“Michael” and the Tension of Lacking Tension
It is not hard to make a musical biopic that pleases audiences and draws a profit. Michael is no exception.

Banker Graham Lawlor is convinced to invest in Silver Shield Mines and becomes president, unaware that promoters Harris, Brennen, and Lester are frauds. He asks his son, Trevor, a small-town lawyer, to join as secretary. Trevor suspects foul play, warns his father, and returns to his practice after a disagreement. Lester, one of the promoters, woos and abandons his stenographer, Brenda Wray. When rumors surface about the mine’s instability, the promoters attempt to place blame on Lawlor. Knowing he holds documents to clear his name, they bribe his servant to steal them. Brenda, seeking justice from Lester, overhears the plan and informs Trevor. Lawlor’s servant, Thompson, is caught, confesses, and clears Lawlor’s name, leading to the arrest of Harris, Brennen, and Lester.
It is not hard to make a musical biopic that pleases audiences and draws a profit. Michael is no exception.
Shudder’s Host (not a particularly original title, I must say) attempts to bring the spooks to “the quarantine generation” by presenting us with a scary Zoom call during lockdown.
James Cameron’s The Terminator (1984) marks the beginning of a wonderful two-part arc, brimming with style and substance. The film follows Sarah Connor, a waitress living in Los Angeles. One night, a cybernetic organism (Arnold Schwarzenegger) is sent back in time to kill Sarah. A human resistance fighter (Michael Biehn) is also sent back in time, with the intent of saving Sarah from this deadly foe.
If Top Gun needed to say it, Top Gun: Maverick makes you feel the need... the need for speed.
I write for a diversity-focused film review blog, so I’ll be honest: I really wanted to like Pretty Lethal. Starring Maddie Ziegler, Lana Condor, Iris Apatow, Avantika, and Millicent Simmonds, Amazon Prime’s new thriller seemed like it would be a girl power movie about dancers with a horror action twist. Sort of a Suspiria for teens. But with shallow and unlikeable characters, a confusing plot, an overreliance on violence, and cringey dialogue, any fun the movie started out with was quickly lost. What was left was a faint echo of greater horror movies about dancers made before.