoyed the attention to story, timeline, and character this movie contained.

I was a tad disappointed they didn't show Hellboy's fiery-horned Anung un Rama avatar at some point. It followed the comic-book story, I'm sure, and may show more in a sequel. Regardless, this adaptation proved to be a genuine ode to the character and his dark past.

Most of the horror-thriller angles were on point, with particular emphasis on folk-horror and related superstitions. All this made me wonder just how much better this movie would've turned out with a more generous budget.

Admitted, the script did not take too many risks. It also gave off a conventional vibe that played well within familiar boundaries. But that took little away from the overall value of this project.

"Hellboy: The Crooked Man" is a must-watch for any Hellboy fan. It captured the essence of this iconic character, something a handful of 'big studio' productions have previously failed at achieving.

As creepy as it was interpretative, "Hellboy: The Crooked Man" was a slow-n-suspenseful take on a comic-book favourite. I genuinely liked the alternative route they took with this one.

--- --- --- Notable work from Suzanne Bertish (as Grammy Oakum) and Carola Colombo (as Sarah Hughes).

Speak No Evil (2024)

Twisted Dark-Psychology Brilliance!

Dark family truths unravelled with sinister aplomb in "Speak No Evil", a movie I didn't think would be as gripping as it proved to be.

The story took two families vacationing in Italy, let them make plans to meet elsewhere, later brought them together as fate would have it, and slowly wove threads of dramatic intrigue and dark possibilities into their time together.

Family 1: James McAvoy (as Paddy), Aisling Franciosi (as Ciara), Dan Hough (as Ant).

Family 2: Mackenzie Davis (as Louise), Scoot McNairy (as Ben), Alix West Lefler (as Agnes).

As the plot progressed, I couldn't help but admire McAvoy's incredible range. His portrayal of Paddy held this entire movie together. I have always enjoyed his acting, and adored his villainy in "Speak No Evil".

Alpha-male posturing dipped into toxic territory when Paddy decided he wanted things done a certain way. So much of the action-reaction elements revolved around his superbly well-written character.

All the other artists, including the kids, did amazing work. I especially admired how they didn't rush through their scenes but made every moment feel natural and intense.

The sheer horror that played out in due course more than made me love what this movie brought to the table. In several regards, both families showcased a 'social experiment' that was worth watching.

The story focused more on the thriller angles, though, but the social hierarchy bits were subtly present where needed. It reminded me so much of what I saw in the 2022 movie of the same name.

Some research later, I learned this 2024 movie was based on the 2022 one's screenplay from the same writers. Huzzah!

The "Speak No Evil" story was so captivating that I didn't even realize two hours had gone. The events in this underrated story will haunt me all month, if not longer. It reiterated how, sometimes, the real monsters among us are human.

Cuckoo (2024)

Eerie-Scary /w Interpretative Vibes

From America to the Bavarian Alps (Germany), a teen girl found her family situation changing, not necessarily for the better. "Cuckoo" gradually bloomed into a horror-thriller that was beyond anything I'd expected to see when I hit play.

The plotline contained more than a few unpredictable twists. Empathy coexisted admirably with fright and terror in this story. I still feel this is one of Neon's criminally uncelebrated titles.

In "Cuckoo", a father named Luis - played well by Marton Csokas - seemed bound to his boss's every whim. The latter, Herr König, was given creepy life by Dan Stevens who did noteworthy work in this tale; his accent game was also on point.

Aside from her mute half-sister Alma (played by Mila Lieu) and step-mother Beth (played by Jessica Henwick), the real show-stealer in this movie was Hunter Schafer who breathed powerful life into her character, Gretchen.

The destination resort they were headed to contrasted with the dark agenda waiting for them there. It elevated "Cuckoo" into an exceptionally chilling horror feature that will stay in my mind for a while.

A classic case of secrets being revealed and family truths coming to light further enriched this script and lent it depth and potential. Eldritch horror - almost Lovecraftian in substance - wrapped this story in bandages of bizarre brilliance.

A strange piercing bird-like call kept the plot-tension strong. Apparently, the call was so compelling that anyone who heard it couldn't help but get dizzy and imagine actions they didn't (and couldn't) actually perform.

The source of those chilling calls came from a creepy hooded half-human woman (played by Kalin Morrow), one of whose 'children' was another woman (played by Jana Bange).

The avian humanoid's weird quirk seemed to be natural, and was apparently entangled in König's forbidden experiments.

Possessing answers to this conundrum was a determined police officer (?) named Henry (played notably by Jan Bluthardt). He shed light on some of the bizarre goings-on at the Alpine resort, particularly in the adjoining woods.

Herr König soon reclaimed control of the narrative. But by then Gretchen was not in a good place. The story grew rife with uncertainty as it amplified the fear factor and delivered an open-ended finale.

As empowering as it was unnerving, "Cuckoo" - and its protagonist - took me through an increasingly discomfiting ride that I thoroughly enjoyed as a genre fan.

The simple yet enormously compelling cuckoo-bird theory - Homo cuculidae, as espoused by Dr. Danielle Bonomo (played neatly by Proschat Madani) - was the cherry on this creepy cake. It more than put paid to the strange happenings in this even stranger script.

--- --- --- Worthy contributions from Greta Fernández (as Beatrice), Konrad Singer (as Erik), and Astrid Bergès-Frisbey (as Ed).

The Front Room (2024)

Psychotic Family-Drama Thriller

An eerie foreboding vibe lingered throughout this movie. The plot took a married couple who were expecting a baby and gave them a sinister stepmom-in-law affliction that deserved to be seen.

At first I thought Brandy Norwood (as Belinda) and Andrew Burnap (as Norman) wouldn't pull off the chemistry needed for this script to be sufficiently compelling.

However, as "The Front Room" progressed, they made every scene count and lent their collective experience a gravitas worth appreciating.

Now for the elephant in the room. Kathryn Hunter (as Solange) was the villain none of us knew we needed.

She was creepy, sinister, cruel, heartless, and most annoying, including during her interactions with Belinda and Norman's newborn Laurie.

Every word from Solange was gripping and held dark meaning. She soon became the bridge and beating heart of "The Front Room".

To be honest, I sat through the movie mainly because of her performance and grew curious to see how it would all end.

"The Front Room" was not an average thriller. It contained a slow-burn suspense reminiscent of retro classics but with an overtly zealous American-Christian twist.

The script itself was far from original. However, what it lacked in quality it more than made up for with memorable performances and psychotic twists.

I started this movie with a sly notion that I might end up critiquing it. Instead, I ended up clicking with its vibe and being glued to my seat as I sat through one of the strangest family-drama thrillers to come out of 2024.

--- --- --- Good contributions from Mary Testa (as Mary) and Neal Huff (as Pastor Lewis).

House of Spoils (2024)

Underrated Chills, Delicious Appeal

The high-tension world of blue-collar cuisine is not for everyone. Skill meets technique, glazed with passion and potential, all to create food-art that is not only palatable on the tongue but also pleasing to the eye and satisfying for the soul. Tall order, indeed.

"House of Spoils" bottled some of that awesome wonder as it drifted into its core theme. Horror was the order of the day and the chef leading this story didn't quite know what she was getting herself into.

Desirous of becoming head chef at her own restaurant, Ariana DeBose's character - who remained nameless throughout the movie - discovered what appeared to be the perfect place for her future culinary dreams.

But that place also happened to host a witchy past, which soon came back to haunt her - and quite literally, with disgusting visions of rot and infestation - as soon as she started to ply her delicious trade.

The estate's deceased owner seemed intent on ruining the young and talented chef's dreams. I liked what the witch in question did as "House of Spoils" progressed. Imola Gáspár held a simple yet sinister presence.

Ariana DeBose gave a riveting performance that kept me on edge. She was equally anxious and ambitious, making her character feel real and rooted. This is one of her more underrated roles, in my opinion.

The discovery appeal of traditional, almost rural, cooking enriched this movie through a set of 'witchy' garden-grown ingredients not all of which were popularly used in mainstream cooking.

As someone who likes to cook, I quite enjoyed the way DeBose learned new things and used the new place and its earthy goodness as her muse. In this regard, all the meal prep sequences felt promising and looked singularly appealing in "House of Spoils".

The concept "feed the soil" - and the soil shall feed you (implied) - added a potent layer of storytelling value, resulting in a movie that was not only empowering but also surprisingly meaningful.

But the most important facet of all in "House of Spoils" was that there was no witch at all, no dark deeds, no ritual bloodletting. As was often the case, a misunderstood woman became the target of a mob and her soul was yet to find justice and peace.

--- --- --- Laudable performances from Marton Csokas (as Marcello Ricci), Arian Moayed (as Andreas Sultani), Barbie Ferreira (as Lucia), and Gabriel Drake (as Alvin).

Salem's Lot (2024)

Surprisingly Sub-Par, Deserved Better

A stalking vampire, an author in need of inspiration, and a beleaguered town helped define what happened in "Salem's Lot".

Based on the popular novel (published 1975) by Stephen King, this story took the fear of the dark and gave it a simple yet nostalgic spin.

Speaking of, there have been different adaptations for this story, particularly the 1979 TV mini-series, the 1987 dark-comedy movie, and the 2004 TV series.

In the latest 2024 adaptation, "Salem's Lot" checked off all the same boxes but with a slightly better VFX and creature-design spin.

That said, surprisingly average performances from Lewis Pullman (as Ben Mears) and Makenzie Leigh (as Susan Norton) did the story few favours.

Alfre Woodard (as Dr. Cody) and Bill Camp (as Matt Burke) contributed some captivating moments to their scenes, but they too fell flat as characters.

In fact, all the character development was sub-par, to say nothing of how sadly the script dealt with its side-players, many of whom were imperative to the plotline; the original book included.

Ben (the protagonist) spent a good portion of his childhood days in Jerusalem's Lot, Maine. This location was the titular Salem's Lot, a dark moniker that it had well and truly earned.

Seeking inspiration for his next book - interesting connections here to the real-life writer King himself - Ben was returning to the town after 25 years. His focus was Marsten House where he recalled experiencing something unnatural during his youth.

As time went, Ben realized a silent evil was steadily transforming the people of Salem's Lot into vampires. Desperate at first to stop the growing undead population, Ben soon found himself struggling to survive instead.

Alexander Ward (as Kurt Barlow) did great work as the vampiric evil that arrived in Salem's Lot thanks in part to his servant Straker (played by Pilou Asbæk).

Barlow's character design - reminiscent of Nosferatu - and creepy-gravelly voice were the only two elements I genuinely liked in this movie.

With a tale this good, you'd think the 2024 movie adaptation would have plenty of material to work with. Sadly, the script was criminally shallow and the movie - despite the promise of today's superior filmmaking capabilities - fell short on several counts.

Remember, this is an old story going back to the mid-70s. Not only did the latest remake fail to capture that old-school atmosphere, it went on to tell the story as if it was intended for brand-new audiences.

The way it catered so little to art and relied so much on dumb writing made me feel dejected in more ways than one. Despite its 2-hour runtime, the script felt like it was going nowhere and lacked the bite (pun intended) it was supposed to possess.

Part of me wondered what Stephen King might have said in the conference room, and if any heads rolled as a result of such shoddy filmmaking and overuse of contrivance.

Barlow's look, the town-takeover scene (at the church), and the 'cars as coffins' moment (at the drive-in theatre) were the only fascinating bits in this otherwise mediocre and mundane retelling of one of the scariest stories ever published.

Memo to reader: do NOT judge the book by the movie. Moments like these make me glad King's book is still gold. I think I will cleanse myself of the memory of this remake by re-reading the novel, which I remember made me shiver too many years ago.

--- --- --- Notable moments from Timothy John Smith (as Royal Snow), Mike Kaz (as Hank Peters), Marilyn Busch (as Eva Miller), Jordan Preston Carter (as Mark Petrie), Nicholas Crovetti (as Danny Glick), Declan Lemerande (as Richie Bodin), William Sadler (as Parkins Gillespie), Kellan Rhude (as Floyd Tibbits), John Benjamin Hickey (as Father Callahan), and Debra Christofferson (as Ann Norton).

Thelma (2024)

Funny Takes on Deep-Fakes

Cloning someone's voice and scamming people near and dear to them was at the heart of this story. "Thelma" tackled more than a few relevant issues, asked even more pertinent questions, and made compelling observations, all within comedic boundaries.

Playing the titular Thelma Post was June Squibb who gave her senior-widow character a realism and 'digital innocence' that was as funny as it was credible.

As her grandson Daniel, Fred Hechinger did noteworthy work and was hilarious where it mattered.

As the parents, Richard Roundtree (as Ben) and Parker Posey (as Gail) brought interesting balance.

Though most of the characters were essentially caricatures, the stereotyping only ended up complementing this script, which did not pretend to be anything more than a silly-filly comedy for relaxed entertainment.

Refusing to accept her circumstances, and facing a potential senior-home shift, Thelma decided to go out of her way to reclaim the ten thousand dollars a scammer convinced her into mailing them after using her own grandson's deep-fake audio.

Fate later teamed Thelma up with an old acquaintance named Ben, whom Richard Roundtree played to exemplary effect.

As for Malcolm McDowell (Harvey), he proved to be a pleasant surprise and an intriguing villain.

The movie took the usual lanes. As I stated before, this was a casual-comedy worth watching for the fun of it and not deserving of too much critique.

On that note, the story was idealistic in the extreme. Because such scammers are growing increasingly common everyday, finding new techno-tools with which to trick people, and proving notoriously difficult to catch.

Deep-fakes and phone scams are a serious menace that have surprisingly not riled up the world's crime agencies as much as they should have by now.

To know that "Thelma" 2024 is based on a true story brings my earlier points round full circle. The real Thelma has most certainly earned my respect.

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Deadpool & Wolverine (2024)

Stunning Satisfaction!

This insane movie needs little introduction, but allow this fan to scribble his thoughts anyway. "Deadpool & Wolverine" proved to be one of those rare Marvel live-actions that did it right.

The story contained a mélange of lore and nostalgia through numerous sequences that captured a dual superhero-antihero team-up for the ages.

The plot itself, bear in mind, was a grand and excessively gore-ious welcome extended by the MCU to Deadpool, marking his official entry into their extended cinematic universe.

As with most things involving Wade Wilson, he created a twist nobody saw coming, in this case the recruitment of the one and only Wolverine from an alternate timeline.

Speaking of which, it was interesting to see the Time Variance Authority return after having witnessed their travails and troubles in the 2021-2023 TV series "Loki" starring Tom Hiddleston.

Also, as with most things involving Wade Wilson, everything that could possibly go wrong did go wrong.

Before long, Wolverine and he found their fates tied to that of two universes, namely Deadpool's and Wolverine's - the one he "let down" following a bloody killing spree that ended the X-Men and numerous innocents.

Before I continue, I would like to scratch a fan-itch and state just how much I - despite the spoilers that flew all over the Internet and smacked me in my Insta-browsing face - adored the entry of yesteryear favourites like Elektra (Jennifer Garner reprised her role), Sabretooth (Tyler Mane made a brief comeback), Channing Tatum (as Gambit; he's still got it), Pyro (Aaron Stanford continued to be an inflamed traitor), and the outstanding Blade (enlivened by the one and only Wesley Snipes).

In addition to Dafne Keen recreating Laura, aka X-23, and giving her a more badass spin this time round, it was amazing to see Henry Cavill gift us all an alterna-verse 'Cavillrine' and Chris Evans take on the classic case of Johnny Storm, of Fantastic Four fame in which universe he was known as The Human Torch.

We come now to the actual villain in this script, namely Cassandra Nova (from Earth-616). I loved what Emma Corrin did with this ill-fated character, who (according to comic-book lore) was the twin sibling of the uniquely gifted Prof. Charles Xavier. Check out her 'Mummudrai' backstory and get ready to be mindblown.

All the many variants of Deadpool also put on quite a show in this movie. From the action choreo to the dance sequences, not to forget all the moments the 'merc with a mouth' put paid to that nickname of his, "Deadpool & Wolverine" was a stellar story heroically told.

Aside from Wade's snide and sarky comments and his penchant for breaking the 'fourth wall', "Deadpool & Wolverine" bloomed into one of the most entertaining titles to come out of the MCU this year.

Remember to catch that nostalgic X-Men BTS footage roll mid-credits and, of course, the classic post-credits scene à la Marvel.

This movie has gone and set a high benchmark for Marvel films that are still in the pipeline. Two accursedly immortal heroes put on a performance that will echo "like a prayer" through the halls of nerdom and the corridors of geektown for a good long while.

--- --- ---

Remarkable moments from Rob Delaney (as Peter), Leslie Uggams (as Blind Al), Matthew Macfadyen (as Mr. Paradox), James Dryden (as a TVA Tech), and Peggy (as Dogpool).

Apartment 7A (2024)

A Neat Retro-Horror Blend

Based on the inordinately creepy novel "Rosemary's Baby" by Ira Levin, this prequel movie tied in loosely with what took place in the 1968 movie of the same name.

In fact, there have been numerous renditions of this horror classic over the years, attesting to its iconic fame among horror movie fans.

In "Apartment 7A", the tale harkened back to Rosemary's earlier days, a short while before her diabolical impregnation and the slow but sure shocks that followed.

Her younger days as a talented musical-play stage dancer in 1960s New York City played out in earnest, showing us an interesting side of the ill-fated mother-to-be.

Her decision to pursue fame, though laudable, ended up making her gullible. The promises made to her by a certain senior couple dragged Rosemary down a dark path.

It was a distinctly unforeseeable style of grooming, one that would lead to her becoming the vessel in whose womb Satan's son and heir would take form.

"Apartment 7A" captured much of the chills and thrills associated with this story. Exquisite performances from Julia Garner (as Terry Gionoffrio; the mother-to-be), Dianne Wiest (as Minnie Castevet; the wife and groomer), Kevin McNally (as Roman Castevet; the husband and groomer), and Jim Sturgess (as Alan Marchand; a producer) made the movie feel enthralling.

What I most liked about "Apartment 7A" was how they balanced human-interest and empathy angles with classic horror and intrigue elements. This made the movie feel grounded and real, which in turn lent its supernatural portions an extra-scary appeal.

From the time she moved into The Bramford, to the gradual way in which she discovered her fate, Terry's time in NYC added plenty worth appreciating in "Apartment 7A".

This script took the phrase 'silence before the storm' seriously and delivered a chilling slow-n-steady take that has enriched the many other retellings of "Rosemary's Baby" that have come and gone over the decades.

--- --- --- Noteworthy performances from Marli Siu (as Annie Leung; Terry's friend), Simon Adkins (as a dance instructor), Andrew Buchan (as Leo Watts; a casting agent), Tina Gray (as Mrs. Lily Gardenia; a high-profile neighbour), Rosy McEwen (as Vera Clarke; a dance troupe student and bully), and Patricia Jones (as Sister Claire; a nun).

The Lord of the Rings: The Rings of Power: Shadow and Flame (2024)

Epic...Is An Understatement - Season 2, Special In-Depth Review

"The Lord of the Rings: The Rings of Power" just went and elevated series-style storytelling even further, setting yet another golden benchmark for other IPs to emulate.

Enter, Sauron - one of the greatest and most complex villains ever written. Between J. R. R. Tolkien's legendary writings and characterisations of him, to this brilliant screen adaptation from Amazon - blessed in large part by Charlie Vickers's outstanding performance - this iconic baddie's rise and rise took on multi-layered meaning that has to be seen to be appreciated.

Morfydd Clark continued to captivate as Galadriel, yet another legendary character from the Tolkien universe. Clark explored so many essential elements of Galadriel's life-map in the second season of "Rings of Power", and indirectly added a wealth of subtext and sentiment to Peter Jackson's LOTR-Galadriel (played exceptionally by Cate Blanchett).

Taking several pages out of J. R. R. Tolkien's revered slow-n-steady style, the show seemed to adapt his meticulous approach to storytelling. In season 2, much of the focus revolved around an iconic villain who, in turn, was much of the focus in a good chunk of Tolkien's literature.

What I most admire about Sauron was that he was not delusional. He realized what few villains do, namely that the only way to usher in a new world order where war would be extinct and communal harmony would reign was to become the bad guy and take over the reins, starting by controlling all those currently in power.

This core concept played out in earnest and bloomed into a magnificently epic season 2 "Rings of Power". A classic good-versus-evil battle thus unfolded in portioned phases between some of the races of Middle-Earth and the Dark Lord.

By gradually revealing the identity of The Stranger (played memorably by Daniel Weyman) - I remember correctly reviewing him to be young-ish Gandalf - the"Rings of Power" second season further proved it wasn't kidding around.

It slithered into the heart of its own plot with delicious gusto, unwrapping revelations, seeding speculations, and establishing relevance where needed, without exaggeration or undue deviation.

Adar's (played notably by Sam Hazeldine) original betrayal of the early-shapeshift Sauron (performed well by Jack Lowden) set a dark series of events into play, one that later led to what we saw in Season 1 of "Rings of Power" which, in turn, led even later to lore and more in "The Lord of the Rings" franchise.

One of the more essential characters this season was a carryover from the first, namely Lord Celebrimbor (played adeptly by Charles Edwards). He was instrumental in helping Sauron forge the titular rings of power, not to forget his high-elven value in the books, where he was witness to some of the greatest moments and events that moulded Middle-Earth.

Robert Aramayo (as Elrond) and Benjamin Walker (as High King Gil-Galad) contributed intensity and intrigue in generous measure this season. Where the former investigated pertinent mysteries, the latter established key possibilities. Together, they made season 2 of "Rings of Power" feel rich in lore and almost true to the original adaptation.

Stunning visuals of Mordor helped piece together the complex tapestry of one of Tolkien's most important fictional locations. The show didn't just graze over these places but revealed an in-depth look at them.

Cases in point: the dreaded Mount Doom (in Mordor, formerly the Southlands), the serene Lindon (in the Grey Havens), Forodwaith (in the northern tundra), Rhûn (aka the Eastlands), Caras Gaer (Western Rhûn), Eregion (Realm of the Elven-smiths), Khazad-dûm, (aka the Mines of Moria), Númenor (aka Westernesse, the island kingdom), The Dead Marshes (adjacent the Black Forest), and Tyrn Gorthad (aka the Barrow-Downs).

Ciarán Hinds (as the Dark Wizard) brought something new to the season, not only by way of a commanding performance but also as a character who assisted in furthering the core plot. I predict he will later become the corrupt Saruman.

The Dark Wizard had special underlings who served him hand and foot. Called the Acolytes, three of them spring to mind (from season 1), the same three whom The Stranger banished and saw them burst into a spray of moths as they flew back to their master. The Ascetic (Kali Kopae), The Nomad (Edith Poor), and The Dweller (Bridie Sisson) thus returned to haunt the show with their dire presence; though only briefly.

Markella Kavenagh (as Nori Brandyfoot) and Megan Richards (as Poppy Proudfellow) continued to impress as adventurous stout-hearted Hobbits who, any fan will assure, are vital to this story's endgame.

Then along came Tom Bombadil (aka The Eldest, played with dignity by Rory Kinnear), yet another iconic Tolkien character who has sometimes been misunderstood even by the most diehard fans. To date, none of us can truly tell who or what he is. But I'm confident he has yet to play a major card in this series adaptation, much as he did in the books.

Peter Mullan (as King Durin III) had a mountainous presence, carried over from the first season. His involvement this time round saw him - as well as the Elves - donning the rings of power and unwittingly getting closer to fulfilling Sauron's secret agenda for Middle-Earth.

On a related note, Khazad-dûm (aka the Mines of Moria) was once more given new life thanks to impassioned performances from Owain Arthur (as Prince Durin IV) and Sophia Nomvete (as Disa).

These sequences also covered the gloried Dwarven home's gradual decline under the malignant influence of the ring proffered to Durin III. It was fascinating to observe how simple yet sharp those moments were, seeing as how essential they've always been in the LOTR and Middle-Earth books.

As for the creatures, it was a true treat to see Great Eagles (though just the one) flying onto the scene. They were a passing legend in LOTR but in season 2 they showcased how important their unique species was in Middle-Earth way back when.

On a related note, the stealthy small-but-feisty version of the perilous Shelob added fuel to the fan-fire and made this season feel like a love letter to Jackson's triple masterpiece.

Then there was Damrod, the hill-troll of the Ered Mithrin - and his defining heavy-metal theme. He brought something just as classic to the Tolkien-table. Jason Smith did good mo-cap work here.

The legendary sea worm - original name unknown or lost to time - played a critical role as Miriel's saving grace, not to mention Eldenil's. The same Elendil who was LOTR-Aragorn's ancestor. The creature's involvement in the 'judgement of Valar' - Powers of Arda who governed the world under Eru Ilúvatar - scene (in E06) was astounding, to say the least.

I can't continue without making mention of another surprising humanoid species revealed this season. Enter, the Ents! The Onodrim (i.e., tree-host, in Elven) are not only one of the oldest races in Middle-Earth, they were also key to helping end the tyranny of Saruman in the LOTR storychain.

The Númenoreans delivered excellence this season. Familiar powerhouse-names from the first season saw major character-arc branchouts in this one. Great work all round from Cynthia Addai-Robinson (as Queen Regent Míriel), Lloyd Owen (as Captain Elendil), Maxim Baldry (as Isildur), Trystan Gravelle (as Pharazôn), Ema Horvath (as Eärien), and Leon Wadham (as Kemen).

The dark reach of the Palantirs - communication orbs linked to Sauron - added to the mystery and magic in those sections of the tale.

The conflicted half-elf Arondir (played well by Ismael Cruz Cordova) added to the intricate geo-political weave that Middle-Earth has always been known for.

The finale packed a ringing punch! Sauron proving just how deep and dangerous his so-called well-wishes for Middle-Earth could turn out added flames to an already burning pyre.

Speaking of flames, the entry of the dreaded Balrog (the very same one Gandalf the Grey would later, much much later, fight) put paid to the excellence Amazon has veritably achieved in "Rings of Power" season 2.

None can call themselves a true fan of "The Lord of the Rings" movies and not see some semblance in "Rings of Power" to that old Peter Jackson style.

I thoroughly enjoyed how adeptly they balanced adaptation-driven strengths and weaknesses to tell this Tolkein-ian tale as old as time.

I loved every episode and everyone in it, rings and all. Here's to a glorious season 3, which now has slightly bigger boots to fill.

--- --- --- Laudable performances from Geoff Morrell (as Waldreg; an Orc sympathizer), Nicholas Woodeson (as a refugee), Ben Daniels (as Círdan; the master elven shipwright), Kevin Eldon (as Narvi; a Dwarf of rank), Alex Tarrant (as Valandil; a Númenorean soldier), Will Keen (as Lord Belzagar), Tyroe Muhafidin (as Theo; a Southlands survivor), Nia Towle (as Estrid; an Adar escapee), Calam Lynch (as Camnir; an Elf), Jim Broadbent (as Snaggleroot; a Tree Ent), Olivia Williams (as Winterbloom; a Tree Ent), Tanya Moodie (as Gundabale Earthauler), and Robert Strange (as Glûg; Adar's orc captain).

The Crow (2024)

A Daringly Dumb Deviation from the '94 Cult-Classic

Taking creative liberties to tell this fan-loved tale, "The Crow" 2024 took wing in a familiar yet fresh direction that was at times memorable but mostly average.

This iconic gothic tale of lost love, stolen futures, and supernatural gifts did not capture the classic magic established by 1994's "The Crow" in which Brandon Lee set a high benchmark.

That said, Bill Skarsgård as Eric looked the part and did noteworthy work within the limited scope of this 2024 remake.

As for FKA Twigs, her take on Shelly was shallow and lightyears away from the gravitas Sofia Shinas managed to wield in the 1994 movie. I felt Twigs was a mis-cast for this role.

Sami Bouajila (as Kronos; an afterlife entity) did good work in "The Crow" 2024 to bridge various gaps and offer key explanations. He also had an impactful screen-presence that I liked.

I think one of the biggest blunders in this movie was the distinct reduction in the beautiful gothic atmosphere the 1994 movie had going for it.

It also needed, nay demanded, much better performances - from Skarsgård as well, and surprisingly so - to come close to the original movie, which fans like myself still admire.

The screenplay seemed more focused on the core characters' drug addictions than the solid romance they potentially possessed, one that made Eric return from the dead to avenge.

Because of this, their chemistry felt less like love and more like a very long date-night. Eric himself behaved like he was excessively infatuated with Shelly. In comparison, the romantic angles in the 1994 original were gold.

I did enjoy all the action sequences, though. There were some well-timed and cleverly edited fights. The face-offs at the opera house and later during the finale were especially gripping.

However, by making the characters difficult to love and care for, Eric's otherwise superb fights felt insubstantial.

With much better chemistry and far better writing, one that emulated the original 1994 movie and the comics that inspired it all, I believe "The Crow" 2024 would've flown far. Alas, it fell flat instead.

This movie would've been more interesting if only it didn't follow on the heels -rather, wings - of its iconic 1994 predecessor. Being a remake only reduced its chances of being fan-approved, something I myself discovered after watching the 2024 atrocity.

Numerous woke clichés, stereotypes, and awkward moments did this movie no favours. What could've been a praiseworthy remake for modern generations drowned in mediocrity and, while doing so, dishonoured the original 1994 cult-classic.

--- --- --- Notable performances from Isabella Wei (as Zadie; Shelly's friend), Laura Birn (as Marion; a dire agent), Danny Huston (as Vincent Roeg; the supernaturally powered baddie), Sebastian Orozco (as Dorm; Shelly's friend), Karel Dobrý (as Roman; a ruthless killer), and Jordan Bolger (as Chance; Eric's friend).

The Decameron (2024)

A Silly but Delightful Medieval Dark-Comedy - Season 1 Review

Based on the actual book published (in English) in 1620 - but written way earlier as a collection of short stories by 14th-century Italian writer Giovanni Boccaccio (1313-1375) - season 1 of "The Decameron" dove into one of the darkest moments in human history, namely the Black Death, and gave it a nonsensical dark-comedy spin.

As fun as it was formulaic, the show followed some expected 'rules' but also broke some others to present a story that has been told innumerable times over the centuries.

The original author himself created seven fictional women and three just-as-fictional men who sought shelter in a remote villa outside Florence purely to escape the Black Death that was ravaging a good portion of Italy.

Silly humour and a steady pace made this TV rendition of Boccaccio's work an amusing contemporary retelling.

1340s Firenze came alive - not exactly, but you get the picture - and showcased the many trials and tribulations faced by its people during the dreaded plague.

The beautiful juxtaposition of medieval music and contemporary soundtracks did wonders to elevate the script.

All the performances were stellar as well. Especially noteworthy were Tanya Reynolds (as Licisca), Douggie McMeekin (as Tindaro), Karan Gill (as Panfilo), Lou Gala (as Neifile), Zosia Mamet (as Pampinea), Saoirse-Monica Jackson (as Misia), Tony Hale (as Sirisco), Leila Farzad (as Stratilia), Jessica Plummer (as Filomena), Amar Chadha-Patel (as Dioneo), and Fares Fares (as Ruggiero).

In a lot of ways, the show captured a good bit of what we all experienced during the Covid-19 pandemic. However, I suggest you avoid watching the story in this light, lest the essence of the tale seem tone-deaf.

This show reminded me of "Monty Python". Season 1 "The Decameron" delivered on comedy and entertainment alike. Also, there were a good many historical elements and reminders worth appreciating.

Season 1 of "The Decameron" not only parodied society - especially elitist tendencies and clueless naïveté in times of urgency - but also portrayed how all civilizations are susceptible to panic and helplessness when faced with something as unpredictable and uncontrollable as an airborne pestilence.

In this manner, subtext and hilarity performed a crazy dance that served some fine dark-comedic entertainment. I believe this series has what it takes to explore its signature storyline over the course of a few more rib-tickling seasons.

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Trap (2024)

Elevated Thrills, Ingenious Escalations

Surprisingly compelling pop music - sung by the master's daughter herself - and a thrilling storyline that did not once fail to enthral defined M. Night Shyamalan's latest film "Trap".

Between Josh Hartnett's (as Cooper; the dad) portrayal, Ariel Donoghue's (as Riley; the daughter) complementary acting, and Saleka Shyamalan's (the pop star) versatile performance as Lady Raven, the plot felt intense in a high-stakes way.

Even knowing who the killer was, it was challenging not to wish for his successful escape from the cops. The grand strategy they'd set in motion to capture him once and for all was a remarkable and credible testament to how much the Armed Forces do in silence to keep society safe.

As for the killer himself, Cooper (secret alias: The Butcher) inspired a motley mix of emotions in me. There was much to parse and even more to understand where he was concerned. But it was only fair to watch him get closer to his rightful place, behind bars.

So many actual criminals are family people, especially parents. This angle lent "Trap" a dark vibe that was not too far from reality.

Taking his daughter to a pop concert in Philadelphia, Cooper found himself growing gradually desperate as the proverbial noose tightened around his neck. The police knew The Butcher was in attendance, just not his actual identity.

In all this chaos, Cooper's daughter Riley contributed her own share of tension to his uncertainty. She was blithely (and temporarily) unaware of the fact that her dad was the criminal in question.

The plot was so simple yet so profoundly gripping that I couldn't help but be glued to the seat and the screen enjoying every moment in "Trap".

Suffice to say, M. Night Shyamalan has done it yet again. He's given us another hit thriller worth cherishing for the ages.

--- --- --- Notable moments from Jonathan Langdon (as Jamie), Marnie McPhail (as Jody's mum), Hayley Mills (as Dr. Josephine Grant), Vanessa Smythe (as the tour manager), Kid Cudi (as Thinker), Mark Bacolcol (as Spencer), and Alison Pill (as Rachel).

The Perfect Couple (2024)

Clever Take on Classic Murder-Mysteries

Some murders happen so quickly and during such unlikely occasions that few can blame the cops for taking a while to solve it. One such target floated up following a big-wig wedding to the rich and powerful Winburys.

"The Perfect Couple" didn't live up to its name and that's a good thing. It gradually unfolded the dark and decrepit nature of the wealthy and how their elite connections could help them get away with anything, even murder.

As expected, Nicole Kidman (as Greer Garrison Winbury) looked fantastic and became the suspect of the fatal crime at the heart of this script. She did great work in this role and made the mini-series feel real.

Her husband Liev Schreiber (as Tag Winbury) brought something new to the series. I've rarely seen Schreiber in a role like this. By the time the curtains closed, he became just as memorable as Kidman.

Playing their sons were Billy Howle (as Benji Winbury; the groom), Sam Nivola (as Will Winbury), and Jack Reynor (as Thomas Winbury). Each brought a distinct element of character-driven suspense to the script.

Dakota Fanning (as Abby Winbury), Irina Dubova (as Gosia), Isabelle Adjani (as Isabel Nallet), Adina Porter (as Enid Collins), and Tommy Flanagan (as Broderick Graham) brought notable on-screen intrigue to bear on this dark and deceptive tale.

Eve Hewson (as Amelia Sacks) showcased a wide-range of humanity and empathy. After her best friend (Merritt) was found murdered - death by drowning - she (the bride) soon became the focal point for a lot of people and for a lot of reasons.

Meghann Fahy (as Merritt Monaco) offered a simple yet compelling performance around which much of the plot revolved, even hinged on.

Tackling this tricky lot were Detectives Nikki Henry and Dan Carter, played resp. By Donna Lynne Champlin and Michael Beach. They did amazing work in this story.

"The Perfect Couple" took off in a suspenseful direction right from the get-go, with one murder victim and a crowd of accusations and suspicions to wade through.

Typical tropes aside, the show delivered fine intrigue, clever red herrings, and entwined suspense worth appreciating.

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