Review by Dan Skip Allen Several films have been made from the children's books of Roald Dahl over the years, and most of them are very good adaptations. Among them are Willy Wonka and the Chocolate Factory and Tim Burton's version Charlie and the Chocolate Factory, James and the Giant Peach, Fantastic Mr. Fox from Wes Anderson, Matilda, and The Witches from screenwriters Nicolas Roeg and Alan Scott and producer Jim Henson. Angelica Huston gave a great performance as the Grand High Witch in the original version of The Witches, as evil as evil can be, but Anne Hathaway ups the ante in the 2020 remake. The Witches was a cult classic for '80s and '90s children. This new version gives kids of this generation a fresh and entertaining version of this story. Charlie (Jahzir Bruno) is a child who has gone through a family tragedy, forcing him to go live with his grandmother (Octavia Spencer). Trying to help him out and give him a new outlook, she feeds him, shares music with him, and gives him a companion in the form of a mouse to hang out with. They eventually take a vacation to the shores of Alabama. The problem is they run afoul of a witches convention. The Grand High Witch (Anne Hathaway) has evil sinister plans for all the children in the world. Charlie, his grandmother, Daisy the mouse, and his new friend Bruno are tasked with stopping her nefarious plans. Robert Zemeckis has directed his fair share of family films, the Back to the Future trilogy, The Polar Express, and A Christmas Carol among them. The Witches is another family film he can add to his filmography. Zemeckis is no stranger to visual effects spectacles. He has used motion captures a few times in his films, he has blended animation and live-action, and he has used green screen effects to manipulate the heights of the World Trade Center towers. In The Witches, he uses all the tricks of the trade he has learned over his forty-year career and more to bring this film to life, like CGI, visual effects, camera manipulation, miniatures, and enlarging of props. The camera tricks are numerous to achieve everything he needs in his shots. All of this helps make this a better version of this story. As far as reboots go, The Witches is one of the best of recent memory. In recent years, most haven't done much new stylistically. The Witches brings a whole new vision and style to HBO Max. Along with all the technical tricks of the trade Zemeckis uses, the cinematography, costume design, and set production are all first-rate. This film definitely could have been a wonderful theater experience for many families around the world. It's the best family film of the year.
The Witches is a pleasant surprise all the way around. A great turn from Anne Hathaway as the Grand High Witch. Oscar-winner Octavia Spencer brings her usual quality to the film. The kids are serviceable as well. Zemeckis brought it though. He really pulled all the tricks out of the bag and gave everyone a treat to behold. This is a fantastic family film for a new generation of parents and kids alike. Everybody involved should be proud of this new updated version of The Witches. The Witches is now streaming on HBO Max. Rating: 4/5
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Review by Camden Ferrell
Radium Girls had its premiere in 2018 at the Tribeca Film Festival. It has since played numerous festivals before having its theatrical release delayed due to COVID-19. This film is directed by Lydia Dean Pilcher and Ginny Mohler. While the real-life story had a significant effect on workplace safety, the film isn’t much more than a standard albeit ample courtroom drama.
Bessie and Jo are young women in the 1920’s who work in an American Radium factory where they paint watch dials. Their sister, who previously worked there, died from supposed syphilis. After Jo becomes ill, these girls advocate for safer working conditions and take American Radium to court. This true story is interesting and reveals a lot of the poor conditions at the time, and it had a lot of potential to be a galvanizing film. The script by Mohler and Brittany Shaw is mostly decent, but a lot of the courtroom scenes feel lackluster and utilizes common tropes of the genre. There are some emotional and tender moments throughout, but it is usually met with some tepid and uninspired scenes that can inflate the runtime a little too much. The acting in this film is very apt. Joey King (The Act, The Kissing Booth) gives a very commendable leading performance as Bessie. It is a very strong performance in spite of the material, and she is able to convey a wide range of emotions more so than anyone else in the film. Abby Quinn also gives a pretty decent performance as her sister, Jo. While most of the cast is suitable and adequate in their roles, none of them prove to be particularly memorable.
The film’s main faults come in the first half. There is a lot of meandering through its first act until it gets to the film’s inciting incident. There are characters who are given too much screen time, and there are others who aren’t given nearly enough. It comes off as unbalanced, but luckily the film finds somewhat sure footing as the actual trial and deposition starts.
The execution and blocking of the scenes are once again well-done but not particularly impressive. It’s a well-made movie, and while it suffers from its lukewarm treatment, it is still very competent. The cinematography is decent and composed well, and the score is appropriate for the period. There are a lot of parts that work well individually, but it comes off as messy when compiled. Despite its flaws, this is a movie that tells a story about how young women took on a major corporation in order to secure better working conditions. It’s a testament to the spirit of the worker as well as an empowering story of young women in a period in which they were overlooked. It’s a film that could have been very timely but didn’t necessarily have a strong call to action for modern audiences. Radium Girls doesn’t do sufficient justice to the real-life subjects, but it is still a mildly effective drama. It features a great leading performance from King and some strong themes, but it ultimately falls flat due to its pacing and script. Radium Girls will be available in select theaters and virtual cinemas October 23. Participating theaters can be found here. Rating: 3/5
Review by Sean Boelman
Forty-two years after his debut, documentarian Errol Morris still manages to be one of the most consistently brilliant filmmakers working in the field. And while his latest, My Psychedelic Love Story, is comparatively quaint to his more powerful early films, it’s still a fascinating story told in Morris’s signature slick fashion.
In the movie, Morris interviews Joanna Harcourt-Smith, former lover of psychedelic drug advocate (and later CIA informant) Timothy Leary, as she recounts her passionate romance with him and how she accompanied him during some of the most dangerous years of his life. And even though the title implies that this is just going to be a movie about a couple of hippies, fans of Morris will know that isn’t the case. Morris follows a similar structure here to his normal formula. Everything starts out pleasantly, the subjects just minding their own business, and then the government gets involved and everything goes to hell. As such, the second half of the film is undeniably more exciting, if only because the story gets crazier at that point. As expected, the movie is stylistically brilliant. Morris uses Harcourt-Smith’s interview as the meat of his material and uses archive materials, graphics, and B-roll with her narration to supplement it. Something of note is that this film is much lighter in re-enactments than expected, but that is likely because the story already speaks for itself.
However, the shortcoming to Morris’s approach with this particular movie is that it causes him to neglect his strongest asset: Harcourt-Smith. She’s a very compelling subject who has lived quite an eventful life, so Morris has the wisdom to allow her to speak freely on her own. But in framing the story around Leary, some of the personal connection is lost.
That isn’t to say that the film isn’t still interesting — these events make for a fabulous documentary. But Morris’s sensational approach isn’t as fitting for something that is at a much smaller-scale than some of the weightier issues he has tackled in the past. And as a result, the movie feels a bit hollow at times. There is something to be said about the criminalization of drug use and whether or not it is worth the time and money of the justice system to police these crimes. It’s a hot-button issue today (although there are a few more pressing matters on the plate right now), yet Morris doesn’t do enough to tie Harcourt-Smith and Leary’s story to the modern day discussion. My Psychedelic Love Story is another strong outing from Errol Morris, even if the tale didn’t need his exceptional flair to be told. Still, those looking for a stranger-than-fiction true story need not look any further than the master of the genre. My Psychedelic Love Story screened at the 2020 AFI FEST which runs virtually October 15-22. Rating: 4/5 [AFI 2020] THE FATHER -- A Terrifying and Emotional Drama with a Brilliant Turn from Anthony Hopkins10/21/2020
Review by Sean Boelman
Movies adapted from stage plays are typically breeding grounds for phenomenal performances, and Florian Zeller’s The Father brings one of the year’s best from Anthony Hopkins. Simple yet powerful in its storytelling and benefitting from Hopkins’s brilliant presence, this is the type of refined and mature drama that not only will get but deserves the awards attention.
The film follows an aging man who suffers from dementia as he loses his grip on reality when his daughter suggests that they hire a new aide. Although this isn’t a horror movie, it is arguably one of the scariest of the year because of the way in which it captures the anxiety and dread of losing control of oneself and one’s own world. Zeller’s narrative structure is definitely unique, with segmented interactions coming together to form the story out of order. It’s an intriguing way of telling this tale, emphasizing the protagonist’s disorientation with his environment and the fact that, even though there is a sense of normalcy to some of his moments, life doesn’t make sense to him in the greater scheme of things. That said, the theatrical-like nature comes at the sacrifice of subtlety. Much of the character development is delivered through expositional dialogue. Frequent talk of another daughter that led to trauma is interesting but is lacking in depth. This could have added a further layer of humanity to the film’s exploration of dementia.
The relationship between the two leads is also somewhat underdeveloped. One of the most intriguing storylines features the character questioning his daughter’s identity because she is not how he remembers her. It’s arguably the most heartbreaking portion of the movie, and yet Zeller and his co-writer Christopher Hampton don’t take full advantage of it.
Hopkins is undeniably the highlight of the film, and the amount of praise he is getting is earned. Although it may not be his most memorable work, what makes it so wonderful is that he effectively blends into his role with subtlety and nuance, as opposed to his most iconic turns, in which his mannerisms really defined the characters. Some of the other actors also give great performances, including Olivia Colman, Imogen Poots, and Olivia Williams, but this is very much a showcase for Hopkins. Similarly, the execution is uniformly strong, but Hopkins is so astounding that viewers will be wrapped up in every word he says rather than the (also very good) cinematography and editing. The Father is a great movie, but Anthony Hopkins is able to take it from simply being impressive to being outright exceptional. Hopkins continues to prove that he is one of the most talented actors of all time, especially when he is given material as conducive as this. The Father screened at the 2020 AFI FEST which runs virtually October 15-22. Rating: 4/5
Review by Sean Boelman
On the festival circuit, there are flashy international films that get a lot of attention and become the awards contenders, and those that make a quieter splash but are often even more unique and authentic. Yulene Olaizola’s Tragic Jungle falls into the latter category as one of the most unsung indie gems of the year.
The movie follows a young Belizean servant who, after running away from her European captors, takes refuge with a group of Mexican gum workers who begin to experience a series of strange occurrences. Rooted in Latin American mythology, this is a surreal and constantly perplexing mystery that is very thought-provoking about what viewers both see and feel. Much of the film defies narrative convention, and this is a large part of what will keep viewers on their toes for a majority of the runtime. It feels as if everything is intricately designed to be unsettling but not quite uncomfortable. The movie is never slow, but it also isn’t traditionally-paced, with the main conflict of the film not even being introduced until the second act. There is a lot to be said in this movie as well. On one level, there is the old adage, “No good deed goes unpunished,” but there’s also something even more interesting happening not too far beneath the surface. The film explores how it is not the colonizers, but the people being “colonized” that are punished by the sins of colonization.
The character development in the movie is also very unorthodox. The film is constantly shifting where the audience's sympathies should lie. Much of the challenge is the fact that the audience doesn’t know what the characters’ motivation are, and although the constantly shifting dynamics may be off-putting to those who are impatient, it will be intriguing to anyone else.
Indira Rubie Andrewin gives a phenomenal performance in her leading role. Much like the material of the movie itself, her turn is subtle and packed with emotion. She brings an alluring and mysterious quality to the character, which helps build the mythological elements of the film. The supporting cast is also solid, but they are there mostly to support Andrewin. Additionally, the movie looks absolutely gorgeous. The Mexican jungle lends a lush and vibrant environment for the film, but the way in which Olaizola uses it is even more impressive. The focus is largely on creating a feeling of claustrophobia despite the vast and expansive nature of the jungle, and she is able to pull it off. Tragic Jungle is a thought-provoking and unique movie. Although its unorthodox pacing and characterization may prevent it from going mainstream, its ideas and execution make it an indie worth the shot. Tragic Jungle screened at the 2020 AFI FEST which runs virtually October 15-22. Rating: 4.5/5
Review by Sean Boelman
John Belushi’s story is arguably one of the most devastating in comedy history, a rags-to-riches tale ending in the saddest way possible, but R.J. Cutler’s Belushi reminds fans to remember him not as a tragic figure, but as a wonderful and troubled person. Part standard bio-doc and part exploration of addiction, this is a documentary that is affecting in all the right ways.
In the film, Cutler tells Belushi’s story, from his childhood as a blue collar kid in Chicago to becoming one of the inaugural cast members of Saturday Night Live before his death at the young age of thirty-three. Much of this information is probably already well-known to Belushi’s fans, but it’s nice to remember his contributions regardless. Cutler obviously has a great deal of respect and admiration for Belushi, especially when it comes to his contributions to comedy history, but he also doesn’t shy away from the darker side of his story. Belushi’s legacy speaks for itself, so Cutler doesn’t have to waste time trying to convince the viewer why he was so legendary. The first half of the movie, which focuses on Belushi’s comedy career beginning with the Chicago improv scene and eventually leading to his spot on SNL is mostly conventional biography material. Belushi’s co-stars talk about their experiences working with him, and footage of his performances keeps things interesting by making the audience laugh.
It is when the film starts to discuss Belushi’s struggles with drugs that it begins to be really insightful. Everyone has their own explanation as to how and why Belushi got to the point he did, but the common thread is that he had some unresolved inner demons for which he needed help. And if people can see his story and be moved to find help or show compassion to someone struggling, it would have been a story worth telling.
The tone with which Cutler approaches the documentary is about as expected. There is a blend of nostalgia for the heyday of great comedy and sadness for the talent that was lost too soon, and it will almost certainly pull at viewer’s heartstrings. It’s a crowd-pleasing, sometimes tear-jerking documentary made for fans and general audiences. That said, Cutler’s storytelling techniques are anything but average. He eliminates the dependence on talking heads, instead using audio interviews from shortly after Belushi’s passing accompanied by archive materials and animation. This allows the movie to feel lively and energetic, making it enjoyable to watch even in its more pedestrian moments. Belushi is a wonderful tribute to the late comedian, but it works even better as an exploration of the battle that is drug addiction. It goes down a lot easier than it could, but there are still plenty of great moments that make it a worthy watch. Belushi screened at the 2020 AFI FEST which runs virtually October 15-22. Rating: 4/5 [AFI 2020] THE INTRUDER -- A Psychological Horror Flick That Loses Steam After Twenty Minutes10/21/2020
Review by Sean Boelman
Natalia Meta’s The Intruder starts out with an absolutely riveting opening twenty minutes that set the stage for a fascinating and exciting thriller. Unfortunately, it only goes down from there, treading into more conventional psychological horror territory and loses much of its initial intrigue as a result.
The film follows a young woman who begins to lose her grip on reality after she experiences a brutal trauma. It’s a simple premise, but the opening shot implies that it is going to be anything but straightforward. And while this is true to a certain extent, Meta eventually finds a comfortable rhythm and at that point, it becomes far more predictable. One of the more obvious problems with the movie is that its suspense is constantly building with no payoffs along the way. It is missing either jump scares or more of an investment in the atmosphere. Yes, the story is mysterious, but for it to really succeed as a horror film, there needs to be more. Additionally, the movie ends up feeling very shallow because it doesn’t explore its (very common) themes on a particularly deep level. Ambiguity is one thing, but there’s a difference between subtlety and playing coy about ideas that have been explored better in other films. Meta obviously has some interesting things to say, but wasn’t quite able to figure out how to say them.
As expected, a significant majority of the character development comes in the first act. However, even though Meta does a great job of making us care about the protagonist early on, she doesn’t do enough to reinforce that sympathy throughout the rest of the conflict. Also disappointing is the fact that the supporting characters are paper-thin.
Another frustrating thing about the movie is that it shows a lot of really exciting talent that isn’t put to full use. The chief of these is lead actress Erica Rivas, who is obviously a gifted performer. She is able to nail the paranoia aspect of the storyline in a way that is unsettling without being over-the-top. Meta shows a great deal of potential as well. This is her sophomore feature, and there are so many hints, in both the script and the execution that suggest she is onto something great. The use of music in the film is particularly impressive, the protagonist’s voice serving as an important factor in the story, as the soundtrack is what makes it so haunting. The Intruder sets itself up for failure by using up all of its best material early on. It’s a movie that seems to think it’s a lot more profound than it is, when in reality, it’s mostly a pretty run-of-the-mill psychological horror flick. The Intruder screened at the 2020 AFI FEST which runs virtually October 15-22. Rating: 3/5
Review by Sean Boelman
Shot in secrecy during the pandemic, Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan features Sacha Baron Cohen returning to his most iconic character to provide even more commentary on the current state of American affairs. And while the stunts aren’t nearly as funny this time around, the script has so much wit and heart that fans will be laughing hard regardless.
The film follows Kazakh journalist Borat Sagdiyev as he returns to the United States on a special mission, having been disgraced after his last cinematic outing brought shame to his home country and hoping to correct his wrong. Compared to his quest to find moviestar Pamela Anderson in the first movie, the story here is much more complex, but it still largely serves as a frame for the comedic moments. As always, the film features Cohen in character as Borat interacting with real people. However, due to the success of the first movie, his antics have become more well-known, and as a result, his disguises become much more elaborate. This results in plenty of hilarious and ridiculous stunts, even if they aren’t quite as charming as the fish-out-of-water comedy that made the first one so beloved. The film’s non-prank attempts at humor can be hit or miss. Thankfully, unlike a lot of other comedy sequels coming out long after their predecessors, the movie doesn’t get caught up in repeating the iconic original gags. But sadly, there just aren’t as many quotable one-liners here, even though the film is still very funny.
That said, the movie has even more of a political edge now. Cohen splits his targets between the Trump administration and the American public’s response to the COVID pandemic, and both are very funny. The latter allows Cohen to go all-in on the goofy and ignorant factor with his character, and the former delivers some truly punchy satire and even a big moment that will probably make the news.
It’s obviously great to get to see Cohen returning to his roots. His show Who is America? which takes a similarly political approach to his comedy, was divisive, only lasting one season, and his last few films before that, while funny, took a more conventional narrative approach. He is definitely at his best when working within the confines of an overall arc, but with the ability to do some absurd improvisation, and this is exactly what he needed to recapture that magic. One of the most notable additions to this movie is the introduction of the character of Borat’s daughter. Although it isn’t quite a home run, it adds a lot more of a human element to the story in addition to Borat’s lovable nature. The attempts to poke fun at misogyny aren’t as effective as they could be, though, as they aren’t quite hard enough on the sexism that still exists in America. Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan is the rare distanced comedy sequel that actually lives up to its predecessor. And while each film has their own strengths and weaknesses, they are both refreshingly insightful and very very funny. Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan streams on Amazon Prime beginning October 23. Rating: 4/5
Sofia Coppola seems to be leaning further and further into mass appeal. If using any adjective to describe On the Rocks, it would be “watchable”. No matter how inconsequential the film gets, it’s never truly boring, and its pre-treaded path makes it a fairly certain viewing experience with your parents over that fall break, something you’ll finish watching, say “Hm, that was perfectly fine”, and never watch again. The heist tale of Bill Murray's playboy father to Rashida Jones’s anxieties over her husband's whereabouts isn’t bad, but it never says anything interesting enough to warrant memory in any canon, hardly more of a drop in the ocean than A Very Murray Christmas.
Laura (Rashida Jones) begins to suspect her husband Dean (Marlon Wayans) may be having an affair. It's not that he seems unfaithful, but the jewelry store sightings, long work dinners, and time away toy with that little voice in the back of her head, and her idea of her father's (Bill Murray) infidelity, and his help investigating only lead her suspicions to rise. Father and daughter begin a series of late-night stakeouts, bathing in his wealth as they debate the nature of staying together and how this affects the whole family, and old bitterness at fatherhood comes to rise between glasses of champagne and fine art. Coppola is the closest women have gotten to that common conversation canon of getting into movies masters — men like David Fincher, Martin Scorsese, Quentin Tarantino, Edgar Wright, and Christopher Nolan who have become household names among twenty-somethings that like to claim to be into movies when they’re just starting out. From time to time, Twitter threads crop up, asking readers to name a female director that isn’t Sofia Coppola or Greta Gerwig. Its not that she’s undeserving of this pedestal of popularity, but the steam seems to be running out, and it's worth noting the Coppola family is an easier entry to the film industry than most get, but there’s no denying the great cinema we’ve gotten from her in the past.
What is missing here of Sofia Coppola’s signature charm is her style. The Virgin Suicides and Marie Antionette are as great as they are because they let darkness exist within their hyperfemininity. On the Rocks may believe itself to be a maturation, but in doing so it loses the feminine trappings that have created that distinctive style. If anything, the style here is Apple TV. Sleek and overpriced, like an iPhone, there’s more concern for caviar in a convertible than relatability as a woman in this world. It’s streaming service fodder through and through, and though tightly written, I can’t imagine anyone scrambling to rewatch beyond the novelty of a new Coppola film (though it is less disappointing than Gia Coppola’s newest entry Mainstream, a shallow and buzzy social media caper).
If The Virgin Suicides is the wide-eyed ingenue, then On the Rocks is not a wise mother, but a tired secretary of a film. It feels like it’s running on autopilot, an algorithmically determined family drama until the end, where it becomes a lovely acknowledgement of Laura’s anxiety and self-worth, and the ideas our childhood leave us with about family. Jenny Slate is an absolute star here as well, popping up every thirty minutes or so at Laura’s kids’ school to vent her own frustrations on affairs from the side of “the other woman”. This isn’t just a film about the struggles of marriage, but a map of everyone hurt by the lack of communication in an affair. It is nice to see a Black family get their bland wealthy family drama, but there are some tropes that are stumbled into, even if unintentionally. It's common that Black families in popular media aren’t homogenous, and the mother is always mixed or lightskin when one parent is darker. It’s a trope that’s followed here, and whether or not it’s intentional, it’s a shame only lighter black women get these glossy romcoms about their families, and On the Rocks only makes it clear how deeply entrenched colorism is in Hollywood. Perhaps I am being unfair to On the Rocks due to its all-star pedigree. For bourgeoisie anxiety drama, it’s very well made, and Bill Murray and Rashida Jones make charming co-conspirators. However, it does everything it can to pull the relatability out of anxiety, staying in the New York high society of yesteryear, a world that feels so alien that even the real conflicts presented start to feel like trifling rich people problems. It’s a shame Sofia Coppola has matured away from her distinct style, as On the Rocks is the just fine-est film of the year. On the Rocks streams on Apple TV+ beginning October 23. Rating: 3/5 Review by Dan Skip Allen Rebecca won the Academy Award for Best Picture back in 1940. Needlessly, Hollywood has found it necessary to make a remake in 2020, eighty years after the original came out. Based on the very popular book by Daphne Du Maurier, the original film has a darker, gothic take on the source material. This version by Ben Wheatley (High Rise, Free Fire) has a more beautiful sprawling take on the source material. So many of the scenes are just filmed so beautifully. The cinematography is breathtaking to behold by Laurie Rose. After a whirlwind romance in Monte Carlo, Maxim DeWinter (Armie Hammer) takes his new wife (Lily James) to his imposing home off the windswept coast of England, Manderley. Even though she's his husband, the sinister housekeeper Mrs. Danvers (Kristen Scott Thomas) still has the memory of his previous wife Rebecca in her heart. The new Mrs. DeWinter has a hard time adjusting to these circumstances. Young and inexperienced, she is forced to settle into her new surroundings very quickly or be left aside to the memory of Rebecca. Armie Hammer has come a long way in his career ever since his dual roles as the Winklevoss twins in The Social Network. He has previously worked with Ben Wheatley in the action-packed Free Fire. He was perfectly cast as this widower and owner of this beautiful English manor. Lily James, another young actress who's come into her own lately as well, has played many roles similar to the one in Rebecca as Mrs. DeWinter, the innocent young upstart. In the original Rebecca, Judith Anderson portrayed the sinister Mrs. Danvers. This time around, Kristen Scott Thomas got to wrap her arms around this delicious character. This is a dark woman who was very enamored with Rebecca and she won't let the new Mrs. DeWinter forget her memory. Thomas sinks her teeth into this role getting between Maxim and his new bride. Her evil ways have gotten into this new relationship one to many times. She tries to tear them apart. Thomas has played these types of roles before though. It comes easy to play nasty domineering types for Thomas. She has made a career of it.
Ben Wheatley tried to capture the feel and texture of the original film. He, as they say, gave it the old college try. This version has beautiful cinematography, costume design, and set production. The performances are good but lack the panache of the original film. Hammer, James, and Thomas were perfect choices for these classic roles. They do as much as they can with this material. The thing that doesn't add up is the story. It wasn't meant to be adapted again for today's audiences. That style of film was perfectly set in the 1940s. It doesn't translate to this new era of filmmaking. While this is a good try by everybody involved, the classic will still be here to watch if anybody wants to see the better version of this classic tale of love and revenge. Rebecca is now streaming on Netflix. Rating: 3.5/5 |
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