WEEK IN WOMEN: Zoe Kazan/Florence Pugh land EAST OF EDEN at Netflix – Brandy McDonnell reports

Zoe Kazan’s seven-episode limited series adaptation of East of Eden hits Netflix on October 1. Kazan’s modern interpretation of John Steinbeck’s 1952 Nobel Prize-winning novel explores the multigenerational saga of the Trask family, focusing new attention on its indelible, enigmatic antihero, Cathy Ames, played in the series by Florence Pugh (We Live in Time, Dune 2, Oppenheimer, Little Women) who also executive produced the series. With Pugh as the lead, it sounds like Zoe Kazan’s limited series adaptation of East of Eden will center Cathy more as a main character rather than in a supporting role.

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THUNDERBOLTS* – Review by Cortland Jacoby

Misfits. Assemble. After multiple movies and projects where they were supporting characters, Marvel has finally brought its most dysfunctional antiheroes together in Thunderbolts*. They’re here to kick butt and take names – or at least try to. As we’ve seen in Black Widow and Falcon and the Winter Soldier, corrupt Contessa and current CIA director Valentina Allegra de Fontaine (Julia Louis-Dreyfus) has approached numerous assassins and field agents to join what we thought was a league of antiheroes. Each of them, fed up with being a pawn, approaches her with the idea of one last gig.

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THUNDERBOLTS* – Review by T.J. Callahan

The Marvel Cinematic Universe is celebrating its 17th anniversary with the arrival of Thunderbolts*. The 36th film in the MCU, these Thunderbolts have lightning, and they can be very, very frightening. They can also be magnifico…when they’re not squabbling or haunted by their past. They are an unconventional team of antiheroes who are lured to a death trap by crooked CIA chief Valentina Allegra de Fontaine (Julia Louis-Dreyfus). In order to save their lives and a world that relies on Avengers to keep the peace, these misfits must work through their dysfunctions to complete a dangerous mission that will test their abilities and their mettle.

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THUNDERBOLTS* – Review by Susan Kamyab

Since the overhaul of Marvel films that have been released since Endgame, it’s been difficult to get excited for any of the upcoming sequel or spinoffs. However, the 36th installment to the Marvel Cinematic Universe, Thunderbolts* offers something more original and more cathartic than the traditional superhero formula. Thunderbolts* succeeds in doing what Suicide Squad couldn’t, making moviegoers care about a group of powerful outsiders, and create an intriguing backstory that will leave you curious to know more.

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THUNDERBOLTS* – Review by Valerie Kalfrin

Thunderbolts*, the latest Marvel Studios adventure, at first looks to be yet-another story about a ragtag band forced to work together to save the world from a larger threat—until it passes the midpoint. There, the film twists into something disturbing, then thoughtful and nearly sublime. I didn’t expect a superhero film that played up the jokes in the trailers to become an earnest metaphor for positive mental health and dealing with trauma, but I’m all for it.

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WE LIVE IN TIME – Review by T.J. Callahan

We Live In Time is a by-the-book, paint-by-numbers, Hallmark Channel romantic comedy that benefits from A-list, Oscar nominated actors Florence Pugh and Andrew Garfield. They play Almut, an up and coming chef, and Tobias, a recently divorced biscuit company employee. After their chance meeting they hit it off rather quickly, literally and figuratively. But their time together may be short lived. Each moment needs to be cherished as they learn they are challenged by the limits of time.

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BARBENHEIMER Rules: Conflating BARBIE and OPPENHEIMER – Pam Grady Comments

There are places where the two films intersect, making Barbenheimer less ridiculous than the memes suggest: Both Robert Oppenheimer (Cillian Murphy) and Barbie (Margot Robbie) are midcentury icons, Oppenheimer as the father of the atomic bomb that forever changed the way humans live in the world, and Barbie as the doll that broke the mold, freeing little girls from the tyranny of baby dolls and forever changing the way children play with dolls.

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OPPENHEIMER – Review by Rachel West

Nolan pieces the film together out of chronological order, sometimes whipping between pre- and post-bomb at a clip, switching from colour to black-and-white. It doesn’t make the narrative hard to follow, but the frequent cutting doesn’t give scenes enough time to breathe, lessening their impact on the audience. The climax of the film is undoubtedly the desert Trinity test of the bomb capabilities. Arriving at around the two-hour mark, what makes this whole sequence of events stand out is that Nolan gives it time to build tension and unfold in front of the audience instead of time-hopping to the next scene.

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A GOOD PERSON – Review by T.J. Callahan

A Good Person is about a good person involved in a tragic incident and the actions she takes to feel good about herself again. Florence Pugh is Allison. A woman with a promising career, loving fiancé, and supportive family and friends. Life is good for this person, until she finds herself the sole survivor of a car accident that kills her soon to be sister and brother-in-law. Pain and guilt consume her. The former pharmaceutical salesperson turns to her own product.

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PUSS IN BOOTS: THE LAST WISH – Review by Martha K Baker

Everyone knows that cats have nine lives. They land on their feet. They flirt with, then skirt, danger. They are charming and flirtatious and ego-centric, furry and purry. And then there’s Puss in Boots — all of the above and more. But, now, he’s down to the last of those nine lives so vaunted in fairy tales.

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