While Netflix offered its
Dahmer – Monster: The Jeffrey Dahmer Story, a ten-part mini-series on, perhaps, America’s most notorious serial killer, the same company also brought to its streaming service, as well as to the big screen, a feature-lengthed film on lesser known, albeit more another prolific serial killer in Tobias Lindholm’s
The Good Nurse. This review will undoubtedly contain spoilers. If you have yet to see The Good Nurse, I recommend a viewing, though I’ll caution that it operates slower than what you both wish and expect. I am uncertain if I would have given as invested in
The Good Nurse had I watched it at home rather than at the theater. This is all to say that it deserves the attention the director, the writers, and the actors put into it.’
Continue reading The Good Nurse (2022) →
Apple TV+ continues its string of movies that should be better than they are with the Jennifer Lawrence-led (mother!, Silver Linings Playbook) Causeway. Like many of its predecessors (Swan Song, Palmer, Cherry, Greyhound, The Tragedy of Macbeth, Finch, On the Rocks), first-time director Lila Neugebauer’s Causeway benefited from a successful marketing campaign, only to leave viewers to wonder what the original hype was about. However, I’d be remiss if I left off CODA, the Best Picture winner of 2021. The streaming service has potential as a movie distributor but has laid its fair share of duds. Causeway is no exception. It’s a mediocre movie at best.
Cate Blanchett is the female actor version of Daniel Day-Lewis. Daniel Day-Lewis is the male actor version of Cate Blanchett. Tomato Tomahto. While Day-Lewis may be a little more selective in his roles than Blanchett, resulting in fewer Oscar nominations (six – all in leading roles) than Blanchett’s seven (four in a leading role, three in a supporting role). Day-Lewis has won three Oscars, to Blanchett’s two (The Aviator and 
The opening sequence of Jerrod Carmichael’s feature-length debut On the Count of Three shows a revolver being pointed inches from the face of Kevin (Christopher Abbott – It Comes At Night,
As I watched the beginning of Chinonye Chukwu’s (Alaskaland, Clemency) true story Till, my mind kept returning to two different thoughts. The first was the film’s timeframe, thinking about my grandparents and realizing that the film’s lead character, Mamie Till-Mobley (The Harder They Fall, The Devil to Pay), was about the same age as my grandparents when the film took place (mostly) in 1955. The second was how I thought Till felt like a stage play, as much as it did a feature-length movie. I pondered how a live experience might feel. Sadly and shamefully, I only became aware of Emmett Till’s story for the first time when I saw the trailer. While I knew there were parts that I knew would be brutal, it was it wasn’t until we got to the film’s second act that I truly began to understand the story’s magnitude and felt that this story would be nearly impossible to pull off as a stage performance because of how draining it might be for the actors to go through the experience repeatedly, as well as how a live performance might devastate unprepared attendees.