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Love, Victor Season 3 | Review

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The third, and final season of Love, Victor arrives on Hulu and Disney+ internationally on June 15th meaning fans will finally get to see the resolution to the huge cliffhanger at the end of the second season. Season Two ended with Victor knocking of the door of either Rahim or Victor, but who did he choose and whose door is he at?

I won’t reveal who Victor chooses but thankfully season 3 begins right where season 2 left off. There is a “previously on Love, Victor” that feels like it’s overly drawn out but maybe that was just my anticipation building but otherwise the show gets straight to it.

In season 3 we find Victor continuing his journey of self-discovery as he decides who he wants to be with, but as high school is starting to end, he also has to decide who he wants to be. Despite now having a rather large number of main characters to jump about between season 3 somehow manages to up the drama in every single way possible.

It’s hard to talk too much about the plot of the series without revealing whose door Victor was at and inadvertently spoiling that, however, much like the second season, the show manages to continue to make it about Victor, whilst also giving all the other supporting characters more depth and making them more than just background characters. It is still, of course, Victor’s show and he is at the forefront of everything but his parents, his sister Pilar, friends Felix, Lake, Mia, Andrew, Benji and Rahim all get so much added depth to their characters. Everyone’s character feels so well-rounded, and it feels like we know them all and not just Victor. Additionally, season 3 brings in Nick, played by Nico Greetham, a new friend Victor meets through church, providing yet even more drama.

Photo by: Kelsey McNeal/Hulu

Even though it is the final season, it’s not really until the final episode that it begins wrapping things up. There isn’t really any sense of closure incoming, even in the penultimate episode, leaving lots of tie up in episode eight, the final episode of the series. However, there’s no reason to fear as once again the show proves it’s more than capable and it ties everything up and gives every character the perfect sendoff.

There is one plot thread that never really goes anywhere after being introduced about half-way through the season, and it perfectly sets things up for Victor to become someone else’s Simon and be that caring figure that many kids need when figuring out their sexuality but unfortunately the show never really does anything with this thread and it ends up being just a bit of filler for one episode rather than a recurring point for the plot and for Victor’s arc.

Overall, the final season of Love, Victor is a near-perfect conclusion to a fantastic show. It’s incredibly sweet and charming and yet it continues to mature as the show goes on, dealing with everything in a sophisticated and appropriate manner, whilst also providing really believable characters too. Love, Victor has been one of the best coming-of-age shows in recent years and season 3 was no exception to that. The final season makes for a really fitting and lovely ending to the show that fans are sure to enjoy.

Love, Victor Season 3 is streaming from June 15th

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Prey | 20th Century Studios | Hulu

The origin story of the Predator in the world of the Comanche Nation 300 years ago. Naru, a skilled female warrior, fights to protect her tribe against one of the first highly-evolved Predators to land on Earth.

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Genre:

Action, Drama, Horror

Release Date:

20222 (Hulu)

Director:

Dan Trachtenberg

Cast:

Amber Midthunder, Dane DiLiegro, Stefany Mathias

Plot Summary:

The origin story of the Predator in the world of the Comanche Nation 300 years ago. Naru, a skilled female warrior, fights to protect her tribe against one of the first highly-evolved Predators to land on Earth.

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Comedy

Sex Appeal Review | An Interesting Enough Premise Gets Squandered in Predictable Platitudes

A quasi-R-rated version of “The Kissing Booth” surprisingly works? Color me shocked.

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In a world filled with horrible teen coming-of-age comedies which re-tread John Hughes and other popular 80s comedies, Hulu’s Sex Appeal probably wouldn’t have worked. As it stands, the movie is interesting enough to make a distracting impression upon ourselves, but it’s nowhere near as sharply written as any of the mid-1980s/late-1990s coming-of-age comedies it keeps referencing. 

In any case, the best comparison I can give you is that its plot feels eerily (though not completely) similar to Netflix’s The Kissing Booth trilogy, though without any of the cringe and a legitimately compelling “best-friends” relationship. The “best friends” in question are Avery (Mika Abdalla) and Larson (Jake Short), who have had a close-knit relationship since childhood…until Larson decided to “make a move” at the age of 14, immediately rejected by Avery. Our female protagonist narrates the entire story like Joey King’s Elle Evans in The Kissing Booth and has a pretty narrow-minded view of everyone and everything. Basically, she only cares about herself. Avery will register for STEMCON, an annual youth scientist (?) convention, to which attendees will have to build an app that responds to their personal problems. 

Sex Appeal (2022) - IMDb

Avery’s “problem” is that she can’t have fulfilling sex with anyone and forcefully takes Larson as her Guinea Pig to experiment with diverse types of sex on him and her, to which we metaphorically see what happens inside IMAX-like dream sequences. A plot as preposterous as this shouldn’t work, but it kinda does. Of course, it’s a story we’ve all seen before, with the egotistical female character going on a journey of self-discovery and finally realizing that life doesn’t solely revolve around her, and that humans have feelings. By developing the app, she fails to realize the most important human element of all, love, because Avery is incapable of feeling love…until her experiment gets her to realize what love is and how it feels. 

Yes, director Talia Osteen and co-writer Tate Hanyok use sex as the driving force for Avery’s realization that her app should be all about love, and not all about sex. And she’ll learn this by having sex with someone she genuinely cares about but doesn’t want to admit that she has feelings for. Why? Because she had to focus on her studies? That feels like such a BS excuse, but the plot warrants it anyways. So yeah, once you get a gist of Avery and Larson’s “friendship that morphs into a quasi-relationship”, you can tell exactly where this movie is going, without fail. She has a non-existent relationship with her boyfriend (Mason Versaw), and can’t even feel love even if she also uses the app with him as they do it. Doesn’t she know what love is, or is she incapable of feeling it because she doesn’t want to? This is the central question Sex Appeal asks, and it surprisingly works twofold. 

Sex Appeal (2022) - IMDb

Firstly, the chemistry between Abdalla and Short is insanely palpable. In The Kissing Booth, the movie already doesn’t work because the chemistry between Joey King/Jacob Elordi/Joel Courtney feels unbelievable like they all belong in different movies (the writing is also a problem, but whatever). You can relate to Avery and Larson because their relationship feels real. And so it’s easier to get on board with an insanely predictable story if the acting holds the fort, to which it does greatly. Even the smallest supporting roles can bring surprising laughs to the mix, and genuine heart, which this movie has tons of. Its heart is in the right place, and the acting is decent enough for you to care about the characters’ plight, even if we’ve seen it all before. 

Secondly, the film’s aesthetic is original enough for the movie to rise above the platitudes it presents in its script for metaphorical sex sequences that are way more interesting than, say, if Avery and Larson solely had sex. Osteen prefers to open up the 2.39:1 frame to 1.90:1 during these dreamlike sequences to represent how Avery feels during the time she “experiments” on Larson, which ultimately makes her realize all the love she has for him, especially when she tries to do the same thing with Casper (Versaw) and, lo and behold, it doesn’t work. I appreciate the work of filmmakers who try different things than the usual paint-by-numbers coming-of-age sex comedy, without an ounce of creativity in its filmic representation of a protagonist’s state of mind, especially when it works, even if it may be on the nose for some. Sure it is, but it works nonetheless. 

So it’s surprising to see how engaging the movie is when the acting and the aesthetic work together and actually deliver a pretty good time at the movies, even if it’s a movie that we’ve seen before, done better. Where Sex Appeal fails in its story, it more than makes up for it through its creative aesthetics and terrific performances from Mika Abdalla and Jake Short, which in turn makes it a rather transfixing watch. It’s not the greatest movie in the world, sure, but it does its job right and the film’s heart is in the right place. What more can you ask for?

FILM RATING

Sex Appeal is now streaming on Hulu.

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Hulu

Mother/Android Review | This Terminator Meets The Walking Dead Hybrid Sure Is Dull

Chloë Grace Moretz gives an impactful performance in Mattson Tomlin’s “Mother/Android”, but the rest of this sci-fi hybrid picture is quite dull.

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Whether you like it or not, 2022 is off to a start (it’s too early to tell whether or not it’s a good or bad start, give it about a week or two), and I won’t wait until theatres reopen (yeah…) to write about film and TV. Kicking off my adventures in moviegoing for the year is Mattson Tomlin’s Mother/Android, a movie that came out on December 17th in the United States on Hulu but is gearing up for an International release on Netflix this week. Chloë Grace Moretz leads this sci-fi movie as Georgia Olsen, who finds out she is pregnant to Sam (Algee Smith)’s child on Christmas Eve, sometime in the near future where Androids are now part of human life.

During a party, a technical glitch causes the Androids, who are, in this world, acting as servants for humans, to become erratic and violent, causing death to anyone that comes in contact with them. Nine months have passed (for some odd reason). Georgia’s water can break at any moment, while Sam is looking for a path to Boston, where they can seek refuge in Korea, escape the post-apocalyptic hell doom of the United States and start a new life there. We’ve all seen this movie before. A survival sci-fi/horror film where characters have a plan to leave a dystopia to a promised utopia, and nothing goes according to plan.

Mother/Android follows that plot trope in the most unengaging way possible. Tomlin tries to visually explain, to the best of his ability, how the Androids were created and became part of everyday life, but the visual exposition is so minimal it becomes a “blink-and-you’ll-miss-it” moment. We have no idea how to what purpose the Androids were created, but we do recognize their visual inspirations from The Walking Dead and Terminator. When they don’t get shot in the face and have their face peeled like a T-800, they sure do run like brainless Zombies with the intent to kill people.

We never know what drives them to kill humans, or why they suddenly become violent. Sure, a blackout, but what caused the blackout and why did the blackout suddenly transform calm Androids into Zombie-like killing machines? These are important questions the movie never takes time to answer and instead spends most of its time with Grace Moretz’s Georgia on the cusp of giving birth inside cyclical and boring situations. Georgia and Sam go to a military base, potentially to help Olsen give birth. For the most bewildering reason, they get kicked off the base and must learn to fend for themselves. The same situation happens with their next objective. Every individual they meet, or place they visit has the same structure.

Tomlin begins by giving the audience a glimmer of hope, either through the movie’s decent-looking cinematography from Patrick Scola or through its minimalist, but emotionally-driven music from Kevin Henthorn and Michelle Birsky. Then, some lines of dialogue begin to swell hopium, until this “hope” is constantly crushed by:

a) The character’s own idiocy of not realizing the most obvious and/or never making the right decisions.

b) Androids show up. When in doubt, android it up.

c) The reality of the situation. Tomlin sets up Mother/Android‘s world as pessimistic by design. Therefore, the characters’ expectations of the promised utopia will be undoubtedly crushed. This isn’t a spoiler, but the reality of ANY post-apocalyptic sci-fi or horror film. It’s always the same, without exception.

Because of this, audience investment is at its minimum. Even if the movie does contain a few cool action sequences, including a rather exciting motorcycle chase filled with high-speed drones and, dare I say, scary-looking androids, Tomlin never gives us a reason to care about any character we spend time with, let alone care about the world they inhabit. Post-apocalyptic films are always enjoyable if the writer/filmmaker establishes the world first, before thwarting the characters in the action. Of course, they can thwart the characters first, to then establish the world, but that’s a riskier bet than the former. Tomlin decides to do the latter, but he never wants to establish the world further than “Androids evil. Georgia and Sam need to leave the USA.” Cool. But neat-looking action sequences and pretty images aren’t enough to hook people in.

Chloë Grace Moretz in Mother/Android.

Thankfully, Chloë Grace Moretz’s performance is impassioned enough that she carries the entire movie for herself. The final scene between her, Sam, and Korean officials is an absolute heartbreaker to watch, solely due to Moretz’s performance. Tomlin consistently relies on her for raw emotion, because he knows his script can’t carry the entire movie for itself. Sure, she does get trapped in a few “damsel in distress” situations, but when the movie needs her to shine, she always comes through and likely gives the best performance of her career. Her filmography isn’t filled with some of the best movies ever made, but her performance in Mother/Android almost puts hers in Suspiria and Clouds of Sills Maria to shame. She’s that good.

It’s an absolute disappointment that virtually anyone (or anything) else doesn’t work as hard as Moretz does here. She seems to have a deep affection for the material, and so does Tomlin, who infused some of his personal life in the script. But an affection for the material doesn’t necessarily equate to good material. If you’re not giving any reason to care about anything that’s going on in the movie, then the audience will check out quicker than the movie will ultimately “get going.” The truth of the matter is, this movie never gets going and gives a chance for us to care. If you want a great post-apocalyptic movie, 28 Days Later is the quintessential example of how it’s done.

FILM RATING

Mother/Android is now streaming exclusively on Hulu and will release on January 7th for International audiences on Netflix.

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