Chauncey Copeland

French cinema has long been known for its atmospheric horror, particularly when it comes to gothic and supernatural tales. Le Vourdulak attempts to tap into this tradition, setting its vampire story in the misty woods far east of Paris, during the era of the French court. Unfortunately, while the film aspires to be an artful meditation on horror and fate, it ultimately collapses under the weight of its own pretensions. What begins as a promising supernatural mystery descends into a sluggish, self-indulgent exercise in style over substance. The film follows a Marquis (a nobleman) who, after being robbed, finds himself stranded in an isolated forest. Seeking shelter and aid, he is directed to a peculiar family living in a grand yet decaying manor. They offer him food and the means to continue his journey, but something about them feels unsettling. Soon, he becomes entranced by the family’s daughter, a sorrowful and beautiful woman whose tragic past involves a lost love—a stranger who arrived before the Marquee and met an untimely demise. The man is buried on the property, adding an eerie weight to the already foreboding atmosphere. At the heart of the film is the family’s father, a looming and enigmatic figure whose presence is designed to evoke both menace and artistic depth. However, his portrayal is where the film starts to unravel. Rather than feeling like a truly supernatural and terrifying entity, his character veers into absurdity, feeling more like a caricature than a chilling patriarch. His inevitable transformation into a vampire is telegraphed so early on that any sense of suspense is lost. The film then follows a predictable path as he preys on his own family members, one by one, in a series of staged, lifeless horror sequences. The father’s character, which should have been the film’s terrifying core, is instead portrayed in a manner so exaggerated and theatrical that he seems almost puppet-like. The attempt to make him both a symbolic and monstrous figure is too on-the-nose, turning his scenes into something closer to an avant-garde stage play than a gripping horror film. What should have been a chilling unraveling of the family’s fate instead feels like a tedious, repetitive cycle. To its credit, Le Vourdulak does include a few shocking and well-executed moments. The first death within the family is genuinely disturbing, offering a glimpse of what the film could have been. However, these moments are too few and far between, serving as brief sparks of energy in an otherwise lifeless film. Instead of using horror to enhance the film’s thematic weight, these moments feel randomly inserted, as if the director remembered at the last minute that they were making a vampire movie. One of the most baffling aspects of Le Vourdulak is the high praise it has received from certain critics. It has been hailed as an “atmospheric masterpiece” and a “sublime interpretation of vampire mythology,” but for audiences expecting an engaging horror film, it is likely to be a disappointment. It is the kind of movie that film scholars may dissect for its visual motifs and artistic ambitions, but the average viewer will likely find themselves, as I did, simply waiting for it to end.

“Challengers” attempts to volley between sports drama and interpersonal intrigue but ultimately misses the mark, leaving audiences underwhelmed. The film, directed by Luca Guadagnino, boasts an undeniably appealing cast, with Zendaya, Mike Faist, and Josh O’Connor stepping into the roles of tennis prodigies entangled in a web of ambition, rivalry, and romance. Yet, even this star power fails to save a narrative that disappoints at every turn. The story traces the intertwined lives of Tashi (Zendaya), Patrick (Faist), and Art (O’Connor), three childhood friends whose bond is irrevocably altered by their shared obsession with tennis and one another. As their lives progress, their paths diverge, only to collide again in the present, framed by a high-stakes tennis tournament. The premise suggests an exploration of passion, betrayal, and the toll of ambition, but instead, “Challengers” serves up a shallow, disjointed narrative that fails to engage. Ultimately, “Challengers” fails to capitalize on its promising elements. The cast’s charisma and the potentially rich premise are squandered by a script that lacks depth and a direction that feels unengaged. What could have been an electrifying exploration of ambition and rivalry is instead a lifeless slog, devoid of passion or insight. Despite its fetching leads, “Challengers” is a disappointment on every level, offering little to remember beyond its wasted potential. For a film ostensibly about competition and drive, it’s ironic how little fight it has in it.

I'll start by saying that I'm actually shocked to read some of the very negative reviews from other moviegoers. The movie they describe does not match the emotive experience of "Emelia Perez," I'm not sure what they were looking for or expecting going into this film. I came into this film without any expectations and curious after seeing all the awards it had garnered, especially at the Golden Globes. What I experienced was an enchanting tale, almost like a fairytale. The improbably, easy transformation of the main character from brutal cartel overlord to beneficent champion, who sets about reuniting and uncovering all the lost souls that disappear amidst the cartel wars and gang violence experienced in parts of Mexico. Does it feel like a "Mexican" movie? No. It's an enchanted tale of a person who longed to put behind the life they had live so far and emerged on the other side of a horrific surgical journey to become a person that they had only imagined. The mixing in of musical numbers amidst the drama only adds to it. I was very impressed about the stretch that Zoe, Saldana and Karla, the main character, displayed during the film. Don't be swayed by the naysayers. I'm not sure what kind of movie they were looking for. Look for this movie. It's worth it.

Tokyo Vice offers a gripping and atmospheric dive into the world of crime, journalism, and cultural tension in Tokyo. Based on the memoir by Jake Adelstein, the series follows an ambitious American from Missouri as he navigates the rigid hierarchy of Japan’s most prestigious newspaper. His journey unfolds against a backdrop of prejudice, as he faces being labeled a “gaijin” (foreigner) and struggles to integrate into a society that often views him as an outsider. The heart of the series lies in its intricate storytelling, as the protagonist delves into the dangerous world of the Yakuza while uncovering a string of mysterious murders. The show deftly captures the complexity of Tokyo’s underworld, balancing suspenseful investigative scenes with a nuanced portrayal of the cultural challenges the main character faces. His tug-of-war between building a new life in Japan and the lingering pull of his roots back in Missouri adds another layer of emotional depth to the narrative. The performances are stellar across the board. The lead actor brings authenticity and vulnerability to the role, while the supporting cast—featuring top-tier talent—excel in their portrayals of journalists, Yakuza members, and other key figures in the story. Each character feels fully realized, adding richness to the narrative and immersing viewers in the vivid, neon-lit world of Tokyo. Tokyo Vice is a masterful blend of suspense, drama, and cultural exploration. Its authentic depiction of Tokyo in the late ’90s, coupled with compelling character arcs and high-stakes storytelling, makes it a series well worth watching. Whether you’re drawn to crime dramas or fascinated by the complexities of Japanese society, this show delivers on all fronts. Highly recommended.

Apple TV+’s Shrinking is a heartfelt and deeply moving exploration of grief, friendship, and the complexities of human connection. The series centers on a therapist (played with remarkable authenticity) navigating the overwhelming loss of his wife while trying to raise his teenage daughter. Through his journey, the show skillfully balances humor and heartbreak, offering a raw and relatable look at how people cope with loss and rebuild their lives. The series shines in its character development, taking viewers deep into the lives of its ensemble cast. The protagonist’s colleagues at the therapy practice, along with his neighbors and close friends, form a vibrant and diverse group of characters, each grappling with their own challenges. These relationships are the heart of Shrinking, showcasing the power of connection and support even amidst personal crises. What sets Shrinking apart is its ability to delve into the depths of emotion while maintaining a sense of warmth and humor. The friendships depicted are genuine and multifaceted, crossing generational and personality divides, which adds richness and relatability to the story. The dialogue is sharp, the emotional beats hit home, and the series never falters in its pacing or tone. Shrinking fires on all cylinders, delivering a compelling mix of laughter, tears, and heartfelt moments. It’s a beautifully crafted series that feels authentic and life-affirming. Highly recommended for anyone looking for a show that’s equal parts touching and entertaining.

Day of the Jackal on Netflix delivers a gripping and intricately woven story that keeps viewers engaged across its 10 episodes. The series deftly balances suspense, action, and family drama, creating a dynamic and layered narrative that holds your attention from start to finish. The lead character, portrayed with remarkable skill by the main actor, is both efficient and human, navigating the dual pressures of his high-stakes assignments and his desire to protect the fragile domestic life he cherishes with his wife and son. While his bursts of inefficiency—rooted in his emotional ties to home—might feel slightly contrived at times, they add depth and vulnerability to a character otherwise defined by cold precision. The supporting characters, particularly his meddling brother-in-law and other members of his wife’s family, add tension and complexity to the plot. Their betrayal injects personal stakes into the story, amplifying the protagonist’s internal and external struggles. Meanwhile, the detailed and authentic representation of how he executes his assignments makes for some of the series’ most compelling moments. The conclusion, while somewhat satisfying, leaves just enough room for reflection, ensuring the story lingers with viewers long after the credits roll. This, combined with the lead actor’s stellar performance, makes Day of the Jackal a standout. Whether you’re drawn in by espionage thrillers, complex character arcs, or emotionally charged family dynamics, this series delivers on all fronts. Highly recommended.

Carl Hiaasen’s sharp wit and storytelling are on full display in Bad Monkey, bolstered by Carl Hanson’s excellent script adaptation. Set against the vivid backdrops of South Florida and the Bahamas, the series is an entertaining mix of mystery, humor, and local flavor. The authenticity of the setting and its colorful characters make this show an engaging watch, bringing to life the quirks and charm of the region. While the script is undeniably a standout, the performances are a mixed bag. Vince Vaughn, as the main character, unfortunately feels more like a vessel for the script than a fully fleshed-out personality. His delivery often lacks the depth or nuance needed to bring the character to life, leaving his performance feeling static. That said, the supporting cast, while not particularly outstanding, does their best to support the narrative. Their somewhat inauthentic portrayals are disappointing but do little to diminish the show’s overall appeal. What truly carries Bad Monkey is its wit and charm. Hanson’s adaptation is packed with sharp dialogue, clever banter, and enough twists to keep viewers invested. The cultural richness and authenticity of the South Florida locals and their environment are particularly refreshing, grounding the show with a unique sense of place that’s often missing in similar series. Despite some uneven performances, Bad Monkey remains a thoroughly enjoyable series, thanks to its excellent writing and vivid world-building. Fans of Carl Hiaasen’s work and anyone looking for a witty, unconventional crime drama will find plenty to love here.

Ultimately, in season two of White Lotus was extremely disappointing. They had fashioned these characters to where we actually cared about them, and then had them do awful and disappointing things across-the-board. The message of the stories generally were about relationships are at their base just mutual using situations where sometimes one prevails well over the other and other times, relationships are about settling for what you can get. The decisions that the characters make are seen through the visor of who is being naïve, and who is taking care of that, nativity. In the end, all of the characters suffer that have a naïve trait, and those who are seeking to settle or take advantage of that nativity are shown to triumph across all of the relationships depicted in the show. All of the scenes are well acted and the cast does a great job with the Plot line they are given. At one time or another all of the characters elicit a visceral reaction to their poor behavior, poor decisions, and sometimes lack of action until it’s too late. As a viewer at the end of the episodes, one is left with a feeling of heavy disappointment in the decisions that are made, and the empty relationships all of the characters are left with. One thing of note is the photography of the spectacular locations. Sicily and other parts used in the filming come off extremely well. One will be tempted to immediately purchase a ticket to Palermo, or to other parts of Sicily to enjoy the combination of ancient architecture and rolling beautiful countryside while mount Etna rumbles above it all. Boil it all down, white lotus season two is an awful exercise in presenting a treatise on modern relationships. The fact that one is left with an unsettling feeling shows that the producer and cast have done an excellent job. Do not look for an uplifting story if you’re choosing this.

Sorry but entertaining attempt by Sony to do a marvel movie, but oh so many plot holes! I found myself enjoying it despite huge missing pieces, unresolved stories and completely contrived outcomes. But, oddly enough with this amalgam of flaws, I found the film entertaining. Dakota Johnson does what she can as well as the three main actresses with what they’re given. As to the villain, Eziquiel, he does a terrible job of acting, and actually his work as a rip off Spider-Man is perhaps the worst part of this movie along with the terrible writing. The three kids being protected that are going to be future superheroes are caricatures, but you care what happens to them. Clearly they had hoped that this would be the beginning of perhaps at least a sequel but I don’t think that would include Madame Webb but more perhaps the three budding superheroes.

Fun, focused, comedy action movie that is thoroughly enjoyable. There is a lot of “Easter eggs“ for those who remember the series from last century. Brian gosling does a great job as the lead, mixing believable action with genuine comedy and some touching moments with Emily Blunt.