Comparing with the Critics – Best of 1985 – Mad Max Beyond Thunderdome

On June 8, 2025 By 18cinemalane8 Comments

This review is from my series, Comparing with the Critics. If you’d like to learn more about the series, click on the link below.

Introducing my new series, Comparing with the Critics!

In my Comparing with the Critics review of Amadeus, I mentioned the Falco song, “Rock Me Amadeus”, being one of the reasons why I was intrigued to review the movie. I actually have a similar experience with Mad Max Beyond Thunderdome. Every time I think of this film, I think of the Tina Turner song, “We Don’t Need Another Hero (Thunderdome)”. This is an ironic coincidence, as “We Don’t Need Another Hero (Thunderdome)” and “Rock Me Amadeus” were released in 1985. Another ironic coincidence is how, for the Comparing with the Critics series, I, once again, selected an ‘80s film both Roger Ebert and Gene Siskel liked. Though Mad Max Beyond Thunderdome only appeared on Roger’s list of the top ten best films of 1985, each critic gave the movie a thumbs-up when they reviewed it on an episode of At The Movies. Before this Comparing with the Critics review, I had never seen any of the Mad Max movies, let alone Mad Max Beyond Thunderdome. Therefore, I couldn’t agree or disagree when Roger stated that Mad Max Beyond Thunderdome was “the best of the Road Warrior movies” or when Gene declared it was “a great, violent, fun picture”. Now that I have seen the film, I can honestly say I don’t agree with Gene’s and Roger’s praise. It’s not that Mad Max Beyond Thunderdome is a bad movie, I just didn’t like or love it as much as the critics did.

*Mad Max Beyond Thunderdome* poster created by Kennedy Miller Productions and Warner Bros.

While sharing his opinion on Mad Max Beyond Thunderdome in an episode of At The Movies, Gene complements the directors, George Miller and George Ogilvie, as both of them “successfully creates a complete alien world on film”. To add to Gene’s statement, Roger commented how the film’s “world is as rich as Casablanca or as rich as Oz”. I admit one of the strengths of Mad Max Beyond Thunderdome was its set design, as the movie’s creative team presented an atmosphere that felt immersive! One of the conflicts in the story is Max battling in a duel against a character named Blaster, in order to retrieve his stolen items. They fight within the titular Thunderdome, a circular caged structure built out of steel-like material. What adds to the scene’s immersion is the medium and close-up shots captured within the Thunderdome. The combination of these creative choices helps the audience feel like they are right in the middle of the excitement! Even the sign advertising the Thunderdome is a blend of color, light, and dirt. This specific prop captures the thrill of the dueling action while also consistently displays the film’s aesthetic.

As I said in this review’s introduction, Mad Max Beyond Thunderdome ended up on Roger’s list of the top ten best films of 1985. One of his reasons was how he “was overwhelmed by the wealth of new ideas they came up with in the third picture”. Specifically speaking about Max and Blaster’s aforementioned duel, Roger explains how this scene presents two new ideas; “a new place to put the audience, which is over the top of the dome, and a new way to fight by putting the people on elastic bands so they have a three or a four dimensional, if you will, fight instead of regular punching it out”. Adding to Roger’s explanation, both Max and Blaster were given more freedom to move around the Thunderdome because of their elastic harnesses. While there was fist-fighting in the duel, flips and large jumps were incorporated in the fight choreography. Blaster and Max were presented with a variety of weapons, which added to the duel’s unpredictability. It also shows how the duel itself was a battle of strategy. This scene is definitely one of the most memorable from Mad Max Beyond Thunderdome!

Back to 1985 Blogathon banner created by Quiggy from The Midnite Drive-In and Hamlette from Hamlette’s Soliloquy

While Gene and Roger sang the praises of Mad Max Beyond Thunderdome, I was disappointed they ignored Tina Turner’s portrayal of Aunty Entity. Personally, I think Tina is a better actress than some people give her credit for. Her performance in this film proves that. A great example is when Master confronts Aunty Entity about the true leadership of Bartertown. Before this confrontation, Aunty Entity is confident in her ability to rule over this little community. Master calls her out by questioning who’s in charge. Aunty’s confidence gradually turns into anger. She develops a stern look on her face, the anger itself filling her eyes. There’s even a point where Aunty’s bottled-up anger causes her to shake. This scene shows how Tina’s performance was able to say so much while utilizing very little dialogue.

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Like I brought up in my review’s introduction, I didn’t like or love Mad Max Beyond Thunderdome as much as Roger and Gene did. A reason for my opinion is how the script left several questions unanswered. When Max meets the children of the Planet Erf tribe, the children believe he is Captain Walker. They describe Captain Walker as a plane pilot who will lead them to a better land. Because Jedediah was introduced in Mad Max Beyond Thunderdome as a man who could successfully fly a plane, I thought he could be Captain Walker, connecting him to the Planet Erf tribe’s part of the story. But this wasn’t the case, leaving questions about Captain Walker’s whereabouts. I was also not a fan of the creative team’s decision to prioritize telling over showing. A good example is when Blaster is about to be defeated in his and Max’s duel. Master begs Max not to kill Blaster, as he has a lot of respect for Blaster. However, this respect isn’t shown leading up to that scene. The only interactions with Master and Blaster are Master simply using Blaster as a means of transportation. Had the respect and camaraderie between Blaster and Master been better displayed, the duel itself and even its aftermath would have carried more emotional weight.

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When Roger Ebert placed Mad Max Beyond Thunderdome on his list of the top ten best films of 1985, he called it “a great looking, high styled thriller”. Gene Siskel even claimed that “kids are gonna want toys out of this film” and “people are gonna dress like out of this film”. I can only speak for myself, but I wouldn’t go out of my way to seek out merchandise related to this movie or even revisit this movie. That’s because I thought Mad Max Beyond Thunderdome was just a fine, well-made picture. I couldn’t become fully invested in this story because of the collection of unanswered questions, which left me confused. I did not like the creative team’s decision to emphasize telling over showing as well. But the movie does have its merits. The world-building was one of the strongest aspects of the production, as the directors helped create an on-screen world that felt immersive. I not only liked the acting, I also believe the Thunderdome duel was one of the film’s most memorable scenes. So, this is yet another review where I didn’t agree with the critics. Now, if you’ll excuse me, I’ve got to go sing along to Tina Turner’s song, “We Don’t Need Another Hero (Thunderdome)”!

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Comparing with the Critics – Worst of 1985 – The Bride

On June 5, 2025June 6, 2025 By 18cinemalane10 Comments

This review is from my series, Comparing with the Critics. If you’d like to learn more about the series, click on the link below.

Introducing my new series, Comparing with the Critics!

The summer of 1985 was a disappointing time for Gene Siskel and Roger Ebert. They were so let down by that particular time of the year, At The Movies dedicated an entire episode to discussing the worst movies of the summer. The Bride, which was released on August 16^th, was the first film featured in this episode. It left such a bad impression on Roger and Gene, it also appeared on the ‘Worst of 1985’ episode of the show. In each of these episodes, Roger describes The Bride as “an ambitious film that lost it’s way” and a movie that “shot for the stars and failed miserably”. Because I hadn’t even heard of The Bride before starting my Comparing with the Critics series, I couldn’t agree or disagree with Roger’s sentiments. From the way the movie was described, it seemed to answer the question of what would happen if Victor Frankenstein’s female creation fell in love with him? This is a question that is infrequently asked in Frankenstein related media. As someone who has read Mary Shelley’s source material, I was curious to see how the film’s creative team would answer this question. But now that I have seen The Bride, I’m disappointed by how this question was approached. Unlike Gene and Roger, though, I wouldn’t go so far to say the movie is bad.

*The Bride* poster created by Colgems Productions Ltd., Delphi III Productions, Lee International Studios, and Columbia Pictures

After showing a clip from The Bride in At The Movies’ Worst Movies of the Summer episode, Roger claims the film “didn’t know whether it wanted to be a serious movie about the philosophical issues raised by the whole Frankenstein legend or whether it just wanted to be a glamourous, sleek remake”. I personally believe the movie’s creative team knew exactly what they were doing, accomplishing two goals in one picture. Throughout The Bride, there are two parallel stories; the first about Frankenstein and his female creation (Eva) and the second about Frankenstein’s male creation (Viktor) and Rinaldo. These stories show Viktor and Eva learning about the world around them as well as interacting with those they depend on. Every time Rinaldo introduces Viktor, he always refers to Viktor as “his friend”. Meanwhile, Frankenstein calls Eva “his ward”. The stories in The Bride were, in my opinion, intended to take a specific approach to the Nature vs. Nurture debate, presenting how two creations created by the same man could journey to the same outcome.

In Mary Shelley’s original source material, there aren’t really any heroes in that story. That’s because it focuses on the main message of some good intentions possibly leading to bad results. In The Bride, Viktor receives a “hero’s journey”, where he not only gets to fall in love, he also gets to save the day. His name, according to Rinaldo, even means “He will win”. As I mentioned in this review’s introduction, I have read Mary Shelley’s novel. From what I remember, Frankenstein destroys his female creation and his male creation is presented in the story as more of a cautionary tale. With that said, I think this creative liberty added an interesting dynamic to The Bride!

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While talking about The Bride’s two parallel stories, Gene says the story of Viktor and Rinaldo “was much more interesting than Frankenstein and the monster”. I find myself agreeing with Gene, especially since this story included a “hero’s journey” and a conflict that needed to be resolved. But another reason why I liked Rinaldo and Viktor’s story is David Rappaport’s portrayal of Rinaldo. When Rinaldo first meets Viktor, he’s surprisingly not intimidated by Viktor’s size. Instead, Rinaldo’s confidence helps Viktor find a sense of belonging as well as build a friendship between himself and Viktor. Rinaldo’s charisma shows the audience his good intentions, always striving to give Viktor a better life than Frankenstein did. As he’s giving Viktor a new shirt, Rinaldo is horrified by the scars on Viktor’s back. The sight immediately brings concern to Rinaldo’s face, his saddened tone of voice concluding how Viktor must have been mistreated. The scene I just described shows how David’s performance gave Rinaldo a genuineness that allowed him to be a likeable character. Though this film is titled The Bride, Rinaldo became this movie’s MVP!

Both Roger and Gene agreed that Viktor and Eva should have spent more screen-time together. Roger proclaims “if we’re gonna have those parallel stories for two hours, let’s have a pay-off at the end”, with Gene adding “a pay-off for half an hour, not for five minutes”. Like I talked about earlier in this review, I believe the creative team’s intention for The Bride was to present a specific approach to the Nature vs. Nurture debate, as well as giving Viktor a “hero’s journey”. However, my biggest criticism with these parallel stories was the editing. The way these stories were sewn together made the movie feel disjointed. This is because some parts of the story were longer than others. One scene shows Eva studying a series of pictures by herself for only a few seconds. The very next scene shows Viktor and Rinaldo on their journey to the circus, with the scene itself lasting several minutes. Frankenstein and Eva receiving shorter screen-time sometimes prevented the audience from seeing interesting interactions between these two characters. This creative decision also gave Eva and Frankenstein’s story less intrigue.

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When I was introduced to The Bride, I was given the impression the film was trying to answer the question of what if Victor Frankenstein’s female creation fell in love with him. This made me curious to see how the movie’s creative team would answer this question. But like I said in my review’s introduction, I’m disappointed by how this question was approached. That’s because the film’s creative team didn’t answer or explore the question at all. They bring up an equally interesting and infrequently asked question of what if Frankenstein fell in love with his female creation? However, so much time was spent focusing on Eva learning about the world around her, the aforementioned question was given little time for exploration or discussion. When it came to Frankenstein’s love for Eva, it simply came across as possessive and controlling. As I’ve been saying throughout this review, Viktor was given a “hero’s journey”. This means the story always intended to have Eva fall in love with Viktor, not Frankenstein. Even though I liked the creative decision of Viktor’s “hero’s journey”, I’m still disappointed by the potential questions that were left unanswered.

Toward the beginning of At The Movies’ Worst Movies of the Summer episode, Gene claims the summer of 1985 “happened to be one of the dullest, most juvenile, most homogenized summer movie seasons in recent memory”. Out of the movies that premiered during that time, I’ve only seen six pictures in their entirety, including The Bride. Personally, I didn’t find any of these films to be bad or disappointing. Specifically speaking about The Bride, I thought it was a fine, serviceable, interesting enough title. Though I was disappointed the movie’s creative team didn’t answer the question of what if Victor Frankenstein’s female creation fell in love with him, there were aspects of the film I liked. While the acting was one of the strengths of The Bride, David Rappaport’s portrayal of Rinaldo shined the brightest! Rinaldo was such a likable character, he became my favorite! Another strength of this film was Viktor receiving a “hero’s journey”. Even though it was a creative liberty, it added an interesting dynamic to The Bride’s story. It was also interesting to see the creative team’s approach to the Nature vs. Nurture debate. I apologize for sounding like a broken record, but this is yet another Comparing with the Critics review where I disagreed with Roger and Gene. As I continue with my series, I have to wonder how often this will keep happening?

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Comparing with the Critics – 1985 – Introduction

On June 1, 2025 By 18cinemalaneLeave a comment

Looking back on 1985, one can see the abundance of stand-alone films released that year. While cinemas welcomed sequels, these movies were exceptions to the rule, compared to the box office of 2025. That’s because studios and film companies were more selective about which titles received another chapter. Mad Max Beyond Thunderdome joined this exclusive club. It even left such a good impression, it earned a place on Roger Ebert’s list of the top ten best films of 1985. As I mentioned earlier in this introduction, 1985 saw an abundance of stand-alone movies. However, these projects were not created equally. The Bride tried to find an answer to the infrequently asked question of what would happen if Victor Frankenstein’s female creation fell in love with him? Both Roger and Gene Siskel were so disinterested in finding an answer to this question, that the film was not only featured in At The Movies’ Worst Films of 1985 episode, it also made an appearance in the show’s Worst Movies of the Summer episode. At this point in the introduction, you probably think Mad Max Beyond Thunderdome and The Bride being singled out is purely a coincidence. But these titles were specifically chosen for Midnite Drive-in’s and Hamlette’s Soliloquy’s Back to 1985 Blogathon, where I’m reviewing The Bride as the Worst of 1985 and Mad Max Beyond Thunderdome as the Best of 1985!

Take 3: The Dark Crystal Review + 510 Follower Thank You

On May 30, 2025 By 18cinemalaneLeave a comment

For this Blog Follower Dedication Review, I wanted to write about an animated film. That’s because the last animated movie I reviewed was hoops&yoyo’s Haunted Halloween last October. As I was looking for the right title to choose, I realized I don’t often talk about animated films involving puppetry. Therefore, my Blog Follower Dedication Review will highlight 1982’s The Dark Crystal! On 18 Cinema Lane, the only projects of Jim Henson’s I’ve reviewed were 1981’s The Great Muppet Caper and 1985’s Follow That Bird. Choosing to write about The Dark Crystal has now become ironic, as all three of these movies were released in the 1980s. While I thought Follow That Bird was Sesame Street’s fine first attempt at making a movie, The Great Muppet Caper was a fun, joyful experience. Where will The Dark Crystal rank among these two pictures? Journey through this review to find out!

*The Dark Crystal* poster created by Incorporated Television Company (ITC), Henson Associates (HA), Henson Organisation, The Jim Henson Company, Associated Film Distribution (AFD), and Universal Pictures

Things I liked about the film:

The puppetry: Jim Henson has set the bar high when it comes to the art of puppetry! Through his work with The Muppets and on Sesame Street, Jim created characters that were fascinating to watch and were adoringly memorable. In The Dark Crystal, his craftmanship, direction, and artistic vision contribute to the quality his style of puppetry is known for. The way characters move provide just one example. Jen, the movie’s protagonist, goes on a quest to fulfill a prophecy by finding a crystal shard. This quest shows Jen walking, climbing, riding, and even jumping. The execution of these movements were so well-done, there were times I forgot I was watching a puppet. How Jen was able to blink and move his head was also impressive!

The scenery/set design: Films in the fantasy genre, like The Dark Crystal, have a reputation for presenting imaginative, fantastical worlds. Good movies in this particular genre will make these respective worlds immersive through an emphasis on attention to detail. I can honestly say the creative team behind The Dark Crystal truly cared about how the world surrounding the characters was showcased. An excellent example is when Kira and Jen meet for the first time. The location itself is a tropical oasis; complete with green plants, soft earth on the ground, and even a small body of water. It feels like an actual jungle because of the realistic appearance of the materials. More often than not, the tropical space is peaceful, which gives the audience a break from the tension of the film’s conflict. The tonal and visual pairing of the jungle helps the audience stay invested in the story.

Use of practical effects: In the 21^st century, CGI (computer generated imagery) has become the go-to tool of film-making. The popularity and accessibility of CGI has caused a debate over whether this film-making tool is over-used. So, watching a film like The Dark Crystal in 2025 is refreshing, as the 1982 production utilizes practical effects. In one scene, the Skeksis Emperor dies. Instead of the Skeksis Emperor simply laying unconscious, the body literally crumbles like rocks being broken down. Another scene shows Jen and Kira rowing on a lake. The foliage surrounding the lake appeared life-like, as did the body of water itself. This is because the film’s creative team incorporated actual water and other related props to make the scene feel as realistic as possible.

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What I didn’t like about the film:

An underutilized character: When the Skeksis General becomes the next Emperor, he shuns the Chamberlain from the Skeksis kingdom. The Chamberlain then tries to find ways to get back into the Emperor’s good graces. Despite these attempts, the Chamberlain was underutilized in The Dark Crystal. He appeared in only a handful of scenes and his role in the film’s plot was minimal as well. I was hoping the Chamberlain’s rejection would express the ideas of standing against group mentality and changing a person’s way of thinking. Sadly, these ideas were not incorporated into the Chamberlain’s story.

Scenes that became padding: The run-time of The Dark Crystal is an hour and thirty-three minutes. However, the movie’s run-time seemed longer because some scenes became padding. One example shows a group of Skeksis eating dinner. This scene features a medium shot of each dinner guest eating their meal, making the scene feel drawn out. If The Dark Crystal’s run-time had been less than an hour and thirty-three minutes, scenes like the Skeksis’ dinner would be trimmed.

A confusing resolution: For this part of my review, I will spoil The Dark Crystal. If you haven’t seen this movie and are planning on watching it, skip to the part of my review titled ‘My overall impression’.

A voice-over at the beginning of The Dark Crystal explains how the Skeksis and Mystics were at odds with each other after the titular crystal broke. The upcoming Great Conjunction will determine who will rule the land, with Jen’s quest to find a crystal shard playing a role in this decision. The way this conflict was explained made me believe the overall story was a battle of good versus evil. But when Jen reunites the crystal shard with the titular crystal, the resolution became confusing. As the Skeksis kingdom falls apart and the Skeksis themselves are running around in fear, the Mystics arrive and surround the titular crystal. The Mystics and Skeksis then merge to become one ghost-like being. The reunion between these groups was never explained throughout the movie. Maybe a scene explaining why this particular resolution was reached was left on the cutting-room floor?

My overall impression:

When it comes to quality, the art of puppetry is a spectrum. On the higher end of this spectrum has always been the work of Jim Henson. The Dark Crystal provides a strong example for why that statement is true. The puppets’ artistry and execution were truly impressive, with their movements making me sometimes forget I was even watching puppets at all. Set design and scenery from the 1982 production looked like the film’s creative team truly cared about how the story’s world was presented. I also liked how practical effects were used, which brought a sense of realism to certain moments! Even though The Dark Crystal had its strengths, it had its flaws too. From a confusing resolution to an underutilized character, the film wasn’t perfect. But it was a fine, interesting presentation, definitely one of Jim Henson’s more ambitious projects. Before I conclude this review, I’d like to thank my blog’s followers for their support of 18 Cinema Lane! These articles always encourage me to expand my cinematic horizons!

Overall score: 7 out of 10

Have you seen The Dark Crystal? Which Jim Henson presentation would you like to see in a future Blog Follower Dedication Review? Please tell me in the comment section!

Have fun at the movies!

Sally Silverscreen

Take 3: Speak Easily Review

On May 27, 2025 By 18cinemalane9 Comments

When I participated in the 10^th Annual Buster Keaton Blogathon last year, I reviewed Buster’s episode of The Twilight Zone; “Once Upon a Time”. In that review, I stated how his episode would be a good place to start if one were introduced to the show, partly due to the story’s light-hearted nature. For this year’s event, hosted by Lea from Silent-ology, I wanted to check out one of Buster’s films. After taking a trip to his IMDB filmography, I selected the 1932 picture, Speak Easily! One of the reasons why I chose this movie for the blogathon was the story itself. According to the Internet Movie Data Base, “a timid professor inherits a large sum of money and decides to fund a terrible musical”. Another reason for choosing Speak Easily is how Buster starred in a “talking picture” (movies with sound). Because he’s known as a silent screen legend, I was curious to see how he’d perform in a film with audible dialogue. So, with all that said, let’s begin this review of the 1932 presentation!

*Speak Easily* poster created by Metro-Goldwyn-Mayer

Things I liked about the film:

The acting: As I mentioned in the introduction, Buster Keaton is known as a silent screen legend. His forte was “slapstick” comedy, which worked in the format of silent films. With Speak Easily, Buster had to incorporate both physical movement and dialogue in order to help tell the story. Honestly, I think he did a good job with the provided material! In the 1932 production, Buster portrays Professor Post, an intelligent yet isolated man. This allowed Buster to adopt eloquent words, a sense of awkwardness, and responses that are too literal. Add his signature “slapstick” comedy for good measure and you have a character that was charming in his own right! Along the way, Professor Post becomes friends with a theater performer named James Dodge. Portrayed by Jimmy Durante, James had a big personality, brighter than all the lights of Broadway. This vibrancy was consistent throughout the movie, a strength of Jimmy’s performance! Ruth Selwyn and Thelma Todd join the cast as Pansy Peets and Eleanor Espere. Both actresses did a good job making their characters feel distinct from each other. During Speak Easily, Ruth displayed a gentle persona and was more soft spoken. Meanwhile, Eleanor adopted a flirtatious personality.

The dialogue: Prior to reviewing Speak Easily, I have seen a few of Buster’s “talking pictures”. However, his roles in these movies were smaller, meaning he was given fewer lines to work with. Though Buster received more opportunities to incorporate dialogue in Speak Easily, I was more impressed with the dialogue itself. Throughout the film, I caught on to how well-written the dialogue was. One good example can be heard toward the beginning of the film. Professor Post doesn’t go to a local event at his college because he claims he wasn’t invited. His colleague, Jenkins, thinks this is an excuse for Professor Post to stay in his comfort zone. During a visit to Professor Post’s office, Jenkins tells Professor Post, “if you only go out and find life, you’ll enjoy living it”. This line serves as a friendly yet firm reminder how life is too short to miss out on.

The messages and themes: Like I said earlier in this review, Professor Post is an intelligent yet isolated man. After he receives a large sum of money, Professor Post chooses to travel to New York and, eventually, funds a musical. As the story progresses, he tries to form connections with his peers. Eventually, Professor Post successfully finds friends by staying true to himself. The trials and triumphs of forming relationships, whether romantic or platonic, is a relatable subject. What’s also relatable is having a genuine persona/personality and doing the right thing. The incorporation of these messages and themes was one of the things I liked about Speak Easily!

The 11th Buster Keaton Blogathon banner created by Lea from Silent-ology

What I didn’t like about the film:

A drawn-out film: Speak Easily has a run-time of an hour and twenty-one minutes. However, the movie’s run-time felt longer. This is because parts of the story were drawn-out. As Professor Post boards a train, there’s a running joke about how he forgot his trunk. The joke then transforms into a couple forgetting their baby. That entire joke lasts for about four minutes. Had the joke just focused on Professor Post forgetting his trunk, maybe some of Speak Easily’s run-time could have trimmed.

An overshadowed musical: I’ve mentioned twice in this review how Professor Post funds a musical after receiving a large sum of money. This concept made me curious how Professor Post’s involvement would influence the musical. While the musical was featured in the movie, you have to wait over fifty minutes into an hour and twenty-one minute story just to see the musical come to life. Preparations for the musical were shown, but only in two scenes. The majority of the story focuses on Professor Post’s relationships with the other characters. That focus causes the musical to be over-shadowed.

Limited amount of “slapstick” comedy: I said earlier in my review how “slapstick” comedy was Buster’s forte. This part of his career has been incorporated into his “talking picture” projects, such as The Twilight Zone episode; “Once Upon a Time” and Speak Easily. But in the 1932 production, Buster’s “slapstick” comedy was used sparingly. That creative decision was the result of the film’s run-time, as Buster’s silent films were, more often than not, shorter. The limited amount of “slapstick” comedy felt like the movie was missing something. I wish Speak Easily’s creative team had capitalized on Buster’s forte a bit more.

String of musical notes image created by Freepik at freepik.com. <a href=’https://www.freepik.com/free-vector/pentagram-vector_710290.htm’>Designed by Freepik</a> <a href=”https://www.freepik.com/free-photos-vectors/background”>Background vector created by Freepik</a>. Image found at freepik.com.

My overall impression:

In Speak Easily, Professor Post sees working on a musical as trying something new. By moving out of his comfort zone, he was able to make new friends, find success, and travel beyond the walls of his office. By starring in this film, Buster Keaton was, in a way, trying new things. This time, he had to rely on more than just physical movement and “slapstick” comedy to carry the story. Even though I liked Buster’s performance in the 1932 presentation, the project itself was, in my opinion, just ok. I was pleasantly surprised by how well-written the dialogue was! The acting, as well as the messages and themes, were Speak Easily’s other strengths. But there were aspects of the movie I didn’t like, from the drawn-out nature of the film to the musical becoming overshadowed. By reviewing this project, I found an excuse to write about a pre-Breen Code era title. Since the only pre-Breen Code era movies I’ve reviewed this year, so far, were The Garage and 1925’s Phantom of the Opera, Speak Easily will easily fill that void!

Overall score: 6-6.1 out of 10

Have you seen Speak Easily? Which “talking picture” from Buster Keaton’s filmography would you like to see me review? Let me know in the comment section!

Have fun at the movies!

Sally Silverscreen

Take 3: Jack and the Beanstalk (1952) Review

On May 9, 2025May 10, 2025 By 18cinemalane3 Comments

I need to make a confession: in the seven years 18 Cinema Lane has been around, I’ve never reviewed any of Abbott and Costello’s films. (insert shocked gasp here) But at 18 Cinema Lane, I am willing to expand my cinematic horizons. This is one of the reasons why I selected 1952’s Jack and the Beanstalk for the Once Upon A Time Blogathon. Another reason is how I don’t often get the opportunity to write about fantasy films. In fact, the last fantasy movie I reviewed was Cancel Christmas last December. When I came across the poster for Jack and the Beanstalk, I was surprised to read the tagline “Their first picture in color”! Abbott and Costello are household names in the world of comedy. Plus, this adaptation of the fairy tale was released thirteen years after The Wizard of Oz. So, is the movie worthy of such a historic milestone? Adventure through this review of Jack and the Beanstalk to find out!

*Jack and the Beanstalk* (1952) poster created by Exclusive Productions Inc., Legend Films, and Warner Bros.

Things I liked about the film:

The dialogue: Sometimes, a movie’s comedy will be woven into the dialogue. Words spoken between characters can not only be hilarious, but also clever and witty, especially if the screenwriting is strong. Dialogue was one of the best qualities of Jack and the Beanstalk! One example is from the beginning of the film. Arthur arrives at Eloise’s house to pick her up for play rehearsal. Her younger brother, Donald, answers the door, even setting up a trap that causes Arthur to fall. When Arthur asks Donald where Eloise is, Donald replies in a matter-of-fact manner, “putting on her lipstick so you can kiss off”. What makes this line so memorable is how it fits the character of Donald, who is portrayed as a precocious child. Another example happens during the ‘Jack and the Beanstalk’ story. Jack is heartbroken when his mother suggests they sell the family cow. After Jack’s mother urges him to take the cow to the market, Jack tells her, “Yes mother. You can depend on me. Whatever they bid, I’ll bid higher”. This is a line that is genuinely funny, as Jack says it with good intentions.

The use of color film: During the opening credits of Jack and the Beanstalk, it’s revealed parts of the film are presented in Super Cine Color. These parts are the ‘Jack and the Beanstalk’ story itself, while the “modern” parts of the movie are shown in black-and-white film. I actually liked this creative decision! It emphasized the magic and whimsy of the fairy tale. The use of color film also allowed the vibrant hues of the costume and set design to be visible. Overall, this production of Jack and the Beanstalk felt pleasantly reminiscent of 1939’s The Wizard of Oz!

Working as a pair: Bud Abbott and Lou Costello (also known as Abbott and Costello) have been acknowledged as one of the most beloved comedic duos in film history. So, I was curious how they would work together in Jack and the Beanstalk, since the heroic adventure typically involves only one character. Lou portrays Jack and Bud portrays Mr. Dinkelpuss (a local butcher). Even though both characters travel up the titular beanstalk, they each have their own motives. Mr. Dinkelpuss and Jack help each other escape The Giant’s castle as well. Through the acting performances and the screenwriting, this version of Jack and the Beanstalk feels like Jack was always meant to travel with a buddy.

Once Upon a Time Blogathon: Fairy Tales, Legends, & Myths banner created by Annette from Hometowns to Hollywood

What I didn’t like about the film:

Musical padding: The 1952 adaptation of Jack and the Beanstalk is a musical, with five musical numbers incorporated into the production. These numbers were very well choreographed and sounded good musically. However, they felt like padding, making the movie seem longer than its one hour and twenty-three-minute run-time. A few of the musical numbers feel drawn out, such as the almost three-minute dance between Jack and Polly. Had some of these numbers been trimmed down, the overall run-time could have been under an hour and twenty minutes.

Forgotten details: Within Jack and the Beanstalk’s script, there were a few forgotten details. Jack’s cow, Henry, presents two examples. When Henry is first brought up in the movie, Jack refers to the cow as female. He even puts makeup on her to stress this fact. But before Jack says goodbye to Henry at Mr. Dinkelpuss’ shop, Jack tells the cow to “be a good boy”. Later in the movie, Jack climbs the beanstalk. One of his intentions is to rescue Henry from the clutches of The Giant. When Jack and his friends finally escape The Giant’s castle, however, Polly is the one who ends up saving Henry.

Patrick the Harp: In The Giant’s castle resides a harp named Patrick. Not only does music play every time he talks, he’s also very critical of Polly. Personally, I was not a fan of Patrick. He spoke with a thick accent, which sometimes made it difficult to understand what he was saying. His role in the story was quite minimal, offering little to the plot. If Patrick had been written out of Jack and the Beanstalk, not much would change.

Fairytale castle image created by Freepik at freepik.com. <a href=’https://www.freepik.com/free-vector/fairy-tale-castle_837803.htm’>Designed by Freepik</a>. <a href=”https://www.freepik.com/free-photos-vectors/design”>Design vector created by Freepik</a>. Image found at freepik.com.

My overall impression:

As I mentioned in the introduction of my review, Abbott and Costello are household names in the world of comedy. However, there is a reason why they achieved this honor. Using Jack and the Beanstalk to explain my point, Costello and Abbott work together as a team. Even in a fairy tale where a team dynamic doesn’t exist, they find a way, through acting and screenwriting, to create a story where they can both shine. The dialogue was one of the strongest aspects of the 1952 adaptation, as it was hilariously clever. It also helps that the dialogue was written and delivered well. Even the use of color film enhanced the whimsical charm one would expect from a fairy tale. While Jack and the Beanstalk does have its flaws, it is, indeed, a pleasant presentation! Now, if you’ll excuse me, I need to figure out who really is on first.

Overall score: 7.4 out of 10

Have you seen 1952’s Jack and the Beanstalk? What other fairy tales would you have liked to see Abott and Costello star in? Tell me in the comment below!

Have fun at the movies!

Sally Silverscreen

Take 3: A Little Romance (1979) Review

On May 4, 2025 By 18cinemalane9 Comments

Back in 2022, I wrote a list of the top ten movies I’d love to review. One of the films on that list was 1979’s A Little Romance. Since publishing that article three years ago, I haven’t gotten around to reviewing the movie. But Gill’s (from Realweegiemidget Reviews) and Barry’s (from Cinematic Catharsis) blogathon, Adventure-A-Thon, finally gave me an opportunity to check A Little Romance out! When it comes to “adventure” in cinema, that term can have different meanings depending on who you ask. For me, an “adventure” movie is when the story’s characters go on a journey to achieve something. In the case of A Little Romance, the protagonists, Daniel and Lauren, travel to Italy to prove the legitimacy of a legend. The 1979 film is not the only picture I’ve reviewed this year involving Italian travel. I wrote about Roman Holiday back in January. In my opinion, the movie was just ok, as I wanted to like it more than I did. Was A Little Romance ok like Roman Holiday? Let’s start the adventure of this review!

*A Little Romance* (1979) poster created by Orion Pictures, Pan Arts, Trinacra Films, and Warner Bros.

Things I liked about the film:

The acting: When it comes to teenagers in movies, it can be easy for a creative team to present those characters stereotypically. If written or directed to adopt certain behaviors and attitudes, teenage characters could even come across as caricatures. Fortunately, this was not the case in A Little Romance! Though there are only four teenage characters in the movie, their interactions didn’t feel scripted, making the characters themselves seem realistic. One example shows Lauren (portrayed by Diane Lane) and her friend, Natalie (portrayed by Ashby Semple), looking at sculptures during a class trip. As they observe the sculptures, Lauren nonchalantly tells tall tales about her time spent with Daniel. Natalie naively believes Lauren, her eyes becoming wide and her tone of voice revealing how shocked she is. Lauren, with a casual smile on her face and a giggle in her voice, then shares with Natalie how her tall tales were fabricated. This exchange between the two friends illustrates how teenagers can sometimes tease and joke with each other.

In this review’s introduction, I mentioned how the protagonists, Daniel and Lauren, travel to Italy to prove the legitimacy of a legend. Their journey was enjoyable to watch because of how strong Diane Lane and Thelonious Bernard’s on-screen chemistry was! Every time Lauren and Daniel interacted with one another, they always looked like they got along so well. There was a sweetness to their relationship that was wholesome and charming. It also helps how both Daniel and Lauren had likable personalities that complimented each other. While Thelonious and Diane deserve credit for their performances, credit should also be given to the screenwriting.

An appreciation for film: Before watching A Little Romance, I knew what the basic premise was about. But when I finally saw the 1979 picture, I was pleasantly surprised by the appreciation for film woven into the script! As soon as the movie starts, the audience sees Daniel watching a collection of films in a local cinema. As the story progresses, he sometimes quotes the movies he sees and even wants Lauren to call him “Boggie”, as he believes Humphrey Bogart and Lauren Bacall were meant to be together. Daniel’s decisions and perspectives are also influenced by the world of film. When Daniel receives rude comments about his relationship with Lauren from a movie director named George de Marco, Daniel punches George. Not only does Daniel strongly dislike George’s films, Daniel believes George’s comments cheapen the meaning of love he’s learned from movies.

The dialogue: In some of the movies I’ve reviewed this year, one of the strengths was the dialogue. The way it was written and delivered allowed this film-making component to be memorable for the right reasons. The dialogue was also a strength in A Little Romance! Through the screenwriting, the audience can tell how much thought was put into this aspect of the 1979 production. While Lauren talks about her family, Daniel asks her why she calls her stepfather ‘Richard’. Lauren replies by saying “It’s easier to lose a Richard than a dad”. From that one quote, Lauren is able to express how her mother’s multiple marriages have affected the family dynamic. In order to make enough money for their trip to Italy, Daniel and Lauren plan to bet on race horses. They want to figure out the betting odds to increase their chances of choosing a winning horse. When Lauren suggests using a computer to get these numbers, Daniel says “I am not a computer”. This simple quote stresses how humans, as well as betting odds, don’t always provide the correct answers.

The Adventure-A-Thon banner created by Gill from Realweegiemidget Reviews and Barry from Cinematic Catharsis

What I didn’t like about the film:

The adventure’s prolonged delay: Like I said in this introduction, Daniel and Lauren travel to Italy to prove the legitimacy of a legend. But their Italian journey doesn’t begin until a little over an hour into an hour and fifty-minute story. That’s because the first half of the movie is devoted to setting up the motives for the journey and building up to the trip itself. It’s important for any creative team to set up their movie’s premise and provide build up to significant parts of the presentation. For A Little Romance, however, that set up/build up took a little too long.

Lack of subtitles: About half of A Little Romance takes place in France. This means some scenes feature characters speaking in French to one another. But when the story presented French dialogue, subtitles did not appear on screen. For viewers who are not fluent in French, they may feel like the creative team is withholding context from them. Even though clues such as body language can help the audience assume what is happening in the story, I still wish subtitles had been included in A Little Romance.

An absence of Daniel’s father: At the beginning of A Little Romance, the audience is introduced to Daniel and his father, Michel. According to Daniel, Michel is a taxi driver who watches horse races from time to time. Throughout the movie, however, Michel’s appearances are so far and few between, I almost forgot he was in the movie. Meanwhile, Lauren’s parents, Richard and Kay, are consistently involved in the story. I recognize A Little Romance revolves around Daniel and Lauren’s relationship and adventure. But I still think Michel should have received a larger role in the film. Perhaps his involvement in the story could have related to one of the movie’s central themes.

Colorful travel suitcase image created by Pikisuperstar at freepik.com. <a href=’https://www.freepik.com/free-vector/beautiful-illustration-of-travel_2686674.htm’>Designed by Freepik</a>. <a href=”https://www.freepik.com/free-photos-vectors/watercolor”>Watercolor vector created by Pikisuperstar – Freepik.com</a>. Image found at freepik.com.

My overall impression:

When I first brought up A Little Romance in 2022, I said the story seemed like a light-hearted version of Rich Kids. While there is some truth to this statement, my initial claim now seems a bit too simplistic. Both Rich Kids and A Little Romance revolve around adolescent characters relying on themselves and each other to navigate the world around them. But unlike Rich Kids, there’s a hopeful optimism in A Little Romance! Because the story emphasizes Daniel and Lauren’s Italian journey, the audience witnesses Lauren and Daniel’s relationship grow throughout the story. The acting performances and screenwriting allow these characters to share meaningful and heart-felt moments together. Strong messages and themes are sprinkled into the script, from the importance of being your authentic self to having the courage to achieve dreams. Though it took a little over an hour for the journey to begin, A Little Romance is a delightful, pleasant film! A significant point the film makes is how adventure can come in different forms. The 1979 picture can also cause viewers to think about what it truly means to be a “legend”.

Overall score: 7.3 out of 10

Have you seen A Little Romance? What does the term “adventure movie” mean to you? Let me know in the comment section!

Have fun at the movies!

Sally Silverscreen

Word on the Street: Hallmark Mystery’s ‘Mystery Island’ Series Receives Two More Chapters

On May 1, 2025 By 18cinemalane3 Comments

In the 2020s, mystery series have become less common on Hallmark Mystery. Murder, She Baked/Hannah Swensen, Curious Caterer, and Signed, Sealed, Delivered are, currently, the only mystery series with three or more movies. But Hallmark looks to be changing that by adding two more films to the series known as Mystery Island. According to IMDB (Internet Movie Data Base), Mystery Island: Play for Keeps and Mystery Island: House Rules have been given official pages. On the page for Mystery Island: Play for Keeps, June 5^th is the scheduled release date. The official page for Mystery Island: House Rules simply states the film is “completed”. The synopsis for both movies is the following:

Mystery Island: Play for Keeps: “Mystery Island hosts a corporate retreat with a guest being Emilia’s ex-fiancé. Old feelings become complicated, tensions run high, and allegations arise when a guest is found dead.”

Mystery Island: House Rules: Mystery Island success raises plans of expansion, and the Island team meets their Mystery Mountain counterparts for a friendly murder game, but the fun ends with a murder in plain sight”.

Magnifying glass image created by Freepik at freepik.com. <a href=’https://www.freepik.com/free-vector/magnifying-glass-with-fingerprint-in-flat-style_2034684.htm’>Designed by Freepik</a>. <a href=”https://www.freepik.com/free-photos-vectors/flat”>Flat vector created by Freepik</a>. Image found at freepik.com.

Just in 2025 alone, some of Hallmark’s creative choices have been questionable. Their decision to create two more films in the Mystery Island series is one of them. If you look at the IMDB page for Mystery Island, you’ll see most of the reviews are negative. The sequel, Mystery Island: Winner Takes All, received fewer reviews on IMDB. This indicates less viewers watched the second movie. However, all of these reviews are negative. With that said, it makes me wonder why Hallmark would give so much time, energy, and resources to a series that has gotten decreasing viewership numbers and consistently poor reviews?

Travel suitcase image created by Freepik at freepik.com. <a href=’https://www.freepik.com/free-vector/water-color-travel-bag-background_1177013.htm’>Designed by Freepik</a>. <a href=”https://www.freepik.com/free-photos-vectors/background”>Background vector created by Freepik</a>. Image found at freepik.com.

What are your thoughts on this piece of movie news? Are you looking forward to the continuation of the Mystery Island series? Let me know in the comment section!

Have fun at the movies!

Sally Silverscreen

The IMDB pages referenced in this article:

Mystery Island: Play for Keeps: https://www.imdb.com/title/tt36415104/?ref_=tt_mlt_t_11

Mystery Island: House Rules: https://www.imdb.com/title/tt36415198/?ref_=tt_mlt_i_1

Attention Eurovision Televoters, Princ Needs Your Help!

On April 29, 2025 By 18cinemalaneLeave a comment

Picture of Princ found in the video, ‘🇷🇸 PRINC – MILA (INTERVIEW) @ Madrid PrePartyES 2025 // Serbia Eurovision 2025′ by the Youtube channel, eurovoxx. Serbian Flag image created by ibrandify at Freepik Image by ibrandify on Freepik

Last August, I wrote an editorial explaining why Stefan “Princ” Zdravković should appear on the television show, Miss Scarlet and The Duke. In that editorial, I referenced Auggie’s precept from R.J. Palacio’s book, Wonder, where Auggie states, “Everyone deserves a standing ovation because we all overcometh the world”. But I also said in order for a “standing ovation” to take place, the person in question has to want it. Throughout this Eurovision season, Princ has put the time, talent, effort, and energy into striving toward that “standing ovation”. After being chosen to represent Serbia in the song contest, Princ released a music video of the re-vamped version of his song, “Mila”. Within two weeks, that video received 1.1 million views, affording Princ a place in the top 20 of Eurovision’s Top 20 Most Watched videos of March 2025. Since then, Princ’s music video has received 1.8 million views in a month. On Eurovision’s Youtube channel, you’ll find Princ’s French cover of “Mila” and his cover of Måns Zelmerlöw’s song, “Heroes”, with both videos receiving positive reception. Princ has also received positive reception for his Eurovision pre-party performances at Eurovision In Concert, London Eurovision Party, and Madrid PrePartyES. He was even given a desirable running order spot in Eurovision’s second semi-final, competing toward the end of the semi-final at number 15. However, these achievements do not guarantee a coveted place in the Grand Final. This is where you come in. If you’re planning on or thinking about participating in televoting during Eurovision’s second semi-final, please consider giving Princ as many televotes as possible. You would not only help Princ take one step closer to receiving his “standing ovation”, you would also help Princ take one step closer to making his childhood vision come true, as he said in an interview, “I actually visualized myself winning Eurovision as a kid”. I truly believe Princ is a stronger representative than some people give him credit for. So, please consider giving Princ (number 15) televotes on May 15^th!

Here’s a list of videos and articles to check out if you want to support Princ:

From the Youtube channel of Eurovision Song Contest:

— How the winner is decided – Eurovision Song Contest 2025 | #Eurovision2025

— Princ – Heroes (Måns Zelmerlöw Cover) | Serbia 🇷🇸 | #EurovisionALBM

— Princ – Mila (French Version) | Serbia 🇷🇸 | #EurovisionALBM

— Princ – Mila | Serbia 🇷🇸 | Official Music Video | #Eurovision2025

— Meet Princ (Short)

— Eurovision Top 20 Most Watched: March 2025 | #Eurovision2025

From the Youtube channel of wiwbloggs:

— 🇷🇸 Princ “Mila” (Serbia 2025) – LIVE @ London Eurovision Party 2025

— 🇷🇸 Princ “Mila” INTERVIEW | London Eurovision Party 2025

— 🇷🇸 Princ – “Mila” (Serbia 2025) – LIVE @ Eurovision In Concert 2025

From the Youtube channel of eurovoxx:

— 🇷🇸 PRINC – MILA (INTERVIEW) @ Madrid PrePartyES 2025 // Serbia Eurovision 2025

— 🇷🇸 PRINC – MILA (INTERVIEW) // London Eurovision Party 2025 // Serbia Eurovision 2025

Articles:

eurovision.tv/story/song-fit-princ

🇷🇸 Serbia: Who Is Princ?

Take 3: Signed, Sealed, Delivered: To the Moon and Back Review

On April 27, 2025January 3, 2026 By 18cinemalane18 Comments

Lately, I’ve been reading books for the Eurovisionathon readathon as well as conducting research for my upcoming Sally Solves a Mystery article. But I wasn’t going to miss the opportunity to review Signed, Sealed, Delivered: To the Moon and Back! Leading up to the premiere of Hallmark’s newest presentation, I was going to write a Word on the Street story sharing my thoughts on the film’s trailer. This did not happen because Hallmark gave the movie almost nonexistent marketing. On Hallmark Channel’s website, there were no promotional photos, trailer, or official poster presented for Signed, Sealed, Delivered: To the Moon and Back. Only three images on IMDB (Internet Movie Data Base) make up any promotional campaign this film received. Even on social media, the only people I saw talking about the film were POstables (fans of the Signed, Sealed, Delivered series). Despite this minimalistic marketing approach, I was looking forward to Signed, Sealed, Delivered: To the Moon and Back. That’s because I was curious to see who would portray the rock star character and how that character would impact the mystery.

*Signed, Sealed, Delivered: To the Moon and Back* promotional image created by Moon Water Productions, Muse Entertainment Enterprises, and Hallmark Channel

Things I liked about the film:

Correcting the predecessor’s mistakes: When I reviewed Signed, Sealed, Delivered: A Tale of Three Letters last year, one of my criticisms was Shane and Oliver’s relationship problems. In my review, I said the couple’s woes got to the point where they didn’t seem compatible like in previous films. It looks like Signed, Sealed, Delivered‘s creative team took this criticism seriously, as Oliver and Shane appeared more compatible in Signed, Sealed, Delivered: To the Moon and Back! Throughout the movie, the couple are shown genuinely supporting and loving one another, making their moments together feel reminiscent of past installments. Even when Oliver is facing a bit of an identity crisis, Shane never gives up on her husband. She cheers Oliver on from the (figurative) sidelines and lets Oliver deal with his situation on his own terms. Because Signed, Sealed, Delivered’s creative team placed more emphasis on the loving interactions between Shane and Oliver, they fixed a mistake from the previous chapter!

A humble celebrity: In some Hallmark productions, the story will include a public figure (either a celebrity or royalty) who needs to learn humility by the end of the movie. But in Signed, Sealed, Delivered: To the Moon and Back, that celebrity was already humble. Nate Holloway is the rock star I mentioned in this review’s introduction. When the POstables turn to Nate for help with their letter-related mystery, he is reluctant to give away any information. This is because he’s protecting a close friend who chooses privacy over fame. Though he eventually shares his friend’s identity with Oliver and Shane, Nate reveals how his friend has written all his hit songs. However, Nate also shares how he sets aside money for his friend, showing acknowledgement and appreciation for his musical success. Through the screenwriting and William Wilder’s performance, Nate Holloway was such a pleasant surprise in Signed, Sealed, Delivered: To the Moon and Back!

A mystery within a mystery: The mystery of Signed, Sealed, Delivered: To the Moon and Back involves the POstables tracking down the sender of a mysterious letter. Not only do the POstables turn to Nate for help, they go on a multi-state road trip in order to solve the mystery. While the story continues, however, another mystery emerges from the initial, previously stated one. This second mystery isn’t revealed until about the film’s half-way point. I liked this creative decision of presenting a mystery within a mystery! The way Signed, Sealed, Delivered’s creative team incorporated these mysteries into their script allows the audience to stay invested in the movie, as well as maintain intrigue!

Music and stage image created by Topntp26 at freepik.com. <a href=’https://www.freepik.com/free-photo/music-sign_1179519.htm’>Designed by Topntp26</a>. <a href=”https://www.freepik.com/free-photos-vectors/vintage”>Vintage image created by Topntp26 – Freepik.com</a>. Image found at freepik.com.

What I didn’t like about the film:

Forced humor: Back in February, when I reviewed Reality Bites: A Hannah Swensen Mystery, I talked about how the film’s humor felt forced. In that review, I said Delores’ antics and gimmicks came across as too over-the-top and silly. I also said Delores’ interactions with other characters felt like they belonged in a sit-com. The creative team behind Signed, Sealed, Delivered: To the Moon and Back made this same mistake; presenting humor that feels forced. One example is when Oliver, Shane, Rita, and Norman meet up for brunch. During this gathering, the friends discuss who is having a baby. This discussion quickly turns into miscommunications about who is pregnant and how many babies they are having. The scene itself is drawn out to about a little over a minute, lasting longer than necessary. The conversation sounded very repetitive as well. Norman, Rita, Shane, and Oliver talked in an animated fashion, making their discussion feel over-the-top. What I just described sounded like a scene out of a sit-com. All it was missing was a laugh track.

Far-fetched resolutions: Hallmark’s presentations, more often than not, make their audience suspend a certain amount of disbelief. Sometimes, this suspension of disbelief can be so great, the audience can’t take that movie seriously or believably. This happened on a few occasions in Signed, Sealed, Delivered: To the Moon and Back. At the Dead Letter Office, Norman is trying to figure out the identity of the letter’s sender. A few seconds after analyzing the handwriting, Norman is able to conclude certain aspects of the sender’s identity, such as their age. While I’m aware the Signed, Sealed, Delivered series is a fictionalized version of postal detective work, I found the discovery of Norman’s resolution too far-fetched. I couldn’t take Signed, Sealed, Delivered: To the Moon and Back seriously because of moments like the one I brought up.

An emphasis on Oliver’s subplot: Signed, Sealed, Delivered: To the Moon and Back features a main plot (the mystery with its accompanying mystery that I mentioned earlier in this review) and two subplots. These subplots are the preparations for a fundraising gala and Oliver receiving a box from his biological father. The creative team behind the 2025 film decided to place the most emphasis on Oliver’s subplot. Personally, I found this subplot the least interesting part of the movie. No new information is revealed from this box, especially for viewers who have consistently followed the Signed, Sealed, Delivered series. The box itself and Oliver’s response to it have very little connection to the other plots in the script. Any time Oliver’s subplot came up in the movie, I wanted the story to go back to showing the characters either planning the gala or solving the mystery. The box did not present a strong conflict that needed to be resolved by the end of the story.

Envelope with hearts image created by Freepik at freepik.com. <a href=’https://www.freepik.com/free-photo/hearts-and-pink-envelope-for-mothers-day_1950691.htm’>Designed by Freepik</a>. <a href=”https://www.freepik.com/free-photos-vectors/love”>Love image created by Freepik</a>. Image found at freepik.com.

My overall impression:

While Shane, Rita, Oliver, and Norman discuss the mysterious letter in Signed, Sealed, Delivered: To the Moon and Back, Rita says the letter itself says so much and nothing at all at the same time. Rita’s statement is the best way I can describe this newest chapter in the Signed, Sealed, Delivered series. On the one hand, there are aspects of the film I liked. The movie improved upon some of the predecessor’s flaws, like making Oliver and Shane’s relationship seem more compatible. I also liked how Nate was a humbler celebrity and how the story contained a mystery within a mystery. On the other hand, several creative errors held the film back from becoming a stronger picture. The creative team behind Signed, Sealed, Delivered: To the Moon and Back chose to emphasize Oliver’s subplot, which I found the least interesting part of the story. Far-fetched resolutions and forced humor prevented me from taking the movie seriously. Looking back on the Signed, Sealed, Delivered films from this year and last year, I think the series should have stayed in retirement. These titles lack the cozy charm that made the series stand out from others on Hallmark Mystery. How can we expect more films from Signed, Sealed, Delivered when Hallmark provided very little marketing for this movie?

Overall score: 6 out of 10

Have you seen Signed, Sealed, Delivered: To the Moon and Back? Do you think the Signed, Sealed, Delivered series will continue? Please tell me in the comment section!

Have fun at the movies!

Sally Silverscreen