Black Mirror (Season 7)

Creator: Charlie Brooker
Starring: Rashida Jones, Chris O' Dowd, Tracee Ellis Ross, Siena Kelly, Rosy McEwen, Ben Bailey Smith, Issa Rae, Awkwafina, Emma Corrin, Harriet Walter, Peter Capaldi, Lewis Gribben, Will Poulter, Paul Giamatti, Patsy Ferran, Cristin Milioti, Jesse Plemons, Jimmi Simpson, Billy Magnussen
Original Airdate: 2025

★★★ (out of ★★★★)  

If there's a recurring complaint about Charlie Brooker's British sci-fi anthology series Black Mirror, it's that its dark edge has gradually dulled since moving to Netflix in 2016 and becoming more "Americanized." And while there may be some truth to that, the bigger concern has been consistency, especially amid a revolving door of talent in front and behind the camera. With viewers often unsure when or if another season is coming, apathy can also set in, all while its critics continue to accuse Brooker of presenting repetitive variations on a similar theme. 

There's no denying that the dangers of modern technology provide its writers with endlessly fertile ground to draw from. But if the series always adheres to a comfortable formula (tech + humans = bad), veering too close or far from it has proved risky, especially when its most memorable entries tend to hit that sweet spot in between. This season continues the tradition, irritating those put off by the series' length and pacing while still appeasing fans enthralled with its Twilight Zone-inspired storytelling.

Because of its anthology format, none of the stories directly connect, but the show's been around long enough to have its own self contained universe, full of Easter eggs, callbacks, and tiny details tied to previous episodes. Now they've taken this further with a full blown sequel and spin-off that expand on what came before, while another cribs from the series' most beloved entry, suffering in comparison. The smartest entries always put the human element first, establishing its characters before their lives are upended by a twist that reveals who they really are. As usual, it's a trip worth taking, so long as you prepare yourself for a mixed bag of high and lows.

"Common People"  ★★½ (out of ★★★★)

When schoolteacher Amanda (Rashida Jones) falls into a coma with a brain tumor in director Aly Pankiw's depressing "Common People," her welder husband Mike (Chris O' Dowd) is approached by "Rivermind" representative Gaynor (Tracee Ellis Ross). If he signs on the dotted line for a monthly fee, the company can wirelessly transfer Amanda's lost brain function from its servers, giving her a second chance at life. But after she awakens and seemingly resumes normal activity, complications arise that require frequent subscription upgrades and more money to fix. And it's cash they just don't have, leading Mike to take desperate measures.

Though lacking surprises, this has its moments, mainly involving the procedure's wacky side effects and dire consequences related to Mike's perverse method for raising funds. A timely, damning indictment of the healthcare system, this bludgeons us with a message many already agree with, even if it doesn't offer a profound statement beyond watching the couple continuously suffer. The performances help pull it through, reminding us that the talented Jones should be doing more dramatic work while O' Dowd delivers as the anguished, supportive husband. You'll see the last scene coming from a mile away, but at least it's the right ending.

"Bête Noire" ★★★½ (out of ★★★★) 

The more unpredictable "Bête Noire" focuses on ace chocolate company food scientist Maria (Siena Kelly), who's stunned to see her old high school classmate Verity (Rosy McEwan) at headquarters before being hired as the newest assistant. But when Maria starts getting blamed for mistakes around the office, she suspects the quirky, eccentric Verity is behind it. Only there's a lot more to their history than we know, including a shocking secret that has Maria fighting to keep her job and sanity.

Skillfully directed by Toby Haynes, this contains a promising premise shrouded in mystery while doubling as a character study that explores the gap between perception and reality. After teasing a clever parable about gaslighting or maybe even some kind of Mandela Effect, the story's tech angle kicks in when the rug's pulled out in an intriguing third act twist. Featuring a handful of clever tiny details and two wildly entertaining performances, it's probably the most underappreciated of the season, likely to hold up on repeated watches. It takes a big swing toward the end that isn't completely earned, but the toxic interpersonal relationship keeps viewers guessing throughout its tight, well constructed 49 minutes. 

 

"Hotel Reverie" ★★½ (out of ★★★★)

Hotel Reverie features a promising premise that just doesn't reach its full potential despite the noblest intentions. When A-list star Brandy Friday (Issa Rae) unknowingly signs on to an AI-based remake of the classic film Hotel Reverie for ReDream productions, her consciousness gets uploaded into the black and white romantic drama. But after falling in love with a digital recreation of doomed actress Dorothy Chambers (Emma Corrin), sticking to the script becomes difficult, especially as an increasingly self aware Dorothy opens her eyes and heart to a world beyond the movie. Unfortunately, Brandy's desire for them to be together doesn't just threaten the film, but both their existences. 

Those classifying this as a poor man's "San Junipero" may actually be on to something beyond the obvious plot similarities of a romance defying constraints of time and space. It's almost as if there's a deliberate attempt by Brooker and director Haolu Wang an to recreate the magic of that Emmy winning episode, which is ironic for a script that revolves entirely around a remake. But Brooker's constant callbacks to that episode have actually done the series a disservice by setting other entries up for failure. This feels like one of them.

The real highlight is Emma Corrin's frighteningly believable turn as a golden age Hollywood star with personal demons who must face a sudden, shocking truth about herself. Issa Rae impresses less, though some of that can be attributed to playing a character already out of her element. They also lack chemistry, even if the bits within the film's AI universe do visually dazzle, providing a glimpse into what many hope won't be the future of movies. While marginally successful as a cautionary tale, sluggish pacing keeps the story at an arm's length. If nothing else, it's worth catching for Corrin's performance.

 

"Plaything" ★★★ (out of ★★★★)

An unofficial sequel to Black Mirror's 2018 interactive film Banderswitch, "Plaything" takes place in 2034, as manic, disheveled shoplifter Cameron Walker (Peter Capaldi) is linked by police to the murder of an unidentified victim decades ago. While interrogated, he opens up about the crime, which took place when the former PC Zone writer was invited by genius programmer Colin Ritman (Will Poulter) to review Tuckersoft's latest simulation game, "Thronglets." Ahead of its time, the game features no conflict, instead requiring the player to raise digital, sentient creatures. But when an obsessive Cameron becomes overly devoted to caring for them, tragedy strikes, causing him to go off the deep end.

Director David Slade keeps it simple, to the point that seeing Banderswitch is hardly a prerequisite to understanding or appreciating what unfolds. There's also a refreshingly direct throughline about human cruelty that may temporarily silence detractors who feel the series has lost its bite, with this episode coming closest to capturing the pessimistic world view of its early installments. And as good as Capaldi is in his unhinged turn, Lewis Gribbon equals him as younger Cameron, showing us how this awkward, supercharged bundle of nerves gets sucked into the addictive world of Colin's groundbreaking creation.  But it's really the juxtaposition of these innocent Minion-like creatures alongside an eventual eruption of violence that gives this episode its resonance. The implications are larger and wider reaching than the story's scale would suggest, leaving us with more to consider after the credits roll.

 

"Eulogy" ★★★★ (out of ★★★★)

Deeply human and personal, "Eulogy" transfixes from start to finish, as lonely, middle-aged Phillip (Paul Giamatti) receives news from a company called "Eulogy" that his ex-girlfriend Carol (Hazel Monaghan) recently died. Despite having not seen her in decades, he's asked to contribute to the memorial via a kit that enables users to virtually step into their old photos. 

While taken through this process by The Guide (Patsy Ferran), an irritated, resistant Phillip realizes that he defaced all pictures of Carol after their break-up, adversely affecting memory retrieval. But as he walks through these photos, the pain and joy he experienced comes flooding back, forcing him to confront the actual truth about their relationship.

The concept of nostalgia therapy has been explored in Black Mirror a few times before, but never to this extent, and rarely as powerfully. Carrying thematic echoes of Serling's classic Twilight Zone episode "Walking Distance," there's no funny business here, as the episode's technological hook organically intertwines with its narrative to enhance this extremely relatable story of missed opportunity and regret. A touching treatise on the lies people tell themselves to make sense of their past choices, the episode isn't just Phillip's personal therapy session, but a virtual time capsule of sorts. 

Visually, directors Chris Barrett and Luke Taylor make the most of their photographic locations with Phillip physically traveling from one memory to the next, aided by an increasingly opinionated guide who extracts new truths from him at each stop. What results is something akin to a puzzle, with small clues gradually pushing the protagonist to drop his guard and acknowledge he wasn't exactly an innocent victim. It also shows how memories can positively and negatively co-exist in our minds, frequently clouding facts and obscuring objectivity. 

Giamatti hits all these heartbreaking beats with just the right mix of despair and bitterness, invoking genuine empathy for a cranky, irascible man who gets a front row seat to his biggest mistake. And as the dryly bemused guide with a secret, Farran makes for an ideal onscreen counterpart. The big twist is a slam dunk not just because it makes sense, but stands in stark contrast to the gloom and doom that's defined the series, this time using the technology to bring our protagonist closer to a more authentic version of himself and his past.

 

"USS Callister: Into Infinity" ★★★½ (out of ★★★★)  

Exciting and briskly paced, "USS Callister: Into Infinity" picks up after Callister Inc. employee Nanette (Cristin Milioti) discovered that deceased company CTO Robert Daly (Jesse Plemons) was harvesting her and other co-workers' DNA to create digital clones for his game. Now with sleazy CEO James Walton (Jimmi Simpson) being questioned by a reporter about Daly's technology, he and Nanette enter "Infinity" to help. But while Nanette's game avatar struggles to ensure her crew's survival by stealing space credits, a dark secret at the heart of Daly's creation puts them in further peril.  

The biggest surprise isn't how Brooker and returning director Toby Haynes seamlessly continue where Season 4's highly acclaimed, Star Trek-inspired space adventure left off, but that every original participant returns 7 years later. Of all the episodes, this is easily the most fun, immediately alleviating all concerns about remembering the previous chapter's details with a brief synopsis. But even those who missed the original should still find themselves immersed without confusion, investing in these quirky characters as the action shifts between the real world and this multiplayer universe.  

Milioti and Simpson entertainingly carry this in dual roles as the already blurry line separating game from reality is further obliterated by Daly, whose technological reach extends from beyond the grave. And while Plemons' screen time is less, he adds such a different dimension to his toxic, antisocial programmer it may as well be another part entirely. And in some ways it is, with Nanette and her crew finding that out the hard way, despite her best efforts to obtain a different result. Comedic and suspenseful, it's hour and a half flies by, raising the stakes while reaping the benefits of not being as heavy a watch as the other episodes. It's a worthy follow-up that not only builds on the original, but frequently surpasses it.                                 

The Little Mermaid (2023)

Director: Rob Marshall
Starring: Halle Bailey, Jonah Hauer-King, Melissa McCarthy, Javier Bardem, Daveed Diggs, Jacob Tremblay, Awkwafina, Noma Dumezweni, Art Malik, Jessica Alexander
Running Time: 135 min.
Rating: PG

★★ (out of ★★★★)

Of all the recent live-action Disney reboots, The Little Mermaid always had the potential for the most to go wrong. Unlike the reimaginings of Cinderella, Dumbo, Beauty and the Beast, The Lion King and Aladdin, much of its story takes place underwater, making a daunting assignment that much more difficult. And whether or not you feel those titles are purely cash grabs, few would argue the weakest aspect in each are the frequently underwhelming CGI effects. 

With a project so dependent on its visuals, director Rob Marshall can't really use the beloved source material for cover like the rest. That's apparent within the first few minutes, as the film's clunky look distracts from the few things it gets right. While every Disney entry will have a rabidly dedicated adult fanbase ready to pounce on any changes made to their childhood favorite, the problem seems bigger this time, since its entirely possible kids will be just as bored.

Ariel (Halle Bailey), a mermaid princess and youngest daughter of merpeople ruler King Triton (Javier Bardem) longs to visit the surface world despite his objections stemming from the murder of Ariel's mother by a human. While Triton enlists trusted advisor Sebastian the crab (Daveed Diggs) to keep an eye on her, his evil sea witch sister Ursula (Melissa McCarthy) has other plans, scheming to exploit her niece and brother's dissension to gain control of Atlantica. 

That opportunity arises when Prince Eric's (Jonah Hauer-King) ship crashes, prompting Ariel to venture above water and bring him to shore, saving his life with her siren singing voice. Desperate to see the prince again but fearful of her father's reaction, Ariel accepts a shady deal from Ursula that gives her the chance for a reunion, even as she must sacrifice her beautiful voice for human legs to finally join the other world she's desperately longed to be a part of. 

Given his big screen musical experience, Marshall wasn't necessarily the wrong choice to helm this and there's more than enough catchy, show-stopping numbers from the animated feature to believe the magic would carry over. Only it doesn't, mostly due to the effects work and art direction in the underwater scenes. To be fair, there aren't many films of any genre that truly capture such a setting, but this attempt is so jarring it's difficult to focus on anything else, as the actors appear supernaturally transposed into sea surroundings that look dark and inauthentic.  

The action does eventually shift above water with the impressive fiery shipwreck sequence, only to head back under for more bickering between Triton and Ariel. Despite a couple of changes that help with character motivations (like a new sibling dynamic between Triton and Ursula), writer David Magee fulfills the plot obligations of Hans Christian Andersen's fairy tale and the '89 version, leaving the rest up to how Marshall translate those elements to live action. 

Supporting creatures Sebastian, Flounder and Scuttle generally retain their personalities from the original, but despite energetic voice work from Diggs, Tremblay and Awkwafina in the roles, only Sebastian gets enough screen time to make an imprint. The character's popular "Under the Sea" is an expected highlight, but even that's shortchanged by the tune's rearrangement and a flurry of cringy visuals.

Halle Bailey radiates Ariel's sincerity and innocence in the title role, boasting a tremendous singing voice when successfully belting out Alan Menken favorites like "Part of Your World" and "For the First Time." Those songs also don't undergo the lyrical revisionism that plagues "Poor Unfortunate Souls" and "Kiss The Girl," as certain lines are replaced with supposedly tamer and less offensive lyrics. While not the outright atrocity some have suggested, it does draw attention to a non-existent issue, which is the last thing Disney needs right now. 

When Ursula's curse renders Ariel mute, it robs Bailey of her biggest weapon for a long stretch and leaves the heavy lifting to a bland Jonah Hauer-King. Even by Disney's interchangeable generic prince standards, Eric hardly registers, as he and Ariel's scenes never ignite the sparks necessary to hammer home her massive sacrifice. 

Thankfully, Melissa McCarthy's comically sinister take on Ursula channels the tone of Pat Carroll's classic vocal performance while Javier Bardem subtly dials into Triton's overprotective motivations. And though her appearance is extremely brief, Jessica Alexander makes a strong impression as Vanessa, Ursula's human alter ego disguise.

Crawling to the finish line at an unnecessary two and a half hours, dissenters up in arms over the casting should have instead directed their ire toward the effects and pacing, not to mention just how little fun this is to sit through. Its second half exceeds the first, but even with the same music, characters and story beats as the animated classic, there's a lifeless feeling to the proceedings. Once we arrive at a key turning point halfway through, it already seems like checkout time, confirming this adaptation is more of a chore than the delight it should be. 

Renfield

Director: Chris McKay
Starring: Nicholas Hoult, Nicolas Cage, Awkwafina, Ben Schwartz, Shohreh Aghdashloo, Brandon Scott Jones, Adrian Martinez, Camille Chen, Bess Rous, Jenna Kanell, James Moses Black, William Ragsdale
Running Time: 93 min.
Rating: R

★★★ (out of ★★★★)  

For many, the primary reason to see Chris McKay's horror comedy Renfield was locked into place upon discovering Nicolas Cage would be playing Dracula, donning the iconic cape previously worn by Bella Lugosi, Christopher, Lee and Frank Langella. After Universal's failed attempt at rebooting their movie monster franchise with 2017's The Mummy, casting Cage as the Prince of Darkness seems almost too perfect, as it's just the kind of character this notoriously risk-taking actor can literally and figuratively sink his teeth into. You can also picture him doing backflips reading the script, salivating at the idea of putting his own distinctive spin on a role that lends itself to the kind of weird, wild reinterpretation he specializes in.

As you'd expect, Cage doesn't disappoint, and though it won't lead to big budget sequels or spin-offs, that likely wasn't the intention anyway. After all, the story's emphasis is cleverly placed on Dracula's beleaguered assistant, opting instead to administer just the right amount of Cage, whose fantastical take comes in measured, but memorable doses. The rest falls on his co-stars, who more than hold up their end by continually bringing the laughs. Working from Ryan Ridley's screenplay, McKay balances two seemingly disparate plots with very little fussiness or confusion. And in featuring some humorously exciting action sequences and impressive practical effects, it's 93 minutes seem to fly by at a breakneck pace.

After ninety years, former attorney R.M. Renfield (Nicholas Hoult) has grown tired of serving as Dracula's (Cage) loyal assistant and constantly being at his beckoned call. In exchange for bringing him master victims, he's been granted immortality by his master, gaining super speed and strength when he consumes insects. But when Dracula must recuperates from a brutal attack, the two relocate to New Orleans, as an increasingly fed up Renfield secretly joins a 12-step support group for people stuck in toxic, co-dependent relationships.

Following a warehouse massacre, Renfield finds himself in the crosshairs of Lobo crime family enforcer Teddy (Ben Schwartz), which catches the attention of hot headed N.O.P.D. officer Rebecca Quigley (Awkwafina), whose own father was killed by the Lobos. As Renfield and Rebecca form an uneasy alliance, Dracula concocts a huge plan, further manipulating his assistant. But at some point, Renfield will need to tell Rebecca about his dilemma and eventually summon the courage to break free from Dracula's control.  

While various attempts at bringing Dracula into the modern world have yielded mixed results, this takes a fresh approach by adopting Renfield's point-of-view. Without wasting time getting to business, it dives headfirst into a black-and-white opening flashback sequence that inserts its two leads into 1931's Dracula. As an early indicator of McKay's willingness to take creative leaps and make some unexpected choices, it works, providing a memorable first look at Cage in the part. He still makes this Dracula outrageously his own, but seeing him incorporated into the classic film underlines how good a fit he is, resembling Lugosi at points and even lifting mannerisms from other past portrayals (with a little Quasimodo thrown in).

As Renfield, Hoult plays straight man to Cage's ghoulish creation, faring especially well when his character yearns for a more normal life outside of pleasing his abusive master, which the film's self-help spoof really hammers home. Awkwafina's casting brings an entirely different dynamic to the type of role usually occupied by a safer, less polarizing choice. The gamble pays off, as she shoots off some sarcastically clever one liners while exterminating the bad guys alongside Hoult, with whom she shares some good chemistry. And the always entertaining Ben Schwartz steals his scenes as the loud mouthed, self-proclaimed hitman who wimpily takes orders from his mob boss mom Bellafrancesca (Shohreh Aghdashloo).  

This can all lead to one place, with Renfield seeing the light and attempting to get out from under Dracula's thumb. For Rebecca, it's about cleaning up the streets and avenging her dad's murder. Both intersect in a gory, violent climax that's as comically action packed as everything preceding it. Cage's performance may not be the only thing worth talking about, but it's high on the list, aided in part by the comparable craziness surrounding him. Undeniably odd and not for everyone, Renfield isn't perfect, but fans of the genre will probably have a tough time resisting its unique charms.