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‘The 4:30 Movie’ Review: Kevin Smith Delivers His Best Film in Years by Writing About Teenagers Instead of Grown Men Who Act Like Them

Christian zilko.

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None of Smith’s subsequent work caught that kind of lightning in a bottle, but quite a few of his early films were close enough to the original high to be watchable. “Mallrats” is a passable ’90s comedy, “Chasing Amy” is a clever character study anchored by a great Ben Affleck performance, and “Clerks 2” was a solid sequel. But for much of the 21st century, the pickings have been slim for Kevin Smith fans hoping for a renaissance. His body horror experiment “Tusk” was a great midnight movie , but it spawned the truly abysmal Nazi-sausage-centric spin-off “Yoga Hosers.” And while “Jay and Silent Bob Strike Back” was tolerable as fan service, “Jay and Silent Bob Reboot” was unwatchable drivel. Even the long-awaited “Clerks 3” amounted to little more than a trip down memory lane.

All of which is to say that nobody would blame you for tuning out Smith’s directorial output years ago. His brand as a cultural figure remains strong thanks to an empire of podcasts and comic books that left him perfectly positioned to ride the wave of 21st century geek culture, but his movies have increasingly felt like self-contained efforts that existed only for his diehard fans.

The term “love letter to cinema” has been beaten into a pulp in recent years, and it feels pointlessly reductive to put “The 4:30 Movie” in the same category as “The Fabelmans.” (As a fan of Smith’s who thoroughly enjoyed his latest work, even I can be honest enough to say that the gap in quality between the two films is pretty much equivalent to the same gap between his career and Steven Spielberg’s.) But more than anything, “The 4:30 Movie” is a love letter to Going to The Movies. Not going to a movie, but the actual act of passing hours at a theater without much regard for the actual quality of what you were watching.

Brian David (Austin Zajur) wants nothing more than to spend one of the last days of summer with his crush Melody Barnegat (Siena Agudong). But the young Casanova’s seduction skills have not yet progressed past the “ignore a girl for three months after getting to second base at a pool party” stage. She’s a little surprised when he calls her at work and asks her to meet him at the 4:30 movie, but she agrees to try her best to be there after work. With romance in the air, this awkward teen suddenly has more than just “Return of the Jedi” to occupy his mind.

For a filmmaker who’s known for trading on vulgarity, Smith’s writing style translates shockingly well to children. That’s probably because, other than the lack of semen jokes, these kids are quite similar to all of Smith’s other protagonists. They’re unemployed, obsessed with “Star Wars,” clueless about women, and incapable of expressing feelings without wrapping them up in pop culture references. But it’s nice to see his characters behave in a developmentally appropriate way for a change. Rather than sad looks into grown men who stubbornly refuse to grow up, Smith is able to give us a cute portrait of kids who just haven’t gotten there yet.

There’s a lovely irony to the fact that after years of re-hashing “Clerks” and filling the View Askewniverse with its many side characters, Smith seems to have inadvertently re-captured some of its magic by abandoning that world altogether. “The 4:30 Movie” owes far more to John Hughes than the Richard Linklater movies that inspired Smith to make “Clerks,” but it contains its own versions of many of the elements that made that film great.

Both movies take place in a single location that Smith conveniently had access to, and both show a lifetime’s worth of excitement unfolding in one day. They both extract plenty of humor from the neuroses of those on both sides of the customer service industry and the ways that the silly tasks of a small business can seem monumentally important if your entire life revolves around them. But most of all, both films show us that Kevin Smith can make a damn good movie when he gets out of his own way. This one was worth the wait, even if we had to sit through “Yoga Hosers” to get here.

A Saban Films release, “The 4:30 Movie” opens in theaters on Friday, September 13.

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Over-the-top satire 'The Substance' often nauseating and seldom edifying

Demi moore does fine work as a fading star whose anti-aging regimen goes awry, but the movie’s message becomes tiresome and the grotesque imagery can be hard to stomach..

Sue (Margaret Qualley) is a younger version of veteran screen star Elisabeth Sparkle (Demi Moore, pictured on wall) in “The Substance.”

Reports from the Cannes Film Festival told us the French filmmaker Coralie Fargeat’s intentionally nauseating, wildly over-the-top and relentlessly grotesque body horror parable “The Substance” caused a number of walkouts but also earned an 11-minute standing ovation, and I have a couple of notes about that:

• Why is it a thing to time the length of standing ovations at showbiz insider festivals? What does it matter? Sometimes the Standing O is for a great film, but then again, “ Horizon: An American Saga ” got a 10-minute standing ovation.
• I’ve never walked out of a film because I believe it’s my responsibility to tell you about the entire movie — but if given the choice between an 11-minute standing ovation for “The Substance” or walking out, start the car.

Not that I’m saying this garish take on Hollywood’s obsession with the Next-New-Shiny-Perfect-Disposable Thing is without its moments. Writer-director Fargeart (who made her feature debut with the memorable and subversive action thriller “Revenge” in 2017) is too talented to deliver uninteresting work, and there are moments that are lyrical and poignant, e.g., a beautifully rendered opening sequence involving a star on the Hollywood Walk of Fame.

The problem is that “The Substance” hammers home the message in increasingly thunderous fashion while never going deeper into its main thesis: that our society and in particular the entertainment industry is obsessed with physical attributes to the point where it has warped our collective sense of self-worth for generations. This same point is being made in the Netflix film “Uglies,” and while “The Substance” is vastly superior on every level of filmmaking, it’s not offering much more in the way of substantial commentary.

Demi Moore gives one of her best performances in a role with obvious parallels to her own career. She’s one Elisabeth Sparkle, who was once a major, Oscar-winning film star and is now the host of a highly popular TV aerobics show. (Shades of Jane Fonda.) When Elisabeth turns 50, a slimy and cartoonishly loud studio executive named Harvey (Dennis Quaid) takes her to lunch, and we zoom in to within inches of Harvey’s face as he gobbles down shrimp in gag-inducing fashion and gleefully tells Elisabeth she’s out, because once you hit 50, you might as well be dead. (The camera frequently lingers on imagery that almost taunts you to look away. It’s an easy, blunt technique.)

Playing a slimy studio executive, Dennis Quaid plays one key scene while devouring shrimp in close-up.

Shortly thereafter, Elisabeth learns of The Substance, a mysterious, transformative, anti-aging treatment that creates a younger, “perfect” version of oneself. With only minimal hesitation, Elisabeth signs up for the program and is given directions to a secret safe-deposit box, which contains the necessary elixirs and syringes and equipment. (Talk about the setup for a viral “unboxing” video.) That’s our cue for a horrifying albeit mesmerizing sequence in which a younger version of Elisabeth (played by Margaret Qualley) literally cracks through her body, like a gorgeous take on the Chestburster from “Alien” as filtered through “The Picture of Dorian Gray.”

The rules of the experiment dictate that each version of Elisabeth gets seven days of consciousness while the other is in a comatose state, and then they must switch places. Elisabeth is also reminded, time and time again, that there is no “each,” that they are “one.” Still, Elisabeth and this new edition, who calls herself “Sue,” have completely different personalities and soon become bitter rivals in a kind of warped, house-of-mirrors spin on “All About Eve” and “The Swan.”

Sue wins an audition to replace Elisabeth and becomes the toast of Hollywood — but she starts violating the seven-day rule, the consequences for Elisabeth be damned. Each time Elisabeth is returned to consciousness, she is horrified to see her body and face have rapidly aged, and then the deformities emerge, and “old” Elisabeth starts to look like the sibling of Jeff Goldblum’s “Brundlefly.” When Sue is awake, she, too, begins to feel the consequences of her obsession with staying young and beautiful and popular.

Everything in “The Substance” is stylized and surreal and exaggerated. Quaid’s Harvey is a leering caricature right out of “Natural Born Killers.” The hallways and bathroom of the TV studio are reminiscent of “The Shining.” There’s a blood-soaked scene that makes “Carrie” seem understated. The satire becomes almost numbingly obvious over the far too long running time of 140 minutes, and with all due appreciation for the strong work by the leads, the horrifically impressive VFX and prosthetics, and a few moments of pitch-black humor, we exit the film feeling more pummeled than enlightened.

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Sean “diddy” combs charged with sex trafficking and racketeering in unsealed indictment, ‘heretic’ review: hugh grant’s chilling performance gives religious horror film some sinister edge.

Two Mormon evangelists are tasked with converting a reclusive older man in 'A Quiet Place' duo Scott Beck and Bryan Woods' feature co-starring Sophie Thatcher and Chloe East.

By Lovia Gyarkye

Lovia Gyarkye

Arts & Culture Critic

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But Mr. Reed is different. He invites Sisters Paxton and Barnes to come inside, assures them that his wife is home (Mormon women can’t be alone with a man, they say) and even offers them blueberry pie. Never mind that his movements suggest some malevolence, that he can’t stop staring at a surgical mark on Sister Barnes’ arm or that his questions edge into more personal territory. So rare is his attentiveness to faith — he takes out his own annotated copy of the Mormon bible — that Sisters Paxton and Barnes decide to disregard their anxieties. That, of course, is a mistake. 

The hostility of the space becomes more apparent the longer Sisters Paxton and Barnes chat with Mr. Reed. His enthusiasm verges on pushy, a sign that alerts Barnes, especially, to the danger of the situation. By the time the women realize they are in peril — the doors won’t open, the pie doesn’t exist — it is too late. Mr. Reed reveals himself to be a kind of religion obsessive, a self-taught scholar of faith and belief. His studies have led him to some disturbing conclusions, which he maps out for Paxton and Barnes in one of Heretic ’s most fun and distinctive scenes. All that can be said is that it involves Monopoly, Jar Jar Binks, Radiohead and the Hollies.

Grant delivers his verbose musings with the composure of a professor and the velocity of a fanatic. He paces around the back room, where he has corralled his guests, and unveils props to support his points. Chung uses overhead shots to capture Mr. Reed’s desktop — a neatly organized tableau of religious texts and versions of the Monopoly board game  — which recalls a Renaissance triptych. 

Like The Assessment , another offering at this year’s Toronto International Film Festival, Heretic is most compelling as a three-character chamber drama. The charade between Mr. Reed, Paxton and Barnes helps to distracts from the screenplay, which wobbles under analytical pressure. Beck and Wood, at first, seem intent on interrogating the pitfalls of modern religion, but their narrative never goes all the way in its criticism. Once Mr. Reed moves on from his speeches and into more conventional horror-villain machinations, so too does Heretic distance itself from its most fiery theses. While it doesn’t totally diminish the thrill of watching Grant’s character revel in his own supposed cleverness, it does make the enterprise disappointingly shallow. A thread with a Mormon leader pursuing an earnest search for the missing girls similarly goes nowhere beyond a cheap joke done better earlier in the film. 

The relationship between Paxton, Barnes and Mr. Reed remains the most absorbing thread throughout Heretic . Even when the screenplay heads into deflating territory — trading potential acerbity for more neutral conclusions — their cat-and-mouse game keeps us curious and faithful.

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The assessment review: a conceptually compelling sci-fi that takes too long to make its point [tiff].

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In the near future, if a couple wants to have children, they can only do so after being given the green light following a successful seven-day assessment. In the world created by writers John Donelly and Mrs. and Mr. Thomas (Nell Garfath Fox and Dave Thomas), there’s control of just about everything. This future society is also where people take pills to remain youthful and alive for far longer than typically possible. The Assessment, directed by Fleur Fortuné, is conceptually sound and looks incredible, but while it’s psychologically involved and provoking, it doesn’t go beyond the surface of its ideas.

The Assessment

Mia ( Elizabeth Olsen ) and Aaryan (Himesh Patel), an architect of the controlled world they live in, are desperate for a child. After passing initial examinations, Virginia ( Alicia Vikander ) is assigned to assess the couple in their home for a week. Virginia asks them invasive questions, watches Mia and Aaryan have sex, and pretends to be a child to learn more about what kind of parents they’d be. As the assessment approaches its end, the more Virginia works to psychologically torture the couple. The assessment and right to have a child brings its fair share of questions and tension.

The Assessment’s Worldbuilding & Cinematography Are Standouts

When it comes to building a near-future world and having us believe it exists , The Assessment does a fabulous job. Mia and Aaryan live in isolation, but what is in and around their home paints a picture of what this future looks like. It’s realistic enough to the world we live in today, but there’s a stiff, clinical feeling that permeates the characters’ surroundings that gives away the difference. This is a world that hasn’t erased the past, however, with the old world still existing right outside its borders.

Fortuné has a firm grasp of what this world is meant to represent and the feelings it evokes in us for the nearly two hours we’re immersed in it.

Mia’s mother left to return to the old world, and it’s a point of contention between her and Virginia, who seems awfully judgmental of that fact. When the couple’s friends come for dinner, in a stellar and riotously funny scene that includes an excellent Minnie Driver, the world expands with new information, and nothing is forced in that regard. Fortuné has a firm grasp of what this world is meant to represent and the feelings it evokes in us for the nearly two hours we’re immersed in it. I was in awe but trapped at the same time.

Magnus Nordenhof Jønck’s cinematography sharpens the colors of the costumes and set while making them dim enough to feel distant and cold. The coloring of the inside is a contrast to the vivid light of the sun and the clear blue of the ocean that sits just outside the house.

The Assessment Is Conceptually Sound But Fails To Deeply Explore Its Themes

The cast does great work regardless.

Mia struggles the most with the assessment because, despite wanting a child, she also craves the realness the process robs her of. This becomes even more clear as she’s faced with the confines of her situation — in the assessment and in her marriage. The Assessment explores themes of reality versus a controlled environment and what the characters are willing to do to remain in it out of fear of facing uncertainty in the old world. It’s fascinating to watch how this affects the characters’ dynamics, but the film doesn’t venture far enough to be wholly satisfying.

The Assessment is thoughtful and compelling, but it just doesn’t reach the heights needed to keep its momentum.

The assessment itself goes on for too long. By the time certain revelations come to light, there isn’t enough time to sit with them before the film ends. Characters make decisions that make sense for where their story goes, but there’s a lack of depth that leads to some narrative disengagement. When much of the film is about the chaos of Virginia’s actions, the assessment’s fallout doesn’t get any time to develop, and the ramifications for the characters thereafter feel underwhelming. The Assessment is thoughtful and compelling, but it just doesn’t reach the heights needed to keep its momentum.

This lack of exploration doesn’t affect the performances. Olsen has been making some great role choices, and here is no different. Mia is haunted by her mother’s departure to the old world and doesn’t seem fully settled into her life, something the assessment brings to the surface. Olsen portrays Mia with a frustrated impatience with a side of unexpected tenderness. Patel’s Aaryan is aloof, often disappearing into his simulation lab to create things that are almost real but not. He goes through a lot too, but he’s more patient and content to live in a world of his own creation.

Vikander is the highlight of the film. She’s completely unhinged as Virginia, oscillating between uncomfortable behaviors and wild tantrums to straight-laced corporate decorum in the span of minutes. It’s just too bad The Assessment fails to explore her character any further considering the ending. The film may have its faults, but it’s still a thoughtful rumination on the willingness to ignore reality and what people are ready to give up — including their dignity — to get what they want despite losing their freedoms. Fortuné has a good grasp of the world, even if she doesn’t push more than needed.

The Assessment premiered at the 2024 Toronto International Film Festival. The film is 109 minutes long and not yet rated.

In a future where parenthood is strictly controlled, a couple must undergo a rigorous seven-day assessment to prove their fitness to have a child. What begins as a hopeful journey spirals into a psychological nightmare, challenging their relationship and pushing the limits of their moral boundaries in a dystopian society.

• The film's cast is great, and Alicia Vikander is especially a standout
• The world and the way it visually looks is exciting
• The story takes too long to get to its point
• The film's themes could've been more deeply explored

Movie review: In 'Substance,' Demi Moore, Margaret Qualley seduce, horrify

LOS ANGELES, Sept. 16 (UPI) -- Fountain of Youth stories often are cautionary tales about being careful what you wish for. The Substance , in theaters Sept. 20, takes that morality tale to provocative and horrifying extremes.

Elisabeth Sparkles ( Demi Moore ) is a fitness show host who's been famous long enough that her Hollywood Walk of Fame star has faded and cracked. On her 50th birthday, network executive Harvey ( Dennis Quaid ) informs her it's time for a new, younger host. Advertisement

So Elisabeth turns to The Substance, a mysterious youth formula that literally creates a younger copy of her and who names herself Sue (Margaret Qualley). Sue auditions for the show and becomes her own replacement.

Writer-director Coralie Fargeat doles out rules for how The Substance works and keeps it mysterious and compelling. Elisabeth is called The Matrix and Sue is her Other Self. Advertisement

Sue and Elizabeth alternate every seven days. While Sue is active, Elisabeth is unconscious, but needs to be hooked up to a feeding tube, and Sue must equalize the two women with daily injections of bodily fluids from one to the other.

Even obtaining The Substance tests how far Elisabeth is willing to go. The door to the facility only opens up to Elisabeth's knees, essentially asking: How curious are you? Will you duck under this opening to obtain your substance? (She does.)

The company behind The Substance insisted "You are one," but this is not entirely accurate. Sue and Elisabeth have different memories and experiences, and their needs and wants come into conflict.

When Sue cuts it close at the end of her week, or blatantly tries to extend her time by draining more from Elisabeth, it causes permanent damage to Elisabeth. Because they alternate, they can never have a face-to-face talk about the arrangement either.

Beyond the beauty parable, The Substance speaks to the macro issue that people should never expect any procedure to go 100% according to plan. The rules for maintaining the Matrix and Other Self are so rigorous, and yet nobody follows rules and procedures to a T. Advertisement

So, like any precarious endeavor in society, The Substance is compromised by every user. There are also hints of people beyond Elisabeth and Sue having negative experiences. Elisabeth meets them during her active weeks.

The initial process of creating Sue is already horrifying, showing Elisabeth's body splitting apart and birthing a new body. The consequences become as horrifying as their relationship becomes adversarial, but the close-ups of needles may be more than many viewers can bear.

Fargeat's story follows the premise to the logical conclusion of this Faustian arrangement. She also renders literal some of society's misogynistic demands of women, like smiling more or even more inappropriate comments.

Fargeat also presents the events in a heightened, surreal aesthetic. It's not dreamlike, but long, colored hallways and vast tiled rooms create stark backgrounds to explore the film's themes, and bringing characters uncomfortably close to or above the camera achieves disorientation.

Of course, we would all be lucky to look like Moore tomorrow, let alone at 50, but Hollywood and audiences are mean, so she deserves credit. And being respectful of Qualley too, she's not just putting herself on display as the new and improved Moore.

Sue uses her new looks strategically, seducing a complaining neighbor into cooperation. Beyond her own career advancement, she relishes the power a certain body type and face holds over heterosexual men in society.

Fargeat contrasts how Elisabeth looks at her body with shame and Sue looks at her body with pride by putting them in the same matching shot.

Quaid also goes all in on portraying the extreme misogyny of Harvey. It's not as vulnerable as the women in the film, as men are usually not as vulnerable in life, either, but he commits everything he can to the supporting role.

The Substance is provocative, but it only works because it is so entertaining. This is an All About Eve story, except Eve is the same person as her mentor.

Fred Topel, who attended film school at Ithaca College, is a UPI entertainment writer based in Los Angeles. He has been a professional film critic since 1999, a Rotten Tomatoes critic since 2001, and a member of the Television Critics Association since 2012 and the Critics Choice Association since 2023. Read more of his work in Entertainment. Advertisement

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What is a Film Review — Definition, Examples & Top Critics

I n cinema, film reviews hold a significant place, serving as a bridge between the film industry and viewers. They provide an analytical perspective that helps audiences decide what to watch and understand the nuances of a film. In this article, we will delve into the definition of a film review, its critical components, and shed light on some iconic film review writers who have significantly shaped the field.

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What is Film Review in Cinema?

First, let’s define film review.

Film reviews hold a unique place in cinema acting as both promotional tools and critical analysis pieces. With the rise of platforms like Letterboxd and Rotten Tomatoes, they are becoming more relevant in the cinematic landscape.

FILM REVIEW DEFINITION

What is a film review.

A film review is a type of critique that provides an evaluation of a film, encompassing various aspects such as the plot, themes, direction, script, and performances. Originating in the early 20th century with the advent of cinema, film reviews have evolved from mere opinion pieces in newspapers to a significant form of journalistic writing. The primary purpose of a film review is to inform the reader about the film and offer an informed opinion about its various elements. It serves as a guide for viewers, helping them decide whether the film is worth their time and money.

Criteria for Movie Review:

Overview of the film, analysis of the plot and themes, evaluation of the script, direction, and acting, personal opinion and rating, movie review format, components of a good film review.

Film reviews are a blend of various vital components, each contributing to a comprehensive analysis. From evaluating performances and storytelling to dissecting technical aspects, a well-rounded review provides a holistic perspective. By examining these elements of a movie review format we can gain a deeper understanding of the film's impact and appreciate its artistic merit.

This includes a brief synopsis that sets the context without revealing any spoilers . The overview should pique the reader's interest and give them a sense of the film's storyline. Here is one of the greatest film critics, Roger Ebert, on what a film review should do. 

Roger Ebert What A Movie Review Should Do

This involves a deeper look into the narrative and the underlying themes of the film. It should explore the storyline's complexity, originality, and coherence.

This component assesses the technical aspects of the film, such as the screenplay , cinematography , direction, music, and performances. It also includes an assessment of how these elements contribute to the overall impact of the film. 

This is much more popular with the rise of film criticism on YouTube in which film critics can simultaneously play and dissect a scene for an audience. In this video by Nerdwriter1, Paul Thomas Anderson’s There Will Be Blood is dissected visually in a way that would be difficult or at least less effective without a video component.

One Way To Deconstruct There Will Be Blood

This is where the reviewer shares their personal view and overall impression of the film. It often includes a rating system, which can help readers quickly gauge the reviewer's opinion.

A good film review strikes a balance between objective analysis and personal perspective. It is also important that the review uses engaging language and style to hold the reader's attention.

What is Film Review Important For?

Influence of film reviews.

Film reviews have a significant impact on public opinion and can greatly influence the success of a film.  A positive review from a reputable critic can attract more viewers and increase the film's box office revenue. On the other hand, a negative review can dissuade audiences from watching the film.

Attracting Viewers

Positive reviews can generate buzz and attract a larger audience to the theaters. They serve as a powerful tool in building anticipation and interest among moviegoers. Take Rotten Tomatoes for example.

Many film goers opt to check the Rotten Tomatoes reviews of a film before they decide to watch or see it in cinema. 

While this can work well for some movies in attracting viewers, it can negatively impact other films. This is especially true with the way Rotten Tomatoes rating system works. For a great insight on to how the platform works and the possible problems with its ratings, check out the video below. 

The Problem With Rotten Tomatoes

Box office success.

Positive reviews often contribute to a film's box office success. When critics praise a movie, it can lead to increased ticket sales and financial profitability for the filmmakers.

Influence on Perception

Reviews shape how people perceive a film. Positive reviews create a positive perception, making viewers more likely to give the movie a chance. On the other hand, negative reviews can deter potential viewers and impact the film's overall reception.

Critical Acclaim

When a film receives critical acclaim from respected reviewers and publications, it can achieve iconic status. This recognition elevates the film's reputation and can lead to long-lasting popularity and cultural significance.

Parasite’s Historic Oscar Wins in 2020

Film reviews hold considerable sway in the film industry. They not only impact the number of viewers but also shape how a film is perceived and remembered.

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Movie Review Example and Writers

Iconic film review writers.

The field of film criticism has been significantly influenced by several notable writers who have left a lasting impact on the industry. These writers, through their insightful analyses and thought-provoking perspectives, have shaped the way we perceive and appreciate films.

Their contributions have not only elevated the art of film criticism but have also enriched our understanding of cinema as a whole. 

Roger Ebert

Known for his acerbic wit and insightful commentaries, Ebert was one of the most influential film critics. His reviews, published in the Chicago Sun-Times for over four decades, were known for their accessible writing style and keen observations.

Pauline Kael

Writing for The New Yorker, Kael was known for her passionate and provocative reviews. She championed many underappreciated films and filmmakers, influencing public opinion and the course of American cinema.

Pauline Kael on Criticism

Andrew sarris.

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'South Park' creators renovate a beloved restaurant, and find nostalgia is pricey

John Powers

Parker & Stone

¡Casa Bonita, Mi Amor! follows Trey Parker and Matt Stone as they renovate a dilapidated, inauthentic, 1970s Mexican restaurant. The labor of love becomes a money-pit as they chase the landmark's former glory. Paramount hide caption

Maybe because most of us come from somewhere else, Americans just love replicas of foreign places — William Randolph Hearst’s faux European castle in San Simeon, Calif.; Paris Las Vegas with its half-size Eiffel Tower and mini Louvre; or the mock Alpine village you find in, of all places, Helen, Ga. Creating a giddy atmosphere that Umberto Eco dubbed "hyperreality," such crazily ambitious simulacra fill nearly everyone with childish delight.

This includes Trey Parker and Matt Stone of South Park and The Book of Mormon fame. Although notorious for their cynical humor, both harbor a profound affection for one of the places they adored as kids: Casa Bonita, a 50,000 square foot attraction in a Lakewood, Colo., strip mall that has been dubbed the Disneyland of Mexican restaurants. It’s an Anglo businessman’s fantastical riff on an old Mexican village, one decked out with Old West outlaws, volcanoes, cliff divers and even a gorilla that runs through caverns studded with stalactites.

'Book Of Mormon' Creators On Their Broadway Smash

More than half a century after opening in 1974 — complete with TV ads featuring Ricardo Montalban! — this once-spectacular crowd-puller had fallen on such desperate times that it was doomed to close. Then it was bought out of bankruptcy "as is" by Stone and Parker, who vowed to save the beloved Colorado landmark and return it to its former glory.

Their battle to do so is the subject of the enjoyable new documentary ¡Casa Bonita, Mi Amor! Directed by Arthur Bradford and produced by MTV Documentary Films, the movie’s a treat, weaving together great archival footage, excerpts from South Park and Elvis’ movie Fun in Acapulco , plus countless scenes of Parker and Stone’s amused horror when they hear the latest reason why their labor of love is becoming a money-pit.

After a zippy capsule history of Casa Bonita, with its Pepto-Bismol-pink facade and blue fountain out front, the movie returns to the present to show everything it takes to recreate a mecca whose true meaning lay in the feelings it once induced. Because the original Casa Bonita was legendary for lousy food, they bring on an executive chef, Dana Rodriguez, who’s been nominated for James Beard Awards. She takes Parker to Oaxaca so he can soak up the atmosphere and get inspired.

Yet wondrous inspiration bumps into un-wondrous reality. Turns out that their new property is a dilapidated death trap in which everything — electricity, plumbing, air conditioning — must be redone. A renovation originally budgeted at $6 million suddenly balloons to a new estimate of $20 million plus.

Now, as ¡Casa Bonita Mi Amor! chronicles the high price of nostalgia, it also offers an offhand glimpse at one of pop culture’s signature creative teams. It doesn’t take long to spot the differences between the two longtime friends — Parker is clearly the dreamy, creative one; Stone the shrewd whetstone on which he sharpens his ideas. What you may find surprising is the secret sentimentality of guys whose comedy takes such pride in finding nothing sacred. Parker, in particular, betrays a sweetness in his romantic attachment to the innocent pleasures of childhood. He’s also a perfectionist. We see his artistic process, fussing over and tweaking every creative detail of the project.

Here are 25 movies we can't wait to watch this fall

As their crew desperately races to have everything perfect by opening day — spending even more millions along the way — it becomes clear that Parker and Stone are chasing a ghost or maybe a paradox. The original Casa Bonita was a 1970s inauthentic version of 19th-century Mexico, but to recapture its magic this new version can’t be the same Casa Bonita that Parker remembers so fondly. Just as Indiana Jones' movies had to use top-drawer talent to emulate cheap, old movie serials, so their restaurant has to meet today’s expectations — tastier food, sharper entertainment — or visitors won’t find it as thrilling as the original. To feel the same, it has to be different.

By the time Casa Bonita finally reopens — there is a happy ending — Parker and Stone have done something that could hardly be more quintessentially American: They’ve spent a fortune to make a copy of a Mexican-themed restaurant that’s actually better than the original.

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Common Sense Media Review

Mature themes and strong language in British crime drama.

Parents Need to Know

Parents need to know that The Critic is a British period crime drama set in 1930s London, and stars Ian McKellen as a powerful theater critic who pulls a struggling actress (Gemma Arterton) into a deadly blackmail plot when his position at the top is threatened. There's strong language, including "f--k," "s-…

Why Age 15+?

Language includes "f---ing," "f--k," "s--t," "ass," "bugger," "bastard," "bloody

A person dies by suicide off-screen and people later gather for their wake. A ch

Characters kiss. Sex is implied after two people wake up in bed together. A woma

Characters frequently drink alcohol, to the point of drunkenness on numerous occ

Mention of British newspapers including the Daily Mail.

Any Positive Content?

Central character is a gay White man played by gay actor Ian McKellen. He lives

It's easier to judge the actions of others than your own. Some people will do an

Jimmy is a revered theater critic. His success has led to him being arrogant, po

Language includes "f---ing," "f--k," "s--t," "ass," "bugger," "bastard," "bloody," and "damn." Language like "weird," "monster," "filthy queer," and "dirty old sodomite" used about gay characters. Exclamations of "Christ."

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Violence & Scariness

A person dies by suicide off-screen and people later gather for their wake. A character murders another off-screen and the dead body is shown, drowned. Another dead body is shown being carried off in a coffin. References to past suicide attempts.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Characters kiss. Sex is implied after two people wake up in bed together. A woman is seen naked from behind. A person pays another for sex in a park, though fleeting oral sex is implied rather than shown. Characters have wild, sexually charged late-night gatherings, where a character is seen shirtless surrounded by revellers. Mention of a character liking "rough sex," and other sexual references. People have affairs. A man is naked in the bath but no genitals are shown beneath the water.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Drinking, Drugs & Smoking

Characters frequently drink alcohol, to the point of drunkenness on numerous occasions. People slur their words, smash glasses, and have wild, sexually charged late-night gatherings. Cigarettes are also smoked throughout. Lithium mentioned.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Products & Purchases

Mention of British newspapers including the Daily Mail .

Diverse Representations

Central character is a gay White man played by gay actor Ian McKellen. He lives in a society where homosexual acts are illegal and referred to as a "perversion." He's forced to mostly hide his private life, but is indignant at times, refusing to be shamed. Gender roles are present, with the most powerful people mostly men who drink together at clubs, and women portrayed as wives or attractive actresses. Only one character is Black, and a policeman refers to him saying "tell your friend to go home." However, he proves the only character in the story with much of a moral compass. Characters refer to a woman presumed to be suffering with mental health problems as "bonkers," and joke about her taking lithium. A woman says she should never have married "a Jew."

Did we miss something on diversity? Suggest an update.

Positive Messages

It's easier to judge the actions of others than your own. Some people will do anything to survive. Greed and ambition can lead people to act against their values.

Positive Role Models

Jimmy is a revered theater critic. His success has led to him being arrogant, pompus, and unfriendly. He's cold and judgmental toward others, yet doesn't judge his own actions in the same way, showing no signs of a conscience when it comes to self-preservation. Nina is an ambitious actress but struggles with confidence and lays a lot of weight on Jimmy's opinion. This leads to her being manipulated by him and reliant on his praise. Tom is Jimmy's assistant. He's grateful to Jimmy for providing him with a good lifestyle, but gradually struggles with the lengths Jimmy's willing to go to to keep himself on top, eventually putting himself at risk for what he believes is right.

Parents need to know that The Critic is a British period crime drama set in 1930s London, and stars Ian McKellen as a powerful theater critic who pulls a struggling actress ( Gemma Arterton ) into a deadly blackmail plot when his position at the top is threatened. There's strong language, including "f--k," "s--t," and "bastard," and "queer" is used as a homophobic slur, as well as "sodomite." A person also says of a Black character "tell your friend to go home." There are suicide references, and a person takes their own life off-screen. Dead bodies are shown, including one murdered by drowning. Characters kiss, sex is implied when two people wake up together the following morning, and a woman is seen naked from behind. A character pays for sex and it's implied oral sex is performed in a park, though it's off-screen. Characters frequently drink alcohol and smoke cigarettes, and people are seen drunk on numerous occasions. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

Where to Watch

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• Parents say

There aren't any parent reviews yet. Be the first to review this title.

What's the Story?

In THE CRITIC, Jimmy Erskine ( Ian McKellen ) is a powerful theater critic living in 1930s London. He's known for his harsh takedowns of productions and actors, particularly Nina Land ( Gemma Arterton ), whose performances he consistently scathes. But when his boss dies and his job is put in jeopardy, he must enlist Nina in a manipulative blackmail plot that will have tragic consequences for everyone involved.

Is It Any Good?

McKellen elevates this dark crime thriller, fully embodying his despicable character with a relish that makes it a true pleasure to watch. It's this performance at the center of The Critic that adds weight to a story that risks skirting across the surface in other areas. Arterton is both graceful and vulnerable as struggling actress Nina, and Alfred Enoch 's Tom also offers a likable moral compass at the core. One of the most impressive aspects is the cinematography, the settings lit up like scenes on Broadway, even outside of the imposing stages. What's lacking at times is depth, the real exploration of what's happening beneath the obvious, and this leaves the story lacking impact at times. That said, it's a strong period drama with deliciously dark moments and some enjoyable one-liners.

Talk to Your Kids About ...

Families can talk about how homosexuality was portrayed in The Critic . How did the era and the laws at the time affect how gay men were perceived? Do you think it was important to have a gay actor play the central role?

How was drinking and smoking depicted in the film? Were they glamorized? How has our behavior when it comes to drinking and smoking changed from when the movie was set and filmed?

Discuss the strong language used in the movie. Did it feel appropriate for the type of movie it was? What did it contribute to the movie?

The movie is adapted from a book called Curtain Call by Anthony Quinn, himself a well-known London theater critic. Do you think his writing from experience helped set a more realistic scene and tone for the story, even though the events themselves are fictional?

Movie Details

• In theaters : September 13, 2024
• Cast : Ian McKellen , Gemma Arterton , Mark Strong , Alfred Enoch
• Director : Anand Tucker
• Inclusion Information : Asian directors, Gay actors, Female actors, Black actors
• Studio : Greenwich Entertainment
• Genre : Drama
• Topics : Book Characters
• Run time : 95 minutes
• MPAA rating : R
• MPAA explanation : some language and sexual content
• Last updated : September 9, 2024

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

Suggest an Update

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Review: In ‘The Post,’ Democracy Survives the Darkness

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By Manohla Dargis

• Dec. 21, 2017

Steven Spielberg’s exhilarating drama “The Post” is about a subject that’s dear to the heart of journalists: themselves! Set largely during a few anxious weeks in 1971, it revisits The Washington Post’s decision to publish portions of the Pentagon Papers , an immense classified report that chronicled America’s involvement in Southeast Asia from World War II to 1968. In Mr. Spielberg’s hands, that decision becomes a ticktock thriller about the freedom of the press, the White House’s war on that constitutional right and the middle-aged woman who defended freedom in a fabulous gold caftan.

The real story began with Daniel Ellsberg , the Marine turned government researcher turned clandestine peacenik who first gave the Pentagon Papers to The New York Times . The Times began running portions on June 13, 1971. After the attorney general, John Mitchell, accused The Times of violating the Espionage Act, a judge ordered it to stop publishing the papers. At a pivotal time in American history, the government was preventing the press from getting the news out, on the grounds that it would do injury to national security. Shortly thereafter, The Post, which had been publishing rewrites of The Times’s articles, began running its own excerpts, becoming part of a Supreme Court showdown over the First Amendment.

The Pentagon Papers give “The Post” its heft and pulse; the antagonism between the government and the media gives it a shiver of topicality. Even so, shaping a drama around a newspaper that didn’t break the story seems an odd path to Hollywood triumphalism, though the scrappy Post was itching to be a national player. There’s also the matter of the actual import of the Pentagon Papers. In his memoir, Ben Bradlee, The Post’s longtime editor — winningly played by Tom Hanks with macho suavity and an on-and-off Boston accent — devotes four times as much space to Watergate (a story that his paper did break) as to the Pentagon Papers. Except that “The Post” cares less about the hard-charging Bradlee than it does his boss, Katharine Graham (Meryl Streep), the paper’s late-blooming publisher .

The story opens in 1966 with Daniel Ellsberg (Matthew Rhys), a government analyst on a data-mining mission in Vietnam, pecking out reports on his portable typewriter amid exploding bombs and flowing blood. The secretary of defense, Robert McNamara (Bruce Greenwood, wearing a frozen smile and an oil slick of hair), thinks the war is going badly but grossly mischaracterizes American progress to journalists. Disillusioned with the official script, Daniel eventually goes cloak-and-dagger rogue and is on his way to publicizing the Pentagon Papers, a momentous decision that Mr. Spielberg enlivens with spooky shadows and what may be the most nervous-making photocopying in film history.

The story soon jumps to Katharine, jolting out of a slumber, a sly preview of larger awakenings to come, both her own and that of the country. She’s about to take her company public, a move that she and a close adviser (Tracy Letts, wry and tart) hope will financially stabilize it. During the week that this business is finalized, though, the company will be temporarily vulnerable to its underwriters. The stock offering, Graham writes in her memoir, was scheduled for June 15. Two days, later, The Post had the Pentagon Papers. What happened next is a matter of record, history being the ultimate spoiler. The pleasure of “The Post” is how it sweeps you up in how it all went down.

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The obscenely wealthy are having a tough time at the movies lately. Last month, Ruben Östlund stuck a bunch of them on a luxury yacht and watched them projectile vomit all over each other in “ Triangle of Sadness .” Next week, Rian Johnson will stick a bunch of them on a private Greek island to watch them wonder who among them is a killer in “Glass Onion: A Knives Out Mystery.”

But this week, members of the extreme 1% just get stuck—as in skewered, and grilled—in “The Menu.” Director Mark Mylod satirizes a very specific kind of elitism here with his wildly over-the-top depiction of the gourmet food world. This is a place where macho tech bros, snobby culture journalists, washed-up celebrities, and self-professed foodies are all deluded enough to believe they’re as knowledgeable as the master chef himself. Watching them preen and try to one-up each other provides much of the enjoyment in the sharp script from Seth Reiss and Will Tracy .

But the build-up to what’s happening at this insanely expensive restaurant on the secluded island of Hawthorne is more intriguing than the actual payoff. The performances remain prickly, the banter deliciously snappy. And “The Menu” is always exquisite from a technical perspective. But you may find yourself feeling a bit hungry after this meal is over.

An eclectic mix of people boards a ferry for the quick trip to their storied destination. Chef Slowik’s fine-tuned, multi-course dinners are legendary—and exorbitant, at $1,250 a person. “What, are we eating a Rolex?” the less-than-impressed Margot ( Anya Taylor-Joy ) quips to her date, Tyler ( Nicholas Hoult ), as they’re waiting for the boat to arrive. He considers himself a culinary connoisseur and has been dreaming of this evening for ages; she’s a cynic who’s along for the ride. They’re gorgeous and look great together, but there’s more to this relationship than initially meets the eye. Both actors have a keen knack for this kind of rat-a-tat banter, with Hoult being particularly adept at playing the arrogant fool, as we’ve seen on Hulu’s “The Great.” And the always brilliant Taylor-Joy, as our conduit, brings a frisky mix of skepticism and sex appeal.

Also on board are a once-popular actor ( John Leguizamo ) and his beleaguered assistant ( Aimee Carrero ); three obnoxious, entitled tech dudes ( Rob Yang , Arturo Castro , and Mark St . Cyr); a wealthy older man and his wife ( Reed Birney and Judith Light ); and a prestigious food critic ( Janet McTeer ) with her obsequious editor ( Paul Adelstein ). But regardless of their status, they all pay deference to the star of the night: the man whose artful and inspired creations brought them there. Ralph Fiennes plays Chef Slowik with a disarming combination of Zen-like calm and obsessive control. He begins each course with a thunderous clap of his hands, which Mylod heightens skillfully to put us on edge, and his loyal cooks behind him respond in unison to his every demand with a spirited “Yes, Chef!” as if he were their drill sergeant. And the increasingly amusing on-screen descriptions of the dishes provide amusing commentary on how the night is evolving as a whole.

Of these characters, Birney and Light’s are the least developed. It’s particularly frustrating to have a performer of the caliber of Light and watch her languish with woefully little to do. She is literally “the wife.” There is nothing to her beyond her instinct to stand by her man dutifully, regardless of the evening’s disturbing revelations. Conversely, Hong Chau is the film’s MVP as Chef Slowik’s right-hand woman, Elsa. She briskly and efficiently provides the guests with a tour of how the island operates before sauntering among their tables, seeing to their every need and quietly judging them. She says things like: “Feel free to observe our cooks as they innovate” with total authority and zero irony, adding greatly to the restaurant’s rarefied air.

The personalized treatment each guest receives at first seems thoughtful, and like the kind of pampering these people would expect when they pay such a high price. But in time, the specifically tailored dishes take on an intrusive, sinister, and violent tone, which is clever to the viewer but terrifying to the diner. The service remains rigid and precise, even as the mood gets messy. And yet—as in the other recent movies indicting the ultra-rich—“The Menu” ultimately isn’t telling us anything we don’t already know. It becomes heavy-handed and obvious in its messaging. Mind-boggling wealth corrupts people. You don’t say.

But “The Menu” remains consistently dazzling as a feast for the eyes and ears. The dreamy cinematography from Peter Deming makes this private island look impossibly idyllic. The sleek, chic production design from Ethan Tobman immediately sets the mood of understated luxury, and Mylod explores the space in inventive ways, with overhead shots not only of the food but also of the restaurant floor itself. The Altmanesque sound design offers overlapping snippets of conversation, putting us right in the mix. And the taunting and playful score from Colin Stetson enhances the film’s rhythm, steadily ratcheting up the tension.

It’s a nice place to visit—but you wouldn’t want to eat there.

Now playing in theaters. 

Christy Lemire

Christy Lemire is a longtime film critic who has written for RogerEbert.com since 2013. Before that, she was the film critic for The Associated Press for nearly 15 years and co-hosted the public television series “Ebert Presents At the Movies” opposite Ignatiy Vishnevetsky, with Roger Ebert serving as managing editor. Read her answers to our Movie Love Questionnaire here .

• Ralph Fiennes as Chef Slowik
• Nicholas Hoult as Tyler
• Anya Taylor-Joy as Margot
• Hong Chau as Elsa
• Janet McTeer as Lillian Bloom
• Judith Light as Anne
• John Leguizamo as Movie Star
• Rob Yang as Bryce
• Mark St. Cyr as Dave
• Reed Birney as Richard
• Aimee Carrero as Felicity
• Arturo Castro as Soren
• Christopher Tellefsen
• Colin Stetson

Cinematographer

• Peter Deming

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Film Reviews

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Movie Review: In ‘The Critic,’ Ian McKellen’s theater critic takes his job very seriously

Movie Review: Sinister and unhinged, James McAvoy is the weekend host from hell in ‘Speak No Evil’

Movie Review: Two ideas compete for the soul of ‘My Old Ass’ but sweetness finally wins

Movie Review: Bring your global entry card — ‘Beetlejuice’ sequel’s a soul train ride to comedy joy

Movie Review: Netflix’s tight, taut and tension-filled ‘Rebel Ridge’ is a first-rate drama

Movie Review: Quaid looks (and sounds) the part, but ‘Reagan’ is more glowing commercial than biopic

Movie Review: ‘The Crow’ reimagined is stylish and operatic, but cannot outfly 1994 original

Movie Review: Style triumphs over logic in Zoë Kravitz’s great-looking but vexing ‘Blink Twice’

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Movie Review: Mark Wahlberg, Halle Berry lead a middling spy comedy in ‘The Union’

Movie Review: Mark Wahlberg and Halle Berry lead a middling spy comedy in ‘The Union’

Review: ‘Jackpot!’ has a winning star in Awkwafina but never pays off

Movie Review: Yep. They’re back! ‘Alien: Romulus’ introduces next-gen Xenomorph foe Cailee Spaeny

Review: Incarcerated fathers and their daughters dance in the heart-wrenching doc ‘Daughters’

Movie Review: ‘It Ends With Us’ with Blake Lively tackles big issues but slips into soap opera

Movie Review: Delicate and powerful, ‘Good One’ is one of the year’s indie breakouts

Movie Review: ‘Cuckoo’ is a stylish nightmare, with a wonderfully sinister Dan Stevens

Movie Review: Josh Hartnett goes big as the serial killer in M. Night Shyamalan’s ‘Trap’

Review: In ‘The Instigators,’ a heist goes terrifically wrong

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Movie Review: A third-act friendship comedy in ‘The Fabulous Four’

Movie Review: ‘Dìdi’ is a warm, nostalgic hug straight from 2008

Movie Review: In ‘Deadpool & Wolverine,’ the superhero movie finally accepts itself for what it is

Movie Review: A new generation drives into the storm in rousing ‘Twisters’

Movie Review: Finding love and followers atop urban heights in ‘Skywalkers: A Love Story’

Review: In the chilling thriller ‘Longlegs,’ Maika Monroe cuts like a knife

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Movie Review: Luke Gilford takes you on a trip to a queer rodeo in ‘National Anthem’

Movie Review: Scarlett Johansson lends star power to earthbound ‘Fly Me to the Moon’

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Former MoviePass CEO admits the $9.95 ‘unlimited’ ticket scheme was fraud

The ceo behind 2017’s ridiculous movie deal is facing up to five years in prison for committing securities fraud..

By Emma Roth , a news writer who covers the streaming wars, consumer tech, crypto, social media, and much more. Previously, she was a writer and editor at MUO.

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MoviePass ex-CEO Mitch Lowe pleaded guilty to securities fraud on Monday over his involvement in a scheme to mislead investors, as reported earlier by Variety and The Hollywood Reporter . With the plea, Lowe admits to making false representations about the sustainability of a $9.95 monthly plan that promised “unlimited” access to movies in theaters.

Lowe, who took over as CEO of MoviePass in 2016, started allowing users to see a movie a day through an unlimited subscription in 2017 . But the money-burning tactic eventually led to MoviePass’s demise , with the service shutting down in 2019 and later filing for bankruptcy.

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• The struggles of MoviePass, the film subscription service

Following a settlement with the Federal Trade Commission in 2021, the Securities and Exchange Commission sued Lowe and Ted Farnsworth, the former CEO of MoviePass parent company Helios and Matheson Analytics (HMNY), a year later. The agency alleged the pair lied about the unlimited subscription to artificially inflate HMNY’s stock:

These representations, which were made to artificially inflate HMNY’s stock price and fraudulently attract new investors, were materially false and misleading... In truth and in fact, and as Coconspirator 1 [Farnsworth] and LOWE knew... The $9.95 “unlimited” plan was a temporary marketing gimmick to drive subscriber growth, and MoviePass was losing money as a result.

In addition to a $250,000 fine, Lowe faces up to five years in prison (although a lighter sentence is expected for his cooperation with the investigation, THR reports). Farnsworth remains in federal custody, with his trial over securities fraud scheduled for March 2025.

“Mitch is a good man who is looking to move forward with his life,” Lowe’s attorneys, Margot Moss and David Oscar Markus, said in a statement to Variety . “He has accepted responsibility for his actions in this case and will continue to try to make things right.”

MoviePass got a reboot last year — and while it still offers a plan at $10 per month, it now puts a cap on the number of movies you can see.

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