Movie Reviews
Author of books that inspired 'Reagan' movie reflects on wild disparity between critic, audience reviews
EXCLUSIVE – Author Paul Kengor said the “disparity” between the Rotten Tomatoes critics’ score and audience score for the movie “Reagan” was comparable to President Reagan’s landslide presidential win in 1980 as he recalled his books’ whirlwind ride to the theaters.
The year’s best reviewed films have been assembled, and the film, “Reagan,” has one of the biggest disparities in recent years — currently sitting at a 98% audience score on Rotten Tomatoes. That’s starkly different from the dismal critics’ score of 18%.
A writer for The Boston Globe called it an “interminable hagiography” and “a wretched 2½ -hour bore that’s uncurious about its subject.” A Washington Post critic called it “worthless” as a piece of history, while the Daily Beast called it the worst movie of the year.
Kengor said the disparity between the audience and critics’ reviews reminded him of the 1980 presidential election, which Reagan won in a landslide against Democratic incumbent President Jimmy Carter.
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Dennis Quaid plays President Ronald Reagan in the 2024 biopic.
“Yeah, the disparity is really profound,” Kengor said of the reviews. “In fact, it reminds me of what happened in 1984 when Ronald Reagan won 49 out of 50 states, which is probably about 98% of the states. If you do the math on this, 49 of 50 states won about 60% of the vote, won the Electoral College 525 to 13. But you had these liberal critics who didn’t like him, and they were very much in the minority. And I tell my students today, I tell other people, when you meet some liberal professor who is slamming Ronald Reagan in the classroom, just say, ‘You know, professor, but how did the guy win 49 out of 50 states?’ Right? I mean, he was liked, he was always liked.”
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Kengor further argued that many of those critics didn’t have the right perspective because they were born after Reagan’s presidency.
“A lot of those 18% – now some are fair-minded critics who didn’t like this or that about the film artistically … But a lot of them, when you read the reviews, they’re clearly partisan. They’re clearly ideological. And it struck me that – I looked up some of the reviewers,” he said. “They were born after the Reagan years. And I think they just find it hard to imagine that there was a time in America when everybody liked the president. Even liberals who didn’t vote for him liked him. They liked him as a person.”
Quaid said that Reagan endured difficulties similar to current American struggles prior to becoming president. (ShowBiz Direct)
The journey of “Reagan” to theaters began when filmmaker Mark Joseph called Kengor one day from Rock River, Illinois, where Reagan saved 77 lives when he served as a lifeguard, saying he was interested in turning “God and Ronald Reagan” into a movie. Kengor was interested in the idea, but suggested his book “The Crusader: Ronald Reagan and the Fall of Communism,” would make a more compelling film.
But it wasn’t until 20 years later that it would finally hit theaters.
A key factor in finally getting the movie off the ground, Kengor explained, was securing Dennis Quaid as the lead.
“You know, we had three or four really big names promising at different points – and any of which would have been quite good,” he said. “And then at one point, Dennis Quaid was available, interested. Mark Joseph reached out to him. They took him to the Reagan Ranch in Santa Barbara. And there they put him in the cowboy hat and then the denim kind of jacket, Reagan Ranch jacket.”
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Kengor said a friend who had been previously critical of their movie process called him to say congratulations, and it was a “done deal.” That’s when Kengor said he realized how the industry worked. But the author said he was blown away by Quaid’s performance.
“I can’t imagine that any of them would have been better than Dennis Quaid,” he said. “I really just marvel at how he nailed Reagan – the voice, the face, even the passion, the enthusiasm. All along, the trickiest thing was going to be to get someone to play Reagan who didn’t look like he was doing a parody of Reagan.”
Many moviegoers agreed with Kengor’s assessment, according to the high audience score.
(Original Caption) Washington: President Reagan joins Defense Secretary Caspar Weinberger (R), and others as they laugh at a remark made by Vice president George Bush, (L), prior to a Cabinet meeting 11/13. This is the first Cabinet meeting since President Reagan’s reelection. (Getty)
Kengor said he couldn’t wrap his head around how many liberals call for “unity,” yet when a movie comes along that does just that, they don’t want it.
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“So we give them this really positive movie about unity, which is what they claim they want,” he said.
“And they hate it, they hate it. They call it a hagiography, a movie about a saint. Well, it has a happy ending. We won the Cold War. We didn’t have nuclear war,” he said. “So a lot of the critics in those very low Rotten Tomatoes reviews, they just seem incredulous at the very idea that there was a time in America like this.”
Fox News Digital’s Hannah Lambert contributed to this report.
DAN WEBSTER:
It may now seem like ancient history, especially to younger listeners, but it was only 26 years ago when the streets of Seattle were filled with protesters, police and—ultimately—scenes of what ended up looking like pure chaos.
It is those scenes—put together to form a portrait of what would become known as the “Battle of Seattle” —that documentary filmmaker Ian Bell captures in his powerful documentary feature WTO/99.
We’ve seen any number of documentaries over the decades that report on every kind of social and cultural event from rock concerts to war. And the majority of them follow a typical format: archival footage blended with interviews, both with participants and with experts who provide an informational, often intellectual, perspective.
WTO/99 is something different. Like The Perfect Neighbor, a 2026 Oscar-nominated documentary feature, Bell’s film consists of what could be called found footage. What he has done is amass a series of news reports and personal video recordings into an hour-and-42-minute collection of individual scenes, mostly focused on a several-block area of downtown Seattle.
That is where a meeting of the WTO, the World Trade Organization, was set to be held between Nov. 30 and Dec. 3, 1999. Delegates from around the world planned to negotiate trade agreements (what else?) at the Washington State Convention and Trade Center.
Months before the meeting, however, a loose coalition of groups—including NGOs, labor unions, student organizations and various others—began their own series of meetings. Their objective was to form ways to protest not just the WTO but, to some of them, the whole idea of a world order they saw as a threat to the economic independence of individual countries.
Bell’s film doesn’t provide much context for all this. What we mostly see are individuals arguing their points of view as they prepare to stop the delegates from even entering the convention center. Meanwhile, Seattle authorities such as then-Mayor Paul Schell and then-Police Chief Norm Stamper—with brief appearances by Gov. Gary Locke and King County Executive Ron Sims—discuss counter measures, with Schell eventually imposing a curfew.
That decision comes, though, after what Bell’s film shows is a peaceful protest evolving into a street fight between people parading and chanting, others chained together and splinter groups intent on smashing the storefronts of businesses owned by what they see as corporate criminals. One intense scene involves a young woman begging those breaking windows to stop and asking them why they’re resorting to violence. In response a lone voice yells their reasoning: “Self-defense.”
Even more intense, though, are the actions of the Seattle police. We see officers using pepper spray, tear gas, flash grenades and other “non-lethal” means such as firing rubber pellets into the crowd. In one scene, a uniformed guy—not identified as a police officer but definitely part of the security crowd, which included National Guardsmen—is shown kicking a guy in the crotch.
The media, too, can’t avoid criticism. Though we see broadcast reporters trying to capture what was happening—with some affected like everybody else by the tear gas that filled the streets like a winter fog—the reports they air seem sketchy, as if they’re doctors trying to diagnose a serious illness by focusing on individual cells. And the images they capture tend to highlight the violence over the well-meaning actions of the vast majority of protesters.
Reactions to what Bell has put on the screen are bound to vary, based on each viewer’s personal politics. Bell revels his own stance by choosing selectively from among thousands of hours of video coverage to form the narrative he feels best captures what happened those two decades-and-change ago.
If nothing else, WTO/99 does reveal a more comprehensive picture of what happened than we got at the time. And, too, it should prepare us for the future. The way this country is going, we’re bound to see a lot more of the same.
Call it the “Battle for America.”
For Spokane Public Radio, I’m Dan Webster.
——
Movies 101 host Dan Webster is the senior film critic for Spokane Public Radio.
NEW YORK (OSV News) – As its title suggests, “Scream 7” (Paramount) is the latest extension of a long-lived horror franchise, one that’s currently approaching its 30th anniversary on screen. Since each chapter of this slasher saga has been a bloodsoaked mess, the series’ longevity will strike moviegoers of sense as inexplicable.
Yet the slog continues. While the previous film in the sequence shifted the action from California to New York, this second installment, following a 2022 quasi-reboot, settles on a Midwestern locale and reintroduces us to the series’ original protagonist, Sidney Evans, nee Prescott (Neve Campbell).
Having aged out of the adolescent demographic on whom the various murderers who have donned the Ghostface mask that serves as these films’ dubious trademark over the years seem to prefer to prey, Sidney comes equipped with a teen daughter, Tatum (Isabel May). Will Tatum prove as resourceful in evading the unwanted attentions of Ghostface as Mom has?
On the way to answering that question, a clutch of colorless minor characters fall victim to the killer, who sometimes gets — according to his or her lights — creative. Thus one is quite literally made to spill her guts, while another ends up skewered on a barroom’s pointy beer tap.
Through it all, director Kevin Williamson and his co-writer Guy Busick try to peddle a theme of female empowerment in the face of mortal danger. They also take a stab, as it were, at constructing a plotline about intergenerational family tensions. When not jarring viewers with grisly images, however, they’re only likely to lull them into a stupor.
The film contains excessive gory violence, including disembowelment and impaling, underage drinking, mature topics, a couple of profanities, several milder oaths, pervasive rough and considerable crude language and occasional crass expressions. The OSV News classification is O — morally offensive. The Motion Picture Association rating is R — restricted. Under 17 requires accompanying parent or adult guardian.
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Copyright © 2026 OSV News
By ABBIE BERNSTEIN / Staff Writer
Posted: March 8th, 2026 / 08:00 PM
THE BRIDE movie poster | ©2026 Warner Bros.
Rating: R
Stars: Jessie Buckley, Christian Bale, Annette Bening, Jake Gyllenhaal, Peter Sarsgaard, Penelope Cruz, Jeannie Berlin, Zlatko Burić
Writer: Maggie Gyllenhaal, based on characters created by Mary Shelley and William Hurlbut and John Balderston
Director: Maggie Gyllenhaal
Distributor: Warner Bros.
Release Date: March 6, 2026
“THE BRIDE!” (as with the recent “WUTHERING HEIGHTS,” the quotation marks are part of the title) is awash in homages, and not just the ones we might reasonably expect in a movie that takes its most obvious inspiration from 1935’s BRIDE OF FRANKENSTEIN.
There’s that, of course, plus its source, Mary Shelley’s 1818 novel FRANKENSTEIN; OR THE MODERN PROMETHEUS, and its sober 1931 film adaptation FRANKENSTEIN. But there are also big nods to wilder takes on the legend, including YOUNG FRANKENSTEIN and THE ROCKY HORROR PICTURE SHOW and even movies that have nothing to do with FRANKENSTEIN, like BONNIE AND CLYDE.
Writer/director Maggie Gyllenhaal casts a wide net in metaphors and ideas and looks. Sometimes “THE BRIDE!” is a comedy, sometimes it’s a crime drama, sometimes it’s a love story, occasionally, it’s even a musical.
Mary Shelley (Jessie Buckley) narrates the tale to us from beyond the grave. She is haughty and naughty, intoxicated by verbiage and her own literary genius. She is going to tell us a story, she says, that she didn’t even dare imagine while alive.
We’re in 1930s Chicago, where a young escort (also Buckley) is having a really awful evening out at a fancy restaurant with some of her peers and a bunch of crass gangsters. Shelley dubs the woman “Ida” and takes possession of her, causing her to speak and act in ways that get her escorted outside. There she stumbles and takes a fatal fall.
The two goons who were with Ida are happy to describe her tumble as the result of their intentional actions to their horrible gangster boss (Zlatko Burić). Ida was suspected of talking to the cops.
Around the same time, Frankenstein’s creation (Christian Bale) – let’s just call him “Frank,” like everybody else does – comes to Chicago to seek out the groundbreaking scientist Dr. Euphronious (Annette Bening), whose published works he has read.
Frank wants the doctor to create a companion for him. His appearance is unusual, but the most alarming injuries are covered by clothing, so he’s not as extreme-looking as, say, Boris Karloff in the role. This isn’t about sex, Frank explains when Euphronious asks why he doesn’t just hire a prostitute. After over a century of loneliness, he seeks a soulmate, and he is sure this can only be achieved by reviving a corpse.
So, Euphronious and Frank dig up the grave that turns out to belong to Ida (we never do learn how they know it belongs to a soulmate candidate as opposed to a shot-and-dumped male gangster). Euphronius revives her. Ida remembers how to walk and talk, but not who she is or what happened, so Frank and the doc tell her she’s been in an accident.
Even without Ida’s beauty, Frank is already devoted to the very notion of her. A more accommodating suitor would be hard to find. Frank has another passion, the musical films of Ronnie Reed (Jake Gyllenhaal, the filmmaker’s brother), a Fred Astaire-like star. Frank imagines himself in the midst of those dance routines, and we get some more within “THE BRIDE!”’s “real” action.
One thing leads to another, Frank and Ida go on the run, leaving a trail of bodies in their wake. They are pursued all over the country. Among those seeking them are sad-eyed police detective Jake Wiles (Peter Sarsgaard) and his secretary Myrna Mallow (Penélope Cruz), who’s better at this whole crime-solving business than he is.
It’s all very kaleidoscopic and energetic, occasionally impressive and sometimes very funny. Bening as the frazzled, worldly Euphronious has some great moments. Buckley, currently and justifiably Oscar-nominated leading performance in HAMNET, juggles the very unalike personas of Mary and Ida with impact.
Oddly, Bale underplays Frank. We get that he is trying his hardest not to spook Ida (or anyone else), but it seems like he should have a bit more spark. Cruz, going for a snappy ‘30s working woman, has her own style that works.
But in addition to being entertaining and eye-catching, Gyllenhaal has a message that gets very muddled. This is less because it’s so familiar by now that it feels a little redundant, and more because a crucial part of the set-up collides head-on with the feminist slant.
Ida seeks to be her own person, but she is literally bodily controlled by Mary Shelley, who puts her creation in danger with her outbursts. This may help get Ida out of the clutches of the mob, but it is possession, the aftereffects of which the character understandably finds confusing and upsetting.
If Gyllenhaal wanted to discuss or dramatize the clash between what Mary, as a woman, is doing to this other woman, that would make sense, but it seems we’re just meant to somehow overlook this while being immersed in how men control women. The resulting cognitive dissonance adds another layer to a movie that already has more than it can comfortably service.
Additionally, when Mary has one of her outbursts while inhabiting Ida, the plot comes to a screeching halt until she’s finished. Many viewers will wish Mary would stop declaiming and just let Ida be herself.
“THE BRIDE!” succeeds in being trippy and some of it is memorable. By the end, though, it is more disjointed than even a movie about experiments and a character made up of multiple people’s body parts ought to be.
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