Is a New Harry Potter Show the Right Move for Fans?

By Brandon T. McClure

When Game of Thrones was first adapted into a TV series, Harry Potter fans began wondering about the possibility of a series adaptation of Harry Potter. But a lot has changed in the 13 (going on 14) years since. Now it might not be such a great idea. 

In April 2023, 12 years after the final movie was released and 1 year since the end of the Fantastic Beasts trilogy, Warner Bros. Discovery announced that it had greenlit a series adaptation of J.K. Rowling’s world-famous novels. While there were certainly some excited voices, the temperature of the announcement was lukewarm at best, and due to Rowling's increasing unpopularity, this may prove to be another miscalculation from the struggling film studio.

The first Harry Potter movie came out in 2001 and launched an unbelievable phenomenon the likes of which have only been rivaled by the MCU. Adapted from the 1997 book of the same name Harry Potter and the Sorcerer’s Stone, this marked the beginning of one of the most successful motion picture franchises of all time. Through 8 films in 10 years, not to mention the seven books, there was an entire generation that grew up with the franchise, characters, and actors. The hold the franchise has on the millennial generation cannot be understated. Warner Bros. was eager to continue the franchise beyond the books through a stage show, theme park experiences, and series of prequel movies, all under the “Wizarding World” brand and overseen by J.K. Rowling herself.

In 2013, Warner Bros. announced that they would be moving forward with a prequel film centered around the fictional author of the in-universe book Fantastic Beasts and Where to Find Them, which would also be the title of the film. Fans were, of course, excited by the prospect of more within the Wizarding World, especially since it was going to explore the American wizarding community in the 1920s. The film would mark the screenwriting debut of J.K. Rowling herself! The film was released in 2016 to fairly good reviews from both critics and audiences (74% and 79% on Rotten Tomatoes respectively) and went on to gross $814 million. Sure it wasn’t the $1.3 billion that Harry Potter and the Deathly Hallows - Part 2 went on to make, but it would have been silly to expect it to. Warner Bros. had a hit on their hands and immediately greenlit the sequel.

A month before the release of Fantastic Beasts and Where To Find Them, J.K. Rowling told fans at a Fantastic Beasts event that there are five films planned in this prequel series. Two years later, in 2018, Fantastic Beasts: The Crimes of Grindelwald was released, but did not receive the same success its predecessor had. With only $654 million at the box office and a Rotten Tomatoes score of 36% (Critics) and 53% (Audience), things were not looking good for the sophomore outing of this prequel series. Then four years later, Fantastic Beasts: The Secrets of Dumbledore was released which would signal the end of J.K. Rowling’s prequel series.

In the time between the release of Fantastic Beasts: The Crimes of Grindelwald and Fantastic Beasts: The Secrets of Dumbledore, J.K. Rowling became a very unpopular figure. Beginning in 2018 she began down a “pipeline” that would reveal herself to be deeply, and viciously, transphobic. Millennials are often considered, with few exceptions, to be a mildly progressive generation. The reason for this is cited to be the media that they grew up with. Everything, including Harry Potter, taught lessons of inclusion and acceptance of other people's identities. So it was beyond disheartening when J.K. Rowling began spouting the belief that trans people don’t exist and are just “confused.” A timeline of her descent into transphobia was put together by theweek.com.

Many of the stars of the Harry Potter and Fantastic Beasts movies, including Daniel Radcliffe, Emma Watson, Eddie Redmayne, and Katherine Waterston (who was written out of the third film likely for speaking out), immediately spoke out in support of trans people’s rights to exist and began to distance themselves from her (which she has taken very poorly). Many Harry Potter fan communities, such as MuggleNet and The Leaky Cauldron, denounced Rowling’s views and tried to distance themselves from her as best they could. Melissa Anelli, of The Leaky Cauldron, told Variety that the reason why they haven’t updated their podcast was because “Every time we sit down to have a fun conversation about Harry Potter, the conversation becomes angry and depressing, and so we end up not publishing.” She continues by echoing the feelings many millennials have towards the Harry Potter creator: “It’s made it less pure and exciting and fun the way it used to be. All of that now has this layer of, ‘Right, but the person at the center of it all believes a certain faction of the population isn’t real.’” Any ethical consumption of the franchise is made difficult due to the amount of control she has over the franchise.

Her ravings and the poor quality of Fantastic Beasts: The Crimes of Grindelwald no doubt contributed to the general disinterest of audiences towards Fantastic Beasts: The Secrets of Dumbledore. Making only $400 million at the box office, the lowest in the franchise’s history, and reaching only a 46% critics score (in fairness it does have an 83% audience score). After the release of the film, Warner Bros. Discovery decided to abandon their plans for five films and settled for three. However, many reasons can be attributed to the failure of the film. 2022 was still a pandemic year, and audiences might have still been hesitant to go to the theater (even though three films hit $1 billion). The main characters of the prequel franchise were also struggling to connect with audiences in the same meaningful way as those from the original series. Maybe fans just weren’t interested in Newt Scamander. But, regardless, J.K. Rowling had become a rather unpopular figure since she was also the main credited screenwriter (Steve Kloves did return to co-write the third film), and critics agreed that she wasn’t a very good one.

Regardless of how critics and audiences felt about her screenwriting, Warner Bros. Discovery is devoted to keeping her on board for the new series. A spokesperson for HBO told Variety that “[we] are proud to once again tell the story of Harry Potter — the heartwarming books that speak to the power of friendship, resolve and acceptance,” the statement continued. “J.K. Rowling has a right to express her personal views. We will remain focused on the development of the new series, which will only benefit from her involvement.” Variety also notes that her entire online personality has been consumed by her anti-trans rhetoric. Posting over 200 times about her hateful views on X in the past two months. Conversely, she’s only posted about Harry Potter 8 times in that same amount of time. 

Another aspect going against the new series is the fact that there’s no evidence to suggest that the post-millennial generations even care about Harry Potter. Millennials are fiercely devoted to Harry Potter, even willing to continue supporting the franchise despite Rowling’s views. However, a survey from Morning Consult suggests that Gen Z has a very different opinion of the franchise. Many have made fun of millennials for their continued obsession with Harry Potter, and only 14% have identified as fans themselves. Gen Alpha is even less likely to be interested in Harry Potter, and they’re the generation that will be represented in the series. The series could likely win them over, but it’s very clear that the fanbase is very heavily skewed towards millennials.

The new streaming series is going to sport an astronomical cost. The first season of Percy Jackson and the Olympians on Disney+, likely the untitled Harry Potter series contemporary, had a per-episode budget of $12 - $15 million. It’s unlikely the Harry Potter series will be made for less and the budget will only increase every season. If the goal for the series is to adapt a book a season, that’ll be seven seasons. In this current streaming market, shows rarely make it past three seasons. But, even with that said, the series will also air on HBO, rather than solely on Max. This means that the return doesn’t need to be quite as high as a streaming show. As Tylor Starr, Potter fandom expert and co-author of The Unofficial Harry Potter Vegan Cookbook, puts it “There are so many fans who deeply disagree with what Rowling is saying, but still want to engage in the Harry Potter fandom.” But the major question remains: Are millennials enough to get that return and will it attract Gen Z and Gen Alpha?

While the movies cast millennials in the lead roles, this new show will be looking to cast Gen Alpha in the roles of Harry, Ron, and Hermoine. But the landscape has drastically changed since the films came out. “You can’t fault somebody for wanting to do the job. But the internet and the fandom and the politics of it all are probably going to demand that they say something. If you don’t, people are going to automatically assume that you agree with Rowling,” Kat Miller, creative director of MuggleNet and coauthor of The Unofficial Harry Potter Companion says. She was mostly referring to the adult roles, but the same can also be applied to the child roles. Fans are often very outspoken on social media, and the comparisons they’ll likely make to the original film actors could potentially create a toxic environment for these kids. Kids who are 11-12 years old shouldn’t be subjected to that kind of environment.

There’s also the question of whether or not this is necessary. Like Disney remaking their beloved animated films into live-action, is there a demand for a more faithful adaptation of the books? The movies are so beloved by fans that it’s hard to imagine any other actors taking on those roles. Sure the books left many things out, but the consensus of the films is very positive. It’s incredibly unlikely that Warner Bros. Discovery could recapture the magic (pun intended) with this series. The movies are a generation-defining event, and the show will constantly be compared to them for however long it runs. With likely two years before each season’s release (just judging by the current production timeline of these types of shows), it’ll be hard for an audience to grow up with these actors, which was a large reason why the movies connected with audiences in the way that they did.

At the end of the day, who really knows how well this series will do? It’s aiming for a 2026 release and is currently being developed by Succession alums Francesca Gardiner, as showrunner, and Mark Mylod, as director. Casting is underway and a writer's room is being assembled. There is no stopping this series and WBD is determined to keep Rowling involved, despite many fan theories claiming they want to buy her out. The dismal quality of the Fantastic Beasts movies and her hateful personality/identity have clearly done some damage. But it's hard to know just how much until the series comes out. No matter what, HBO and Warner Bros. Discovery have an uphill battle ahead of them with this show.

INTERVIEW / Jim Krieg & The Tomorrowverse

Brandon McClure sits down with DC animation producer and Tomorrowverse creator Jim Krieg! Brandon asks all the questions that are burning in his mind and Jim Krieg takes the time to answer! The Tomorrowverse may be over but there are still lingering questions that are answered here!

For more, check out Brandon's write ups on the Tomorrowverse and stay tuned for more at Atomic Geekdom!

REVIEW / Justice League: Crisis On Infinite Earths - Part Two

The End Of The Tomorrowverse & The Future Of The DC Animated Original Movies

For audio, please check out the Atomic Geekdom Podcast to listen in.

Movie Review/ "Hot Frosty"

By Anthony Caruso

Hot Frosty is an entertaining, albeit ill-conceived, adult twist on the beloved tale of Frosty the Snowman. While the concept may sound absurd—and it is—the execution balances irreverent humor with a surprising amount of heart, making it an oddball holiday film that, while divisive, manages to stand out among Netflix's more lackluster Christmas offerings.

The story follows the widow Kathy Barrett, owner and operator of Kathy's Kafé in downtown Hope Springs, New York, who inadvertently brings a muscular snowman to life via a red scarf that she was "destined" for. The plot spirals into an outrageous series of events, complete with raunchy escapades, heartfelt family moments, and a quirky romance. And while the premise is undeniably bizarre, the film leans into its absurdity, blending over-the-top humor with moments of genuine sentimentality. The juxtaposition between raunchy jokes and heartfelt themes gives "Hot Frosty" an odd but endearing charm.

Lacey Chabert, making her jump to Netflix from Hallmark, is as genuinely earnest as ever in the lead role of Kathy Barrett. And while she's not enough to elevate the movie, her charm is enough to prevent it from spiraling into downright "bad" territory. And then there's Dustin Milligan as our titular "Hot Frosty" - a.k.a. Jack Snowman. While he's mainly there to serve as eye candy, he's boyishly goofy in a natural way that will have you believe Chabert's character would fall so quickly for him. The rest of the ensemble is fine enough, with one of my favorite additions being Craig Robinson as Sheriff Nathaniel Hunter; what I appreciated about his performance, in particular, is that Robinson appears to be the only member of the cast who knows exactly the type of absurd movie they're starring in.

The humor in Hot Frosty is a mixed bag, leaning heavily into adult jokes and outrageous scenarios that won’t land for everyone. The raunchy elements push the boundaries of what one might expect from a Christmas movie, with some jokes feeling unnecessarily crude or out of place. However, for those willing to embrace the film’s irreverent tone, there are plenty of laugh-out-loud moments, particularly in our "Hot Frosty's" interactions with the townspeople and his attempts to adapt to modern life.

Hot Frosty is a wild ride that won’t be for everyone. The adult twist on a childhood classic may alienate purists and those seeking a more traditional holiday movie. However, for viewers open to a raunchy, unconventional Christmas film with a surprising amount of heart, it’s an entertaining watch that’s worth a try. At the very least, it's a film that earns its place as a guilty pleasure holiday romp.

Movie Review/ "Wicked"

By Anthony Caruso

Wicked: Part One is everything I hoped it would be and more. As someone who has seen the Broadway show five times, I hold Wicked close to my heart—it’s my favorite musical of all time. My expectations for this movie were sky-high after waiting two decades for it, and not only did it meet those expectations, it exceeded them in every way. This adaptation is a breathtaking masterpiece that had me in tears, feeling full-body chills, and brimming with joy. It’s a magnificent tribute to Act One of the stage show and an extraordinary feel-good crowd-pleaser evocative of old Hollywood, making it my personal pick for movie of the year.

Cynthia Erivo and Ariana Grande are nothing short of perfect as Elphaba and Glinda. Their portrayals are nuanced and magnetic, bringing warmth, humor, relatability, and heartbreak to their characters. Erivo’s Elphaba is as powerful and empathetic as you’d expect, but Grande as Glinda is a revelation. She delivers an effortlessly charismatic performance that steals the show, blending humor, vulnerability, and dazzling vocal prowess. Her rendition of “Popular” alone had me grinning from ear to ear. Both actresses are sure to earn Oscar nominations, and while Erivo’s powerhouse performance deserves recognition, I wouldn’t be surprised if Grande walks away with Best Supporting Actress. She was born for this role - and I say that as somebody who was initially extremely wary of her casting upon its announcement!

The supporting cast is equally brilliant. Michelle Yeoh’s presence as Madame Morrible and Jeff Goldblum’s whimsical yet menacing Wizard are tantalizing previews of what’s to come in "Part Two". Jonathan Bailey’s portrayal of Fiyero deserves special praise, however. He elevates a character I’ve always liked well enough into someone I adore. Bailey brings a depth, charm, and charisma to Fiyero making his journey deeply compelling.

Oz itself, meanwhile, has never felt so real. The production design, costumes, and practical effects are phenomenal, creating a vibrant, immersive world full of detail and wonder. From the emerald glow of the city to the verdant forests and bustling streets, every frame is brimming with life and authenticity. And the restrained use of CGI is both unexpected and a triumph. Apart from the magical "Animals" and a few scenes toward the end of the movie, most of the sets and props feel tactile, transporting you straight into this magical world. It’s a refreshing throwback to a time when blockbusters relied heavily on practical artistry, further reinforcing the movie’s timeless, Old Hollywood feel.

The musical numbers are the film’s heartbeat, and every single one is pitch-perfect. The choreography is not just fun, but dazzling, while the rearrangements of Stephen Schwartz’s iconic score are fantastic, adapting beautifully to the screen without losing any of their theatrical power. “Defying Gravity” is, of course, the emotional high point, and it had the entire theater in stunned silence before erupting into applause. But the standout numbers don’t stop there! “No One Mourns the Wicked” sets the film’s tone masterfully. “What Is This Feeling?” is delightfully playful. “Dancing Through Life” showcases both stunning choreography and Jonathan Bailey’s charm. “One Short Day” is a visual and auditory feast, brimming with wonderful surprises. Every song feels lovingly translated, retaining its emotional weight and theatricality while embracing the cinematic medium.

Director Jon Chu, alongside writers Winnie Holzman and Dana Fox, has created a film that is both faithful to the Broadway production and innovative in its execution. Chu’s passion for the source material shines through in every frame. He seamlessly blends elements of the stage musical with additional backstory from Gregory Maguire’s novel and entirely new material that enriches the narrative. The film also pays loving homage to the 1939 classic, The Wizard of Oz, from visual motifs to subtle musical cues woven into the score by Stephen Schwartz and John Powell. These references don’t feel forced, but instead enhance the story, bridging the gap between the beloved original film and this contemporary masterpiece, and I'm curious to see how "Part Two" continues to do that, making the stories gel more seamlessly together than even the Broadway show managed to do.

Wicked: Part One captures the magic of classic musicals like The Wizard of Oz while feeling modern and fresh. It’s a rarity in today’s blockbuster landscape: a movie that is colorful, emotionally resonant, extraordinarily timely, and brimming with hope. The production values, storytelling, and performances come together to create something truly special. When the explosive finale culminated in the words “To Be Continued,” the audience in my theater erupted into cheers and applause. There were even spontaneous ovations after several musical numbers throughout - a testament to how much this film resonated with the crowd.

In the end, I feel confident in saying this is not just the best musical adaptation I’ve seen in years, but may very well be the best since The Wizard of Oz. Wicked: Part One is destined to become a classic. It’s sure to be an awards contender, a box-office juggernaut, and an unforgettable experience for fans and newcomers alike. I can’t wait to watch it again multiple times in theaters and revisit it often when it hits home media, and I will eagerly be counting down the long days until the release of "Part Two". Until then, I’ll be reliving this extraordinary experience in my mind and listening to the film's soundtrack on repeat. Whether you’re a fan of the musical or have never seen it before, I urge you to see Wicked: Part One on the biggest screen possible. It’s am absolute triumph in every sense of the word.

Movie Review/ "A Real Pain"

By Anthony Caruso

A Real Pain is a testament to the power of storytelling that seamlessly blends humor, heart, and historical poignancy. Directed by Jesse Eisenberg, who also stars alongside Kieran Culkin, the film is a rich exploration of identity, grief, tradition, and heritage set against the backdrop of Poland—a place steeped in history and resonance for Jewish culture. It’s a striking achievement that manages to be both a personal odyssey and a universal story of connection.

The film follows two cousins - Jesse Eisenberg’s David and Kieran Culkin’s Benji - as they embark on a journey to Poland after a family loss. What begins as a reluctant, quasi-tourist trip soon morphs into a deeper, unexpected confrontation with their own histories, their own personal grief, the lingering echoes of the Holocaust, and how the role the Jewish faith plays in their lives. Eisenberg crafts a screenplay that is both biting and tender, deftly navigating between witty, rapid-fire exchanges and moments of silence that resonate with unspoken pain. It’s this balance between humor and drama that makes A Real Pain truly exceptional. While the humor is sharp and dry, it never feels out of place or disrespectful. Instead, it serves to highlight the contrast between the modern identities of our main characters and the profound legacy of their heritage. The film’s exploration of the Jewish experience—tied to themes of survival, guilt, and resilience—adds layers of meaning that enrich its emotional depth.

The performances in A Real Pain are nothing short of extraordinary. Jesse Eisenberg’s David is a complex figure: intellectual, anxious, and searching for meaning. Eisenberg infuses the character with authenticity and vulnerability, making him relatable yet distinct. Kieran Culkin, on the other hand, shines as Benji, whose more carefree and irreverent personality serves as a counterbalance to Daniel’s introspection. Culkin’s comedic timing is impeccable, but it’s his ability to inject pathos into unexpected moments that cement his performance as one of the film’s standouts. The two of them have incredible chemistry with one another, and it’s easy to believe that the two of them are cousins. The supporting cast, meanwhile, adds further richness to the narrative. Each character contributes to the success of the film and have moments to shine, adding humor, authenticity, and drama to the proceedings.

Visually, the movie is a feast for the eyes. Michał Dymek‘s cinematography showcases Poland in a way that feels both hauntingly beautiful and inviting. Sweeping shots of the country’s cobblestone streets, lush countryside vistas, and somber historical sites juxtapose the film’s lighter moments with its heavier, contemplative ones. This visual storytelling not only enhances the narrative but also adds a layer of richness that invites the viewer to reflect on the passage of time and the permanence of place. The story is also aided by the score, which serves as a subtle yet powerful companion to the story and blends traditional Jewish melodies with modern, emotive compositions. The film’s sound design also plays a crucial role, particularly in scenes set in historical sites, where the ambient noise of footsteps and whispers amplifies the film’s immersive quality.

I could truly go on and on about the themes of identity, loss, and collective memory that the movie delves into. Its examination of the Jewish experience is neither didactic nor overly sentimental, but instead strikes a balance that is both reverent and relatable - even to people, like myself, who are not Jewish. Eisenberg’s direction ensures that these themes are handled with care, using humor to break tension without undermining the film’s more serious moments. It’s the film’s portrayal of grief—not just as an individual burden but as a shared experience that binds people across generations - that is its biggest strength, however; at least as far as I’m concerned. The narrative raises thoughtful questions about what it means to inherit pain and how to honor it without being consumed by it. The result is a film that is deeply personal yet widely resonant, capable of sparking reflection long after the credits roll. It’s truly a triumph on every conceivable level.

In a year full of standout releases, A Real Pain earns its place amongst the best of them. For all of the reasons I laid out above and more, it is sure to be a strong contender during awards season. I highly recommend this film to everyone, and can’t wait to revisit it when it hits streaming.

Movie Review/ "Red One"

By Anthony Caruso

Red One delivers a festive, action-packed romp that breathes new life into the holiday movie genre. While not without its flaws, the film offers enough heart, humor, and inventive storytelling to make it an enjoyable addition to the large stable of Christmas films. Despite mixed reviews and a disappointing box office projection, Red One deserves a second look for those searching for a holiday film that mixes traditional elements with an unconventional twist.

The Red One narrative centers on a unique take on the Christmas mythos, blending action, adventure, and fantasy with a touch of darkness. Dwayne “The Rock” Johnson stars as Callum Drift, one of Santa's E.L.F.s who is tasked with rescuing the famous man with the bag in order to save Christmas from a magical threat. The plot finds its antagonist in the villainous Gryla, a Christmas witch portrayed with icy brilliance by Kiernan Shipka. Her plan is deceptively simple and cleverly understated, presenting a unique twist that doesn’t rely on over-the-top stakes, yet personally affects most people worldwide.

The story surprises with moments that are darker than expected for a holiday movie, lending it an edge that older audiences can appreciate while still maintaining the whimsy that kids love. The blend of classic Christmas motifs with new mythological elements enriches the film’s universe and sets the stage for potential expansions into other holiday tales—a tantalizing possibility that may go unexplored due to poor box office results.

Dwayne Johnson, as expected, plays to his strengths as Callum Drift, bringing his trademark charm and physicality. While Johnson’s persona is beginning to feel a bit familiar, it fits the character well enough to keep audiences entertained. However, it’s Chris Evans and J.K. Simmons who truly shine in their respective roles. Evans brings a surprising depth and comedic touch to his character, making him more than just a sidekick to Johnson’s lead. And while the trailers might have hinted at a modern, gruff reimagining of Santa Claus, Simmons offers a surprisingly traditional, heartfelt take that grounds the story in classic holiday sentiment.

Kiernan Shipka’s Gryla is a standout as well. She portrays her with a compelling mix of menace and allure, making her both a formidable foe and an intriguing character. Her nuanced performance, alongside her character’s deceptively clever plan, brings a refreshing villain to the holiday movie landscape. It's Kristofer Hivju, however, who nearly steals the show as Krampus, playing the part with a mischievous and wild energy that injects humor and unpredictability into the film. His performance adds a delightful layer, making Krampus a memorable supporting character that enhances the movie’s mythology.

The film’s cinematography strikes a balance between the fantastical and the festive. Wide shots of snow-laden landscapes and cozy, twinkling towns blend with dramatic close-ups during tense confrontations. The visual palette is rich with reds, whites, and deep greens, encapsulating the holiday spirit while integrating darker blacks, blues, and purples into the shadowy scenes that signal Gryla’s presence. And though the special effects don’t always hit the mark— some CGI moments are downright bad —they don’t detract from the overall enjoyment. This is, after all, a holiday film, where a little suspension of disbelief goes a long way. The whimsical tone helps the audience overlook these inconsistencies.

The soundtrack features a mix of classic Christmas songs and original score, both of which add warmth and urgency to the film. The music swells appropriately during action sequences and mellows during tender, nostalgic moments, aiding the emotional tone without being overpowering. The makeup team, meanwhile, excels in their portrayal of mythological characters. JK Simmons’ Santa is a blend of traditional looks with a rugged twist, complete with silver-streaked hair and a leather outfit that still feels familiar. The standout, however, is the detailed work on Krampus, making Kristofer Hivju’s character visually captivating. The practical effects on the more fantastical characters shine, contrasting with some of the CGI’s weaker moments.

Red One might not be perfect, but it’s absolutely worth the watch. It’s a film that embraces the magic, warmth, and occasional darkness of the holiday season. Ignore the critics, gather the family, and enjoy this fun, unconventional take on Christmas lore. It might just find its place in your annual holiday movie rotation as I can guarantee you it has mine.

Movie Review/ "Heretic"

By Anthony Caruso

Heretic is a masterstroke of contemporary cinema that effortlessly balances psychological tension with profound thematic exploration. Directed by Scott Beck and Bryan Woods, the film boldly delves into the complex interplay between belief, control, and personal liberation. With standout performances from its star-studded cast, it's easily one of the most compelling films of 2024.

Hugh Grant delivers one of the most mesmerizing performances of his career as the enigmatic and menacing antagonist. Portraying a charismatic and extraordinarily manipulative religious intellectual, Grant infuses the role with a magnetic presence that blurs the line between charm and menace. He commands attention in every scene, showcasing a layered character whose motivations oscillate between altruism and self-serving manipulation. Sophie Thatcher, meanwhile, plays the determined and introspective Sister Barnes, and serves as the movie's emotional anchor. Her performance is raw, heartfelt, and compelling, proving she’s a star capable of holding her own in the presence of acting heavyweights. Then there's Chloe East, who rounds out the cast as Sister Paxton. East complements Thatcher with equal vigor, perfectly playing Paxton’s transformational journey from quiet follower to someone who begins to question everything she once held sacred. East’s ability to express vulnerability and resolve in equal measure adds depth to the narrative, creating a dynamic and authentic on-screen partnership with Thatcher.

The screenplay deftly weaves suspense with moments of philosophical rumination, resulting in a narrative that grips from start to finish, despite many scenes merely depicting three characters standing around debating religion. The dialogue is sharp, with Grant’s character delivering lines steeped in ambiguity and dark humor that leave audiences pondering their meaning long after the credits roll. The directors skillfully construct an atmosphere thick with tension, using dim lighting, deliberate pacing, and close-up shots that amplify the feelings of claustrophobia our protagonists are feeling. Indeed, the cinematography deserves special mention, as it plays a crucial role in conveying the film’s themes. Stark contrasts between light and shadow mirror the dichotomy between faith and doubt, while sweeping shots of the remote and austere, albeit tight, setting evoke an unsettling sense of isolation that accentuates the characters’ inner turmoil.

At its core, Heretic is more than a suspenseful and dramatic horror movie; it’s a meditation on the impact of religious structures on the human psyche. The film poses thought-provoking questions about the nature of belief: When does faith become a prison? When does it serve as a pathway to freedom? Through its characters’ struggles, the film explores how ideology can both uplift and oppress, shaping lives in profound and often unpredictable ways. The story resists easy answers, encouraging viewers to reflect on the influence of dogma in their own lives. This subtle approach ensures that Heretic never feels didactic, but rather like an intricate mosaic of ideas, inviting interpretation and debate.

As I stated above, Heretic is undoubtedly one of the year’s finest films, distinguished by its powerful performances, intelligent script, and skillful direction. It’s a film that lingers, urging reflection on its themes of power, faith, and self-discovery. It's a movie I would highly recommended for anyone who appreciates cinema that challenges and provokes as much as it entertains. It's truly a testament to the power of excellent storytelling, earning its place as an essential watch and an instant classic. I can't wait to revisit it many times in the years to come.

Movie Review/ "Christmas Eve in Miller's Point"

By Anthony Caruso

Tyler Taormina’s Christmas Eve in Miller’s Point is a masterfully crafted, atmospheric homage to holiday gatherings that thrives not on a central plot, but on the intricacies of familial connections. Unlike other films that weave clear story arcs or focus on a protagonist’s journey, Christmas Eve in Miller’s Point is more akin to a collection of living memories, much like Robert Zemeckis' Here from earlier this month. Yet where Here spans decades, Christmas Eve in Miller’s Point anchors itself firmly within one emotionally-charged night—the titular Christmas Eve—and lets the essence of the Balsono family spill across the screen in a vivid, nostalgic tableau.

The film is, at its heart, a series of vignettes capturing moments that resonate deeply with anyone who has experienced the organized chaos of large family gatherings. Set in the early aughts, Taormina’s vision is both specific and universal. Viewers familiar with traditional Italian-American celebrations will recognize every detail: the boisterous conversations that fill a room like a second layer of wallpaper; the glint of mismatched tchotchkes that have seen decades of holidays; the overflow of homemade food that insists love is best expressed through taste; the Christmas lights shining off the snow; etc. This evocative nostalgia can strike viewers in different ways. For some, it is a portal to cherished memories; for others, like myself, it’s a bittersweet reminder of how traditions shift or fade as families spread out, or as members pass on. Watching this movie felt like looking through a frosted window at my own childhood, marked by joyous chaos and laughter—tinged now with the wistful realization that those moments are no longer my present.

One of the film’s most striking elements is its refusal to follow a traditional plot structure. There are numerous threads within the sprawling Balsono family and beyond: the aging matriarch, whose grown children face the painful decision of possibly moving her into assisted living; Kathleen’s strained relationship with her teenage daughter as she reflects on her own mother’s distance; two police officers patrolling a sleepy town, grappling with unspoken romantic tension; an interracial couple navigating subtle familial dynamics; an uncle who channels his creativity through endless cooking; another who dreams of being a writer; teenagers itching to slip away to their friends' gatherings, seeking independence in a night bound by tradition. These narratives unfold like the disparate notes of a holiday song, harmonious but never converging into a single refrain. 

For some viewers, the lack of resolution to any of the above mentioned plot points might be a sticking point. This isn’t a film where everything wraps up neatly by dawn, nor does it try to force epiphanies or holiday miracles. The struggles depicted—whether domestic, generational, or personal—linger without resolution when the credits role, leaving audiences to ponder what will happen when Christmas morning breaks. For me, this worked seamlessly, underlining the fact that real life doesn’t pause for perfectly timed solutions.

Taormina’s directorial finesse is on full display here, blending warmth and an authentic sense of intimacy with just the right amount of melancholy. Co-writing with Eric Berger, Taormina’s dialogue feels lived-in and familiar, effortlessly pulling viewers into rooms that burst with life or settle into quiet, contemplative moments. Every detail—from the shimmering glow of mismatched Christmas lights to the distant carolers outside—immerses the audience in the ambiance of a holiday night that teeters between celebration and reflection. The film’s aesthetics, meanwhile, lean on a cozy, nostalgic palette that amplifies the sense of being cradled within a snow globe. The cinematography captures close-ups that give viewers the sense of being seated at the table, laughing along with the Balsonos or taking a deep breath to soak in the palpable tension of unresolved family disputes.

My biggest complaint about the film? It feels cleaved into two distinct halves: the family-centric narrative and the subplot involving teenagers sneaking out to meet their friends. While the family scenes are rich with emotional depth and familiarity, resonating more powerfully with audiences who appreciate the nuanced dynamics of multi-generational gatherings, the teenage storyline, while not bad, lacks the same level of engagement. This disparity in tone can make parts of the film feel uneven. Additionally, the film ends rather abruptly - even when you consider the fact this is a movie without a real plot - which didn't quite sit well with me. These complaints are the only things stopping me from giving it five stars out of five, though I realize I'm still grading it way higher than most people probably would. What can I say though? Nostalgia is a powerful tool, and this movie brought back a rush of wonderful childhood memories and feelings for me.

In the end, I know that Christmas Eve in Miller’s Point is not a film for everyone. Those who come in looking for a traditional Christmas tale with clear-cut lessons or storylines may leave unsatisfied. But for those willing to be swept up by a patchwork of memories, grounded in details and steeped in sentiment, this movie is a poignant, comforting piece. It serves as a reminder of the fleeting nature of togetherness and how, even in unresolved moments, there’s beauty in simply being with family, however imperfect they may be. This film may leave you smiling or in a state of melancholic wistfulness —embracing the complexity of Christmas past and present, where love, loss, and laughter weave an unending thread through the years - or, if you're like me, it may leave you feeling both. While I know it won't get as much annual play as classics like Home Alone and Christmas Vacation, this is one I definitely see myself revisiting quite often in the future. While I won't recommend rushing to theaters to see it, I do urge you all to give it a chance when it hits streaming - especially if you're an Italian-American who grew up in New York, like myself, and miss the Christmases of yesteryear. I know, I for one, can't wait to watch it again.

Movie Review/ "The Best Christmas Pageant Ever"

By Anthony Caruso

The Best Christmas Pageant Ever is an adaptation that brings Barbara Robinson’s beloved book to the screen with warmth and good intentions. It’s a sweet, family-friendly film that delivers plenty of holiday spirit, though at times it leans too heavily into its religious themes, making its message feel force-fed rather than naturally conveyed.

At its core, The Best Christmas Pageant Ever is a tale about community, redemption, and the true meaning of Christmas, centered around the unruly and chaotic Herdman children. The story unfolds as they unexpectedly take over the local church’s Christmas pageant, upending traditions and challenging the town’s preconceived notions. The film strikes a wonderful balance of humor and heart that manages to evoke genuine emotion and which, having never read the original story, I can only assume is what made it a classic. The movie shines in its moments of levity and chaos, showcasing how the Herdmans’ unpredictable antics push the townspeople to confront their biases and embrace the essence of compassion and understanding. There’s a lot of charm in watching how the worst kids in town manage to change the people around them, transforming the titular Christmas pageant into something surprisingly moving.

The cast delivers solid performances that bring the story to life. The young actors playing the Herdmans manage to strike a balance between wild mischief and underlying vulnerability, making their characters more endearing than just disruptive. The adult cast, meanwhile - particularly Judy Greer's Grace Bradley, who is tasked with directing the pageant - adds warmth and relatability, embodying the frazzled yet well-meaning spirit of people trying to hold it all together during the holidays.That said, while all of the performances are heartfelt, the film’s predictability limits its emotional impact. The characters’ arcs unfold as expected, offering few surprises to seasoned cinephiles. The narrative leans on well-trodden holiday tropes, which, while comforting, make the film feel more like an echo of other Christmas movies rather than something truly unique.

One of the most noticeable aspects of The Best Christmas Pageant Ever is its approach to the religious themes embedded in the story. While the original book is centered around the nativity story and its significance, the film adaptation takes an extremely overt approach in delivering these messages. For all I know, this may resonate as a faithful depiction of the source material’s intentions, but for me, it came across as somewhat preachy. The film could have benefited from a more subtle hand in addressing its spiritual themes, allowing the message to unfold organically rather than hammering it home. This might have helped widen its appeal to audiences who prefer a more balanced approach to holiday storytelling, because in terms of appeal - given the box office tracking - it appears as though this film has none when it comes to the general public.

Despite these drawbacks, the film excels at creating a cozy holiday atmosphere. From the small-town settings to the heartwarming final act, it’s clear that the filmmakers aimed to deliver a feel-good experience that families could enjoy together. The moments leading up to and during the climactic pageant are especially effective, showcasing how chaos and imperfections can give way to unexpected beauty and meaning. Indeed, the entire movie is an earnest reminder that the spirit of Christmas is about community, empathy, and embracing those who may be different from us.

In the end, The Best Christmas Pageant Ever reinforces the notion that sometimes the best holiday stories are the ones that remind us to find joy and compassion in the most unexpected places. It's one that I'll definitely revisit during future holiday seasons.

REVIEW / Justice League vs. Godzilla vs. Kong

By Brandon T. McClure

Published as a monthly seven-issue mini-series, Justice League vs. Godzilla vs. Kong by Brian Buccellato with art by Christian Duce and Luis Guerrero has been collected into a single hardcover and can finally adorn the bookshelves of Monsterverse fans. The first inter-company crossover between Legendary Comics and DC Comics makes history by pitting the King of the Monsters against the Justice League for the first time. But this historical crossover may not end up being the triumph fans have been hoping for.

The story begins when the Legion of Doom (which includes Toyman for some reason?) interrupts Clark’s wedding proposal to Lois by breaking into the Fortress of Solitude. Through a series of unfortunate events, the Legion find themselves transported to the Monsterverse and, more specifically, Skull Island. Having stolen the Dream Stone prior, Toyman uses it to wish the Monsterverse Titans to the DC Universe to be taken more seriously as a supervillain. Now in a foreign universe, Godzilla and the other Titans attack various cities like Atlantis, Metropolis, and Themyscira. The Justice League are caught off guard when Superman is seemingly killed by Godzilla and a mysterious, yet familiar, beacon begins controlling the Titans.

The biggest sin that Justice League vs. Godzilla vs. Kong makes is being boring. This is as surface-level as a crossover can get. Buccellato spends five issues setting up a major clash between the Titans, the Justice League, and the Legion of Doom but doesn’t set up why anyone should care about it. Action only matters if audiences care about the characters. There is tons of action though, so if you’re just looking for a comic where Supergirl punches Kong in the face, then flies around the world to punch Scylla in the face then this is the comic for you. But you might be out of luck if you’re looking for a bit more than that. Speaking of Supergirl, she plays a strange role in this book. She spends most of the book flying between action scenes and ends up in every single one until Grodd takes over her mind. It’s not bad or out of character, it’s just a weird decision.

Brian Buccellato is no stranger to writing in both the DC Universe and the Monsterverse, having written Flash, Injustice, and, more recently, Godzilla X. Kong: The Hunted. But here he may have bitten off more than he could chew. Justice League vs. Godzilla vs. Kong has to serve many masters but seems to have fallen into the trap of assuming that people only want to see giant monster fights. Of course, it is very cool to see the DC heroes go up against Kong and Godzilla, but once the initial hype wears off, then what else is there? That premise can’t sustain seven issues, and unfortunately, readers don’t really care about the original Monsterverse Titans. But with all that said, what little characterization for the DC heroes there is, is solid enough to remain recognizable.

The only heroes that get treated dirty in the book are Hal Jordan and the other Green Lanterns. Hal comes across as the whining butt of most everyone's jokes and the other Green Lanterns exist as set dressing. Guy Gardner probably gets it the worst though since he only appears in the book to get crushed to death by Grodd (which no one seems to care about). John Stewart, Jessica Cruz, and Simon Bazz also show up but get only two or three lines of dialogue before they come together to make a construct mech to fight MechaGodzilla. This is undeniably cool, but you do find yourself wondering why the other Green Lantern characters are even there.

The Legion of Doom only exists in this book as placeholders. To the point that you wonder why they’re even there in the first place. There’s some bickering between Black Manta and Cheetah about who leads the team if not Lex Luthor, Toyman disappears after the first issue, and Deathstroke only shows up when he’s looking for the missing Toyman. But outside of these examples, there isn’t anything for the Legion to do. They just watch the Titans attack the heroes until the last issue when they decide to be part of the final fight scene. Outside of the major Legion characters, there are plenty of non-speaking cameos from many villains as the Legion of Doom is trying to boost their numbers. But they’re only there for a Shazam action scene that feels like it exists to fill a page count.

You could say the main villain of Justice League vs. Godzilla vs. Kong is Lex Luthor. He discovers the pieces of MechaGodzilla and puts them together after Godzilla is chained to the seafloor after his fight with Tiamat and the Kraken (not the Monsterverse Kraken, the DCU one). Lex even builds MechaGodzilla in a way that allows him to pilot it from the inside, unlike how it was in Godzilla vs. Kong, which seems like a cool idea and allows for some great posturing from Lex in the field. But Lex pretty much disappears from the book once MechaGodzilla is unleashed. You might even forget that he’s inside MechaGodzilla since there’s no point for him to be there. There’s not even a hint that MechaGodzilla has possessed him like he did Ren Serizawa to explain away the lack of supervillain posturing.

The League of Assassins show up randomly on Skull Island to steal the skull of the Skull Devil also, and then disappear (that’s a lot of uses of the word “skull”). They show up again towards the end so the Bat-Family could have someone to punch, but they serve no purpose to the story. Even the newly revived (and redesigned) Skull Devil serves no purpose to the story, other than to give Kong someone else to fight while Batman fights MechaGodzilla in a new mech of his own. It’s frankly weird that the League of Assassins shows up at all. One of the middle issues ends with Ra’s Al Ghul menacingly watching the Skull be placed in a giant Lazarus Pit and then never shows up again. Christian Duce and Luis Guerrero take it upon themselves to redesign the Skull Devil as well. While the original design was simple, this new design is way too busy. It’s reminiscent of the poorly received MUTO Prime that appeared in the comic Godzilla: Aftershock. Like the MUTO Prime, it’s not a good redesign.

With all that said, there are still some interesting ideas and fun to be had. A beam clash between Godzilla’s atomic breath and Superman’s laser eyes, a mech created by five Green Lanterns, a cute Jaws reference with Tiamat and the Flash, and a transforming Batwing keep the book entertaining for readers only interested in having some fun. Most of the exciting aspects of the book show up at the end which makes you wonder why the book is seven issues long and not four. Probably the best thing in the book is the short-lived Kong and Green Arrow relationship. The two of them form a quick understanding while Green Arrow is scoping out the newly appeared Skull Island, but doesn’t really come to anything by the end of the book. It would have been nice to explore that a bit more. Green Arrow is also one of the better-written characters, for what little he’s there.

The Monsterverse Godzilla must be considered a complicated design for artists to draw because there are many instances in this comic where Godzilla has been traced from a screenshot of the previous Monsterverse films. It’s disappointing but you have to wonder if there’s a larger reason for it other than laziness. Perhaps Legendary doesn’t want artists taking any artist license with Godzilla. But outside of that, the artwork is good. The splash pages are dynamic, the Justice League looks great, and the action is easy to follow. It’s just too bad that Christian Duce and Luis Guerrero weren’t able to go really crazy with the art. While there are cool things they’re able to do, it does feel restricted by the story they’re drawing. 

The released hardcover is very beautiful and makes up for the lackluster story that it collects. The pages are published on the matte paper that most DC comic books use, which makes the book feel hefty and thick. Unfortunately, the colors don’t pop as much as you’d expect because of that but readers most likely won’t notice. The Dan Mora cover that makes up the dust jacket can be removed to show the Christian Duce and Luis Guerrero wraparound cover. Both covers are beautiful and were the right picks for this collection. But if you were hoping to see more of the stunning variant covers that were commissioned for this crossover, then you’re in luck. The back of the book includes the variant covers for every issue. Honestly, they could have published a collection of those covers and sold it separately. They’re worth the price of the book alone.

If you’re a Godzilla fan, or more specifically a Monsterverse fan, then this is a fun read. It’s just hard not to imagine a crossover that could utilize Godzilla’s entire rogues gallery, like Ghidorah or Biollante and not just the Monsterverse originals. It’s not that the likes of Camazotz or Behemoth aren’t fun to see, it’s just that they don’t have the personality or history that the original Japanese Kaiju do. Since this doesn’t sit anywhere in either continuity, it probably would have been beneficial to include monsters like Rodan or Mothra, who have appeared in the Monsterverse. Rights issues most likely prevented that from happening since none of those monsters have appeared in a Monsterverse comic book. Still though, while it may be boring at times, there’s enough here to not regret reading it outright.

Movie Review/ "Anora"

By Anthony Caruso

Anora is one of those rare films that fully grabs its audience, holding them captive with its unique blend of romance, irreverent humor, and raw emotional depth. Neon has done it again, proving they are a powerhouse in modern cinema by bringing us this extraordinary film that skillfully balances modern storytelling with nods to the unrestrained spirit of classic cinema. With a clever, often raunchy script and powerhouse performances, Anora is not only unforgettable but easily the best film of 2024 so far.

This film thrives on its unpredictability, never allowing the audience to settle comfortably into any single genre or mood. On the surface, Anora is a romantic drama, but it’s packed with laugh-out-loud comedy that disarms viewers and leaves them vulnerable to the film’s poignant, intense climax. The story takes unexpected turns with reckless abandon and is a refreshing, bold step away from the formulaic plots that often populate romantic dramas today. The result is an experience that’s as wild and profane as it is beautifully constructed, feeling at once modern and like a nostalgic throwback to the audacious films of decades past.

Mikey Madison’s performance is nothing short of extraordinary. Her portrayal of Anora is layered, full of charisma, and endlessly magnetic, making it impossible not to root for her even as she navigates the film’s outrageous and often raunchy storyline. Madison brings a natural warmth and raw sexiness to the role, capturing the balance between strength and vulnerability with a rare authenticity. She cements herself as a force in Hollywood, and there’s little doubt this is an Oscar-worthy performance that will be talked about all season. This is Madison at her best—charismatic, profane, and deeply compelling.

Mark Eidelstein, meanwhile, delivers a stunning performance as Vanya, which starts playful and charming but takes a dark, antagonist turn as the story unfolds. His character arc is one of the film’s most surprising elements, and Eidelstein handles it with immense skill. He brings a sinister edge that heightens the film’s tension without overshadowing its comedic or romantic tones, marking him as one of the film’s greatest revelations. Eidelstein’s role as a character you lose all sympathy for by the end adds layers of emotional complexity, elevating the story beyond a simple love tale into a rich exploration of conflict and consequence.

Karren Karagulian, Yura Borisov, and Vache Tovmasyan round out the main cast as Toros, Igor, and Garnick, respectively. Together they have a hilarious dynamic as our Russian and Armenian henchmen that often evokes a Three Stooges-esque vibe, injecting moments of levity and providing a lighthearted counterbalance to the film’s heavier themes. Each of these actors brings a distinctive energy, and together, they deliver some of the film’s most memorable scenes. Their camaraderie and comedic timing keep the film buoyant, enhancing the story’s rhythm and helping to deliver an effective balm to the seriousness of the dramatic story that runs throughout. 

While Anora is full of humor and charm, it doesn’t shy away from a powerful, somber ending that hits hard. It’s a testament to the film’s brilliance that, after such a lively ride, the audience I saw it with was left in stunned silence, processing the weight of what just unfolded. This contrast, between its uproarious humor and gut-wrenching conclusion, is a mark of sophisticated storytelling that elevates Anora from enjoyable to unforgettable.

Anora is nothing less than a marvel. It is both a masterpiece and a triumph. This is not only one of the most original films of the year but also one that will undoubtedly leave an enduring impact on its audience. Without a doubt, it's a classic in the making and is deserving of every accolade it’s received and is bound to receive come Awards Season. This is a must-watch and a film I eagerly look forward to revisiting again once it hits digital.

Movie Review/ "Here"

By Anthony Caruso

Here is a film that takes a thoughtful, almost meditative approach to storytelling, following multiple generations of families who’ve inhabited one home across various decades. In a way, it’s like a smaller-scale Forrest Gump – less ambitious in scope but every bit as invested in the emotional core of its characters’ lives. Tom Hanks and Robin Wright deliver beautifully understated performances, embodying the subtle shifts of age, experience, and resilience, and helping to breathe life into the ordinary, everyday moments of each family’s story. For anyone who appreciates a more reflective, slice-of-life film, Here manages to be deeply touching, if not groundbreaking.

There’s no traditional plot here – it’s essentially a series of vignettes that move back and forth in time. We see glimpses of families celebrating holidays, saying tearful goodbyes, and dealing with personal challenges, all within the same house. These small but relatable moments give the film a unique approach to storytelling; it’s less about what happens and more about who it happens to. This unusual structure, though perhaps challenging for some viewers, brings out the universal qualities of home: love, joy, grief, and everything in between. It’s a movie not about a single character’s journey, but rather a collective tapestry of life woven by each family who called this place their own.

As always, Hanks and Wright are a pleasure to watch. Their performances elevate the film’s quiet, reflective tone, and give weight and warmth to their scenes. Each moment they share feels rich with history, sometimes within a single glance or subtle gesture. They help embody the passage of time within the house’s walls, bringing depth and familiarity to the scenes that play out across the years. Their chemistry, both in joyous and heartbreaking scenes, adds a nuanced touch, grounding the sometimes overly sentimental atmosphere with a sense of authenticity.

There’s a gentle nostalgia throughout Here that might feel a bit saccharine to some; as I alluded to above, its sentimentality is certainly unabashed. But this quality adds to the film’s appeal as it invites viewers to reflect on their own lives, homes, and memories. Critics may have been a bit harsh on this aspect, but for those who enjoy nostalgic, heartwarming stories, "Here" delivers a comforting experience. Its scenes capturing Halloween, Thanksgiving, and Christmas lend it a cozy, holiday feel, making it especially resonant during the late fall and winter months, during which I can see myself revisiting this annually. 

Admittedly, Here is predictable and a bit indulgent in its emotional approach. The trailers might have given away much of the film’s essence, but even with foreknowledge, there’s something satisfying in seeing these moments unfold. It could have been bolder, perhaps exploring more challenging themes or embracing a more nuanced perspective on family life. But as a straightforward, heartfelt piece, it accomplishes what it sets out to do. The steady-cam cinematography creates an intimacy within the four walls of the the home - a character in its own right - emphasizing the idea of life passing by in a single room, and allowing for a visual style that serves the story well, even if it lacks variety.

Here may not be a must-see in theaters, but it’s the kind of film that lends itself to the intimacy of home viewing. Its steady rhythm and familiarity make it feel like something to curl up with on a quiet evening. I can see "Here" becoming a beloved annual watch, especially around the holidays, given its cozy, multi-generational warmth. It’s one of those rare films that feels more like a memory than a movie, offering a sweet, if somewhat sentimental, reflection on the beauty of the everyday.

Movie Review/ "Venom: The Last Dance"

By Anthony Caruso

Venom: The Last Dance is a film that, for better or worse, perfectly encapsulates the spirit of the Venom series: it’s chaotic, messy, full of CGI battles, ridiculously over-the-top, and filled with some awful humor that misses more than it hits. If you've enjoyed the previous two Venom films, you’ll find more of the same here. But if you were hoping for a leap in quality or a redefined tone, prepare for disappointment. Like the first two installments, this third outing feels like a time capsule in many ways. It's very reminiscent of the type of superhero films that dominated the late nineties and early aughts. It's a CGI-fueled spectacle that's flashy but feels dated and has an incoherent plot that's held together mostly by Eddie Brock and Venom's dynamic, which has certainly been the heart of this trilogy.

There’s no question that The Last Dance doubles down on the franchise’s formula. The plot is convoluted if one can piece it together amid all the explosions and monster fights. The film continues Eddie’s journey with the symbiote, Venom, as they face new threats while the inevitability of a looming confrontation with Knull, the symbiote god teased as a universe-ending big bad, lurks ominously in the background. While this setup has potential, it’s sadly bogged down by a lackluster script that prioritizes action over coherence. The result is an entertaining but bewildering final chapter that doesn’t quite know what to do with the cosmic mythology it introduces.

Visually, the movie suffers from over reliance on CGI that, while certainly expensive, lacks polish. The action scenes are chaotic and occasionally thrilling, but the CGI-heavy battles often feel weightless. It’s as though the filmmakers focused on amping up the spectacle without considering the stakes or emotional impact. Knull’s appearance, teased as the “ultimate villain,” is ultimately underwhelming, coming across more as a bland, computer-generated antagonist than the terrifying presence needed to set up future movies. 

The film’s saving grace, once again, is the undeniable chemistry between Tom Hardy's Eddie Brock and his symbiotic alter ego, Venom. Their bickering, bizarre partnership has been the franchise’s signature, and here, it reaches its emotional zenith as the two embark on what is essentially a road trip. There’s an attempt to bring a sense of closure to their story, and while it’s not as effective as it could have been with a stronger trilogy, there’s genuine emotion in their farewell. By the time the credits roll, fans who've followed their relationship from the beginning may find themselves unexpectedly moved. Hardy’s dedication to both the characters of Eddie and Venom has been commendable. He somehow grounds the absurdity with sincerity, making it easier to invest in the story even as it spirals out of control. 

Perhaps the most curious aspect of The Last Dance is its setup for a future crossover within Sony’s Universe of Marvel Characters. With characters like Madame Web, Morbius, and Kraven now floating around Sony’s playground, it seems inevitable they’re building toward some type of team-up event. While logic suggests this will be a mess of epic proportions, it’s hard not to feel a tinge of excitement at the prospect of watching these antiheroes unite to face a common foe. (I mean come on; they're building up Knull as a universe-ending threat for that exact reason, right?) Whether this crossover would be good is another question entirely (though let's face it, it likely wouldn’t be), but there’s undeniable potential for a “so bad it’s good” type of movie, especially if Sony embraces the campy charm that has permeated the "Venom" series.

Ultimately, Venom: The Last Dance won’t change anyone’s mind about the franchise. It’s a far cry from the polished early days of Disney's successful Marvel Cinematic Universe, but it has a certain charm and guilty-pleasure appeal that’s difficult to dismiss entirely. The movie is flawed, to be sure, but it’s still an entertaining romp through Eddie and Venom’s bizarre world. If you’re a fan of the first two Venom films, you’ll likely find something to enjoy here. And while it may not be the best superhero movie of the year, it’s a fun watch for those who’ve grown attached to this unlikely duo. Plus, it's nowhere near as bad as the outings for Madame Web and The Crow have been; and I still enjoyed it more than Deadpool & Wolverine, which was nothing but fan service and didn't even attempt to have a story outside of its multiversal cameos. This is a film I’ll revisit on streaming now and then—not because it’s a cinematic masterpiece, but because it has its own unique brand of chaotic fun.

Movie Review/ "Your Monster"

By Anthony Caruso

Your Monster is the kind of indie gem that quietly sneaks up on you. The trailers may not have sold the film’s unique charm well, but this modern-day twist on "Beauty and the Beast" is much more than meets the eye. With strong performances from its leads, a quirky yet heartfelt story, and a clear message about embracing one’s inner strength, Your Monster emerges as one of the most pleasant surprises of the year. It’s a charming, offbeat, and emotionally resonant film that’s destined to gain a cult following as time goes on.

At its core, Your Monster is a story about self-acceptance, rage, and standing up for oneself, cleverly wrapped in the framework of a dark fantasy-romance. While it draws clear inspiration from "Beauty and the Beast", it’s not a simple rehash. Instead, the film uses the fantastical elements to explore themes of inner turmoil, personal growth, and the complexities of human relationships in a fresh and contemporary way.

The premise follows Melissa Barrera’s character, a young woman struggling to assert herself in both her personal and professional life. Enter Tommy Dewey as the titular “Monster,” a mysterious and brooding figure who may appear grotesque on the outside but is charming and empathetic beneath his monstrous exterior. What follows is a story not only about their unusual bond but also about how Barrera’s character finds the strength to face her inner demons and external obstacles, using the monster (which is literally just named Monster) as both a literal and figurative manifestation of the rage she’s been holding back.

Melissa Barrera is the heart of this film. Her portrayal is nuanced, delivering a character who is relatable, vulnerable, and strong. Throughout the film, she navigates her character’s emotional journey with grace and intensity, making you root for her every step of the way. Barrera has already proven herself as a talented actress, but "Your Monster" shows her at her absolute best - and funniest! She handles both the grounded, human moments and the more fantastical elements with equal ease. It's Tommy Dewey who is the film’s biggest surprise, however. Known for his comedic work in shows like Casual, Dewey channels his sense of comedic timing into his character as he physically transforms into a whole new type of character. Under heavy monster makeup, he manages to bring incredible warmth, wit, and depth to the role. His character could have easily been a one-dimensional "Beast" archetype, but Dewey gives the monster an endearing quality that makes the audience care deeply about him. His chemistry with Barrera is also fantastic, making their unusual relationship both believable and compelling.

One of the film’s strongest elements is how it uses the fantasy genre to explore real-world issues. Your Monster isn’t just a love story, but a tale about embracing the darker sides of yourself and using them as a source of power. The monster, in many ways, is a metaphor for the inner rage Barrera’s character has repressed, and by confronting it, she can take control of her life. The film deals with themes of self-worth, personal agency, and resilience, all while remaining entertaining and visually striking.

While the film’s low-budget indie roots are apparent, that’s part of its charm. The production design gives the film a gothic, fairy-tale atmosphere that feels both whimsical and eerie, while the New York City setting makes it feel particularly modern and contemporary. The monster makeup and practical effects are impressive, adding to the film’s fairy tale aesthetic without ever feeling overly polished or having to rely on CGI. This lends the movie a raw, grounded quality that enhances its emotional impact.

Your Monster may not have had a huge marketing push or the mainstream appeal of a major tentpole feature, but it’s precisely this underdog status that will likely endear it to a dedicated audience. It has all the hallmarks of a film destined to become a cult classic. The film’s humor, heart, and offbeat charm, combined with the stellar performances from its cast, make it stand out in an otherwise crowded movie landscape. This one is truly a must-watch for anyone seeking something a little different, and it’s sure to earn a much wider audience and the acclaim it deserves when it eventually hits streaming.

Movie Review/ "Rumours"

By Anthony Caruso

Rumours is one of those films that leaves you bewildered, yet strangely entertained, unsure whether you're laughing at the absurdity of it all or marveling at the audacity of its premise. It’s a weird movie, but it’s also an immensely enjoyable one. Directed with sharp wit and biting satire, Rumours is a wonderfully twisted commentary on global leadership, illustrating how, at the end of the day, the G7 world leaders are just as cliquey, immature, and childlike as the rest of us.

The atmosphere of Rumours is chaotic and electric, striking a balance between farce and tension. The film is set in a world on the brink of collapse—natural disasters, economic meltdowns, global unrest—and yet the focus remains on the petty squabbles, ridiculous antics, and interpersonal, dramatic relationships of the world’s most powerful leaders. There’s a constant sense of impending doom, but it’s undercut by the bizarre and humorous behavior of the G7, who seem more concerned with impressing one another than with saving the world. This juxtaposition creates an eerie, almost surreal atmosphere where the stakes are simultaneously high and laughably low. The apocalypse looms large, but it often feels like an afterthought to the childish games of our cast of leaders. The world is burning, but they're engaging in their own high school drama masquerading as global politics.

The ensemble cast is fantastic, with each actor bringing a distinct energy to their portrayal of a global leader. The performances here are what make the film as enjoyable as it is, with the actors fully leaning into the absurdity of their characters while also delivering moments of surprising emotional depth. Charles Dance plays the surprisingly underutilized aging President of the United States with a hilarious English accent for some reason, which is called out but never explained, while Cate Blanchett plays the aloof and horny Chancellor of Germany. Roy Dupuis' scandal-ridden Prime Minister of Canada has the most heroic and largest role of the bunch, while Rolando Ravello's Prime Minister of Italy is the surprisingly gentle soul and heart of the film - as well as the biggest source of comic relief. Nikki Amuka-Bird's Prime Minister of the United Kingdom is the "straight man" character of the movie and is the role with the most gravitas, but even she's fun in her own right - as are Denis Ménochet's President of France and Takehiro Hira's Prime Minister of Japan. There's not a weak link amongst the bunch, and their chemistry is out of this world - sufficiently real and awkward. It's truly a hilarious pleasure watching them try to navigate a dangerous landscape with only one another, sans any security or staff. 

The screenplay by Gavin Maddin, Evan Johnson, and Galen Johnson - the same trio that directed the movie as well - is sharp, witty, and at times, downright ridiculous, but all in the best possible way. The dialogue crackles with tension, humor, and clever political commentary. The political satire is biting but nuanced, poking fun at the pomp and circumstance of global diplomacy while also making a poignant statement about the dangers of ego, narcissism, and incompetence in positions of power. There's also something to be said about the fact that no matter how ridiculous our world leaders are, people still turn to them for reassurance during times of crisis.

Our trio of directors does a phenomenal job in steering this wild, satirical ship. It’s a difficult task to balance apocalyptic stakes with over-the-top comedy, but they manage it with precision - downplaying the apocalyptic side of things, and merely giving us hints as to what's happening, which makes the movie stronger. The pacing is brisk, and the film never lingers too long on any one moment, keeping the energy high and the tension palpable. The direction enhances the farcical nature of the story, allowing it to slip into complete absurdity at points which is a wonderful dig at the state of world politics nowadays.

Visually, Rumours is striking. The cinematography is stylish, yet less than polished. There’s an almost dreamlike quality to some of the shots, particularly during the scenes where the film’s apocalyptic undertones creep to the surface. The camera work amplifies the relationships between the leaders, using tight close-ups and rapid cuts to heighten their sense of paranoia as the danger they're in begins to mount. The cinematography allows the absurdity to shine through, with playful framing and exaggerated angles that underscore the childishness of these leaders of the free world. It’s a visually engaging film that feels both stylish and purposeful, adding to the overall surreal tone of the story.

In the end, Rumours will definitely not be a film for everyone—its bizarre tone and offbeat humor may leave some viewers scratching their heads, as it did my friend who I saw this with tonight—but for those who appreciate a biting political satire with a large dose of sometimes nonsensical absurdity, Rumours is a must-watch. It’s a reminder that, at the end of the day, even world leaders are just as petty and childish as the rest of us—just with a bit more power at their fingertips.

Movie Review/ "Apartment 7A"

By Anthony Caruso

Apartment 7A is a psychological thriller that, while intriguing, ultimately struggles to blend its horror elements effectively. Indeed, for a prequel to one of the most iconic horror films of all time, the lack of horror present in this film is both surprising and disappointing. Don't get me wrong - the film offers a decent viewing experience, but it falls short of creating the kind of suspense and dread one might expect, particularly for fans of Rosemary’s Baby. And despite its ambitious goals, it often feels more like a made-for-TV film than the atmospheric horror movie it strives to be.

The acting is undoubtedly the highlight of "Apartment 7A". Dianne Wiest and Kevin McNally as the neighbors from Hell, the Castevets, deliver strong, unnerving performances that are sufficiently eerie. However, it’s Julia Garner as our protagonist, Terry Gionoffrio, who is the real standout of the movie. She turns in a terrifically nuanced and sympathetic performance, and her portrayal of a character under psychological duress who is being gaslit and manipulated is truly compelling. She adds a real sense of gravitas to the film, which is what the story desperately needs but, sadly, is lacking for the most part. The supporting cast also does a fine job of what's required of them, even during moments when the movie falters. That said, none of them are unable to elevate this movie to a level of quality above "fine".

Visually, the film has moments of excellence. The cinematography is slick and often atmospheric, even if it often looks cheap. Arnau Valls Colomer can build uneasy tension via simple camera tricks, as he lingers just a little too long on mundane objects, and moves just slowly enough to keep you on edge. However, despite these all-too-quick flashes of brilliance, the film fails to capitalize on its more unsettling imagery and atmosphere. The pacing issues, particularly in the first half, work against any tension being built, and by the time the supernatural elements come into play, it feels like too little, too late.

While intriguing, the story lacks the punch one might expect from a psychological horror film. The narrative is slow to start, and when it finally kicks into gear, it shifts focus between the psychological drama and the supernatural horror without fully committing to either. The demonic pregnancy plot, which is meant to be the film’s horror centerpiece, feels underwhelming and is one of its weaker points. It lacks the terror and atmosphere needed to make a lasting impact. Oddly enough, the most memorable parts of the film are the musical theater scenes. These moments, filled with energy and creativity, almost seem to belong to a different movie. They bring an unexpected charm that contrasts starkly with the darker elements. However, they also contribute to the film's tonal inconsistency, as it never quite decides whether it wants to be a tense horror film or something lighter and more surreal.

Where Apartment 7A does shine is in its connection to Rosemary’s Baby. The film’s ending ties directly into the original in a way that will please fans of the 1968 classic, offering clever nods and references throughout. But while these Easter eggs are fun for diehard fans, they aren’t enough to elevate the film to the greatness it seems to be striving for.

Prequels are always a challenge, and while Apartment 7A has its moments of intrigue, it falls short of living up to its potential. It’s an entertaining enough film, but it lacks the scares, focus, and tension to stand on its own apart from Roman Polanski's "Rosemary's Baby". Will I watch it again? Perhaps one day. But more than anything, it left me wanting to revisit Polanski’s most iconic film starring Mia Farrow.

Is There Going To Be A New Digimon Adventure Movie?

By Brandon T. McClure

On August 1st Toei Animation released a special livestream to commemorate the anniversary of the original Digimon Adventure series (Digimon: Digital Monsters season 1 in America). The stream consisted of newly animated footage from the original series and some announcements of new merchandise that fans can find in the coming months. While light on news this year, the stream ended with a mysterious date overlaid on a screenshot of a familiar image to Digimon fans. The date reads January 1, 2025, and tells fans to save the date for a special announcement. This could be just speculation at this point, but it could imply a follow-up to Digimon Adventure 02: The Beginning.

While primarily anthological, Toei Animation has returned to the Digimon Adventure timeline a few times over the years. Digimon Adventure Tri, Digimon Adventure: Last Evolution Kizuna and the Digimon Adventure 2020 reboot have been notable returns in recent years, but Digimon Adventure 02 (released in America as Digimon: Digital Monsters Season 2) was their first attempt to keep the timeline going. That series follows a new generation of DigiDestined and their partners, while also keeping the original cast of characters in mentorship roles. However, history hasn’t been kind to this sequel series. The general consensus is that it’s not a very popular series. While the above-mentioned films have returned to the timeline of Digimon Adventure, the characters introduced in Digimon Adventure 02 have been largely absent.

Digimon Season 02

The beginning of Digimon Adventure Tri shows the 02 DigiDestined falling to an unknown foe (that turns out to be Alphamon), and are hardly mentioned but never seen again. With every subsequent release of Digimon Adventure Tri, fans were hoping that they would return, but they never did. Due to the current reputation of Digimon Adventure 02, Toei might have assumed that fans wouldn’t care, but they were wrong. In 2020, two years after Digimon Adventure Tri concluded, Toei Animation released Digimon Adventure: Last Evolution Kizuna. This film was meant to be the final concluding chapter of Tai and the gang's story and this time they brought along Davis, Ken and the other 02 kids. This was met with tons of praise, so Toei Animation quickly revealed that the next Digimon Adventure film would be all about Davis and his friends, called Digimon Adventure 02: The Beginning.

Digimon Adventure 02: The Beginning

Digimon Adventure 02: The Beginning was released in Japan and America in 2023 and saw Ken, Davis, V-Mon, and the rest take the reins of the franchise for the first time since their series ended in 2000. The film follows those characters as they meet Lui, a DigiDestined who claims to be the first kid to ever partner with a Digimon. Lui claims that it was his wish for more friends that made the partnerships between Digimon and humans possible. As the initial hype of the film began to wear down, fans began to notice a glaring problem with it. It’s not about the 02 Digidestined. It’s about Lui, a brand new character that serves to retcon the franchise (for the third time?), and his struggle to reconnect with his Digimon partner Ukkomon. After years of asking, fans were given a film that has these characters play supporting roles to a brand new character. 

Hope springs eternal, however. While fans were left largely disappointed with Digimon Adventure 02: The Beginning, there was still the chance that a new film could make up for it. After all, the filmmakers and Toei Animation still insist that the epilogue of Digimon Adventure 02  is canon (Despite all the evidence to the contrary). For those who may not remember, the epilogue of the original show jumps forward to the year 2027 and shows a world where everyone on the planet has a partner Digimon, including Tai, Matt, and Sora, who notably lost their Digimon at the end of Digimon Adventure: Last Evolution Kizuna. This is important to bring up because eagle-eyed fans immediately recognized the screenshot from the mysterious save-the-date message at the end of the Digimon Day stream as the exact shot that transitions the show into its epilogue. 

It’s important to mention that this is all wild speculation based on a single image. Well, a single image and one more thing. At the end of the Digimon Adventure 25th Anniversary Special, a special that consists of famous scenes recreated with new animation, there’s a shot of Agumon that doesn’t exist in the original series with a single line of dialogue: “Tai, see you later.” Well, of course, Digimon fans are going to run rampant with speculation about the inclusion of this scene. If the epilogue of Digimon Adventure 02 is still canon then at some point in the near future, Tai and the others have to be reunited with their Digimon partners. One of the exciting things that Digimon Adventure 02: The Beginning did was get rid of the Digivices. Once a device believed to be the source of the bond between Digimon and humans, now serves no purpose. This severed element could be the first step to reuniting people with their Digimon partners since the Digivice seemed to dictate how long a Digimon could be with their Digidestined. Now no Digidestined would ever be faced with losing their partner like Tai or Mat did. A new movie could cover this story, but that would potentially mean sidelining the 02 kids a fourth time.
It’s hard not to feel lied to when it comes to Digimon Adventure 02: The Beginning. There’s no great new enemy to face, there’s no new digivolutions to experience, and it isn’t about the supposed main characters of the film. So of course Digimon fans are going to look into any tiny detail that could hint that a new film is on the horizon. Let's just hope that it’s actually about the 02 kids this time.

Movie Review/ "Woman of the Hour"

By Anthony Caruso

Woman of the Hour is a fascinating true story brought to life as a tense and tight thriller, and it marks an impressive directorial debut by Anna Kendrick. The film is an engaging retelling of the chilling events surrounding real-life serial killer Rodney Alcala, and Kendrick manages to capture both the terror and the bizarre nature of Alcala's crimes in a way that feels fresh and compelling.

Kendrick herself is wonderfully energetic and charismatic in the role of Cheryl Bradshaw, the unsuspecting bachelorette who came face-to-face with Alcala on "The Dating Game". Her "girl next door" charm, which has always been one of her defining traits, works perfectly here, making her portrayal both relatable and sympathetic. Watching her navigate the unsettling tension of the situation keeps the audience on edge throughout. Daniel Zovatto, meanwhile, is equally remarkable, delivering a performance as Alcala that is both unnerving and oddly charming. He strikes a chilling balance between charisma and danger, making Alcala’s ability to deceive those around him all the more terrifying. Zovatto’s portrayal of Alcala as a charismatic predator is one of the film’s highlights, and Zovatto's performance adds layers of suspense to every scene he’s in.

At its core, Woman of the Hour is a gripping and disturbing exploration of how Alcala used his charm to hide his monstrous nature, and the film’s pacing keeps the tension high throughout. It’s an entertaining, compelling, and frightening watch that never feels too exploitative, instead focusing on the psychological dynamics of both predator and prey. Kendrick’s direction is tight, ensuring that every moment serves to either build character or heighten suspense.

In short, Woman of the Hour is a fantastic debut for Anna Kendrick as a director - and proof that she's just as talented behind the camera as in front of it - and a must-watch for fans of true crime thrillers. It's a deeply engaging film, with standout performances and a story about random chance and random encounters with danger that will stick with you long after the credits roll. I definitely recommend this one! (It's even frightening enough that while, not a traditional "Spooky Season" film, is one you can count as one of your annual Halloween watches this year!)

Movie Review/ "Smile 2"

By Anthony Caruso

Smile 2 is a wonderfully unsettling sequel, even if it stumbles a bit with pacing. While the beginning is slower than I would have liked, once the film gets going, it doesn’t let up. In fact, it’s an even more visceral and terrifying experience than its predecessor, taking the haunting concept of the first film and ramping up the intensity in a way that’s both relentless and deeply disturbing.

Naomi Scott absolutely shines in the lead role of pop star, Skye Riley, delivering a performance that’s nothing short of remarkable. She showcases incredible range, taking us on a journey through every imaginable emotion—fear, anger, grief, and despair—while never missing a beat. Her portrayal grounds the horror in genuine human experience, making it all the more impactful as the terrifying entity encroaches on her world. Scott’s performance is the emotional anchor of the film, and it’s one of the best I’ve seen in - and out - of the genre this year.

Where Smile 2 stands out is in its willingness to go darker and more serious than the original. While it’s an entertaining and well-crafted horror film, I wouldn’t call it “fun” in the traditional sense. This movie doesn’t let up, delivering a gut punch of a story that goes beyond jump scares and dives into real emotional and psychological trauma. Like the first film, it’s a meditation not only on mental health but also on addiction and recovery, with the metaphorical elements playing a huge role in how the story unfolds. The beauty of the film lies in its ambiguity. Whether the events are real or a manifestation of the protagonist’s spiraling mental state is left up to the viewer’s interpretation until the horrifying entity’s physical appearance towards the end. (Though even then, you could make the argument it's all a figment of Naomi's spiraling mental state.) And speaking of that ending - I hope this film does well and the next installment capitalizes on the promise of this movie's conclusion. 

Despite how good the film is, its pacing and length keep it from reaching greatness. At times, the film feels stretched a little too thin, and some scenes - specifically the rehearsal stuff - drag on longer than necessary. The slow burn at the beginning could have been tighter, though as I said above, once the tension ramps up, it becomes a relentless rollercoaster ride of fear. Even with all of these flaws, however, Smile 2 is a worthy sequel, delivering a satisfying continuation of the first film’s story, themes, and atmosphere.

I can’t wait to watch this again once it hits streaming and add it to my annual Spooky Season rotation. It may not reach the perfect heights of some horror classics, but it’s definitely one of the better offerings in the genre this year and one that will stay with you long after the credits roll.

Movie Review/ "The Apprentice"

By Anthony Caruso

The Apprentice offers an eye-opening glimpse into Donald Trump's life during the 1970s and 1980s, capturing his rise to prominence, wealth, and fame. Anyone who has followed Trump, particularly his presidency and post-presidency, is familiar with his lamentation: "Where’s my Roy Cohn?" After watching The Apprentice, that phrase should resonate with people more, as it's made clear why Trump always muses about it to close confidantes. This film paints a fascinating picture of the symbiotic relationship between Trump and his notorious lawyer, Roy Cohn, and how their partnership helped shape the course of American history. In many ways, this movie is Trump's origin story, depicting a descent into moral compromise and showing us not only how someone can achieve the American Dream, but also how that pursuit can corrupt them. Even for those who have meticulously followed Trump’s life, The Apprentice's portrayal of his transformation is captivating.

Writer Gabriel Sherman and director Ali Abbasi create a nuanced and compelling portrait of Trump, one that humanizes him without glossing over the darker aspects of his personality. The film walks a fine line, portraying a young, ambitious Trump who craves love and approval, particularly from his father, yet ultimately makes a deal with the devil to get everything he’s ever wanted. There’s no real plot here per se— "The Apprentice" is more of a character study and a sequence of key moments in Trump's life that span two decades — but the sharp, well-written script balances humor and drama skillfully. While the film warns viewers that some events are fictionalized, anyone familiar with Trump's history will recognize many of the stories as being grounded in fact. In addition to Sherman's script, Abbasi’s direction also shines here. He manages to capture the feel of 1970s and '80s New York with a fever-dream type of energy. The grainy filter used throughout makes the movie feel as though it could have been made during that era itself, adding to the authenticity.

What makes this movie work, however, is Sebastian Stan's performance as Donald Trump. He truly delivers a masterful one, perfectly capturing his essence without leaning into the caricature we've seen many actors rely on. It’s extraordinary to watch Stan evolve the character over the course of the film's two-hour runtime as he moves from a driven young real estate mogul to the egotistical billionaire we know today. By the film’s end, Stan has fully embodied the Trump persona—mannerisms, voice, and all—and is practically unrecognizable as himself. It’s an immersive, transformative performance that will likely earn Stan some serious Oscar buzz.

Equally riveting is Jeremy Strong, who delivers a tour-de-force performance as Roy Cohn, the ruthless lawyer who helped mold Trump into the figure we know today. Strong portrays Cohn as both terrifying and oddly pitiable, and his journey from being Trump’s mentor to his fixer, and ultimately to being discarded by him, is fascinating to watch. Like Stan, Strong humanizes Cohn without glossing over his many flaws. Even Roger Stone, a real-life associate of Cohn, has praised Strong’s performance, calling it uncanny—proof that the "Succession" star truly inhabited the role and, like Stan, will most likely earn himself some awards buzz. 

The entire ensemble deserves praise, though. There's not one weak link to be found. And though this is obviously both Stan's and Strong's movie, it also features standout performances from Maria Bakalova as Ivana Trump and Martin Donovan as Fred Trump Sr. And as for the soundtrack? It imbues the film with nostalgic energy, adding a fun layer to the proceedings and helping transition us through time from scene to scene.

Overall, The Apprentice is not just a compelling character study but also a cautionary tale about the dark side of ambition and power. It’s a must-watch, especially with the upcoming presidential election. Despite the lack of marketing and its underperformance at the box office, it’s easily one of the best films of the year, and I’m eager to revisit it once it hits streaming. Although it's unlikely to happen, I would love for the same cast and creative team to return for sequels that build upon the character work done in this movie, covering more eras of Trump’s life— such as "Trump the entertainer" and "Trump the president" - because there’s truly so much more to explore.