Review: ‘Sometimes I Think About Dying’
Daisy Ridley Is In Desperate Need For Human Connection In A Quirky Rom-Com For Awkward People

By
Travis Hopson
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NOTE: This review was originally part of our Sundance 2023 coverage.

If Daisy Ridley wanted to get as far from her Star Wars past as possible, this was the film to do it. A low-key dramedy about depression, intimacy, and quirky people with a need for human connection, Sometimes I Think About Dying has its charms and will connect with others who feel isolated and alone even when in a crowd of friendly faces. Despite a couple of likably klutzy performances, it also feels staggeringly incomplete and tailored for the festival’s Opening Night audience, who will likely forget about it in a sea of similar films in the coming days.

Ridley plays Fran, a deeply introverted woman etching out a very quiet existence in a small coastal Oregon town. Fran is shy, a little too perfect for this almost-desolate place that seems to exist on the corner of now here, and yet her favorite place might be the place where she’s the most uncomfortable: work. Daily she tries to make herself as invisible as possible in the tiniest, weirdest workspace this side of The Office. It’s a place full of big, wacky personalities, where there’s always an excuse for someone to bring cake or bagels or donuts to the office. Fran fits in there like a piece of decoration. She’s there, but not really there, silently working on her spreadsheets and order forms.

And then there’s Robert. Played by Ramy actor Dave Merheje, Robert is like a breath of fresh air. Perhaps it’s because he’s come sweeping in from the big city, but Robert manages to be as awkward as everyone else without making it look like a social handicap. Although their initial encounters are predictably odd, Fran and Robert discover, through a chat conversation about order forms and favorite cheeses (cottage cheese is a curd!!), that their senses of humor are aligned. They somehow back into a movie date together, and following that, a slice of pie at a nearby diner.

The interactions between Fran and Robert early on are undeniably sweet. Who doesn’t like to watch two introverted, clumsy people find each other? While we only learn more details about Robert, what we see of this new friendship’s impact on Fran is how it dares to open her up to new possibilities. That’s a scary prospect for some people. It could mean finding love, yes, but it could also mean allowing others to hurt you. What Robert doesn’t know is that Fran has very vivid thoughts about dying. She’s not suicidal, or at least not yet, but she frequently ponders dying in increasingly strange ways. That’s not the kind of thing you blurt out on a first date.

Based on the short film by writers Stefanie Abel Horowitz, Katy Wright-Mead and playwright Kevin Armento, Sometimes I Think About Dying features beautifully staged, surreal images of Fran’s colorful imagination. These shots have a staying power, thanks to director Rachel Lambert and cinematographer Dustin Lane and art director Robert Brecko, that you wish extended to the rest of the film. It’s not to say there aren’t memorable interactions among the characters. Lambert and Co. have found something in that little office space that could be mined into sitcom gold. Fans of Meg Stalter will LOVE her as Isobel, the grating, overly loud office boss whose voice is like an earthquake in such a tiny place. While we don’t get to see it explored enough, everyone there has potential to be a character that can function as a lead of their own. A spinoff just set in Fran’s workplace would be a wonderful thing.

Even clocking at just 90-minutes or so, the film does test one’s patience. There’s very little urgency to anything going on, and we get very little insight into Fran which can be frustrating. When her closed-off nature leads to a big blow-up with Robert, it’s hard not to take his side even as he comes across as pushy. Ultimately, the resolution is pat and unsatisfying and comes out of nowhere. It could be the filmmakers wanting to express that depression, which Fran clearly suffers from, has no “happy ending” answer. That’s a fine message to have but it doesn’t make for the most hopeful way of starting the audience’s festival experience.

Sometimes I Think About Dying opens in theaters on January 26th.

‘Michael’: Colman Domingo To Play Joe Jackson In Antoine Fuqua’s Michael Jackson Biopic

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January 25, 2024

Colman Domingo to play Joe Jackson in MICHAEL

What a week this is turning out to be for Colman Domingo. Fresh off earning his first Oscar nomination for his Best Actor performance in Rustin, Domingo has been cast as Joe Jackson, manager of the Jackson 5, in Antoine Fuqua’s Michael Jackson biopic, titled Michael.

Domingo revealed the news to Variety. He’ll play the strict, intensely focused, and highly controversial patriarch of the Jackson family. Already set to star in the film is Jaafar Jackson, Michael Jackson’s real-life nephew, who will play the King of Pop. 9-year-old Juliano Krue Valdi will play MJ as a child.

“Colman has such incredible range – he puts in the work to deeply inhabit his characters and understand their true essence and motivation,” Fuqua said. “I’m grateful to be working with an actor with his passion and ability to portray the many sides of Joe Jackson: a husband, a father, and a manager.”

“I’m excited to be a part of a film that explores both the complicated soul of the legendary Michael Jackson as well as his impact on music and culture as a global icon,” Domingo said. “Not only am I fortunate to have a rich, complex and flawed character to portray in Joe Jackson, but I also have a front row seat for Jaafar’s incredible transformation. After seeing him in rehearsal, my mind was blown. There is something divine about the way that Jaafar is channeling his late uncle. His talent and embodiment of Michael’s essence is simply on another level.”

Domingo also had a role as Mister in The Color Purple, which received a single Oscar nomination for his co-star, Danielle Brooks.

Michael is in production now and will be released on April 18th 2025.

Sundance Review: ‘Good One’
Newcomer Lily Collias Braves The Woods And Complicated Paternal Relationships In India Donaldson's Directorial Debut

By
Cortland Jacoby
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Good One, India Donaldson’s first feature, starts with various shots of the Catskills– lush green woods, bright orange salamanders scurrying across mossy rocks, picturesque ponds and rivers. This sequence not only gives us a sneak peek of where we will be spending the next 90 minutes but it also provides a peaceful juxtaposition to the emotional turmoil ahead.

Donaldson then transports us to New York City, where she introduces us to Sam (Lily Collias). She’s a 17-year-old child of divorce bound for college in the fall and currently getting ready for a father/daughter camping trip with her dad, Chris (James Le Gros), who has since remarried in his 50s and has a toddler. Early on, we see his controlling nature poke through as he repacks the food jar for their overnight hike.

His oldest friend, Matt (Danny McCarthy), and his son are supposed to join them, but that is quickly redrailed during pick-up when a father/son argument breaks out and the group leaves as three instead of four.

The trip is filled with microaggressions from Chris directed towards his daughter. He makes her move to the back seat to make way for Matt. Sam is forced to sleep on the ground of their hostel. She is constantly talked over by both the adult men with her and a trio of male hikers who join them for one night. Sam keeps her head down and obliges them, despite Matt’s immature behavior. He leaves his sleeping bag in the car and carelessly hikes in jeans, yet she is treated as the immature one.

Lily Collias is quietly brilliant. You can see the defeated look on her face every time Donaldson gives her a reaction shot. Her inner turmoil and anger brew with each encounter of toxic masculinity. Her performance reminds me of Sidney Flanigan from Never Rarely Sometimes Always, both devastating and triumphant. As a whole, Good One feels like the parental version of Gus Van Zant’s Gerry with less physical violence.

Just as Sam is accepting her treatment and starting to enjoy herself, the shoe you’ve been anticipating drops. If you are a fan of HBO’s Somebody Somewhere, you’re already aware of what a douche canoe Danny McCarthy can play. Here he expertly plays both a sad sap and a manipulative asshole, losing your sympathies just as he’s gained them.

If you find your way onto millennial and Gen Z therapy TikTok, you’ll notice that the topic of parenting your parent comes up often. It comes in many forms, the common one being emotionally regulating yourself from a young age while helping your parent do the same.

Good One is a prime example of how this concept is manifested in women from a young age. Sam’s father expects her to push down her own discomfort and anger for the betterment of the group while catering to everyone else’s emotional and physical needs. While this film seems low stakes, it explores a part of the father/daughter relationship that we rarely see onscreen.

Sundance Review: ‘Rob Peace’
Chiwetel Ejiofor's Moving, Tragic Biopic Features A Star-Making Turn By Jay Will

By
Travis Hopson
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Rob Peace

We’ve heard stories of people like Rob Peace before, and they never get any easier. An exceptionally smart Black man with a knack for science, a hard-working mom who encouraged his study, and a father who encouraged his sense of community. Rob broke free from his poor New Jersey background and into Yale, where he graduated with honors. But it was his efforts to give back to the people of his neighborhood that would push Rob to the breaking point and into the life of crime he had largely avoided, until he was gunned down, murdered at the young age of 30.

These details aren’t a secret, and Chiwetel Ejiofor’s moving, powerful drama Rob Peace isn’t trying to hide them. Based on the book by Rob’s friend and college roommate, Jeff Hobbs, the film takes a sensitive approach to what could’ve been cliche material. But it’s clear that Ejofor has admiration for Rob Peace, something close to awe, at the man’s brilliance and dedication to family and friends. He was ultimately a flawed, tragic hero, but his story feels like it deserves to be told on the big screen, and that’s something you can’t say about every biopic out there, especially those that find their way into the Sundance lineup.

Ejiofor has put together an amazing cast of big names, starting with Ejiofor himself as Rob Peace’s father, a small-time criminal and beloved local figure who was sent to prison for a crime he may or may not have committed. Rob gets his sense of community from his father, but in his conviction, Rob also learns that the world is a chaotic place in need of control. Mary J. Blige play’s Rob’s mother, Jackie, who wants more for her son than their New Jersey neighborhood can offer. Pop star and Cinderella actress Camila Cabello plays Rob’s first serious girlfriend, Naya, who is swept up by his charm, brains, and gregarious personality.

But for all of those big names, it’s newcomer Jay Will who impresses most. As Rob Peace, he delivers a true breakout performance, outshining everyone around him and carrying much of the emotional weight. It’s a complicated role, as Rob endures a lot in a short period and Jay has to switch gears often. Rob puts it upon himself to work on his father’s case, securing lawyers, money, and more with the rigors of a college that always seemed to be looking for a way to get rid of him. Meanwhile, Rob is always moving among different circles, making friends in the white community who can help him or his father’s case, setting things up for the future, while staying true to himself. It’s a demanding role and Will knocks it out of the park.

Ejiofor’s obvious regard for Rob Peace is a double-edged sword, though. He has a tendency to romanticize and gloss over his missteps. Rob’s relationship with Naya is disappointing because Cabello has proven herself a strong actress, but the film has more than enough on its plate without a love story. Blige is solid, even if her role demands she be more reserved than we’d like her to be. It’s Ejiofor and Will who really cook when on screen together; as a father challenging his son to be better, and a son struggling to meet the impossibly high expectations.

Even if Ejiofor’s Rob Peace looks at its subject with rose-tinted glasses, there’s something to be said about a film that wants to honor and cherish this unique Black soul, this brilliant Black man, this tragic fallen Black hero. Ejiofor sets out to capture Rob’s full story and to make him more than just another stereotype, and he has succeeded.

Hart Family Wrestling Drama Could Be In The Works, WWE Superstar Natalya Potentially Involved

By

Travis Hopson

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January 25, 2024

While The Iron Claw may not have received any Oscar nominations this year (Booo!!), the critically acclaimed drama about the Von Erich wrestling family has Hollywood looking at other wrestling stories to adapt. And another royal family of the sport could be next, as Sean Ross Sapp of Fightful Select says a movie about the Hart family is potentially in the works, with WWE superstar Natalya Neidhart aka Natalya in talks to help out.

Natalya recently posted a photo from Soho House, joined by actor Rory Culkin, brother of Macaulay Culkin, a reported wrestling fan, and Succession star Kieran Culkin. She tagged Yale Productions, the label behind such recent films as The Kill Room and Becky. In the photo you can see Yale Productions’ Jordan Yale Levine to her right. Rapp looked into it, and discovered that talks have begun to develop a Hart Family movie, and that Yale is interested in it.

Natalya is the daughter of WWE Hall of Famer Jim “The Anvil” Neidhart and Ellie Hart, daughter of the legendary Stu Hart, patriarch of the Hart Family. Natalya trained in the infamous Hart Dungeon prior to joining the WWE. The Hart legacy runs deep, and includes Stu’s sons Bret “Hitman” Hart, Owen Hart, son-in-law “The British Bulldog” Dave Boy Smith, and many others. As for the Hart Dungeon, some who have survived it to have storied wrestling careers include Chris Jericho, Chris Benoit, Dynamite Kid, Jake “The Snake” Roberts, and Mark Henry. Natalya is the only female graduate of the Hart Dungeon.

The Hart family doesn’t have the same legacy of tragedy as the Von Erichs, so this would have to be a different kind of film than The Iron Claw. But like I’ve long said, the business always takes more than it gives, and the Harts have paid a price for being one of the great wrestling dynasties. Let’s hope this movie happens and that it can do the Hart Family justice.

I looked into some of the names Nattie tagged in this post and learned something pretty interesting.

Natalya has been in talks to help with a potential film about the Hart Family!

I hope this comes to fruition! pic.twitter.com/jyb7rONAhS

— Sean Ross Sapp of Fightful.com (@SeanRossSapp) January 24, 2024

Sundance Review: ‘Will & Harper’
Will Ferrell Took A Road Trip With His Best Friend And Made The Most Important Movie He Will Ever Make

By
Cortland Jacoby
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The road movie is a quintessential part of American cinema. Some would argue that Will Ferrell is a quintessential part of American comedy. Until recently, trans stories have not been a quintessential part of mainstream media, often ignored or reserved for subculture-like spaces. Ironically, all three topics combine in Josh Greenbaum’s latest film and fourth documentary feature, Will & Harper.

Will Ferrell first met Harper Steele back in the 1990s on Saturday Night Live. The latter was hired as a writer, while the former was placed in the cast. Ferrell’s appreciation for Steele is felt early on in the film when he remarks that many of the writers didn’t know what to do with him. He credits much of his career decisions to Steele, from to his stint in a Lifetime movie to the Spanish-speaking Western Casa De Mi Padre.

Early in its runtime, Ferrell details the email Steele sent him where she reveals that she is a transwoman. Steele, who appears onscreen soon after still feels apprehensive about where their friendship will go from here and explains that the one thing she will miss about her life pretransition would be road-tripping and visiting the underbelly of America.

Will quickly suggests that they take the trip together traveling to various parts of the country, from attending an Indiana Pacers game, to visiting Harper’s childhood home, to hot air-ballooning in Albuquerque with Will Forte. It’s through those experiences that the pair not only become closer together but where Farrell experiences the fears and hardships Harper could experience the rest of her life.

Director Josh Greenbaum is no stranger to the comedic documentary. There’s one scene in Too Funny To Fail, a doc about Dana Carvey’s failed TV show that still makes me dissolve into laughter. In his past work, Greenbaum used mainly talking head interviews where he would step in with the occasional question, reenactment, or archival footage. In Will & Harper, he lets them take the lead the entire time, relying on these showbiz professionals to lead the way. The one thing that took away from the experience was the constant needle drops which detracted from the story.

Though parts are clearly planned out and orchestrated, Greenbaum leaves room for both people to be themselves. Ferrell shows up in costume numerous times and isn’t afraid to perform bits for the camera. Steele may be quieter than her friend, but she is even more open, asking hard questions and sharing her fears about frequenting the seedy bars and greasy diners she used to go to before she transitioned.

Ferrell and Steele are a dynamic cinematic duo. The former SNL cast member knows when to perform for the camera and when to let Harper have her moment. Without trying, Ferrell models how to be an ally and that includes making mistakes. He regrets not educating himself on Indiana Eric Holcomb’s support of banning gender-affirming before meeting him. He breaks down in Texas after a bit he does draw attention to the duo and vile comments about Harper’s existence show up on the internet.

Don’t get me wrong, Will & Harper is hilarious. While the film is an exploration of friendship and allyship first, it feels like a masterclass in comedy. They meet up with several of their colleagues including Tina Fey, Seth Meyers, Colin Jost, Paua Pell, Tim Meadows, Molly Shannon, and the aforementioned Forte.

In some flyover state, Kristen Wiig, who was a part of that Lifetime movie and worked with Greenbaum on the underrated Barb and Starr Go To Vista Del Mar, is asked by the duo to write a theme song for their trip. The pair have a lot of demands, needing it to be funny but also bring a tear to the eye and somehow both jazzy and country at the same time. Ferrell and Steele check in with her throughout the film with no response, however, we do get a delightful little number during the credits that starts along the lines of “Harper and Will go west. Just two old friends and a new pair of breasts.”

Will & Harper is probably the most important film Ferrell will ever make. We don’t often see depictions of older people transitioning and being so vulnerable about their journey. Even more than that, the film smartly capitalizes on Ferrell’s persona. Known for his often bro-y and sophomoric fare, he and his team have made something that transpeople of all ages can not only relate to but watch with those in their lives who might not yet be allies but call themselves Ferrell fans. This film will build connections, start conversations, induce laughing fits, and even save lives along the way.

Sundance Review: ‘My Old Ass’
Aubrey Plaza Meets Her Younger Self In Megan Park's Coming-Of-Age Comedy

By
Cortland Jacoby
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The concept of talking to your younger self is not new. It’s asked in interviews, on personal questionnaires, and in graduation speeches. Director Megan Park took that concept and made her second feature, My Old Ass, where she flips the question and has her young protagonist meet her future self during a night on shrooms.

We first meet protagonist Elliott (Maisy Stella), as she and her friends Ruthie (Maddie Ziegler) and Ro (Kerrice Brooks) are zipping around Muskoka Lakes, where her parents are second-generation cranberry farmers. Eager to leave for college, she ignores her family and indulges in sex and drugs. During one such evening, while drinking magic mushroom tea in the woods, she meets the 39-year-old version of herself (Aubrey Plaza). Initially shocked, she soon turns disappointed upon learning that she is a PhD student and that she doesn’t have a family like she envisioned.

Older Elliott instead warns her of a few things: be nicer to her mom, hang out with her brothers, and stay away from someone named Chad (Percy Haynes White). When she slowly falls asleep and back to regular consciousness, Older Elliott puts her number in her phone. As her summer goes on, Elliott tries to heed her older self’s advice, calling in for guidance throughout her summer.

While Stella and Plaza look nothing alike, their performances blend so well together. The younger Elliott is unafraid, riding teenage emotions like the roller coaster they are. Stella plays her character with a twinkle in her eye and a confident excitement. Though she had a regular role on the nighttime soap Nashville, it was sure to be a breakout role for her.

Plaza, on the other hand, is not in My Old Ass as much as you’d expect. Instead of a two-hour conversation piece in the same vein as My Dinner With Andre, we get small smatterings of her here and there. But when she’s on screen, she’s a delight. Funny and charming, Plaza delivers a slightly tender performance like we’ve never seen from her before. She treats the older version of Elliott like the cool older sister or cousin, wise yet sarcastic and always protective. Sure, there are iterations of her past characters thrown in there, April from Parks and Recreation or Harper from The White Lotus come to mind, but there’s a sweetness to older Elliot that only Plaza can bring.

Park leans into many time travel/loophole tropes and uses them to her advantage. Older Elliott never goes in-depth about her current reality, instead dropping tiny little hints about how resource-strapped the future is (Say goodbye to salmon guys). Though Plaza’s character provides comic relief, parts of Park’s script could be funnier. The director proved her dramatic chops with her last feature The Fallout, which combined a coming-of-age story with the examination of a school shooting. Here, especially with this cast, I expected more levity.

My Old Ass feels like the coming-of-age films that have been coming out of the Sundance Film Festival for years. Park’s direction and plot don’t convulute her message and she keeps the story simple. The ending is what you’d expect it to be, but that doesn’t negate the sweet relationship Plaza and Stella have built on screen.

New ‘Road House’ Poster Pays Homage To The Original, But Director Doug Liman Isn’t Happy

By

Travis Hopson

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January 24, 2024

As someone who absolutely loves the original Road House (as you can see from this Reel Action I did on it), I’m pretty hyped about the new remake from Doug Liman and starring Jake Gyllenhaal. Today, the marketing campaign kicked off with a really cool poster featuring Gyllenhaal and a number of Easter Eggs paying homage to the Patrick Swayze classic. However, there’s also some bad news that dulls my excitement just a little bit.

So let’s start with the good stuff. The new poster features the same neon signage as the original movie, and it looks awesome. Look closely in the background and you’ll see a framed image with the three simple rules by Swayze’s zen bouncer, Dalton: “Expect the Unexpected”, “Take It Outside”, and “Be Nice.” There’s also a Bigfoot #7 sign, a reference to the monster truck that demolishes the Double Deuce bar at one point. There’s also a Double Deuce shot glass, and overwritten graffiti that reads “FOR A GREAT BUICK CALL 555-7617.”

The new Road House stars Gyllenhaal as Elwood Dalton, an ex-MMA fighter who takes a job as a bouncer at a dangerous roadhouse in the Florida Keys. The film also stars Daniela Melchior, Billy Magnussen, Jessica Williams, Conor McGregor, and more.

Amazon/MGM will release Road House exclusively to Prime Video on March 21st. And that is the problem because Doug Liman is pissed at the lack of a theatrical release. There have been rumors swirling for weeks that Liman was pissed at Amazon’s release strategy for the film, and now that it has been confirmed, he has decided to boycott the March world premiere at SXSW.

He wrote in a piece to Deadline…

“When ‘Road House’ opens the SXSW film festival, I won’t be attending. The movie is fantastic, maybe my best, and I’m sure it will bring the house down and possibly have the audience dancing in their seats during the end credits. But I will not be there.”

“My plan had been to silently protest Amazon’s decision to stream a movie so clearly made for the big screen,” he continued. “But Amazon is hurting way more than just me and my film. If I don’t speak up about Amazon, who will? So here we go.”

Liman continued,“The facts: I signed up to make a theatrical motion picture for MGM. Amazon bought MGM. Amazon said to make a great film, and we will see what happens. I made a great film.”

“Because contrary to their public statements, Amazon has no interest in supporting cinemas. Amazon will exclusively stream ‘Road House’ on Amazon Prime.”

From what I’ve heard from a few people who have already seen Road House, Liman isn’t lying when he says he’s made a great movie. I just hope this controversy doesn’t get out of control and overshadows what is one of our most anticipated movies of the year.

Sundance Review: ‘Veni Vidi Vici’
The Rich Get Away With Everything In This Austrian Satire In Need Of More Bite

By
Travis Hopson
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In the Austrian satire Veni Vidi Vici, a senseless murder kicks things off. A cyclist is gunned down by an unknown sniper, eventually tumbling to his death. Especially here in DCd, a killing such as this brings back nightmarish memories of the “DC Sniper”, but in co-directors Daniel Hoesl and Julia Niemann’s cynical new film, it’s a scene with a twisted sense of humor, as the killer just walks out into the open and claims the victim’s bicycle, taking the wheel like he’s Greg LeMond about to win the Tour de France.

Veni Vidi Vici presents itself as another ironic anti-capitalist satire in the vein of Reuben Ostlund, but if you’re looking for a movie where the rich get their just desserts, look elsewhere. The wealthy come and go and murder and pillage at their pleasure, while the rest of the world suffers at their whim. And none of the established institutions can do anything about it. The culprit, billionaire Amon Maynard (Laurence Rupp), knows he’s untouchable and has no qualms about flaunting it. Even when the Gameskeeper spots Amon during one of his “hunting” trips, the cops have zero interest in pursuing it.

This is hardly the first film to depict the ungodly rich as twisted psychopaths who pleasure in the suffering of others, but this might be the first to feature a polo match where a game-changing foul is cheered on by the spectators and excused by the refs. The infraction was committed by the unrepentant Paula (Olivia Goschler), Amon’s equally-disturbed 13-year-old daughter with his trophy wife, Viktoria (Ursina Lardi). Paula also serves as the film’s narrator, and she shares her father’s attitude that you deserve any crime you can get away with. The Maynards believe if the people really wanted to stop them, they could. But that’s the problem; nobody really wants the trouble of going through with it.

And that is one of the big problems with Veni Vidi Vici. The Maynards don’t have a genuine foil to bring this allegorical tale to life. The aforementioned Gameskeeper doesn’t make for much of a subplot, and idealistic journalist Volter (Dominik Warta), who knows of Amos’ murder spree, arrives late and only to make an already-established point about the lack of journalistic integrity in holding the powerful accountable. So the film just goes along, hoping to piss you off with the Maynard’s unstoppable criminality. The government twists itself into knots to accommodate Amon’s hostile business practices, “for democracy”, of course. Paula steals for the thrill of it, Viktoria excuses all of it while shopping for a pregnancy surrogate like she’s making an UberEats order, while their butler, a former journalist with the appropriate name of Alfred, watches and covers up their misdeeds.

Veni Vidi Vici isn’t really funny, though. It’s mildly infuriating, but it’s clear that Hoesel and Niemann are looking to inspire genuine outrage, as seen in a shocking final act of murder committed with impunity. Their goal falls flat because there’s no threat to the Maynards, and thus no tension that the societal guardrails might actually hold up. Without that, this film is only mildly amusing and isn’t offering the biting critique it thinks it is.

Kelly Rowland Fights Desire and the Truth in the Trailer for Netflix’s ‘Tyler Perry’s Mea Culpa’

By

John Nolan

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January 24, 2024

Netflix is bringing us a new film by Tyler Perry that feels very much in the vein of the 90s erotic thriller. Tyler Perry’s Mea Culpa sees Mea (the STILL ravishing Kelly Rowland) as a criminal defense attorney who becomes wrapped up in the quest for the truth. When an artist, played by Trevante Rhodes, seeks her help after being accused of his girlfriends murder Mea starts down a path of confusion, seduction, lies, and murder all while lives hang in the balance.

I have never claimed to be a Tyler Perry fan, honestly most of his work seems very soap opera-ish to me, or at a minimum daytime TV. That being said, the man has a serious following that has only grown over the last 15 years. It’s hard to tell just from this trailer where the film will fall on the scale of the erotic thriller, will it be the next Basic Instinct? Or is it more of a long form Red Shoe Diaries? For Rowland’s sake I really hope its the former. I know that Freddy Vs Jason wasn’t exactly what one would call a career springboard for the singer but I honestly thought she would have had more of a presence on the screen, big or small, over the last 20 years. The market seems to have turned back toward wanting films like this, what with the success of Netflix’s 365 Days franchise so this may be just the right addition to some wine and candles for many couples looking for a saucy night in, though for the life of me I can’t understand why they aren’t releasing closer to Valentine’s Day.

Check out the trailer for Tyler Perry’s Mea Culpa below and look for it on Netflix starting February 23rd.