STARFLEET ACADEMY – Review by Susan Granger

As an ardent Star Trek fan, I was disappointed by Starfleet Academy, the newest addition to the franchise that premiered in January – so I’m not surprised that it’s been cancelled after just two seasons. Obviously, it was not destined to Live Long and Prosper. This spinoff is set in the 32nd century – after the Burn, a galaxy-wide catastrophe in which ‘dilithium’ became inert, causing the destruction of starship warp cores which decimated the United Federation of Planets, leaving the Klingon Empire without a home world.

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WEEK IN WOMEN: Femme-powered LITTLE DISASTERS debuts on Paramount – Brandy McDonnell reports

Little Disasters, a new six-part psychological thriller series based on the book by British author Sarah Vaughan, debuts all episodes on Paramount+ on December 11 for viewers in the U.S., Canada, Italy and Latin America. The film’s femme-centric cast is anchored by Diane Kruger. The ensemble cast includes Jo Joyner, Shelley Conn and Emily Taaffe, among others. Directed by BAFTA nominee Eva Sigurðardóttir (Good Night, Rainbow Party), the series pairs realism and suspense to create an intimate yet unnerving portrait of modern motherhood.

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Soleil Moon Frye documentary debuts on Paramount+ – Brandy McDonnell reports

Director Soleil Moon Frye’s highly anticipated two-part documentary The Carters: Hurts to Love You is premiering Tuesday, April 15 exclusively on Paramount+. The Carters: Hurts to Love You takes a deeply personal look at the soaring success and heartbreaking struggles of a family propelled into the spotlight by the meteoric rise of the musical careers of two brothers: Nick Carter of the superstar boy band Backstreet Boys and the late pop sensation Aaron Carter, who died at age 34 on Nov. 5, 2022, when he accidentally drowned after taking drugs.

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ELSBETH – Review by Susan Granger

A spinoff of The Good Wife and The Good Fight, Elsbeth stars Carrie Preston as scene-stealing Elsbeth Tascioni, an astute but decidedly unconventional lawyer-turned-investigator who makes oddball observations and corners elusive criminals. Bizarrely dressed as a tourist with a foam Statue of Liberty crown, giddily sunny Elsbeth arrives on the job, relying on her disarmingly naïve demeanor to disguise her legal acumen. Skeptically greeted by Capt. C.W. Wagner (Wendell Pierce), she’s befriended by NYPD officer Kaya Blanke (Carra Patterson) and soon proves her worth in this police procedural.

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MATLOCK – Review by Susan Granger

Madeline ‘Matty’ Matlock (Kathy Bates) is a disarmingly genial attorney with a brilliant legal mind. Like many septuagenarians, she feels that her age has rendered her invisible. That’s what character-centric showrunner Jennie Snyder Urman (“Jane the Virgin”) capitalizes on: how older women are underestimated and overlooked. After the tragic death of her daughter from a drug overdose, widowed Matty is raising her 12 year-old grandson. Declaring she’s in debt yet still skilled, Matty cleverly manages to land a job at the prestigious Jacobson Moore law firm. Matty is assigned to an outspoken who takes on challenging cases that no one else in the firm views as profitable.

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LAWMEN: BASS REEVES – Review by Susan Granger

After the resounding success of Yellowstone and its two prequels (1883, 1923), Taylor Sheridan produced another Western series: Lawmen: Bass Reeves. Interweaving fact with fiction, its eight episodes follow the first Black deputy U.S. Marshall who served west of the Mississippi River. Currently vying for Emmy consideration as a limited/anthology series, its compelling lead actor is versatile David Oyelowo (Selma).

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A GENTLEMAN IN MOSCOW – Review by Susan Granger

Count Rostov’s saga begins in 1921, after he’s caught in the Russian Revolution which designated former nobility as enemies of the state. A Bolshevik tribunal sentences him to spend the rest of his life within the confines of Moscow’s Hotel Metropol – not in the elegant suite he’d previously occupied but in a drafty attic, formerly used as servants’ quarters. Should he ever leave, he will be shot on sight. Haunted by memories of his bucolic past and taunted by Osip (Johnny Harris) from the Russian Secret Police, Count Rostov is soon befriended by precocious nine year-old Nina Kulikova (Alexa Goodall), who has explored every nook and cranny of the hotel, showing him secret passageways and locked rooms filled with confiscated treasures.

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MEAN GIRLS – Review by T. J. Callahan

Tupperware may be stodgy, but The Plastics are still in the pink, continuing to rule their school some 20 years later in an in tune Mean Girls movie for a new generation. It’s a big screen version of the best of the Broadway musical adapted from the 2004 feature film, all penned by the “grool” Tina Fey. While following the original premise, this Mean Girls is a bit edgier and darker. Mean Girls, the musical, can never replace its modern classic model, but it’s fetch enough for the next generation.

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MEAN GIRLS – Review by Leslie Combemale

Remember, humans, it’s our kindness and empathy that matter, not the meager power or pretty meat sacks what leverage in our social interactions. This update, co-directed by Samantha Jayne and Arturo Perez Jr, with a book by ’04 screenwriter Tina Fey, drives that message home far better than its predecessor. I’m not sure this Mean Girls update will become a classic, per se, but it’s certainly more than just an entertaining diversion. It’s one hell of a vehicle for the cast, and also a fun message movie about belonging, personal responsibly, sense of self, and the value of friendship. This one just happens to come dressed in pink.

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MEAN GIRLS – Review by Valerie Kalfrin

The new Mean Girls follows the same general narrative beats as the 2004 film, but it’s more an adaptation of the 2018 Broadway musical adaptation of the original film. While it has some enjoyable performances, it’s also more of an ensemble, a self-described cautionary tale with a “just be nice” message that feels more rushed than organic. This might appeal to fans of the musical, but having rewatched the original film recently, I found that one way more fetch.

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