Caution: This article contains spoilers for the motion picture, ‘Savoring Paris’.
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One particular type of motion picture that takes a great deal of critical flak in this day and age, is the ‘starting over’ film. The one where someone who is unhappy with their life, packs up their bags and moves someplace else to find themselves and uncover what they really want out of life. And what allows for these films to take heat is the sheer fact that they are so fluffy in nature and feature no consequences for the actions that the characters perform. Because in reality, just hitting the rest button on our lives and moving say… cross country… isn’t some simple task, as these stories portray. In fact, a lot goes into this.

Since we need money to sustain ourselves, we need a place to live, and we need to find out what we really need and want in life to find peace, or we do this all again. And audiences want those types of deeper explorations to take place and want to learn more about the process… because sometimes we feel a need to just blow up our lives and start over and a guide would help. But alas, audiences just aren’t getting that guide from these types of films, and they really are done with the puff and fluff they often offer. But thankfully, the networks and studios are starting to hear that feedback and they are slowly making changes to this type of feature so that it does have more meaning for audiences and for proof… then look no further than the fascinating ‘reset button’ film that hit the airwaves on Hallmark Channel last night.

For Savoring Paris just so happens to serve as the anthesis to what a lot of these films offer, by offering a more detailed and realistic look at this decision. But of course, at first glance, that doesn’t seem to be the case. For we are introduced to a woman named Ella Weber in this film, who finds herself at a crossroads. Because her career isn’t giving her what she needs, creatively or from a fulfillment standpoint and outside of work, she doesn’t feel the call to settle down in a traditional manner. All of which, overwhelms her to no end and prompts her to fly back to the one place that offered her joy ages ago, Paris, to clear her head. But after a short while, she decides that she should stay for as long as possible and enjoy all that Paris has to offer, including cheese, while she finds herself and her direction, and potentially… love along the way.

All of which really does seem like a by the numbers reset story. Since Ella does all the things that one comes to expect in this type of story. After all, she dips into her savings to stay in Paris and enjoy its comforts and its freedom, and of course, there is a love affair present here where two men vie for her attention and her heart. But all of that exists to make the viewer comfortable, as though they are indeed just settling in for more of the same and once that comfort is present, does this story shift gears and offer up different concepts. For instance, the decision to just quit her job is revealed to be more than impulse and foolish and reckless abandon to be a ‘free spirit’. It’s about finding freedom for Ella, about having control and a say in her life’s events and that is a concept that is rarely explored in these films.
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The same goes… for the fact that this story focuses heavily on Ella taking time for herself, to really reflect upon her life and how she got to this point, so she doesn’t make similar mistakes going forward. Which brings about gentle moments of inflection and even moments of powerful self-discovery. Wherein Ella begins to uncover the truth she seeks about herself, and she is even honest about what she wants in her love life, to the point where she sets boundaries and offers respect and isn’t some foolish, love-lorn woman that will only find peace through matters of the heart. That part of the journey is about finding someone to compliment her over making her complete, because… she wants to feel as though she can be more and is on a path that is fulfilling and nurturing for her soul and that is just wonderful to see present in this type of story.

Not to mention, the movie acknowledges the risks of going this route financially and how it might be best to have something to fall upon before we go this route and that makes, for one refreshing story. One that engages and teaches, courtesy of those magnificent plot points and some fine acting as well. With Bethany Joy Lenz leading the charge as Ella, since she portrays Ella with an honesty and a vulnerability that we can relate to through and through and well, all of these elements make this story, essential viewing. Simply because this really is that rare ‘reset your life’ story that is grounded in realism over fantasy, since it correctly and wonderfully points out… that starting over in life is more than just packing our bags and taking a chance on life and love. It requires dedication, self-care and self-work and an understanding that we need to make peace with ourselves, in order find peace in our lives.

Caution: This article contains minor spoilers for the motion picture, ‘The Fall Guy’.
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As the summer movie blockbuster season kicks into high gear. I wanted to take a moment to discuss The Fall Guy (Universal Pictures; 2024). A film that, for me, has all the elements a true summer blockbuster needs to make it worth your while. So, grab your popcorn and settle in while we look at three reasons why The Fall Guy is the perfect summer blockbuster.

Nostalgia Meets Meta
Billed as an action comedy, The Fall Guy is loosely based on the TV series of the same name (20th Century Fox Television; 1981-1986). Of course, we see Easter eggs paying homage to this series. Including our lead – Colt Seavers (Ryan Gosling) – who shares his name with the Lee Majors lead of the 80s. Colt also drives one of the same brown and gold GMC K-2500 Sierra pickups as his 80s counterpart. There’s even a newer version noted to be “product placement.” *NICE!* Even if you’re just hearing about this television series for the first time, one must admit that as far as nostalgia goes, this is excellent!! Plus, there’s a mid-credit cameo by Majors himself. Along with Heather Thomas, who also starred in the series. *AWESOME!*

Tying even more to the 80s series, Gosling’s character ends up smack dab in the middle of a murder mystery. Not quite the same as Lee Major’s character, who plays a stunt man by day and a bounty hunter by night. Still, the film does a fantastic job of marrying the two by setting Gosling’s Colt Seavers on the hunt for answers.

Beyond the OG series, we are taken into an extremely meta environment as we’re watching a movie of people making a movie wrapped inside a whodunit crime caper. There are constant film references. Jokes on and about the industry. Name drops and more. With plenty of self-deprecation, it never feels over the top. It’s cheesy in all the right places. As well as generally fast paced and downright hilarious throughout. And let’s not forget some banging music with the likes of Kiss, AC/DC, Taylor Swift, Phil Collins and more! *HECK YEAH*

With all that going for it, you’d think it would be enough. Yet… one of the biggest things to sell this film is character dynamics. Of which, we see in spades!!

Character Chemistry
Gosling’s love interest – Jody Moreno – played by the beautifully talented Emily Blunt, is the flawless yin to Colt’s yang. Their chemistry is electric and is an absolute joy to watch. A love affair gone wrong after Seavers’ suffers an injury during a massive stunt. The audience watches as the pair are suddenly thrust together once again on the set of Jody’s new movie Metalstorm… HAHAHA, that name!! Adding the romance element to an action comedy isn’t usually done in such bold fashion. But writer Drew Pearce (Mission: Impossible – Rogue Nation; Paramount Pictures – 2015), weaves all three elements splendidly and I LOVE IT!! Both Gosling and Blunt are at the top of their comedic game here and their romantic harmony shines bright! Simply put, The Fall Guy is surprisingly a PURE romcom (*YEP!!) wrapped inside an action movie which was something I didn’t even know I needed… LOL!!
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Though I could go on and on about our leads, they aren’t the only ones with enigmatic chemistry. Many of the other characters blend very well across the film. Including Colt’s best friend and Metalstorm’s stunt coordinator Dan Tucker (Winston Duke). They are hysterical together and truly come across as though they’ve been friends for years. We also see very strong performances from Aaron Taylor-Johnson who plays Tom Ryder. A huge action star and a ridiculously silly – albeit somewhat true –parody of what we see in the industry today. Hannah Waddingham as Ryder’s manager and the producer of Metalstorm, is the textbook eyeroll as an industry giant whose main concerns are money and image… OF COURSE!! Another fun character is Ryder’s personal assistant Alma Milan (Stephanie Hsu) who’s brilliant against Gosling’s seemingly aloof yet ultimately witty portrayal. Finally, many of the movie within the movie characters as well as those in pursuit of Seavers round out a powerhouse team of talent and all of them bring the laughs throughout. Though, there’s one more thing that makes this film blockbuster material… oh, the wonderful stunts!!

A Love Letter to the Stunt Community
Directed by David Leitch, an actual stunt performer himself, The Fall Guy is literally a love letter to the stunt community. And boy does it live up to this homage. Having directed such huge hits as John Wick – uncredited (Summit Entertainment; 2014), Atomic Blonde (Focus Features; 2017) and Deadpool 2 (20th Century Fox; 2018), Leitch knows EXACTLY what goes into the bones of an action movie. Couple this with his stunt background, he knows even more what it takes to pull off mesmerizing over the top action sequences. Of which, The Fall Guy, is jam-packed. *DAMN STRAIGHT* Including, at 8.5 rolls, breaking the Guinness World Record for the most cannon rolls in a car. Completed by Logan Holiday, this feat is spectacular to watch. *AWESOME!!* As are the fight scenes, car chases, “on-set” action, and more.
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It’s also worth noting that those in the stunt industry are often overlooked when it comes to praise for any given film. The Fall Guy aims to change that by showing us just how much stunts and those who perform them matter. As it stands now, awards such as The Oscars, do not recognize stunts as a category and it’s high time that changes!! #OscarsForStunts *HECK YEAH!!*

Finally, this amazing love letter is introduced by Leitch and Gosling in a small, yet comical, prologue which kicks off the fun and let’s the viewer know that we’re in for a treat. From there, the laughs, action, stunts and chemistry build into a silly and glorious climax that give us – the viewer – exactly what we want… EVERYTHING!!

Ticking all the megahit boxes can be difficult, but with a mix of action, comedy, romance and meta overload, The Fall Guy is a hoot and a half. It brings all the feels and then some!! *BIG GRIN* And though it’s currently available to stream, I encourage any movie fan to hit the theatres on this one. For The Fall Guy is, as they say… a good time at the movies… and TRULY IS the perfect summer blockbuster… and you should see it if it is still available in your area!!

Until next time.

There was a time in television history, where the crime story was a vastly different type of show. For in those days, crime stories were all about plucky investigators that were emotionally strong and hyper intelligent, so they could solve dark crimes with ease and put the audience at ease in doing so. Because murder is a dark business and hard to swallow, and a kind person solving them helped to soften that blow. But the end of shows like Columbo and Murder She Wrote, gave rise to a grand experiment in the genre. For just like that, crime stories went hard and really examined the power of crime and its impact upon us and that has brought forth some dark serials that hold nothing back. The kind that now dominate the landscape.
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Which audiences are enjoying and are learning from, but they do love the escapist nature of crime stories, of justice being served by good people in the world, sometimes ones that don’t carry a badge. Which is why, the cozy mystery was given life. Since this fairly new subgenre features that more lighthearted approach to crime serials and make it accessible to all once again. In fact, they’re so popular now that they are everywhere on streamers and they’re making their way into mainstream as well. Since the Hallmark Channel has embraced the majesty of the cozy mystery and they’re truly mastering the formula, as to what makes them great and so accessible, as evidenced by the charming and engaging cozy mystery that aired on the network the other day, Family Practice Mysteries: Coming Home.

For this is a cozy mystery that introduces us to a former combat doctor named Doctor Rachel Hunt. Who moves back home in this story with her kids to start over in life. For Rachel’s husband didn’t make it out of wartime, and going back to where Rachel’s life began seems like the right place to hit the reset button. And since she is a knowledgeable doctor, she easily finds work at a local family practice and finds joy and peace in helping others and giving them good news or guidance in their health issues. But one day, when a perfectly healthy man dies of seemingly natural causes, Rachel’s world is turned upside down. Because she knows the science, she knows a sudden death isn’t possible and now with the help of Detective Jack Quinn, Rachel will stop at nothing to prove that murder has descended upon her hometown. 

Which is a plot that brings forth, a perfect cozy mystery. One that truly showcases why this subgenre is thriving right now. Because what makes a cozy mystery great, is an engaging lead character that we can connect with, one that has a heart of gold and truly wants to do good in the world and well… Rachel is indeed just that. After all, she’s served her country, she’s overcome loss, and she truly wants to help people and that… immediately allows for the audience to connect with her and believe in what she stands for and has us rooting for her at every step. Granted, there is some level of disbelief one needs to apply to this, since she does get incredible access to an ongoing investigation, but that’s okay. Because that’s part of the fun and part of the charm, and part of the escapism of the story. 

Plus, it can be forgiven simply because, the case at hand is pretty darn juicy. After all, every layer that Rachel peels back harbors dark secrets and ugly motives, the kind that keep the audience guessing from start to finish as to who might have caused harm here and that too… is engaging and delightful and truly helps us to just lose ourselves in a feel-good story. Because justice is served by the end of this tale and Rachel is indeed quite the hero. But what also makes this story of note, is that it works hard… to really spread joy and good messages along the way. Because there’s a lot of positivity to be found in meeting a character that wants to overcome their traumas and there are even wonderful moments with her children that speak to the nature of respect and the power of family.

Which is why we call this the perfect cozy mystery. But of course, we’d be remiss to not point out, that in order to truly pull of a cozy mystery of this caliber, one needs great acting and that’s here too. Because Amanda Schull offers up a very deep and complex performance as Rachel in this story. One that sells the character as an everyday person getting by in the world, and Brendan Penny does a wonderful job of playing off of her as Jack. But truly, what makes this story so worth your while, is that it makes you feel good. It makes you believe that good can triumph over evil and that the bad guys will indeed be brought to bear, and that… is what a cozy mystery does best, and featuring every element that makes them worth our time informs us… that Hallmark is only going to send more of these our way, and they will undoubtedly bring the same joy and safety that we find here.

Caution: This article contains spoilers for the motion picture, ‘Kingdom of the Planet of the Apes’.
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It really is quite amazing how the Planet of the Apes motion picture franchise has evolved throughout the years, regarding what it stands for. For the original saga, the one led by Charlton Heston, stood for shock value really. Courtesy of the big reveal in the first film where we learned that Earth was Taylor’s final destination, for something had gone awry and allowed for apes rule the day, and subsequent features continued to lean into that shock value. Courtesy of nuclear surprises and time travel and a world where man and ape fought to see who the dominant species would be, and that did indeed lead to big moments and iconography that has allowed for this franchise to remain popular and of course, spawn a new series of films.

The kind, that went in a vastly different direction. For the new features have dug deep into social commentary and reflect our world through the lens of the ape, and that’s led to some fascinating stories that have explored the nature of our hubris, our hate, and our xenophobia. Along with some fascinating observations regarding our sometimes-irresponsible relationship with technology. Granted, there were hints of this in the original saga, but they never went to the lengths that the new films have gone and it would seem that this franchise won’t be letting up anytime soon in creating smarter Apes films that deeply reflect the world we live in and the problems we face. And for proof… look no further than the latest chapter in the franchise, which is in theaters now, Kingdom of the Planet of the Apes.

For this particular story, one set long after the events of War for the Planet of the Apes, showcases a planet where apes now rule the lands and where they are all settling into societies and ideologies that are vastly different than the world that humanity lost, and that Caesar worked to build. For some, like Noa’s clan, work toward peace and harmony with one another and with the planet they’ve been gifted. While there are others… led by the mysterious Proximus Caesar… who are eager to exert the power of ape over man. Who still roams the countryside and still causes trouble as need be, and as fate would have it, soon all three worlds will collide in an epic manner. Wherein Noa will have to choose to help, the apes that are eager to conquer the world, his own people or the mysterious humans that seem to have their own agenda.

Which at first glance, appears to be a plot that is grounded more in a grand and sweeping epic than a story about our world and our problems. But closer inspection reveals that the world of the apes’ centuries from now, is quite close to our own. Since Proximus Caesar is a leader that reflects the old guard in our world, those folks who want a specific type of world that only benefits their own ideals and beliefs, and Noa is those of us in the middle. Who want a better way but feel outnumbered and out voiced by that all-annoying guard and the human faction here… continues to represent our hubris, and our inability to understand that change is a constant and that we must let go to move forward and all of that subtext brings forth a magnificently complex film. One that leaves us with so much to ponder upon about our world and how hard it will be to find peace in this time. 
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That makes this, perhaps the smartest film in the franchise to date, since it has never pondered upon precarious times in this manner, but it handles its observations in a powerful manner… and still finds a way to entertain. Because the epic nature of that plot, does give rise to an epic journey for Noa. One that explores a world that has forgotten humanity, and any conflict or action, which is mostly found in the third act of the feature, is equally as epic and sweeping. Courtesy of a unique setting and a unique twist involving Caesar’s intentions that leads to a finale for the ages. One that is breathtaking and poignant, and seemingly sets the stage for future films and perhaps… a reboot of the core stories that brought us to this particular point. 

But that aside, make no mistake about, this is simply an incredible and cerebral motion picture. One that does the franchise proud and takes it in a fascinating new direction. For this story expands this franchise and this universe like never before and gives us new characters to latch onto. Because everyone here, both ape and human, harbors elements we can relate to and care for, and that comes courtesy of more incredible performances. The kind that takes your breath away and sell every single emotion and the gravity of the moment. All of which brings forth a magnificent motion picture, one that has something for everyone and features a refreshing new story that informs us that this franchise still has a lot of life left in it, and it still has a lot to say. And it will be incredible to see what lessons and big moments lie ahead as we continue our journey through the Planet of the Apes.

If there is one particular film that we’ve sung incredible praise over, often, these past few months, it would have to be Laura Adkin’s, Re: Uniting, and rightfully so. For this powerhouse drama is timely, powerful, and filled to the brim with joy and tears. Courtesy of a story that feels real and that the audience can deeply connect with, and well… the only issue that has accompanied our praise, is the sheer fact that there hasn’t been an easy path for you, dear reader/viewer, to see this amazing feature. Especially if you live in the United States. 
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But that’s not from a lack of trying, for Laura and her team are eager to share this story with the world, and distribution deals take time and those are being locked down. To the point where at last, Untied States audiences can see this motion picture in New York City and Los Angeles, and soon. For earlier today it was announced that Re: Uniting will start screening in those cities on 5/31/24 at LOOK Dine-In Cinemas and well, since you’ve been so patient and so eager to see this film, here are all the details on this wonderful news, complete with a list of locations where you can enjoy this poignant motion picture. 

‘Flat Head Films announced today that writer/director Laura Adkin’s feature film debut Re: Uniting will have its U.S. theatrical premiere starting Friday, May 31st, 2024. Re: Uniting will screen for audiences across the U.S. at LOOK Dine-In Cinemas in New York, Los Angeles, several locations in California, Arizona, Texas and more. Adkin and select cast will be in LA and New York for special event Q&A’s after the screenings in LA (on May 31st) and New York (June 1st).

Filmed on Bowen Island in B.C., Re: Uniting stars Jesse L Martin (Law & Order, The Irrational, RENT), Michelle Harrison (The Flash), Roger Cross (War For the Planet of the Apes), David James Lewis (Child’s Play), Carmen Moore (Nancy Drew) and Bronwen Smith (Firefly Lane) as six best friends from college who reconnect for their 25 year reunion. 

When Rachel, played by Michelle Harrison, receives life-changing news, she secretly grapples with her mortality while playing host to her friends who have grown up and gone their separate ways since college. Carrie, a mother of 3, Natalie, a workaholic neurosurgeon, former football star turned sportscaster Collin, and playboy man-child Danny join Rachel and her husband at their picturesque home on the beautiful and secluded Bowen Island. As soon as they are all together it’s like no time has passed; they laugh, drink and dance the night away. Rachel’s nostalgia is echoed by the group as they realize how much time has gone by, and how much they have all changed. As secrets are revealed, they are forced to change the way they look at their futures.

The film, which had its world premiere at the Austin Film Festival, has already been winning Canadian audiences over, with an expanded run and was held over in theatres in major markets including Vancouver and Toronto.

Laura Adkin, born and raised in Vancouver, BC, began her career in the film and television industry almost 20 years ago. She started as an actor then moved behind the camera as a producer, writer and director. As a filmmaker, Laura has produced numerous films that have played in film festivals around the world. Laura was handpicked for a female directors initiative through Disney and was selected for the Women In the Directors Chair Career Advancement Module. 

Re: Uniting is written and directed by Laura Adkin, produced by Krista Rand (Grand Unified Theory) and Stirling Bancroft (Sniper: Assassin’s End) serves as director of photography and Josh Epstein (Adventures in Public School, Eadweard) is Executive Producer. Re: Uniting is the first feature film in the world to be colored with the Barco HDR Lightsteering projector; a state-of-the-art technology sweeping the cinematic world from international tech company Barco. 

Gravitas Ventures, an Anthem Sports & Entertainment Company, has acquired U.S. rights to Re: Uniting and will release the film on digital and cable on demand on June 4, 2024. In Canada, Re: Uniting is being distributed by Vortex Media in Canada and is currently available to rent or buy on most streaming platforms in Canada.

The film was made possible with Telefilm "partner's in production", William F. White International and UBCP/ACTRA.’

SCREENING LOCATIONS:
    
LOOK Dine-In Cinemas, New York Locations starting May 31st, 2024:
Dobbs Ferry, NY / New York, NY

New York, NY - with Q&A on June 1st, 2024 
Q&A with Re: Uniting writer/director Laura Adkin, cast: David James Lewis, Bronwen Smith and producer Krista Rand

LOOK Dine-In Cinemas, California Locations starting May 31st, 2024:
Glendale, CA / Monrovia, CA / Redlands, CA / Downey, CA 

Glendale, CA - with Q&A on May 31st, 2024 
Q&A hosted by Todd Berger with Re: Uniting writer/director Laura Adkin, cast: Bronwen Smith, Michelle Harrison & Roger Cross

LOOK Dine-In Cinemas, Texas locations starting May 31st, 2024:
Arlington, TX / Colleyville, TX / Dallas, TX

LOOK Dine-In Cinemas other US locations starting May 31st, 2024:
Brookhaven, GA / Chandler, AZ / Reston, VA / Tampa, FL

www.lookcinemas.com
 

There is a grand question being asked in the entertainment industry right now. Specifically, is it possible to add new franchises to an already crowded market where the big ones are already established? Because we live in a world where Star Trek, Star Wars and the Marvel Cinematic Universe rule the day, and where new chapters to old stories continue to come to life, and that does leave us unsure… if anything new can come to bear in this marketplace. But that isn’t stopping creatives from trying to answer that question in the affirmative. After all, Seth MacFarlane brought to life, The Orville, his own imagining of a universe not that far off from what Star Trek resembles and even writer/director Zack Snyder, a man who is no stranger to big franchises… has made his own push to start something new.
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For last year saw the debut of Rebel Moon – Part One: A Child of Fire. A grandiose story that took us to a different galaxy, far, far, away. For Mister Snyder was eager to bring a competitor to the Star Wars Universe to Netflix and well, it was met with mixed reviews. Wherein some cited concerns about elements that felt familiar, while others praised its structure and story, all of which… left that grand question mark standing next to that grand question. Because we simply were not sure if this new addition could in fact, bring a new franchise to bear and offer us something grand and sweeping and outright generational. So, to further explore that possibility, it only made sense to bring forth a sequel and flesh out this universe further.

Enter Rebel Moon – Part Two: The Scargiver. The first big time sequel in this new franchise and well, when all is said and done, this particular new chapter, which is available to stream on Netflix starting today… does indeed offer up an answer to that question. In that, yes, new, and epic franchises are a real possibility, provided of course they offer something for the audience to latch onto. Which is why this particular film is of note, for it picks up shortly after Part One, wherein Kora and her friends make their way to Veldt after what they believe was a grand victory over evil. Only to learn that the derided Noble survived his battle with Kora and is preparing to make his way to Veldt to enact revenge and well, that twist is where this movie begins to showcase how new franchises can be born in this era.

Because the wait for combat, for another showdown between Kora and her Noble, gives rise to downtime. Downtime that allows for character development and exploration to take place and that… brings about quite the fascinating first half of this film. For that helps to create something that is more than just a ‘knock-off’ or a grand attempt. It builds a real franchise, it offers depth and gravity, and moments that tie us to the characters. Which are huge elements that go into creating something special, something lasting and one does walk away from this sequence with a better understanding of who is part of this fight, and why they are so dedicated to it, and it does leave one rooting for these heroes to accomplish their goal.
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However, make no mistake about it, this is still a Zack Snyder film, and Zack remains a master of action and adventure and loves good spectacle moments. Which are also staples of big franchises and those are present here too. Because eventually, we do get the fight we desire, and it is as big and bombastic as one might expect. But also, emotional, and powerful, providing the audience with a payoff and well… all of those elements make for a true sci-fi epic. One that genuinely informs us that there is room for big franchises right now, and that they can tap into elements that make us love it so. Courtesy of that gentler, character driven touch that really does harbor connective tissue with the audience and that really does make this sequel feel different and as though it is building toward something even bigger than what we experience here.

Simply because, now we are getting an idea of what Zack and his team want to accomplish with this, and in many ways… we are seeing the birth of this universe in a manner similar to Star Wars. Because that’s a franchise that found its way through sequels and bold storytelling decisions and we get that here and that does make for an enjoyable ride. One that will wow you with its visuals, move you with its bigger moments and all around just offer a wonderful viewing experience and those are the true elements that go into making a grand franchise for the ages and hopefully Netflix gives Mister Snyder and his team what they need to finish the story. Because if the progress made here continues and Zack can stick the landing… that will give rise to a beloved franchise that creatives and audiences will explore for generations.  

It really is quite unfortunate how society views mental health, mental health issues and their respective treatments in this modern age. Because we live in a time where people are indeed ready to talk about the tough and lingering problems and concerns, that prior generations made efforts to bury and abandon out of the belief, they would fix themselves. But alas, despite being in an era this open-minded, and where there is new information coming out about mental health, and despite new treatments being developed to help those who wish to maintain or heal their mental health… we are still deathly afraid to point out that the mind isn’t always at its best, and that sometimes we need help in healing our ailing brains and in balancing its chemicals.
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In fact, this topic is so taboo, that even the creative world, a place that is a pioneer in discussing the topics that no one else wants to, tends to either shy away from exploring the truths about mental health in the twenty-first century, or offers up something that is glossy and inspirational regarding such matters. But thankfully it would seem, we are reaching a paradigm shift when it comes to the silence surrounding such important matters, and we have a bold new motion picture from an equally as bold creative individual to thank for that. For writer/director Dillon Tucker has opted to craft a story that shatters taboo and offers a comprehensive and powerful look at mental health and mental health struggles in Pure O.

A feat that this story accomplishes by introducing us to a man named Cooper who seems to be living quite the life. After all, he works a great job as a rehab counselor, giving him a chance to do good in the world. Not to mention, he has a loving fiancé named Emily; he has dreams to hit it big in Hollywood. So, life just seems to be coming up roses for Cooper. That is, save for the fact that Cooper is deeply scared. Because he’s having wild, violent thoughts, about imparting harm upon his beloved and in talking to a therapist about these thoughts, he is diagnosed with a form of OCD known as Pure Obsessional. Which will be difficult to treat and overcome. Because of the stigmas that exist and because of challenges that further shatter his idyllic life, prompting him to ponder deeply upon what he will really need… to get his mental health in order.

Which at first glance, appears to be more in line with the uplifting stuff we normally see from stories in this vein. Since there’s a setup there for Cooper to go on a brave and inspiring journey. But that is by design, to make us comfortable so that Dillon, can plunge us into the heart of one powerful story. One that deeply examines the nature of OCD and Pure Obsessional and how they are treated. Which gives rise to some stunning moments for certain. The kind that showcases how mental health issues are a real battle and require real work, and in the case of Pure Obsessional, can feature some scary and uncomfortable moments for those suffering through it. Since this film holds nothing back regarding the ideation that comes from this affliction, and truly… this gives us a shocking… but welcome perspective. Because this is the kind of stuff that starts a conversation and truly helps people to understand the realities of such matters.
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But while that makes it seem as though this film is deeply mired in heavy moments, make no mistake about it… this is a movie designed to educate, spark talks, and walk us through… how we heal. Because that’s what anyone in Cooper’s shoes wants, to feel better, to be better and to walk away stronger, and that aspect of the film, leads to some uplifting moments. Wherein it becomes clear that to conquer these moments, we must be willing to put in the work, and dedicate ourselves to healing. Not to mention, this film reminds us that we need a support network, of people who do care, who are willing to stand by us in those dark hours where it seems hopeless. Which is perhaps the most poignant aspect of this film. For the mantra surrounding mental health issues is that the fight against them must be done alone, and through sheer will. But it takes a village to help folks through that, to help anyone through dark times really, and to help them cope with the changes that come about when the dust settles.

For lives change when this kind of healing takes place, and well… all of these messages and explorations make for one revolutionary motion picture. One that truly showcases this taboo topic in an open and frank (and long overdue) manner, and this motion picture deserves a standing ovation for finally being the story to ‘go there’, and for also providing us… with a great story period. One that offers up some great performances since Daniel Dorr (Cooper) and Hope Lauren (Emily) truly sell the realism present here and move us often with their ability to translate the emotions one would feel in the midst of healing. Plus, this film has plenty to teach folks who might not be able to relate to the subject matter at hand, since it also explores the ups and downs of life and how we are never ready for the tough stuff it sends our way. All of which makes… for a powerful and perfect feature that will stay with you long after its ended. Courtesy of its intelligence, and its bravery.

During awards season, every artisan in the industry has their eyes on the grand prize. A nod, and hopeful win, from the Academy of Motion Picture Arts and Sciences – better known as the Oscars – is a dream come true for most. So much so, that virtually everyone worth their salt (*WINK*) seeks to be recognized by the Academy, many saying it’s an honor just to be nominated. Though we all know they secretly wish to win above all else. *DUH!!*
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Made up of everyone from directors and actors to executive producers and other industry giants, each category is voted upon by their respective members. That’s to say, directors vote for directors and so on, while a ranked choice voting system is used to decide Best Picture. Unfortunately, the Academy is fickle when it comes to paying attention to films that deviate too far from the norm. Saltburn (Warner Bros. Pictures; 2023) is no exception by far, but I believe the shock value turned folks away causing them to overlook the true beauty and intricacies this film has to offer. So now that the 2024 awards season has ended, I’d like to take a deeper look at this masterclass in filmmaking and discuss why…why was Saltburn snubbed at the Oscars?? Especially when Emerald Fennell (Writer/Director) won the 2021 award for Best Picture and Best Original Screenplay for her first feature-length outing for Promising Young Woman (Focus Features/Universal Pictures; 2020). *BAD ASS* I mean… she clearly has the chops… right? 

Before we begin, it’s apt to point out that this year’s Oscar season was quite stacked. So much so that predictions aside from Oppenheimer (Universal Pictures; 2023) were a little all over the place. Excellent films like American Fiction (Amazon MGM Studios; 2023), Killers of the Flower Moon (Paramount Pictures/Apple Studios; 2023), Poor Things (Starlight Pictures; 2023), Barbie (Warner Bros. Pictures; 2023) and more took second stage to Oppenheimer, and for good reason. However, I would be remiss if I didn’t point out that with all its popularity, I really wish some light could’ve been shed on the aftermath of the Trinity Test and how it changed, and continues to change lives, in such a negative way in New Mexico. Ah… but I digress!! For anyone interested, check out First We Bombed New Mexico (Lois Lipman) right here. Now… let’s move on!

Per the norm, several films were nominated in multiple categories. Thus, many have stated that the competition was just too stiff to include Saltburn. Thus, I argue that’s exactly why it should’ve been considered. Because it belonged there!! So… let’s take a look at four categories for thought – Original Screenplay, Cinematography, Direction and Acting.

Beginning with a visual of the bathtub scene (*STILL NOT OVER IT!!*) and the words: “I wasn’t in love with him,” Fennell poured over the Saltburn screenplay in secret for five years only sharing the final product when she felt it was ready. Her vision is insanely depraved and deliciously evil in multiple ways. Using a goth approach and heavy symbolism rooted in everything from Shakespeare to horror, Fennell explained to Entertainment Weekly that she likes to play with genres and specifically wanted to visit that: “Bottomless pit of want, and jealously, and need, and voyeurism” that we all have but don’t want to acknowledge. And boy does she deliver. *KAPOW* For some clarity on this vision, an excellent video breakdown, including all the scrumptious symbolism, can be found on ScreenCrush. And here are two videos from MsMojo titled: Top 10 things You Missed in Saltburn and Top 10 Behind the Scenes Facts about Saltburn. All of which add some extra contextual elements to the overall feel of the film. Thanks to both channels for such fun and detailed work! *HELLS YEAH!*

But hasn’t all this obsession business been done before?? Well… yes and… no!!
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For example, often compared to The Talented Mr. Ripley (Paramount Pictures; 1999), Saltburn doesn’t just show us fixation. It slaps us with our own desires in waves and levels wrapped inside unimaginable deviancy. It’s so much deeper than Mr. Ripley or films like it that it’s hard to know where to begin. Sure, the premise – poor kid idolizes rich kid – is the same. But quite honestly, that’s where the similarities end as Mr. Ripley is fairly one dimensional with regards to infatuation. Saltburn, on the other hand, looks at various aspects from almost every character and lays bare their own insecurities and fetishes. *RAISED EYEBROW!*

The film follows the lead, but also gives a window into everyone involved in a way that I’ve never really seen before. To add to this, Mr. Ripley culminates in some suspenseful action whereas Saltburn remains slow and cunning throughout. Even the buildup to the climax in the maze floats in like a bubble in the air on a hot summer day. Ever so lightly until it pops!! Plus, every uncomfortable scene plays with heavy menacing music, but a light, albeit often disturbing visual texture. Mixing horror and desire that delivers like a dance rather than any hyped up action sequence is no easy feat. It’s both familiar and completely new which is seriously intriguing in a very twisted way… LOL!!

Finally, Fennell goes out of her way to set the stage that is Saltburn. Including locations (University and the sprawling manor), specific period details for the early 2000’s, like eyebrow piercings, certain clothes, Live Strong bracelets (*YIKES… LOL!!*), and her traditional overall gothic feel. Not to mention, my personal favorite noted in her interview with Far Out. An homage to The Shining (Warner Bros; 1980) with the: “use of mazes and sweeping camera work that pulls you from room to room with a notably dizzying effect.” It’s literally mesmerizing! *OBSESSED!!* Which leads us to the additional fine touches that can only be accomplished with excellent camera work.

Following Emerald’s vision. Not only are multiple expansive scenes in the film utterly beautiful. There are very specific angles giving rise to a voyeuristic perception. Much of it is taken from Oliver’s (Barry Keoghan) perspective as we watch him watch others. It’s secretive and seductive. Plus, though extremely subtle, yet subversive throughout, the shots themselves – 4x3 in nature - are hypnotic.  This aspect ratio adds a level of distortion whilst also bringing the film itself alive… as if from the shadows. Long distances, extended hallways, high ceilings and more all reveal tiny details of an illustrious, but fake exterior coupled with a well lived in, almost musty and overly lavish daft interior. This type of camera work emphasizes the characters while allowing the stage to linger about making the viewer want to peek into a bedroom, closet, or even just around the corner. All of which adds to the morbid feel of never really being alone. A chilling concept on its own!! *HECK YEAH IT IS!*
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Never letting the onlooker feel entrance you fully. Complete immersion is impossible, as the viewer is purposely made to feel uncomfortable multiple times across the film. This begins ever so slightly at University and slowly ramps up. Making you the observer feels positively horrific at times. *YEP!* Still, scenes like the Midsummer Night’s themed party appear magical even with its underlying dark tones and sadistic themes. The manor itself is massive and provides the perfect backdrop for the story to unfold. However, nooks and crannies in the mansion are nothing compared to those within the characters and the cinematography blends them beautifully. Topped off with excellent lighting effects and a haunting score, the entire film is visually stunning throughout!! But telling the tale has to come with supervision and Emerald Fennell has that in spades!!

Bringing together a vision wholly your own is a tough feat, but Fennell smashes through the task like a runner crossing a finish line made of cray paper. Uncompromising and pushing the fascination envelope at every turn, Fennell guided the cast to freedom of expression by encouraging them to grasp the space between. The sinister areas of our hearts and minds that as lay people, we often look away from. This is what she wants us to see!! Further, Fennell stated to IndieWire that: “It’s also about who’s watching, who’s being watched, when does that gaze slightly shift. It’s just an endless, thrilling, detailed conversation.” I find this captivating on many levels. Specifically because whether we want to admit it or not, we all watch to a certain extent. *INTERESTING!!*
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Adding to the sheer scope of obsession, Fennell wants the audience to squirm. In her interview with Time, when asked if in her mind, are lust and revulsion tied together? Fennell references the film Romance (Rézo Films; 1999) and says: “that sexual tension isn’t between two people, it’s between desire and revulsion.” *WOW* She goes on to say that Saltburn is: “about our relationship with the things we want and how sadomasochistic that can be.” All of which would inform how she would explain her endgame to the cast and crew. Said crew dived right in.

Similar to the film itself but reversing the voyeur take, I’d like to begin with the supporting characters and work my way in. The strange family dynamic is perfection as the viewer is shown what beauty behind the closed doors of the nauseatingly rich looks like. Oddly enough, we hate them and want to hang with them at the same time. Aside from costumes – another potential Oscar snub (*YEP!!*) – the acting in Saltburn is nothing short of perfection. Watching Carey Mulligan take on the role of Poor Dear Pamela (seriously, that’s how she’s credited… LOL!!) is exactly what helps make this picture a dark comedy. She reeks of desperation though barely says a thing. When she does speak, it’s beyond telling but subtle enough to be missed by the casual viewer. Both funny and tragic, Pamela is an unfortunate plaything for the Catton family. None more than the matriarch, Elspeth Catton, portrayed expertly by Rosamund Pike. Fully immersing herself in the role, Pike told Today: “I kind of fell deeply into character,” as she actually lived at the manor and embraced every loathsome inch of a socialite who married way up! Extravagant and petty, the love/hate for this self-described boho sheik character is oddly satisfying and really a tale unto itself… no? Her husband on the other hand carries more of an eccentric billionaire vibe that’s equally fun to watch. Played by the immensely talented Richad E. Grant, Sir James Catton by far lives nowhere near the real world and cares nothing for the intricacies of the average human experience. He continually seems checked out and self-serving, yet Grant does such a good job that the viewer finds themselves feeling a bit sorry for his naiveite having fallen victim to the charms of Elspeth and lavish high society. Never mind he comes from old money and appears dumb as rocks… LOL!! He’s an absolute joy to watch save for his utter ignorance when it comes to his own children. Particularly his daughter Venetia Catton (Alison Oliver). Desperate for attention, Venetia plays the quintessential poor little rich girl with a melancholy air of trauma that’s hard to turn from. Particularly as her mother belittles her throughout. I mean… PUDDING FINGERS… really!?! Noted as her theatrical debut, Alison is positively excellent in the role. *BRAVO!!* And finally… rounding out the phenomenal supporting cast is the Catton family’s adopted token charity case Farleigh Start (Archie Madekwe). Who, for my money, stole the supporting show and above all the rest deserved some serious recognition. Playing both ruthless and vulnerable, Madekwe is brilliant!! Especially when viewing his dynamic with Oliver. He’s jealous and spiteful and along with all of the supporting cast, makes a devilishly scrumptious snack surrounding the main course – our two delicious leads – Ollie and Felix.  
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Oliver Quick (Barry Keoghan) and Felix Catton (Jacob Elordi) – have unbelievable chemistry and both equally share the screen when present. Constantly watching Oliver watch Felix is sexy and creepy in all the right ways. Felix comes off as genuinely kind hearted with good intentions, but ultimately reveals a seedier self-serving side to his charity and above all, his ego wins every time. Nonetheless, he’s so damn handsome, charismatic and alluring, the viewer cannot help but love him anyway. I mean… candles from all over were created in Elordi’s honor… LOL!! As for Oliver… I scarcely know where to start. Barry’s improv of the character alone (*HELLO GRAVEYARD SCENE*), is spectacular. But it’s so much more than that. How he carries himself. How he changes from a sympathetic mess or childlike demeanor to a calculating manipulator. I mean… in short, Keoghan is simply intoxicating to watch. From start to finish, he grabs this character and turns him inside out before our very eyes. We love him. We empathize with him. We want him and want to be him. It’s absolutely nuts that we might cheer for someone so vile. Yet, we have no idea how bad it is until it’s too late. We’re so focused on how messed up everyone else is that Ollie slips right past us for a time. It speaks volumes to just how utterly shitty AND captivating the other characters are… LOL!! By the end… I didn’t know whether to love or hate Ollie. I finally decided to stop trying to figure it out and just understand that I’m supposed to do both… LOL!! Accepting that Fennell did her due diligence when choosing Keoghan is something one should settle on from the get! If anything, Keoghan deserved Best Male Actor in a Leading Role, hands down!! *SIGH!*

Saltburn not only met all of the categories discussed above. It exceeded them in multiple ways. With 100 nominations and 13 wins from various projects, including the British Academy of Film and Television Arts (BAFTA), Critics Choice Awards (CCA), Golden Globes, People’s Choice Awards and many, many more, it’s clear the film itself struck a chord within the awards community. Not to mention, rarely, if ever, do big movies make the BAFTAs, CCA and the Globes and not get a single nomination by the Academy of Motion Picture Arts and Sciences. Still, here we are!! Completely snubbed from the Oscars. Why, you ask… ?? Well, it’s my personal opinion that the Academy truly didn’t know what to do with a film that unapologetically explores the wickedness of obsession with a muddy AND provocative eye. Yep… I said it!! The movie is too dirty for the Oscars. Strange since there is almost no nudity or even full on sex scenes. I mean… films like Poor Things which arguably exploited Emma Stone’s child-like character for the sake of a metaphor on breaking free from societal constraints (*Seriously??*), had graphic sex scenes and blatant misogyny throughout. Still, it became an Oscar darling even pushing Killers of the Flower Moon’s Lily Gladstone away for Best Actress in a Leading Role. Yeah, I was surprised too.
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Of course, a polarized audience certainly didn’t help matters. Saltburn rarely has a middle ground with viewers. You either love it or hate it. So much so, that I firmly believe that hating this film aligns with a xenophobic culture that Fennell beautifully exploits. Those who can’t make sense of it are repelled by the dingy themes of passion and desire. They want to immediately place it in a box. Either falsely comparing it to other films, giving it labels it doesn’t deserve, or simply dismissing it altogether. It’s gross and uncomfortable on purpose and the obsession in this film is disgustingly sexy. A term I’m sure Fennell would love and probably has even said herself in one form or another. To listen to her discuss the murky corners of Saltburn is fascinating and in a way, should really be offered as a compliment to the film itself. Unfortunately, Oscar voters likely aren’t scouring the internet (or the bathtub… LOL!!) for interviews to make up their mind. Same goes for critics. Especially those who say that Fennell’s vision is unclear or that her “Eat the Rich” message misses the mark. What they all fail to realize is the new and quite frankly rough avenues this film explores. Or that Fennell’s vision, with its classism backdrop is really focusing on calamitous desire, regardless of wealth. Hell, in my opinion, she’s not trying to Eat the Rich…at all!! It’s simply as I already stated…a backdrop. Besides, it's much easier to drape the scenery in riches when sliding into depravity. It’s captivating on its own and allows us to let our guard down only to be gobsmacked with the reality laid bare. For critics and viewers alike, to acknowledge this would shed light on the pitch black corners of our mind that none of us want to admit is there. And for that, I suspect Saltburn’s cult following coupled with deep analysis’ will continue to grow. All the while, remaining equally as polarizing to fresh eyes. Which, for me, tells me a lot more about the watcher than you think… *RAISED EYEBROW*

Below are a few video interviews with Emerald Fennell. All well worth the watch if your infatuation runs as deep as mine.

1.Letterboxd: Emerald Fennell Reads Your Saltburn Reviews
2.Vanity Fair: ‘Saltburn’ Director Emerald Fennell Breaks Down the Arrival Scene
3.Esquire UK: Emerald Fennell Breaks Down ‘Saltburn’ and Defends Jacob Elordi’s Eyebrow Piercing
4.Reign With Josh Smith: Emerald Fennell Interview on Saltburn’s most controversial scenes with Barry Keoghan and Jacob Elordi
5.Grazia UK: Emerald Fennell on ‘Saltburn’ Final Dance Sequence and Easter Eggs

Until next time.

One particular film that we’ve made mention of often over the past few months, is the independent feature, Re: Uniting, and well… there’s good reason it’s been on our minds a lot. Simply because, this is an amazing independent feature. One that truly captures some important moments we will all go through, while also having a powerful discussion on a topic we still harbor hesitation in discussing. Plus, the acting is sublime, it sucks you in and never let’s go, because it’s just a magnificent movie through and through.
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One that thankfully, everyone in the United States and Canada will soon be able to enjoy. For earlier today it was announced that Re: Uniting will be arriving on digital this month in Canada and later this year in the United States. Giving everyone the opportunity to sit back and enjoy the wonder and the power of this moving and transformational feature and well, to properly provide this news the justice it deserves, here are all the details on this upcoming release.  

‘Flat Head Films is pleased to announce that BC-based writer/director Laura Adkin’s feature film debut Re: Uniting will be available on video-on-demand starting April 30th, 2024 in Canada (Vortex Media) and in the US on digital and cable on demand on June 4th, 2024 (Gravitas Ventures). The film stars Jesse L Martin (Law & Order, The Irrational), Michelle Harrison (The Flash), Roger Cross (War For the Planet of the Apes), David James Lewis (Child’s Play), Carmen Moore (Nancy Drew) and Bronwen Smith (Firefly Lane) as six best friends from college who reconnect for their 25 year reunion. 

Filmed on Bowen Island, BC, Re: Uniting had a successful Canadian theatrical release on March 15th, 2024. The film was held over in Cineplex theatres in Toronto for two weeks and in Vancouver for more than three weeks and will close on April 9th with a special event screening. A limited theatrical release in select cities in the U.S. and the digital launch on June 4th, will be the first time a wider audience across the U.S. will be able to screen the film. Re: Uniting had a successful world premiere at the Austin Film Festival in October and was a Special Presentation at the Whistler Film Festival in December and has been received well by critics and audiences alike. 

When Rachel, played by Michelle Harrison, receives life-changing news, she secretly grapples with her mortality while playing host to her friends who have grown up and gone their separate ways since college. Carrie, a mother of 3, Natalie, a workaholic neurosurgeon, former football star turned sportscaster Collin, and playboy man-child Danny join Rachel and her husband at their picturesque home on the beautiful and secluded Bowen Island. As soon as they are all together it’s like no time has passed; they laugh, drink and dance the night away. Rachel’s nostalgia is echoed by the group as they realize how much time has gone by, and how much they have all changed. As secrets are revealed, they are forced to change the way they look at their futures.

Laura Adkin, born and raised in Vancouver, BC, began her career in the film and television industry almost 20 years ago. She started as an actor then moved behind the camera as a producer, writer and director. As a filmmaker, Laura has produced numerous films that have played in film festivals around the world. Diversity and inclusivity on set and behind the camera is one of Laura’s most important mandates as a filmmaker. Laura was handpicked for a female directors initiative through Disney and was selected for the Women In the Directors Chair Career Advancement Module. Laura served on the board of Women in Film Vancouver and currently teaches at Vancouver Acting School.

Re: Uniting is written and directed by Laura Adkin, produced by Krista Rand (Grand Unified Theory) and Stirling Bancroft (Sniper: Assassin’s End) serves as director of photography. Josh Epstein (Adventures in Public School) is an Executive Producer. Re: Uniting is the first feature film in the world to be colored with the Barco HDR Lightsteering projector; a state-of-the-art technology sweeping the cinematic world from international tech company Barco. 

In Canada, Re: Uniting is available on Apple Pre Order and will be available to rent or buy on most streaming platforms including Apple, Cineplex and Google Play and for cable providers who have a VOD service, including TELUS, Rogers, Shaw and Cogeco starting on April 30th. Gravitas Ventures, an Anthem Sports & Entertainment Company, has acquired U.S. rights to Re: Uniting and will release the film on digital and cable on demand on June 4, 2024. More details about the U.S. theatrical will be announced soon. Re: Uniting is also set for its Alberta theatrical premiere in Grand Prairie, AB starting April 19th with Adkin and Grand Prairie producer Erin Neil in attendance for a special event screening and Q&A.

The film was made possible with Telefilm "partner's in production", William F. White International and UBCP/ACTRA.’

There was a time, where the cozy mystery was nothing more than an afterthought in the world of television. Because murder, and any crime really, happened to be serious business, and the thought of offering a story that featured more lighthearted moments as it was solved, just seemed disrespectful. But as the years rolled on, and audiences expected a little more from their crime stories, the cozy mystery began to become a staple. Because they are true escapism from the horrors of the world and they feature justice and so much more and just like that, they began to grow and one particular character that helped bring them into the mainstream is Hannah Swensen.
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For Joanna Fluke’s books were adapted into a fine series of cozy mysteries for the small screen on the Hallmark Mystery Channel, and well… audiences loved them. Since they did indeed offer up the escape they promised and these stood out, because they featured lovely acting, and care, and stories that were more than just crowd pleasers, but solid mysteries that captivated and engaged. If anything, the wonder of the cozy mystery and the wonder of Hannah Swensen, are top of mind today, simply because Hannah returned to the airwaves last night, to bring us her finest mystery to date. One that surprised in a lot of ways.

Which are feats that One Bad Apple: A Hannah Swensen Mystery accomplishes by having Hannah, take on quite the crime amid a new chapter in her life. For when we catch up with her, here, she’s teaching at the local school and going about her business. When of course… odd occurrences and seeming attempts on another professor’s life come to fruition. Giving rise to real stakes when the professor in question is found dead with a knife from Hannah’s kitchen sticking out of him. Because that surprise puts her on the suspect list and prompts her to work harder than ever to solve this crime in record time. For if she cannot uncover the killer’s true identity by the end of the quarter… they will never be found, and she may be held responsible.

Which is a plot that really is the most refreshing one to date for the saga. In large part, because there is a lot of growth here. With Hannah extending her career into new territory as a teacher of culinary arts at the local school and with her friends and family getting into new roles as well. Including of course, a change at the police station since Mike is no longer part of the picture. But there are new players in the legal world that captivate and intrigue, including the electric interaction between Chad Norton, a prosecutor, and Hannah. Which may take us to new romantic places down the line. But what matters more, is that growth, and that understanding that this little universe of mysteries is becoming more and so are its characters and that outright excites us and engages us. 
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But of course, we are here to solve a mystery, and that… is no simple task for Hannah in this tale. In fact, this particular hunt for justice, one written by Alison Sweeney, makes use of misdirection often. So, just when it seems as though Hannah has a solid lead and justice will be served, a curveball is sent our way. Which keeps us guessing, keeps us playing along and it eventually brings about, one juicy finale that is pretty darn epic in nature. One that answers our burning questions and of course… leaves us satisfied. Because that’s what cozy mysteries do, but it is quite nice and quite lovely that this particular tale shakes up the mythos a bit and really tasks the characters like never before and offers up some fun surprises along the way to really take the audience on quite the ride.

Of course, it is mission accomplished when it comes to that for this special. Because from beginning to end, we are captivated by this tale. Courtesy of change, humor, a top-tier mystery and of course, the warmth and fun and humor that we’ve grown to love about this franchise. Much of which stems from Hannah’s mother, humor wise, thanks to her career change and from the awkward moments from everyday life that have been injected into this story. Which makes this, a must-see cozy mystery. One that really does whisk us away, pun intended, to a world where a pure hero does their best to make sure justice is served to ne’er do wells, and you simply cannot go wrong with another chapter in this grand and sweeping story that continues to the lead the way in providing the world with wondrous cozy mysteries.