Search Results

MR. & MRS. SMITH: SEASON ONE Starring: Donald Glover and Maya Erskine Creators: Francesca Sloane and Donald Glover QUENTIN Fair warning, Mr. & Mrs. Smith is not a straight adaptation of the 2005 film of the same name, so if you’re hoping for glossy romance and stylized action sequences, you’ll be sorely disappointed. However, this (relatively) grounded series is all the better for having paved its own way. Yes, it has spy movie and rom-com elements (alongside strong Atlanta vibes), but they are mostly window dressing for the compelling relationship drama at the forefront, which is driven by the palpable and off-kilter chemistry between Donald Glover and Maya Erskine. Admittedly, the pacing and plotting are wonky, but it's otherwise funny, smart, relatable, sophisticated, and inspired. KATIE Donald Glover’s Mr. & Mrs. Smith is completely different from the film, and is all the better for it. The show is driven by the compelling and refreshingly authentic relationship between Jane (Maya Erskine) and John (Donald Glover), who are both very likable and share a genuine chemistry. My favourite parts of the show involve the new couple just talking and navigating the realities of their situation, which is a testament to their fantastic performances. Glover injects each scene with his distinctive brand of weird, much like Atlanta , and effortlessly moves the show between drama, romance, comedy, mystery, and fast-paced thrills. AMARÚ I had certain expectations going into a Donald Glover-created Mr. & Mrs. Smith television show, but I was quickly reminded that Glover doesn’t really do the “expected.” This show is nothing like the 2005 film and unlike anything currently on television. It seamlessly cycles from spy thriller to comedy to action to romance as effortlessly as it takes to believe the chemistry between Glover and Maya Erskine. Their natural charisma breathes energetic life into a stylish script, sleek music and far-off locations propel the show’s sexiness, and every well-placed cameo adds to a mystique that makes Mr. & Mrs. Smith the first must-see show of 2024. CALEB As someone who wasn’t a fan of the original film, Prime’s Mr. & Mrs. Smith is a welcome change of pace. I found the 2005 film corny, but this adaptation takes a much more grounded approach to the relationship between the titular spies. John (Donald Glover) and Jane (Maya Erskine) feel like a real couple with genuine insecurities. They have impeccable on-screen chemistry, and even in the show's slower moments, it’s a joy watching them interact. With amazing performances, stylish direction, and an energetic soundtrack, this new version of Mr. & Mrs. Smith is a total blast.

Previous Next August 27, 2025

ECHO 3: SEASON ONE Starring: Luke Evans, Michiel Huisman, Jessica Ann Collins, Bradley Whitford, and Martina Gusman Creator: Mark Boal QUENTIN Considering that Echo 3 boasts being “from the Academy Award winning writer of The Hurt Locker and Zero Dark Thirty ,” it’s no surprise that the propulsive and tense military action sequences are the only thing this series has going for it. Sadly, the story connecting those (too few) set pieces is a mess, often going in random directions that reach dead ends. Plus, it never makes you care about the kidnapping victim because she is essentially just an objective. The pieces are here for something, but series creator Mark Boal has made a show with the depth and intrigue of off-brand Call of Duty instead.

Previous Next April 3, 2024 WRITTEN BY: ADRIANO The movie musical seems to be a thing that goes in and out of popularity pretty often, but at the end of the day, it is admittedly a staunchly niche genre. Just recently, studios admitted to hiding that their musical releases are musicals because it seems to turn off general audiences. Personally, I can attest that many people in my life have proudly proclaimed that they "hate musicals." That sentiment can't be further from the truth for me. I love musicals. Simply being a musical is enough for the film to pique my interest and excitement. Something about using spontaneous song-and-dance to push the plot forward can elicit more emotions than plain-old dialogue can, and of course, can bring out so much joy. If done correctly, you’ll even get some tasteful toe-tapping. Musicals have been a staple of cinema for nearly a century, with some of the biggest and most influential films in history being musicals. However, the disrespect of the genre is still very much alive. So, with that in mind, I want to dial the clock back to the 1930s, and talk about my favourite musical from each decade: 1930s: THE WIZARD OF OZ Synopsis : Young Dorothy Gale and her dog Toto are swept away by a tornado from their Kansas farm to the magical Land of Oz. When a legendary film has reached audiences across the spectrum for nearly a century…as The Wizard of Oz has…what other choice do I have for this decade? The film introduced audiences to the magic of technicolor, and The Wizard of Oz's imaginative storytelling and world-building continue to inspire awe in families and cinephiles alike through its Oscar-winning music and the wonderful land of Oz. The Wizard of Oz is, to this day, one of the gold standards, not just for musical and fantasy cinema, but for cinema in general. 1940s: THE HARVEY GIRLS Synopsis : On a train trip West to become a mail-order bride, Susan Bradley meets a cheery crew of young women traveling out to open a Harvey House restaurant at a remote whistle-stop. While we're on the topic of Judy Garland, let's go from Oz to the Wild West. In 1946, director George Sidney released the upbeat, exciting, and visually grand western musical, The Harvey Girls , which saw Garland as a new addition to a group of waitresses at the Harvey House restaurant. The Harvey Girls is an example of how musicals can elicit profound excitement for the medium just by experiencing the action on screen. The sequence of “On the Atchison, Topeka and the Santa Fe” (the song that won an Oscar, by the way) is a hoot and a holler of lively performances. I know The Harvey Girls isn't the most popular film in the world, but it's truly one that deserves your attention. 1950s: SINGIN’ IN THE RAIN Synopsis : A silent film star falls for a chorus girl just as he and his delusionally jealous screen partner are trying to make the difficult transition to talking pictures in 1920s Hollywood. Do you know how incredible and influential Singin' in the Rain is? Even if you haven't seen the movie, I'm willing to bet that just reading the title has unlocked an earworm in your brain. Singin' in the Rain is one of the classic Hollywood films that you think couldn't possibly live up to the hype attached to it, and yet, without fail, each viewing feels like the first. For one, the production values are marvelous…and not just by ‘50s standards…but the music also is charming and catchy. On top of that, the film is funny and entertaining. Singin' in the Rain is a masterpiece that is going to remain in the annals of film history for the rest of time. 1960s: THE SOUND OF MUSIC Synopsis : A young novice is sent by her convent in 1930s Austria to become a governess to the seven children of a widowed naval officer. The Sound of Music is one of those movies where, if you don't like it, I don't trust you. Yes, it's corny, I admit that - but that's part of the charm. If you want a beautiful, endearing, musical experience that'll leave you smiling through the vast majority of its 3-hour runtime, you’ll find that here. However, and maybe most importantly, there also is a powerful story, one that'll leave you with tears and a sense of warmth. Just the image of Julie Andrews' Maria dancing on the hills to "The Hills Are Alive" is enough to put the biggest smile on one's face. 1970s: CABARET Synopsis : A female girlie club entertainer in Weimar Republic-era Berlin romances two men while the Nazi Party rises to power around them. Cabaret’s musical style helped make it an instant classic, and rightfully so. It’s stylish, creative, and irresistible right from the jump. So irresistible, in fact, that director Bob Fosse won Best Director at the Oscars that year over Francis Ford Coppola’s work on The Godfather . Its musical prowess alone is more than enough to make Cabaret something special, but it's what lurks under the surface of the glitz and glamour that gives Cabaret an unexpected weight. It deals with socially powerful themes that are as relevant today as they were in 1972. So, come to the Cabaret , come hear the music play. 1980s: LABYRINTH Synopsis : Sixteen-year-old Sarah must solve a labyrinth to rescue her baby brother when he is taken by the Goblin King. I certainly own that my undying love for David Bowie may have played a part in my selection of Labyrinth , but you know what? Labyrinth is a hell of a good time, either way. It's Jim Henson's creativity and fun times galore, with a magical adventure and kick-ass soundtrack, courtesy of Bowie, who just quite simply rocks in this movie. Henson's use of puppetry to create something very intriguing on a visual level (not always successful, granted) makes the occasional musical sequence even more visually striking. Plus, the production design makes the new world that Jennifer Connelly's Sarah must venture through to save her brother come alive. Labyrinth is one of those movies where the pros outweigh the cons in a way that makes the movie just so enjoyable. 1990s: THE LION KING Synopsis : Lion prince Simba and his father are targeted by his bitter uncle, who wants to ascend the throne himself. I would be remiss if I didn't mention at least one of Disney's masterpieces from its renaissance era. I don't think I'm saying anything groundbreaking when I say that The Lion King stands head-and-shoulders over its contemporaries. The beginning scene sets the stage for a true musical triumph, as we're introduced to the world of Pride Rock with a deafening bang. The rest of the film is a funny and emotionally stirring animated adventure featuring some of Disney's most iconic music, courtesy of Hans Zimmer and Elton John. Animation can do so much that live-action can't, and if you want any more proof of that, look no further than The Lion King . 2000s: CHICAGO Synopsis : Two death-row murderesses develop a fierce rivalry while competing for publicity, celebrity, and a sleazy lawyer's attention. This Best Picture-winning masterclass of filmmaking is one of those films that needs to be seen to be believed. Borrowing similar styles of musical sequences from Cabaret , Chicago introduced a new generation of moviegoers to an evocative, raw, and sexy style of musical storytelling, where the music isn't just there to make your toes tap but to enhance the story and give a new perspective from its characters' headspace. Chicago is a gritty crime thriller wrapped in a pretty package that warns of the dangers of our desire for fame, and I can't think of a better way for this message to be presented if the goal was to be both fun and effective. 2010s: LA LA LAND Synopsis : While navigating their careers in Los Angeles, a pianist and an actress fall in love while attempting to reconcile their aspirations for the future. Now it's time for me to gush about my absolute favourite musical of all time. La La Land is the quintessential modern musical, one that's both a tribute to what is considered the golden era of cinema and one that's so strikingly contemporary. Featuring ear-catching music and astoundingly choreographed sequences that are directed with such an incredible creative hand by Damien Chazelle, this film (in what can be described as a reverse Chicago ) is a love letter to the dreamers who risk everything to make their insane dreams come true, “foolish as they may seem.” With iconic performances from Emma Stone and Ryan Gosling, La La Land is a surefire modern-day classic. 2020s: WEST SIDE STORY Synopsis : An exploration of the forbidden love and the rivalry between the Jets and the Sharks, two teenage street gangs of different ethnic backgrounds. Robert Wise and Jerome Robbins’ 1961 Best Picture-winning West Side Story is considered one of the genre's finest accomplishments, but while I loved the film, I certainly have my quarrels with it. So, how does one update a classic of such high regard? Enter the master, director Steven Spielberg. Fixing just about every issue I had with the original, Spielberg's West Side Story is made with love and nuance, not to mention so much energy and power in its scenery and choreography that it's hard not to get so sucked into a familiar story that just feels so fresh.

SCENES FROM A MARRIAGE Starring: Oscar Isaac and Jessica Chastain Creator: Hagai Levi QUENTIN While I can appreciate the powerhouse performances from Oscar Isaac and Jessica Chastain (they truly are award-worthy), Scenes From a Marriage is not a fun miniseries. You're essentially watching a white collar marriage fall apart for five hours, complete with all the fighting, manipulation, and awkwardness that entails. If you're watching for the "art" of it, then I suppose you'll get what you're looking for. However, I never enjoyed spending an hour with this couple (Chastain’s Mira is an especially unlikeable character). It's a total buzzkill. A generally well-crafted buzzkill, but a buzzkill, nonetheless. What sort of psychopath finds this entertaining?

UNSTABLE: SEASON ONE Starring: Rob Lowe, John Owen Lowe, Sian Clifford, Aaron Branch, Rachel Marsh, and Emma Ferreira Creators: Rob Lowe, John Owen Lowe, and Victor Fresco QUENTIN Much like Apple’s Shrinking , Netflix’s Unstable attempts to find humor in the struggle with grief and parent-child conflict, and it proves to be the better of the two because it’s not as sappy and the humor has an edge to it. Also, I enjoy Rob Lowe’s schtick (pretty boy buffoonery) more than Jason Segel’s (lovably downtrodden schlub). The series also works the “workplace comedy” angle better because the characters’ eccentricities make them true individuals that are compelling to watch. John Owen Lowe (Rob’s real-life son) struggles a bit as co-lead, but it oddly works for the character dynamics, even if it’s more by accident than design.

FRANKLIN Starring: Michael Douglas, Noah Jupe, Marc Duret, Ludivine Sagnier, Thibault de Montalembert, Daniel Mays, Assaad Bouab, Eddie Marsan, Jeanne Balibar, Théodore Pellerin, and John Hollingworth Creators: Kirk Ellis and Howard Korder PRESTON Apple TV+ is at it once more with another early American historical series. This time, the aptly named Franklin focuses on the revolutionary war efforts of Benjamin Franklin (Michael Douglas). As a self-proclaimed history buff who has some awareness of Franklin’s antics in France, I was hoping for a take more closely aligned to Amadeus than the French-centric story presented here. Douglas’ outstanding performance carries this limited series along more capably than any of his colleagues’ in contemporary peer Manhunt , but with less compelling subject matter, it, too, eventually loses its luster, sadly leaving us with yet another mediocre offering. QUENTIN Unless you’re the nerdiest of American history nerds, you’re likely to be disappointed by Franklin . While it explores the post-Revolution political levers pulled by Benjamin Franklin (Michael Douglas), the series is mostly derailed by subplots surrounding Franklin’s celebrity and the relationship with his teenage (read: bratty and horny) grandson (Noah Jupe). When it actually dives into the political maneuvering, it’s done so with a dry focus on the French monarchy instead of the more interesting Franklin. Plus, full disclosure, I’m a Douglas fan; however, he is woefully miscast here, feeling more like adult cosplay than an actor giving an earnest portrayal of a historical figure.

THE RECRUIT: SEASON TWO Starring: Noah Centineo, Teo Yoo, Colton Dunn, Aarti Mann, Fivel Stewart, Kristian Bruun, Vondie Curtis-Hall, Kaylah Zander, Maddie Hasson, Angel Parker, James Purefoy, and Nathan Fillion Creator: Alexi Hawley QUENTIN In its second season, Netflix’s The Recruit delivers a more confident and streamlined story, mostly due to reducing the episode count from eight to six. Don’t get me wrong, it’s still goofily light-hearted — carried squarely on Noah Centineo’s charming, Mark Ruffalo-resembling shoulders — but where most spy shows tend to fall down the rabbit hole of being so gritty that they come off as self-important, The Recruit ’s self-aware silliness is fun and refreshing. Sure, it might be breezy and slightly hollow compared to contemporaries like The Night Agent , Jack Ryan , and The Agency , but who said espionage needs to be taken so seriously? Check out our reviews for Season Two HERE .

THE SEX LIVES OF COLLEGE GIRLS: SEASON TWO Starring: Pauline Chalamet, Amrit Kaur, Reneé Rapp, and Alyah Chanelle Scott Creators: Mindy Kaling and Justin Noble PAIGE The Sex Lives of College Girls delivers on three fronts to make it an enjoyably easy watch: it’s hilarious, horny, and light-hearted. This season continues to deliver what I liked best about Season One while also stepping its game up in terms of humor and story depth. There is no denying the main cast's great chemistry, which feels authentic and relatable, but what I loved most about this season is that the characters branch out of their so-called collegiate stereotypes to become women learning to navigate life.

SILO: SEASON ONE Starring: Rebecca Ferguson, Common, Tim Robbins, David Oyelowo, Rashida Jones, Chinaza Uche, Iain Glen, Harriet Walter, Ferdinand Kingsley, Rick Gomez, and Will Patton Creator: Graham Yost NICK The first couple episodes of Silo intrigued me, but didn’t quite grab me; however, with the third episode, I was hooked. I’ve never read the book series it’s based on, so the mystery of it all had me on the edge of my seat thanks to some terrific world-building and the methodical pacing. Rebecca Ferguson is engaging as the lead, while the supporting cast around her (shout out to Common and the always reliable Will Patton) are used carefully and deliberately to move the story along as it lays the groundwork for what looks to be a charged second season. I can’t wait. QUENTIN Normally, I’m not a fan of shows that make you sit through a set-up season to get to the real story. That said, while Silo is definitely that, it held my interest throughout. It’s a lot of excellent world-building wrapped around a murder conspiracy (the set-up you have to sit through), but the broader questions about the silo (the real story) keep you engaged even if the ongoing investigation is a little lackluster. Then, the finale kinda resets the starting point for what potentially could be a great sci-fi series. I will say, though, given the slow-burn nature, it works better as a binge watch. AMARÚ Silo ’s dystopian themes have been beaten to death this century, and that commonplace conceit gives the show a slow and unfocused start. However, a distinct narrative nuance and a strong ensemble piques one’s interest just enough to stick around until the story picks up. When it does, it’s directly connected to the amount of time Rebecca Ferguson is on screen. She’s a force whose strength, skill, and savvy are put on full display to push the show through an intriguing mystery with each increasingly thrilling episode.

DOWN CEMETERY ROAD Starring: Ruth Wilson, Emma Thompson, Adeel Akhtar, Nathan Stewart-Jarrett, Tom Goodman-Hill, Darren Boyd, Tom Riley, Adam Godley, Sinead Matthews, Ken Nwosu, Fehinti Balogun, Aiysha Hart, and Steven Cree Creator: Morwenna Banks QUENTIN Down Cemetery Road is not without some quirky British charm, but it’s ultimately undone by pacing issues and a tonal inconsistency that could cause whiplash. For a twisty show about a disappeared child, hitmen, murder, government conspiracy, and all the other tropes that generally fall into this kind of mystery thriller, why is it so damn cheeky? Sure, Emma Thompson is great at being cheeky, but with every chuckle-worthy wisecrack, I was increasingly pulled out of the search for (and plight of) a missing orphan, which was only exacerbated by the sluggish middle episodes. It’s not terrible, but it’s a jarring mix of Broadchurch and Monk .

THE PATIENT Starring: Steve Carell, Domhnall Gleeson, and Linda Emond Creators: Joel Fields & Joseph Weisberg QUENTIN Despite a strong start, an interesting premise, and a wonderfully restrained performance from Steve Carell, The Patient eventually wears out its welcome. It never becomes full-on bad, but it just goes on for far too long. The story has two plotlines at play, both about the father-son dynamic, but only one of them is interesting, developed, or necessary, which leaves the viewer tuning out for 5-15 minutes every 30-minute episode. The ending didn’t really land for me either, making me feel like the juice wasn’t worth the squeeze. Maybe it would have worked better with fewer episodes or as a movie.