August 25, 2022

Paranoid Thriller “Watcher” is a Strong Directorial Debut (Review)

Being a stranger in a strange land is far from an ideal situation. Not having the personal connections you rely on at home, combined with an irreversible sense of loneliness, is more terrifying than what you’ll find in several horror movies.


Watcher, the debut feature from director Chloe Okuno, takes that feeling and dials it up to eleven. Maika Monroe plays Julia, an American, who moves to Bucharest after her husband Francis (Devs’ Karl Glusman) accepts a job there. Due to his upbringing, Francis is fluent in Romanian, but Julia is not, further isolating her in her new home, which she’s already uncomfortable in. To make matters worse, a man who lives across the street seems to be watching her, and Julia begins to theorize that he is the serial killer, called “the Spider” by the local media, who has been decapitating Romanian women.

August 23, 2022

Top Ten TV Series of 2022 (so far)

If you havent yet, check out my Top Ten Movies of 2022 (so far)!

This is another list that I intended to do at the mid-year point, but again, due to shifting schedules and the general chaos of life, it’s now an August event. There are some series that are either currently airing or have just completed (looking at you, Only Murders in the Building) that will almost certainly appear on my list by the year’s end, but for now, I’ll focus on series that have completed on or before the week of August 15. And with that, enjoy my top ten television series of the year thus far!

Image courtesy of Netflix

August 19, 2022

My Top Ten Movies of 2022 (so far)

I intended to do this at the mid-year point, but due to shifting schedules and the general chaos of life, it’s now an August event. Because of this, there are definitely some films on here that are more recent than the mid-year, but my hope is that it will be diverse enough from my end-of-year list that they will be able to function as separate lists. From the Space Age to the ’60s, Nic Cage to the Dark Knight, slasher homages to viking epics, and the emotionally heartfelt to the gripping drama of real life, this list has it all.


August 15, 2022

“Secret Headquarters” is a Fun, Familiar Superhero Film for the Whole Family (Review)

I’ve always thought that children’s entertainment should not be thought of as inferior, with a comparable level of criticism to adult-oriented productions — with a pointed acknowledgement of its intentions and target audience. On the flip side, there are films and television made for all ages, which Disney and Pixar (up until very recently) seemed to have a monopoly on.


Now, the “hot new thing” is superheroes. Everything superhero-related is getting greenlit — except if it’s even tangentially related to Warner Bros. — because it’s arguably the most recognizable sub-genre by the last two generations of kids, especially with Marvel having dominated the box office for the past 14 years.


But that doesn’t mean it all has to be good. Oftentimes, in the age of influx, more attention is paid to high volume output instead of quality control, and because of that, we get more Marvel projects than we know what to do with. We get a rushed DC cinematic universe. We get movies like Secret Headquarters.

August 9, 2022

I’m Going Off the Rails on a “Bullet Train” (Review)

There are a lot of things that Bullet Train could have been — a straightforward adaptation of Kōtarō Isaka’s 2010 novel, a wildly divergent interpretation, or somewhere in the middle — and I believe it made the right choice and settled with the best of both worlds.


I finished reading Isaka’s novel the morning before seeing the film, and my expectations were admittedly higher than the average moviegoer. After seeing the trailers for months on end during nearly every trip to the theater, I was sufficiently excited, even more so to see the characters I had gotten to know brought to life on the big screen by some of my favorite actors.

August 7, 2022

The “Predator” Franchise Isn’t Messing Around with its “Prey” (Review)

There were several hurdles facing Prey even before its release. First (and perhaps most glaringly) was that the Predator franchise had infamously tired itself out, with Shane Black’s 2018 entry seemingly ending the series after a poor box office performance. The once-epic and macho-driven franchise seemed to be running out of ideas, despite lots of unresolved promise in recent installments.


So what did Prey do? It does what any effective prequel does and brings everything back to the basics. In fact, it’s so dedicated to being a prequel that it’s set over 250 years before the original Predator, and it works as a decoupled prologue to the series without interfering with any canon or lore — this is in comparison with Shane Black’s film, which tried far to hard to establish the opposite.


Image courtesy of 20th Century Studios


Set in 1719,
Prey (the best title this film could have chosen) follows a young Comanche woman, Naru (a perfectly-cast Amber Midthunder), who was trained as a healer but longs to become a hunter like her brother Taabe (Dakota Beavers). Naru is already a capable warrior, but in order to prove her skill to her tribe, she pursues the arrival of a mysterious figure — and we all know where this is going. What Naru believes to be a mystical Thunderbird is actually a spaceship dropping off a Yautja warrior, known colloquially as a Predator of a Hunter. Still, she takes this as a sign, and it ends up being very beneficial for her; she soon finds herself going head-to-head with one of the fiercest beings in the known universe.

August 4, 2022

“Luck” Overcomes the Standard Animation Formula (Review)

In light of recent events concerning Warner Bros. Discovery’s decisions re: HBO Max, I have learned not to take any streaming-only film for granted. If any “exclusive” can be removed at any time, they should be treated as the marvels they are; in truth, it’s a miracle any movie gets made, not to mention fully completed, and respect should be paid regardless of streaming status. This is part of a larger discussion, but just because a movie goes straight to a streaming service doesn’t mean it deserves to be discounted as inferior to theatrical films in any way — in fact, Luck proves that the opposite is true.

Image courtesy of Apple TV+


The first feature film from Skydance Animation, Luck begins on a dour note: extremely unlucky teenager Sam Greenfield (voiced by stage actress Eva Noblezada) is aging out of her foster home, but she doesn’t want to leave before helping Hazel, another girl in the home, find her “forever family.” The only problem is, Sam can’t seem to catch a break, and any help she offers falls flat by default.

July 31, 2022

The 1st Lenient Critic Awards: Winners Announcement

There is a massive amount of content released every year, and 2022 is shaping up to be one of the biggest ever for film and television. The Lenient Critic Awards was created to recognize the best of the year on a biannual basis, because even the Oscars, the Emmys and the Golden Globes are unable to award everything that deserves it. With the Lenient Critic Awards, those films and television series have a fighting chance at the lasting acknowledgement they deserve, even those that don’t end up winning.

Image courtesy of A24

And now...the winners!

July 26, 2022

B.J. Novak Makes a Fitting Directorial Debut with “Vengeance” (Review)

Vengeance: a strong word, with potentially stronger significance. A promise to right the wrongs of the past, coupled with a rare sense of justice, no matter how poetic or cruel. It would feel more at home as the title of an action thriller starring Liam Neeson, so why is it instead the name of B.J. Novak’s feature directorial debut?


Somewhat unsurprisingly, instead of being a breakneck adventure, Vengeance fits in with Novak’s repertoire as a steadfast comedy/drama, without endeavoring to subvert genre or break the story mold that Novak has worked his way into.


Image courtesy of Focus Features


Last fall Novak, former writer and star of
The Office, debuted the first season of his anthology television series called The Premise, where each episode tells a single character-driven story about a current world issue. Vengeance feels like an extended episode of that bizarre series, exploring big concepts and the complexities of human nature in a story that defines itself on those merits, and not much more.

July 24, 2022

“Westworld” Hits Pause After a Showstopping Twist (Season 4 Episode 5 Review)

After the sucker punch of timeline-oriented reveals in the previous episode, Westworld is back in full force with “Zhuangzi,” the fifth episode of the marvelously inventive fourth season. You’d think that with momentum that strong, the season would keep on trucking to deliver whammy after whammy of big news — but bafflingly, “Zhuangzi” grinds to a halt for just about half an hour.

Image courtesy of HBO

July 19, 2022

“Where the Crawdads Sing” is an Unfortunate Misfire (Review)

There’s a reason that certain details and elements are changed when a novel is made into a film. It’s called an adaptation after all, and both should act independently as separate, perhaps even mutually beneficial experiences. I haven’t read Where the Crawdads Sing, which placed on the The New York Times Bestseller list for 135 consecutive weeks, and yet I still get the feeling that it falls into the opposite category.

Image courtesy of Sony Pictures

Let’s discount anything floating around online about Delia Owens, author of the original novel — as I’ve mentioned, I’m a huge proponent of separating the art from the artist — and it shouldn’t impact anything related to the film, anyway. Where the Crawdads Sing is structured like a novel, filled with expositional narration from beginning to end, signaling that “show, don't tell” was not a thought oft had during production.

July 17, 2022

“The Boys” Has Become an Intensely Engaging, Reality-Driven Nightmare (Spoiler-Free Season 3 Review)

Rarely does a television series set itself apart so starkly from the rest of its genre, while simultaneously mastering what makes the genre special in the first place. When The Boys arrived on the scene in 2019, it led a resurgence of shows and films that asked “What if superheroes were real, and they were ruthlessly violent?”


And through the influx of sub-genre entries, The Boys is still king. In June, its third season burst onto the scene after a two-year hiatus, and it’s like no time has passed at all. The world still feels lived-in, with the characters fulfilling their respective roles — even though circumstances change faster than usual in Season Three.

Image courtesy of Amazon Prime


A year after the events of the previous season, the titular group has gone straight, working for the Bureau of Superhero Affairs to track down potentially dangerous Supes. The conflict with the major superhero group the Seven, led by the murderous Homelander (Antony Starr), is on hold, until Boys leader Billy Butcher (Karl Urban) decides to hit the “play” button when he begins searching for Soldier Boy (Jensen Ackles), one of the first-ever superheroes and a more bigoted version of Captain America. Butcher intends to find a way to kill Homelander for good, a nigh-impossible mission that could yield fruitful results. Meanwhile, Hughie (Jack Quaid) is working for mysteriously homicidal congresswoman Victoria Neuman (Claudia Doumit), and internal changes at superhero corporation Vought threaten the security of their confident facade.

July 12, 2022

Netflix Restores Life to “Resident Evil” (Review)

I’ve stated numerous times before that I don’t usually play video games. That’s why I’m definitely not qualified to comment on the accuracy when translating video games to films or television mediums, but I think that’s also a positive — it eliminates any frustration I might have with the lack of faithfulness in the source material, because I’m not anywhere close to familiar with said source material.


The same is true for Resident Evil, which Netflix has adapted for long-form television. This is the story about a pandemic that ravages the world and drastically reduces the sane and living population — and that makes it feel a little too real. The dystopian setting naturally lends itself to the horror genre, but it’s less traditional jump scare-focused horror and more along the lines of something you could genuinely see happening; perhaps not to this extreme, but it’s all become much more tangible after the events of the last two years. It’s more relatable, and therefore scarier.

July 11, 2022

The 1st Lenient Critic Awards: Nominations Announcement

There is a massive amount of content released every year, and 2022 is shaping up to be one of the biggest ever for film and television. The Lenient Critic Awards was created to recognize the best of the year on a biannual basis, because even the Oscars, the Emmys and the Golden Globes are unable to award everything that deserves it. With the Lenient Critic Awards, those films and television series have a fighting chance at the lasting acknowledgement they deserve, even those that don’t end up winning.

Your opinion matters. The form to vote can be found HERE!

July 8, 2022

Travel the Galaxy with Space Vikings in Refreshingly Unique “Thor: Love and Thunder” (Spoiler-Free Review)

2022 is the year of divisive Marvel Cinematic Universe projects. Doctor Strange split audiences down the middle, with some praising its campiness while others reject it. Moon Knight dazzled audiences when it premiered, but the internet fan presence quickly turned on the series as soon as it was over. Ms. Marvel is perhaps the best MCU entry this year so far, but nobody seems to be watching it or preventing its review bombing.

Image courtesy of Disney

And now
Thor: Love and Thunder has arrived on the scene, proving that the Marvel universe is heading in an inescapable new direction that some will hate, and some will adore. With no new multi-film saga to anchor it (for now), the MCU has settled into depicting self-contained adventures, tangentially connected to the rest of the universe but mostly concerned with telling their own stories. Characters will occasionally cross over — for example, the Guardians of the Galaxy are front and center in the beginning of Thor, only to depart very quickly for their solo adventures — and the rest of the film is very focused on the characters established in the mini-franchise’s previous three installments.

July 6, 2022

“SIX” and “The Book of Mormon” are Strong Reminders of What Musical Theater Can Be (Review)

Broadway and the West End work in perfect tandem, each debuting shows that — if success allows it — will eventually make their way across the pond. During my recent trip to the UK, I was lucky enough to attend two musical productions that have both enjoyed a fair amount of critical acclaim.


The first is SIX, which unites the six wives of King Henry VIII for a modern musical extravaganza that blends genres and breaks down walls. It’s not story-driven, as it functions more like a pop concert. The Queens tell their stories and compare horrible life experiences, which seems pretty par for the course in the era that they lived. However, this is actually a competition; they’re trying to see who suffered the most, and therefore who should become the group’s lead singer.



SIX
takes back the power and establishes the Queens as characters separate from Henry. Historically, they’re always bundled together with the King, because he’s the only thing that ties them together — when in fact, his wives are the only reason Henry is as famous as he is. I couldn’t tell you a thing about his religious reform or his investment in the Royal Navy, but even before seeing SIX I was well aware of his Queens, their basic life stories, and how they died. SIX gives them the agency they deserve as main characters, and not just supporting players in the Royal narrative.

July 1, 2022

“Stranger Things” Season 4 Vol. 2 Raises the Stakes and Brings the Emotion (Spoiler-Free Review)

Though I always find myself falling for the gimmick, I am generally not a huge fan of binge-watching television. Of course, when Netflix split the fourth season of Stranger Things in half, I knew that both premieres would feel like special events. I would wake up early, and (reasonably) watch every episode as soon as humanly possible. And while some long-form entertainment wears on me after a while, Stranger Things has never had that effect. That’s the benefit of being an incredible show with three seasons of already-fabulous television under its belt.

Image courtesy of Netflix

Not to mention that the second half of
Stranger Things 4, which runs just under four hours, is essentially a non-stop ride to the finish line. There are natural pauses (perfect for taking breaks), but I never wanted to turn it off. It amazes me that four seasons in, Stranger Things is still one of the most addictive series I’ve ever seen. Part of it is the characters, whose chemistry and arcs are as electric as ever, and part of it is the fact that anything could happen next. The season doesn’t take as many risks as it could have — perhaps they’re saving the biggest whammies for Season 5, which will be its last — but my astronomical interest level means that the ending is eternally satisfying no matter which way the cookie crumbles. In the Duffer Brothers we trust.

June 29, 2022

“Elvis” is a Biopic Fit for a King (Review)

How can you tell the story of an iconic industry titan in a way that does justice to their influence and legacy — while also telling a story appealable to the masses? The answer to that near-impossible question is: you don’t. Not in a conventional way at least.

Image courtesy of Warner Bros

Baz Luhrmann, not necessarily known for his faith in source materials (or to history, in this case), has taken the reins of an Elvis Presley biopic. The King of Rock and Roll, a towering historical figure (despite not being confident in his own impact) was only 42 when he passed away, but managed to create an indelible impression in very little time. Luhrmann’s
Elvis is simultaneously a tribute to his musical brilliance, a reflection on the lasting trends he pioneered, and a portrait of United States history across three decades.

June 26, 2022

“The Black Phone” is a Call Worth Taking (Review)

Seeing The Black Phone got me thinking about prevalent pop culture elements like the Hunger Games, which is centered around child murder, and how people would feel about them depending on your status as a parent. I’m not a parent, but I do plan to be one day, and I’m interested to see if my outlook on these types of stories will change, and if I will develop an aversion to them.


Objectively, the acts depicted in these types of films and novels are terrible things to witness and comprehend, but it’s only proof that the death and abuse of children have been harnessed and overused by pop culture as a method of enhancing shock factor and drawing in an audience — which, of course, is ironic, given the amounts of people (namely parents) that this type of story immediately repulses.


Image courtesy of Universal Pictures

But you didn’t come here for a societal discussion, you came for a review of The Black Phone, the latest low-budget gem from horror giant Blumhouse. It re-teams writer/director duo Scott Derrickson and C. Robert Cargill with accomplished performer Ethan Hawke, in a rather disturbing tale in which Hawke plays a child abductor known only as the Grabber. One of his victims is Finney Shaw (Mason Thames), who awakens in the Grabber’s lair to find an unplugged black phone. Soon, the phone begins to ring, revealing the departed voices of all those who’ve come before him.

June 24, 2022

Revisit the Violent Delights of “Westworld” with a Mind-Bending Return to Form (Review)

At this point, it’s inevitable that the basic functions of humanity will be replaced by the technology we’ve created. Thus, “Adapt or Die” is the decree that the fourth season of HBO’s trippy Westworld has for us. Building on previous seasons’ themes of consciousness and control, the long-awaited entry into the series’ sprawling and oft-confusing canon takes the best elements of its predecessors and unites them in a satisfying amalgamation that advances the story, while also bringing it back to its roots.

Image courtesy of HBO


Seven years after the events of Season Three, when former Westworld “Host” Maeve Millay (Thandiwe Newton) and human Caleb Nichols (Aaron Paul) stopped an AI from “preventively” ending mass amounts of human lives, we’re thrown headfirst into the new lives of our main characters. Many of them are in drastically different roles than before, including cast member Evan Rachel Wood, whose traditionally-villainous character Dolores seemingly died permanently at the end of Season Three. Now, she plays Christina, a digital story designer who can’t help but wonder if there’s more to life than fabricating the tales of others. It’s not entirely clear why she looks exactly like an android Host from the now-defunct Westworld, but it makes enough sense for now.

June 20, 2022

Pixar’s “Lightyear” Fails to Launch (Review)

If you need proof of the over-saturation of content in modern media, look no further than Lightyear. The latest offering from Pixar, Lightyear is a movie that exists within the Toy Story universe as the film that inspired the Buzz Lightyear toy. While the argument about which movies are “necessary” could be had all day long, I think it’s safe to say that not many people were begging for Lightyear to be made — especially when a series held in high regard by many (Buzz Lightyear of Star Command, which aired from 2000-2001) accomplishes the same goal. Maybe it’s about time for an upgrade.

Image courtesy of Disney


But as far as redundant features go, Lightyear is far from the worst. I think its biggest flaw is that it’s technically related to the Toy Story movies, because that automatically measures it up against some of the best animated movies ever made. On the other hand, without the Toy Story connections, Lightyear is just another formulaic space-bound action movie that covers little unexplored ground. There’s just no way to win.

June 17, 2022

Phil Tippett’s “Mad God” Exceeds the Limits of Imagination (Review)

Despite the prevalence of CGI in the modern film landscape, there’s a certain magic about stop-motion animation that is impossible to beat. Its organic nature and seamless feeling — when done right — is the perfect symbol of pure imagination brought practically to life. And while there aren’t many films released these days that are entirely stop-motion animated, Mad God, a film by legendary visual effects master Phil Tippett, has joined their ranks.


Tippett’s is a name you may not have heard, but you’ve seen his work. From Star Wars to Jurassic Park, his fingerprints are present on many iconic (and forgotten) franchises and science-fiction projects dating all the way back to the 1970s. But since the late 20th century, he’s been working on a film that I’m sure will come to define his career.

June 14, 2022

Self-Exploration and Modern Jewish Culture Take Center Stage in “Cha Cha Real Smooth” (Review)

I’ve attended many a school dance. I can’t even remember how many times I’ve heard the “Cupid Shuffle” played over the speakers, which is almost always followed by nearly everybody being dragged out onto the dance floor. The words “Cha cha real smooth” became synonymous with rolling your fists around each other and turning in a perfect circle. Now, Cha Cha Real Smooth is synonymous with a film that I sorely hope gets the attention it deserves.

Image courtesy of Apple TV+

A standout from this year’s Sundance Film Festival, Cha Cha Real Smooth comes at us courtesy of writer/director Cooper Raiff, who also stars as Andrew, a twenty-something young man who is noticeably unsure about his own future. Raiff is previously best known for his directorial debut Shithouse, in which he also played an awkward college student without the big hopes and dreams that many young people have.

June 9, 2022

“Jurassic World: Dominion” Could Kill the Franchise for Good (Review)

The Jurassic Park series has been more of a rollercoaster than most franchises. From one of the greatest films of all time came two lackluster follow-ups, a soft reboot with a critically-panned but financially successful sequel, and finally, Jurassic World: Dominion, which intends to wrap up the second trilogy while providing closure to arcs dating all the way back to the 1993 original.


It’s an admirable goal. Dominion attempts to provide a satisfying answer to the question posed by its predecessor, Fallen Kingdom, about what would happen if dinosaurs were living among us on planet Earth. That could have been a fascinating premise, but frustratingly, Dominion chooses to go in a completely different direction, spitting in the face of what the first two Jurassic World films set up.


Image courtesy of Universal Pictures

Nearly every lead actor from previous Jurassic films makes a reappearance, including Chris Pratt, Bryce Dallas Howard, BD Wong and Isabella Sermon from Jurassic World, and the original three: Sam Neill, Laura Dern and Jeff Goldblum are back as Alan Grant, Ellie Sattler and Ian Malcolm respectively. Their return is inarguably the sequel’s biggest draw (the trailers confirmed as such), so why is the reunion the opposite of spectacular when it actually happens?


June 6, 2022

“Downton Abbey” Ushers in a New Era in an Emotionally Effective Sequel (Review)

In the first Downton Abbey film, the Crawleys’ former butler Mr. Carson (Jim Carter) says that “a hundred years from now, Downton will still be standing, and the Crawleys will still be here.” That promise all but ensures a limitless future for Downton itself, and the possibilities of new stories for years to come. Even after its natural ending on television, its characters and storylines have found new lives on the big screen, which is no easy feat to accomplish.

Image courtesy of Universal Pictures

After a pandemic-related delay, a sequel to the 2019 film (itself a follow-up to the successful ITV series) is finally here. Downton Abbey: A New Era picks up one year after the royal visit from the previous film, and not much has changed. True to Carson’s dogma, Downton is still standing and the Crawleys are still there — but that doesn’t stop a variety of factors from threatening to tear the family apart.

June 1, 2022

“The Boys” is a Bloody Good Time (Seasons 1 & 2 Review)

Note: This review was originally published in The Cape Cod Chronicle in November 2020.



For those suffering from superhero fatigue, I get it. There are at least five a year, and not all of them can be winners. Sometimes, you might want to step away from the big screen, and get comfortable on your own couch for some exciting, binge-able television. One thing that the pandemic has brought us is more time to invest searching our streaming queues for new shows to devote ourselves to, and The Boys is one such series that brought me happiness in the last few months.

May 23, 2022

Dinosaurs Truly Come to Life in New Docuseries “Prehistoric Planet” (Review)

There is something enticing about being given a window into a world we will never experience. Sometimes it can feel private, even perverse…but not when it comes to the dinosaurs.

Image courtesy of Apple TV+


Over fifty million years ago, these prehistoric creatures, both large and small, roamed the earth alongside the animals we coexist with today. Our knowledge of the dinosaurs has only continued to increase over the last centuries, and with technology advancing right alongside it, we’re now able to digitally render the gorgeous environments that dinosaurs resided in for an even better understanding of how they lived.


May 19, 2022

“The Valet” Proves the Traditional Rom-Com Still Lives (Review)

If you are a regular watcher of movies, you’ve undoubtedly seen your fair share of romantic comedies. After a while, you will start to pick up the tropes and typical story structure, and it becomes easier and easier to predict what will happen in any given movie. Sometimes, that can make rom-coms a chore, but in the case of The Valet, a remake of a French film of the same name, it actually makes the experience better.

Image courtesy of Hulu

Eugenio Derbez, best known to me as the music teacher from this year’s best picture winner, CODA, plays Antonio, a valet who gets roped into a Hollywood scandal by unfortunate circumstance: he crashes his bike into the car of movie star Olivia Allan (Ready or Not’s Samara Weaving), just as the paparazzi photograph her with the married man that she is having an affair with. Played by New Girl's Max Greenfield, the married man is a senator, or a councilman, or a realtor — I honestly couldn’t tell you which one — but to cover up the affair, he pays Antonio to step into the public eye and pretend to be Olivia’s boyfriend.

May 17, 2022

The Lenient Critic Podcast Episode 26: Moon Knight, Doctor Strange in the Multiverse of Madness

It’s Marvel week here on the podcast, as Alice returns for back-to-back reviews of Doctor Strange in the Multiverse of Madness and Moon Knight. Plus, previews of upcoming releases and more of what we’ve been watching lately.

Dont forget to subscribe to the podcast and give us a rating on Apple Podcasts!

The Doctor Strange spoiler episode is coming next week!

May 14, 2022

“Senior Year” Brings Back the 90s Teen Movie, with a Twist (Review)

Getting older can be scary. I’m 19, so I don’t feel qualified to speak accurately on the fears of rapidly getting older without meaningful accomplishment, but it’s a subject that Senior Year, a new comedy straight from Netflix, takes in stride.

Image courtesy of Netflix

We’re first introduced to Stephanie Conway, an Australian immigrant who just wants to be one of the popular girls. It’s the late 90s, prime time of the Mean Girls-esque cliques, harmful stereotypes and popular teen movies that gave every impressionable schoolchild unrealistic expectations about high school. However, Senior Year is itself one of those high school movies, and Stephanie succeeds in her quest: she becomes the most popular girl in school, and by default becomes insufferable and rude to her supposed best friends.


At first, Stephanie is played by Angourie Rice (The Nice Guys, Spider-Man), finally getting the chance to use her native Aussie accent in a quasi-mainstream film! After a cheerleading accident, shortly before the completion of her final year of high school, Stephanie gets thrown into a coma that she only emerges from two decades later, now played by Rebel Wilson.

May 13, 2022

The Lenient Critic Podcast: Happy Friday the 13th!

Heath is back to discuss one of the most iconic film franchises of all time, and this time he’s brought Jonathan Watkins of CinemaSins with him! Heath, Jonathan and Rowan break down the first six films in the franchise, discuss what works and what doesn’t, and the humor that comes to define Friday the 13th by movie four.

May 10, 2022

“Operation Mincemeat” Tells an Unbelievable True Story (Review)

Sometimes, truth is stranger than fiction. Every instance of a bizarre, real-life occurrence not widely known or discussed is fascinating to me, which is why I’m grateful for the film medium: it gives a chance for these stories to be told in an accessible way, no matter what time period the stories are from. Films are something that most everyone can get behind.

Image courtesy of Netflix


This time, director John Madden (Oscar-nominated for Shakespeare in Love) is proving he has the chops to make a bona fide war movie — if you don’t count Captain Corelli’s Mandolin — with Operation Mincemeat, one of those fantastically weird war maneuvers that, despite all odds, was successfully pulled off. The curtain rises in 1943, as the Allies are attempting to disguise their upcoming invasion of Sicily. A deception effort, involving the deceased tramp Glyndwr Michael, was devised, in which Michael would be outfitted as the fictitious Major William Martin (later known as “the man who never was”) of the Royal Marines. Michael’s body was furnished with false documents purporting that Greece and Sardinia were the Allies’ true invasion targets in an effort to lure German forces away from Sicily.

May 8, 2022

Random Musings: “Doctor Strange in the Multiverse of Madness”


The increasingly complicated Marvel Cinematic Universe ushered in an important new entry this week with
Doctor Strange in the Multiverse of Madness, and I didn’t have a chance to cover everything I wanted to in my review. Here are some other thoughts I had about the film that didn’t quite fit into the review — and keep in mind, there are major spoilers ahead.

May 5, 2022

Things Get Out of Hand in “Doctor Strange in the Multiverse of Madness” (Spoiler-Free Review)

No Marvel film, aside from perhaps Avengers: Endgame, has ever had as much pressure as Doctor Strange in the Multiverse of Madness has on its shoulders. It must follow up the satisfying multiversal madness from last year’s Spider-Man: No Way Home, in addition to living up to fan expectations and delivering the mass amounts of cameos that enthusiasts are demanding.

Image courtesy of Disney

With all that weight, it would be a very difficult task to completely satisfy everybody — and I genuinely believe there’s an incredible movie buried in what we eventually got. What we did get, though, is far from terrible. In fact, I’m close to loving it, and a bit more careful consideration might get me there.

May 4, 2022

“Barry” Soars Even Higher in Season 3 (Spoiler-Free Review)

It's been three years since Barry was last on the air. Back then, the world was pandemic-free, HBO Max didn’t exist, and Bill Hader was only a two-time Emmy winner. Obviously, there’s been quite a shift in circumstances since 2019, but at least one thing remains the same: Barry is still one of the best shows on television, and the third season is a perfect reminder of that.

Image courtesy of HBO

Set in a shorter span than real-time, Season Three deals directly with the consequences and fallout of its predecessor, just as any good serialized show should. All of our favorite (and least favorite) characters are taking big steps in their lives, and I was absolutely thrilled to return to this entertaining world of hilariously heightened reality.

May 3, 2022

The Lenient Critic Podcast Episode 24: The Northman, The Unbearable Weight of Massive Talent

Chris Bakker is Chris back-er (I’m sorry) on the podcast to discuss The Northman and The Unbearable Weight of Massive Talent, two massively bombastic films that definitely aren’t getting enough box office attention. He and Rowan also preview some upcoming blockbusters and talk about what they’ve been watching lately. 

Dont forget to subscribe to the podcast and give us a rating on Apple Podcasts!

And, if you’ve seen The Northman, here’s a bonus episode where we discuss it in detail!


May 2, 2022

An Interview with “Operation Mincemeat” Director John Madden

I had the opportunity to speak with director Oscar-nominated director John Madden about his new film Operation Mincemeat, which depicts a deception effort to keep the plans for the Allied invasion of Sicily secret during the Second World War.


Image courtesy of Netflix

Madden is an English director best known for directing the Academy Award-winning Shakespeare in Love, as well as The Best Exotic Marigold Hotel and its sequel. He was a fascinating interview, and I loved hearing his insight about the film’s historical subjects and the streamlined, dynamic nature of the dramatization.

April 28, 2022

An Interview with “Crush” Director Sammi Cohen

I had the opportunity to speak with director Sammi Cohen about her new film Crush, which features an aspiring young artist (played by Rowan Blanchard), who is forced to join her high school track team, later discovering what real love feels like when she finds herself falling for an unexpected teammate.

Image courtesy of Hulu

Cohen is an American director best known for directing thirty-four episodes of CollegeHumor originals and multiple Dropout original series. She was an excellent interview, and her personal connection to the film’s themes and messages, including the politics of coming out and the importance of art and free speech, make for a wonderful discussion.

April 26, 2022

Awe-Inspiring “The Northman” is a Viking Epic for the Ages (Review)

I’ve found that films tend to be a better experience when the director actually gets to make the movie they want to make, as opposed to a mess of a feature hastily glued together with reshoots and studio interference. Hollywood politics are tricky, but I think it’s safe to say we would be getting a lot more originality if every director’s innovation was maintained to their preference.


Image courtesy of Focus Features


One director who’s had more success than not with preserving his artistic vision — with the three features he’s produced thus far — is Robert Eggers, writer/director of 2015’s The Witch, 2019’s The Lighthouse, and now The Northman, a Viking-centric story emblematic of Hamlet which allows Eggers to dive into the endlessly deep well of Norse mythology. Alexander Skarsgård stars as Amleth (the name being one of the more obvious parallels with its Shakespearean influence), a Viking prince whose young life is uprooted when his uncle Fjölnir (Dracula’s Claes Bang) kills his father Aurvandill War-Raven (Dead Poets Society’s Ethan Hawke) and takes the throne, kidnapping Amleth’s mother (Being the Ricardos' Nicole Kidman) in the process. Amleth manages to escape, armed only with a mantra anyone who saw a trailer for this movie in theaters can likely quote verbatim: “I will avenge you, father! I will save you, mother! I will kill you, Fjölnir!”


Two decades later, as Amleth has grown into the much beefier Skarsgård, he finally begins to make progress on his promise. The traditional hero’s journey is punctuated with vivid Green Knight-esque side quests and increasingly violent distractions. Woe befalls anyone who crosses his path, whether they be undead warriors or egotistic cousins, and the adventure only gets better as it nears its end.