Netflix’s newest hit mini-series, “The Queen’s Gambit,” was released Oct. 23, but is just now rising in popularity. An unlikely smash hit, the show has captured audiences through the life of Beth Harmon and her learned mastery of one of the world’s oldest games: chess.

Based on Walter Tevis’ 1983 novel of the same name, “The Queen’s Gambit,” set in the United States during the vibrant ‘60s, opens to a young Beth Harmon, orphaned at age nine and taken in by an all-girls orphanage. She meets Mr. Shaibel, the orphanage’s janitor, who teaches her the game of chess and discovers her natural talent for the game. The rest of the series follows Beth on her rise to fame as she joins the professional circuit and goes up against some of the greatest chess players of the time and around the world. But her journey isn’t easy. Riddled with addiction and self-discovery, Beth finds herself in the spotlight while struggling to hold herself together. 

Anya Taylor-Joy, a new face to most, takes the lead as Beth, with her performance backed by an ensemble of actors. Thomas Brodie-Sangster (Benny Watts), well known for his roles in “Game of Thrones” and “The Maze Runner” and Harry Melling, Dudley from the Harry Potter series, take important roles as two well-established chess players. They are at first Beth’s competition but later become her friends. Bill Camp plays Mr. Shaibel and Moses Ingram plays Jolene, Beth’s greatest friends during her time in the orphanage. The series was led by director and creator Scott Frank, known for his work on the 2017 mini-series “Godless,” as well as co-creator Allan Scott.

Having masterful actors is one thing, but without beautifully crafted characters, there’s not much the actors can do. Luckily, “The Queen’s Gambit” has both. Beth is a wonderful heroine to watch on screen. She’s real and lovable, leaving you rooting for her through every win and sharing in her devastation after each loss. Taylor-Joy brings the character to life through the screen, every move perfectly planned to craft Beth Harmon into someone you feel as if you could share a cup of tea with. Benny Watts, my personal favorite character, is a U.S. chess star and an important factor in Beth’s life. Benny is an interesting character, his wild-west influenced persona making him hard to figure out. But he quickly becomes lovable, and his place in the show one that couldn’t have been taken by any other character or played by any other actor. 

Given that the series is only seven episodes but spans most of Beth’s young life into her twenties, the storyline is fast-moving yet doesn’t feel rushed. The beginning episodes capture Beth’s first interactions with the world of chess, and their pace feels slower than the later episodes. Once Beth reaches her teenage years, every episode features beautifully shot chess matches while also developing the characters, Beth especially. Each episode feels as if it is building up to something until the last episode, arguably the best in the entire series. It feels like a masterclass, every scene adding to the tension of the story with heartwarming sequences sprinkled in the middle. While I would recommend the entire series, I would say that if you’re not sure how to feel about it in the middle, holding out until the last episode makes the seven hours spent watching completely worth it. 

While mostly set in the U.S. in various cities as Beth travels for tournaments, the series also features time in other countries such as France and Mexico and ultimately ends in Russia. Although, the series was actually filmed both in Berlin and Ontario. Each location is beautifully shot and the aesthetic of the ‘60s is prevalent throughout. As far as costume design, Beth sports an array of beautiful outfits to make you fall in love with the fashion of the era. Beth is an aesthetic of her own with fire red hair and a closet full of immaculate dresses. From beginning to end, the series is one to watch if for nothing else but the fashion and the scenery.

While the series follows Beth as the main character, chess feels like a character of its own. When I started “The Queen’s Gambit” I knew absolutely nothing about chess, so I was worried that I would have a hard time following the story. However, my worries were for nothing. The chess matches are extremely satisfying and fun to watch as the actors are actually playing the matches. There have been many movies and shows throughout the years featuring chess, but for some reason, this show proved its ability to re-energize interest in the game. After the release of the series, sales of chess sets increased. Even I found myself digging up our old chess boards and nagging my dad to teach me to play. Let’s just say, the show makes the game look much easier to learn than it really is.

Released by Netflix in late September, “The Boys in the Band” features a birthday party gathering in 1968 New York, following a group of friends over the evening as a drunken party game reveals unspoken feelings and hidden truths. 

“The Boys in the Band” has a long history. It originally debuted as an off-broadway play, written by Mart Crowley, in 1968. The play – which successfully put gay men’s lives onstage in a time when the world was not fully willing to accept them – was adapted to a film in 1970. For its 50th anniversary in 2018, the play was revived on Broadway, winning the Tony Award for Best Revival of a Play. The 2020 feature film showcases the same cast as the 2018 revival, with Ryan Murphy taking the role of producer and Crowly as a screenwriter. 

The cast is comprised of exclusively openly-gay actors: Jim Parsons – known for his role as Sheldon Cooper in “The Big Bang Theory” – takes the lead as Michael. Known previously for his various roles in “American Horror Story,” Zachary Quinto is Harold, the man for whom the birthday party is being thrown. 

The rest of the ensemble cast features Matt Bomer as Donald, who has moved from the city as he is undergoing psychoanalysis; Andrew Rannells as Larry, the commercial artist who prefers having multiple partners; Charlie Carver as Cowboy, a hustler and one of Harold’s birthday presents; Robin de Jesus as Emory, an effeminate interior designer; Brian Hutchison as Alan, one of Michael’s college friends; Michael Benjamin Washington as Bernard, a librarian and Tuc Watkins as Hank, Larry’s boyfriend who is going through a divorce with his wife. 

The eclectic cast of characters makes for an interesting party as watchers discover more about the characters and their relationships throughout the evening. The acting is masterful, and each man brings something new and important to the story as the night progresses. Without the expertise of the actors, this movie would have fallen flat as it is extremely character-driven. That being said, no matter the skill of the actors, the characters must be immaculately written, especially for a story that could pass as a character study, as all of the characters are complex enough that they could each have their turn at center stage.

The script feels like a masterpiece, every character’s lines perfectly encapsulating their essence. True to its roots as a play, some characters have what could pass as monologues. This movie would be easy for one to feel bored by. All of its action takes place in one apartment, and without a script as masterful as this, it would have been boring. Luckily, the actors are excellent at delivering the lines written for their respective, intriguing characters.

Besides the actors on screen, the film is beautiful. The colors of the film, especially those of the bright clothes worn by the characters, are wonderful to look at – they bring life to the screen and help to form the characters. The camera work is excellent, with nine characters to feature, most shots show more than one character. Each man gets a fair share of screentime, never allowing the viewer to forget about the other men in the room even as one is being featured at the time. It is a beautiful film, every shot coming together colorfully, and is easy on the eyes, maintaining interest for the viewers as the film progresses.

The music choice of the film, sometimes a lesser aspect of films, especially those of realistic fiction, is something that caught my attention. Most of the film has no background music. Instead, the movie is filled with the character’s voices, background noise of rain and a ticking clock. This choice is one that was perfect for the film, creating an intense atmosphere, one that is probably imitating the tension of the theatrical productions. At the end of the film, a song starts up, Chet Baker’s “Alone Together,” a song that perfectly encapsulates the end of the film and adds another layer to the now somber atmosphere. 

This film is definitely one to watch and one of the best Netflix has produced recently. It’s intriguing, character-driven and intense throughout the evening it portrays. The characters are immaculate, and the actors portray them expertly while the film itself is wonderful to look at. Overall, Netflix has done masterful work with this film and is definitely one I would recommend.

One of Netflix’s newest films, “Rebecca,” is an adaptation of Daphne du Maurier’s eponymous novel and follows in the footsteps of the 1940 critically acclaimed adaptation of “Rebecca,” directed by Alfred Hitchcock. 

A romantic thriller, “Rebecca” follows a young newlywed as she moves into her husband’s estate, only to find herself in the shadow of his first wife, Rebecca, whose legacy still remains. The new Mrs. de Winter tries to unravel the mystery of her husband Maxim de Winter’s secrets – especially those shrouding the story being Rebecca’s death.

“Rebecca” had big shoes to fill, as Hitchcock’s film was nominated for nine Academy Awards, winning both Best Cinematography and Best Picture. Directed by Ben Wheatly, the new adaptation features the faces of Lily James – known for her role as Cinderella – and Armie Hammer – Oliver from “Call Me by Your Name” –  as the de Winters. However, even with the appearances from James and Hammer, “Rebecca” seems to fall flat compared to the previous Hitchcock adaptation.

The film is a beautiful one. With much of the film set in Maxim’s estate, Manderly, each frame is one of visual perfection, the well developed aesthetic never wavering. James makes a beautiful Mrs. de Winter with everything from her clothes to her makeup carefully forming the perfect image of a young bride. The estate itself is one of grand proportions, each shot providing a visual feast to the watcher, especially those with views of the coastline. 

Besides the aesthetic, though, there is not much I would boast for on behalf of this film. The acting, especially that done by James and Hammer, did its best to keep the movie going forward. The characters of the film, especially the Gatsby-esque Maxim, feel as if they are intended to be more complex than they come across. The storyline is supposed to be an intricate one but the face-value characters cause it to lose some complexity. 

The film ended up feeling disjointed, with many of the important moments falling somewhat flat. There were also motifs in the movie that made a single appearance, their significance lost in the lack of resolve. By the conclusion of the film, I felt let down, none of the big plot points delivering the punches they were set up to. 

The story of “Rebecca” has the potential to be one of great intrigue, but this adaptation struggled to deliver on that front. By the end of the film I wasn’t sure if I just wasn’t understanding the significant twists or if I had missed something. Come to find out, the film was simply unable to deliver on its possibility to be a fantastic romantic, psychological thriller.

While I enjoyed the visuals of the film, it would be hard for me to genuinely recommend this film without tacking on a critique. It was a valiant attempt at a fantastic film, but its essence was lost under the plot falling short and the simplified characters. If you watch films for the visual experience, “Rebecca” is a great Friday night choice. But if you want your thrillers to live up to their genre, this isn’t the film to choose. 

Frequently described as gothic noir, “The Devil All the Time,” Antonio Campos’ new film based on Donald Ray Pollock’s novel of the same name, is now streaming on Netflix. The film examines themes of religion, evil and the abuse of power in a rural southern town in Ohio called Knockemstiff and includes many twists, betrayals and acts of violence. 

“The Devil All the Time” follows the narrated events and dark fates of several characters with their lives converging throughout. We watch as Arvin (Tom Holland) fights through each of his setbacks while still trying to fight against the damage from the trauma of the past. The other characters including a charismatic evangelical preacher, a corrupt local sheriff and a devious married couple complicate the storylines, throwing in their own twists by their actions. 

After watching the trailer for the first time, I was blown away by just how dark this film looked, and I was excited. I’ve always enjoyed morally gray characters and a good plot twist here and there. Not to mention, the accents and some of the quotes on full display caught my attention immediately. But after watching, I would say: the movie was good, but don’t expect it to be your next favorite that makes you think for days afterward. 

If you’re looking for a thriller, as this movie has sometimes been categorized, this wouldn’t be the movie I recommend. The storyline felt like it stayed on the surface of what it was capable of, and it was a little choppy in places. The film begins with several storylines and continues to add morally gray characters as it goes. The underlying themes are apparent throughout the entire film, especially the manipulative aspect of organized religion. While I knew I signed up for a violent, twisting story, I was left a little disappointed. It was enjoyable throughout. After a while, though, it wasn’t as complex as I had expected but more of a character study – which I did thoroughly enjoy. 

While the film has been gaining some hype as Netflix’s newest thriller it has also been gaining attention for the ensemble cast. The film is chock full of familiar faces with Tom Holland, known for “Spider-Man: Homecoming” and Robert Pattinson, known for “Twilight,” at the front of the action. Their performances are backed by the likes of Sebastian Stan, from “Captain America,” Bill Skarsgård from “It,” Riley Keough from “Mad Max: Fury Road,” Jason Clarke from “Zero Dark Thirty”, Mia Wasikowska from “Alice in Wonderland,” Eliza Scanlen from “Little Women” and Haley Bennett from “The Girl on the Train.” There is no doubt the acting was the standout point of the film with Holland and Pattinson showcasing amazing talent not only with their physical work but with their dedication to deep southern accents – my personal favorite part of the film.

But other than the acting and the characters, what reason is there to watch this film? Well, visually, it was beautiful. Shot on 35 mm film, cinematographer Lol Crawley BSC was able to remind the audience of the beauty of good old-fashioned film. The film was under-exposed to bring greater detail to the shadows, a brilliant choice in a movie with large portions set outdoors. The set and costume design was also immaculate, every piece creating the aesthetic of Knockemstiff with exemplary detail. 

While this movie was great to watch for the acting and pure beauty of the film and artistic direction, it fell flat in the complex thriller category. Before I had watched, I expected this to be a movie on my mind for the foreseeable future, but by the end, I felt like I had just watched over two hours of some bad people doing some bad things and that was about it. For fans of the actors starring in this film, it’s definitely a good watch if for nothing else but the acting. For those who make a point to watch all of the latest Netflix films just to be able to join the conversation the next time movies are brought up, this isn’t one to skip, although you should be aware of the intense violence. But remember, sometimes when the trailer looks like this film is going to be one of the best, the trailer normally ends up being better.