NORMAL – Review by April Neale

Normal is a bone-crunching, darkly funny action film that understands exactly what makes Bob Odenkirk such a compelling presence. He was never the obvious choice. That is why he works. The balance struck by the writer, the relentless action, and his very real imperfections create something rare. An everyman hero who bleeds, struggles, and still pushes forward. Paired with a partner who proves just as capable, the film hints at something bigger. Not just a sequel, but a franchise built on relatable heroes who don’t wear prosthetic makeup or tights, rooted in everyday smalltown, USA, as we feel helpless watching our country drowning in unchecked graft and corruption.

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REBECCA – Review by Susan Granger

Too bad this revised adaptation of Daphne du Maurier’s novel is so inferior to Alfred Hitchock’s Oscar-winning 1940 version (the only Hitchcock movie ever to win Best Picture), starring Joan Fontaine, Laurence Olivier and Judith Anderson. On the plus side, it’s beautifully photographed by Laurie Rose, who makes the most of the spectacular seaside scenery, stylish period costumes, and historic Hatfield House, former home to Queen Elizabeth I – the same mansion that director Yorgos Lanthimos featured in The Favorite.

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REBECCA – Review by Leslie Combemale

Director Ben Wheatley’s new incarnation of Rebecca is a valiant reinterpretation that is truer to Daphne Du Maurier’s book than it is to the Hitchcock film. While some might argue that a new version of the story is unnecessary, it fills the holes in our imagination as to how the tale plays out, etching into our minds how the flawed romantic characters get out of a jam.

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REBECCA – Review by Martha K Baker

It took three scriptwriters — Jane Goldman, Joe Shrapnel, and Anna Waterhouse — to render Du Maurier’s gothic plot into cinematic Hamburger Helper. Here’s how: They retained the 1935 setting. They held the Depression but retained one depressed widower, a Mr. de Winter (note symbolic name á la Jung). He married a plain Jane (not her name — she’s too low-class for one).

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