Movie Reviews

Hallmark Movie Review: “Love On The Right Course”

Published

2 years ago

January 7, 2024

Hallmark Movie Review: “Love On The Right Course”

There will never be a day in my life where you will be able to convince me that golf isn’t boring. I get the sport behind it. I get the sport behind it and I appreciate how hard it is and how hard people who play work at it. It’s just not for me (and yes, I am prepared for some of you being mad that I had the nerve to say that).

That being said, I will move past the golf part of this movie and focus on the growth, the dealing with grief, the bond that family has and the way to move forward while honoring the past.

Yes, this is me and I am able to find the lesson and story that I can relate to in most anything. Blame TGIF and Boy Meets World for showing me how to do just that.

Love On The Right Course isn’t a bad movie, but it’s definitely one that made me more sad than anything. It’s a story about golf – sure. But it’s more about moving on from the grief of Whitney’s Mom passing away. And well, that just made me sad. The truth is, as much as I wanted to love this movie, it was just the wrong course for me.

Rating: 2.5 out of 5.

WHAT IT’S ABOUT: Whitney (Newbrough) is a professional golfer who is struggling to make the cut to qualify for her next tournament in Europe. Concerned that she might not be able to continue competing on a professional level, she returns to Budapest and the golf course her family owns there to reevaluate her career. She finds that her father (Roy McCrerey, “Blood & Gold”), who has grown reclusive since losing his wife two years ago, has handed over day-to-day operations of the club to a laid-back, new golf pro, Daniel (Rosner). Daniel’s casual style is at odds with Whitney’s, and it throws her off her game, literally. As the pair get to know each other, their perspective changes and a romance develops. But, when Whitney’s former trainer returns and pushes Daniel out, it might just cost Whitney her best shot at love.

Here we are and lets talk about it –

OUR THOUGHTS

Individually, we love Ashley Newbrough and Marcus Rosner. Together… well, not so much. The two don’t have on screen chemistry and that’s just my opinion – and one that i will die on a hill for. I get that Hallmark keeps wanting to put them together, but to the casting gods, I beg… either give me a movie I can tolerate with them or please stop casting them together.

Now, look – Ashley Newbrough and Marcus Rosner both are great actors. They truly are. But maybe it’s that they aren’t being given great scripts to work with. Maybe it’s that they don’t have the onscreen chemistry that I would want. Maybe it’s the setting. I am not sure.

But I just watch them on the screen and I can’t get into the movie. It doesn’t matter what it is, I just pull out my phone and get lost in TikTok and just listening, because I can’t.

Now with Love On The Right Course, Whitney is a professional golfer who returns home to Budapest after loosing a tournament. When she makes it home, she realizes that everything isn’t as she expected. Her father isn’t doing well – he’s considering selling the club that her family owns. Everything for him is a memory of his wife and that’s too much for him to deal with. Being alone is easier and it protects him.

He never goes into the office, and lets his golf pro, Daniel, is running things. Daniel is headstrong and innovative, but he’s also very much just bleh. Like he doesn’t seem interesting, but hey, to Whitney he is. She’s intrigued by him and knows that she can learn something from him.

That being said though, while I do get the lessons that she learns with golf and remembering why she loved the sport, I can’t help but not care. I can’t help but not care because I have no interest in the characters as a whole. The only part of the story that is capturing me is the part where Whitney wants to take care of her Dad and honor her Mom.

With her Moms passing two years prior, Whitney had never hired a new coach for herself. She missed her Mom and her Mom passing, destroyed her. She knows that she needs to move forward, but like her Dad, she’s stuck. While her Dad wants to sell the resort and move forward, she reminds him that no matter where he goes, the memories will still be there.

While I do love the aspects of her helping her father, guiding him out of his depression and making him re-enter the world. I loved the way she supported her Dad and he supported her.

While I wanted to love the movie, I just couldn’t. The pacing, the holes in the story, the script, and the casting pulled me out. I know that Hallmark can do so much better. Can someone remind them of that?

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Movie Reviews

Maxime Giroux – ‘In Cold Light’ movie review

Published

4 hours ago

March 4, 2026

Press Room

Maxime Giroux – ‘In Cold Light’ movie review

(Credits: Far Out / Elevation Pictures)

Wed 4 March 2026 9:30, UK

Maxime Giroux – ‘In Cold Light’

The action is relentless in the complex thriller In Cold Light, a tense combination of crime and fugitive tale and family drama. It is the third feature and first English language film by Maxime Giroux, best known for a very different kind of film, the critically acclaimed 2014 drama Felix & Meira.

The tension and high energy of In Cold Light almost overwhelm the film, but are relieved, barely, by moments of character development and introspection that keep the audience pulling for the restrained and outwardly cold main character.

Speaking at the film’s Canadian premiere, director Giroux admitted he found creating an action film a challenge. Part of his approach was using very minimal dialogue, especially for the central character, letting the action speak for itself, and allowing silence to intensify suspense. Giroux has said he likes the lack of dialogue and speaks highly of the importance of silence in cinema; he prefers using “physical aspects of communication” in his films.

Young Ava Bly (Maika Monroe) is a competent and businesslike drug dealer, working in partnership with her brother Tom (Jesse Irving) and a small team. As the film begins, Ava has just been released from a brief prison sentence. She is hoping to return to her former position, but her brother’s associates consider her a risk due to her recent incarceration. While she works to re-establish herself, a shocking encounter with a corrupt police officer sends Ava’s life into chaos and forces her to go on the run.

Ava’s fugitive experience introduces a new character, to whom Ava turns for help: her father, Will Bly, played by Troy Kotsur, known for his excellent performance in CODA. Their first interaction is handled in a fascinating way, as Will is deaf and the two communicate through sign language. This, of course, provides another form of the silent interaction the director prefers; he explained that much of the father-daughter interaction was rewritten with the actor in mind. Their conflict is nicely expressed through a scene in which their initial conversation is intermittently cut off by a faulty light which goes out periodically, making communication through sign momentarily impossible, nicely expressing the rift between father and daughter.

As Ava continues to evade danger, her escape becomes complicated by new information, placing her in a painful dilemma. We gradually learn more about Ava, her background, and her character through occasional flashbacks and glimpses of her dreams. The plot becomes more complex and more poignant, and gains features of a mystery as well as an action tale, as she is pressed to choose from among equally unacceptable alternatives.

The climax of her efforts to protect both herself and those close to her comes to a head as she meets with the director of a rival drug gang. Veteran actress Helen Hunt is perfect in the minor but significant role of Claire, the rival drug lord, who plays odd mind games with Ava in an intriguing psychological fencing match. It’s an unusual scene, in which Ava’s personality is made clearer, and Claire’s understated dominance and casual speech do not quite conceal the threat she represents.

The frantic pace and emotional turmoil are enhanced by the camera work, which tends to focus tightly on Ava, and by a harsh, minimal musical score that sets the tone without distracting from the action. Giroux chose to shoot the film in Super 60; he describes digital as “too perfect” for the look he was going for, and since “Ava is rough,” the film portrays her better. The director describes the entire movie as “rough,” in fact, and deliberately chose a dark, washed-out look for much of the footage, occasionally using light and colour, in the form of fireworks, lightning, or a colourful carnival, to both relieve and emphasise the darkness.

The dynamic, intense story holds the attention in spite of the lengthy, sometimes repetitive chase scenes and subdued dialogue. Ava’s predicament, and the difficult decisions she is forced to make, are made surprisingly relatable, from the initial disaster that starts the action to the surprising flash-forward that concludes the film, on as high a note as the situation could allow. Fans of action movies will definitely enjoy this one.

Movie Reviews

Jeremy Schuetze’s ‘ANACORETA’ (2022) – Movie Review – PopHorror

Published

16 hours ago

March 4, 2026

Press Room

Jeremy Schuetze’s ‘ANACORETA’ (2022) – Movie Review – PopHorror

PopHorror had the chance to check out Anacoreta (2022) ahead of its streaming release! Does this meta-horror flick provide interesting story telling or is it a confusing mess.

Let’s have a look…

Synopsis

A group of friends heads to a secluded woodland cabin for a weekend getaway, planning to film an experimental horror movie. As the shoot progresses, the project begins to fall apart—until a real and terrifying presence emerges from the darkness.

Anacoreta is directed by Jeremy Schuetze. It was written by Jeremy Schuetze and Matt Visser. The film stars Antonia Thomas (Bagman 2024), Jesse Stanley (Raf 2019), Jeremy Schuetze (Jennifer’s Body 2009), and Matt Visser (A Lot Like Christmas 2021)

My Thoughts

Antonia Thomas delivered an outstanding performance as the female lead in Anacoreta. It was remarkable to watch her convey such a wide range of emotions with authenticity and depth. I was continually impressed by her ability to switch seamlessly between different dialects. I absolutely loved her delivery of the dialogue of telling The Scorpion and the Frog fable.

Anacoreta employs a distinctive, meta-horror style of storytelling. The narrative follows a group of friends creating a “scripted reality” horror film, and as the plot unfolds, the boundary between their staged production and their actual lives becomes increasingly blurred. This was interesting, but at the same time frustrating as a viewer.

Check out Anacoreta on Prime Video and let us know your thoughts!

Movie Reviews

‘Hoppers’ review: Pixar’s best original movie in years

Published

1 day ago

March 3, 2026

Press Room

‘Hoppers’ review: Pixar’s best original movie in years

“So it’s like Avatar?” one character quips in Disney and Pixar’s “Hoppers,” bluntly translating the film’s high-concept premise for the sugar-fueled kids in the audience. And yes, the comparison is apt. The story follows a nature-obsessed teenage girl who manages to quite literally “hop” her consciousness into the body of a robotic beaver in order to spark an animal rebellion against a greedy mayor determined to bulldoze their forest for a freeway.

It’s a clever hook. The kind of big, elastic idea Pixar used to make look effortless. “Hoppers” does not reach the rarified air of “Up,” “Wall-E,” or “Inside Out,” but after a stretch of uneven originals like “Turning Red” and “Luca,” and outright misfires such as “Elemental” and “Elio,” this feels like a genuine course correction. The environmental messaging is clear without being preachy, the animals are irresistibly anthropomorphized, and the studio’s once-signature emotional sincerity is back in sturdy form.

Pixar can afford to gamble on originals when it has a guaranteed cash cow like this summer’s “Toy Story 5” waiting in the wings, but “Hoppers” earns its place in the catalogue. Director Daniel Chong crafts a warm, heartfelt film that occasionally strains under the weight of its own ambition, yet remains grounded by character and theme. Its meditation on conservation and animal displacement feels timely in a way that never tips into after-school-special territory.

We meet Mabel, voiced with bright conviction by Piper Curda, as a child liberating her classroom pets and returning them to the wild. Her moral compass is shaped by her grandmother, voiced by Karen Huie, who imparts wisdom about nature’s sanctity. True to both Pixar tradition and the broader Disney playbook, this beacon of guidance does not survive past the opening act. Loss, after all, is Pixar’s favorite inciting incident.

Years later, Mabel is still fighting the good fight, squaring off against the smarmy Mayor Jerry, voiced with slick menace by Jon Hamm. He plans to flatten the glade where Mabel and her grandmother once found solace. Mabel’s resistance feels noble but futile. The animals have already mysteriously vanished, the machinery is coming, and her last-ditch plan involves luring a beaver back to the abandoned forest in hopes of jumpstarting the ecosystem.

That’s when the film gleefully pivots into mad-scientist territory. At Beaverton University, Mabel discovers her professor, voiced by Kathy Najimy, has developed a device that can project human consciousness into synthetic animals. The process, dubbed “hopping,” allows Mabel to inhabit a robotic beaver and infiltrate the forest from within. It’s an inspired escalation that keeps the film buoyant even when the plotting grows predictable.

Her new posse includes King George, a lovably beaver voiced by Bobby Moynihan with distinct Bing Bong energy; a sharp-tongued bear voiced by Melissa Villaseñor; a regal bird king voiced by the late Isiah Whitlock Jr.; and a fish queen voiced by Ego Nwodim. As is often the case with Pixar, even in its lesser efforts, the world-building is meticulous. The animal hierarchy, complete with titles like “paw of the king,” is layered with jokes that play for kids while slyly winking at adults.

The plot ultimately follows a familiar template. Scrappy underdog rallies community. Corporate villain twirls metaphorical mustache. Emotional third-act sacrifice looms. At times, you can feel the machinery working a little too cleanly. Pixar, and Disney at large, has grown increasingly reliant on sequels and established IP, and “Hoppers” does not radically reinvent the wheel. In an animated landscape where films like “K-Pop: Demon Hunters,” “Across the Spider-Verse,” and “Goat” are pushing stylistic and narrative boundaries, being safe and sturdy may not always be enough.

And yet, there is something refreshing about a Pixar original that remembers how to tug at the heart without squeezing it dry. “Hoppers” is playful, peppered with cheeky needle drops, and builds to a sweet emotional catharsis that may or may not have left this critic a little misty-eyed. It feels earnest and engaged.

“Hoppers” may not be top-tier Pixar. But it is a welcome return to form, a reminder that the studio still knows how to marry big ideas with a bigger heart.

HOPPERS opens in theaters Friday, March 6th.