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.’
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Armageddon Time, James Gray’s (Ad Astra, The Lost City of Z) 1980 take on the pursuit of the American Dream, is a film with good intentions, but one that felt plagued by a plot that we’ve seen hundreds of times in cinema before. Even more detrimental to its predictable story was its attempt to impart wisdom to its audience, almost all of which we are already keenly aware of, especially in its release year of 2022. Unfortunately, The United States of America has been notorious for its class privileges, inequalities, and injustices. While we all have the opportunity to pursue the American Dream, specific paths often have far more obstacles to overcome than others. Gray successfully showcases this, but it’s hardly a discovery, and its overarching story has become quite a cliche.
Apple TV+ continues its string of movies that should be better than they are with the Jennifer Lawrence-led (
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,