The premise

The two actors play next-door neighbours whose lives become interlinked with guilt, tragedy, and manipulations. The premise has it all: campiness, costumes, and a spiral of melodrama. But alas, the result is a movie too sunlit, too heavy-handed, and a bit too serious for its own good.

Celine (Anne Hathaway) and Alice (Jessica Chastain) are suburban housewives who become the best of friends, understanding each other’s dreams and moods like long-lost sisters. Alice is holding together well considering how delicate her condition was at one point, and Celine provides her able support- two women who share the joys and worries of motherhood. Their pitch-perfect lives come crashing down with the shocking death of Celine’s son Max (Baylen D Bielitz), who slips and falls from his home’s balcony above. Alice blames herself, and Celine can no longer stand to face her.

This devastating loss tears apart the domestic idyll of Celine and Alice’s lives. Celine’s husband Damian (Josh Charles) takes to the bottle, and their relationship gets a little worse every passing day. Her depression threatens to ruin the façade that the neighbours try to pull in the months after, even as Alice cannot seem to understand how to save a friend.

What works

Alice has her own anxieties along the way, which become more real as she realizes that Celine might be plotting something way more sinister behind those empty stares. Her husband Simon (Anders Danielsen Lie) does not believe her. Is she daydreaming? Can this be real?

Mother’s Instinct has so much potential to be one of those campy, highly entertaining yet morbid psychodrama of the year that make for a perfect repeat watch. However, the telling lacks nuance and a keen eye for character. The tone, often punctuated with brightly lit frames of pastel-coloured outfits, rings decidedly off to pull this melodrama to its pulpiest potential.

Final thoughts

Jessica Chastain is wonderful in the rather thankless part and makes Alice’s fragility her greatest weapon. She is matched beautifully by Hathaway’s razor-sharp assessment of Celine—a woman slowly losing a sense of herself. One wishes they had the chance to go more theatrical with these roles; these women had all the elements to go for a Joan Crawford-Bette Davis-like dirt-slinging. However, it lacks the killer instinct of a Hitchcockian thriller.

Nevertheless, Mother’s Instinct manages to be a willingly safe melodrama that settles its dust without much trouble.

Mother’s Instinct is now available to watch on Lionsgate Play.

On a recent Saturday night on Sunset Boulevard, a pair of black 1940s low-riders guided the diverse, sold-out crowd into the Comedy Store. Cypress Hill hung out in the green room. Los Angeles photographer and director Estevan Oriol oversaw six cameras and the taping of George Perez’s debut hour special, “Misunderstood,” presented by Foos Gone Wild.

“There were no fights,” Perez enthuses. “And,” with the mark of a successful Perez show traditionally measured in beer sales, “they sold out of 805s, Coors Lights and Peronis!”

Originally from Orange County (“the Republican L.A.,” he calls it), Perez’s material combines deeply personal narrative with sociopolitical insight. Before releasing “Misunderstood” in 2025, he headlines New Year’s Eve at the two-year-old Stand Up Comedy Club. He’s already working on new material for the occasion.

“That club has my culture all around it,” he says of the Bellflower venue. “Mexicans walk there; they don’t even drive. It’s by houses, apartments, by downtown, and every time I go there, it sells out. And I don’t even do Friday and Saturday. I do Tuesdays and Wednesdays, and I love that club. I love the crowd. It’s dark and comics like to hang out.”

In Orange, Perez adored Cheech and Chong and was joking for his family by age 13. Later, he kept his construction co-workers cracking up. A girlfriend dragged him to an underground Wednesday comedy show at a Fullerton club called Rio. He recalls the warm-up comedians on the show being pretty corny. Toward the end when a headliner put his roasting skills against anyone in the crowd, Perez took the challenge.

“I went up there, I beat him, and I got the itch that day,” he recalls. “Then the next day, I quit construction.”

The show was hosted by Edwin San Juan (“SlantEd Comedy”), who mistook Perez for a ringer. The two remain close to this day. Perez recently bought a swap meet bootleg DVD of the 2001 evening labeled, “George Perez’s first time doing comedy.” Within eight months, he made his television debut on “LATV Live,” the primetime flagship series of L.A.’s first bilingual station.

Early grinding involved “the craziest s—,” including shows for 30 people at tweaker houses where his cousin sold meth and a spot called the Wild Coyote, “the Mexican Apollo” where Felipe Esparza, Gabriel Iglesias and Ralphie May hung out. He started setting up chairs and doing bringer shows at Casa Latina in Rosemead. A year later, he was hosting to 300 people every Tuesday as well as doing spots at the Hollywood Improv. Whatever the venue, Perez knew tickets had sold well when venue managers laughed, “The Coronas are done! You did your job!”

Audiences and industry reacted with surprise. “You thought [I] was going to talk about drive-bys, tortillas and lowriders and [I’m] up there talking about Shakespeare,” Perez says. He subverted stereotypes about growing up in the streets, got deep about being a young dad and discussed politics as a lifelong local.

Perez appeared on MTV, Showtime and Comedy Central before a previous version of his life caught up to him. Before comedy, he had been a gang member since seventh grade. There was vandalism, carjacking, gun charges and a steadfast refusal to walk from fights. Perez was a felon at 18, the same year his son was born.

Nearly two years later, he recalls, “The guy that I beat up sees me on MTV’s ‘Yo Mama,’ and he’s like, ‘That’s the guy that beat me up!’ ” Then the gang unit raided the strip club he was DJing at. “I fight it, I lose, and I’m in prison. There’s no more freedom of speech. So the comedian is completely gone. I’m now in survival mode.” He did three years.

Guards remembered seeing him perform at the Ontario Improv. Everyone knew he was on TV. He did perform inside sometimes, including for the warden and 500 inmates.

Most tattoos he sports today, he got as an inmate . He hid tobacco up his ass in a latex glove so he could sell it. He also saw riots, an OD, murder and fights, during one of which he lost a tooth. He continues experiencing nightmares and PTSD. When he got out in 2009, he met iPhones and his new baby daughter.

“Prison was the best thing for me; it humbled me,” he says. “There’s no more fighting. There is only using your words. It showed me discipline and being sober in there, I got to look outside myself and realize all the people that I hurt, that love me. I learned in prison when you make a mistake, you confess to it, you fix it and you grow.”

Fifteen years later, Perez’s credits include Netflix, HBO and the film “Taco Shop” with Carlos Alazraqui, Esparza and Brian Huskey. He records his first-hand “George Perez Stories” podcast and YouTube videos in a studio wallpapered with every vinyl comedy album he can find. His own January 2024 vinyl album “This Cholo Is Crazy” even featured sketch and music.

“I mean, you can’t cancel me. I went to prison for three years when my comedy was in its prime, came out and I’m doing better than I was before,” Perez said. “I’m not looking to be on a sitcom. I want to be an artistic comedian.”

(Estevan Oriol)

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Something else had happened that he didn’t address for years. “I dig deep,” he says of the impetus for “Misunderstood.” “I had a son that passed away because the babysitter left him in the tub.” He wasn’t allowed to attend services. Following three years out on parole, he tangled with cocaine. “Drugs would numb me and I wouldn’t think about my son and the bad things that have happened to me in my life, friends that I’ve lost.”

Today he continues to be more honest about past tragedies and new growth than ever. At most, there’s a little tequila now and then to celebrate. His time in prison, journeys with addiction and struggles with mental health; all of it part of Perez’s artistic expression. “I just started writing. I’m no longer up there going, ‘Latinos make some noise!’ It’s, ‘This hurts, and I have to find a way out.’ It’s personal.”

“I mean, you can’t cancel me. I went to prison for three years when my comedy was in its prime, came out and I’m doing better than I was before. I’m not looking to be on a sitcom. I want to be an artistic comedian. When someone sees me onstage, like, ‘This guy looks like me. He’s gone through the same thing I’ve gone through.’ That’s what I want to accomplish.”

Sonic the Hedgehog 3, 2024.

Directed by Jeff Fowler.
Starring Ben Schwartz, Jim Carrey, Keanu Reeves, Idris Elba, Colleen O’Shaughnessey, Krysten Ritter, James Marsden, Tika Sumpter, Alyla Browne, Lee Majdoub, Natasha Rothwell, Shemar Moore, Adam Pally, Tom Butler, James Wolk, Jorma Taccone, Cristo Fernández, and Sofia Pernas.

SYNOPSIS:

Sonic, Knuckles, and Tails reunite against a powerful new adversary, Shadow, a mysterious villain with powers unlike anything they have faced before. With their abilities outmatched, Team Sonic must seek out an unlikely alliance.

Watching Sonic the Hedgehog 3 is a vindicating experience. For years (possibly decades by now), whether it be the first two Sonic the Hedgehog movies, Bayformers, and plenty of other examples that exist out there, there has always been a firm feeling among many that if these filmmakers and studios forced aside the damn human characters and focused on who viewers are here to see (which doesn’t mean crowded, embarrassing fan service), the results would likely be worthwhile.

This might be the first live-action/CGI hybrid feature of its kind that almost entirely does away with its already established human characters (discounting staples of the game people actually want to see, such as Jim Carrey’s returning Dr. Robotnik, once again with ample screen time) and trust that there is enough compelling story within the source material to adapt sincerely that fans and nonfans alike will come away satisfied.

Granted, in the case of Sonic the Hedgehog, director Jeff Fowler (who has directed all three of these firms) didn’t have much to work with since the Sega Genesis games weren’t necessarily known for story or characterization (as the games branched out into different gameplay mechanics and evolved with the industry’s technology, so came attempts at telling stories within them), somewhat forced to bring human characters into a cinematic adaptation. However, over the previous two films, he and screenwriters Pat Casey, Josh Miller, and John Whittington have gradually and gracefully brought in more nonhuman characters to join forces with the lightning-fast Sonic (voiced by a returning Ben Schwartz), such as tech gadget specialist fox Tails (voiced by Colleen O’Shaughnessey) and brawling, literal-minded Echidna warrior Knuckles (another amusing voiceover performance from Idris Elba.)

This installment brings Shadow the Hedgehog into the mix, bursting with chaos energy and hell-bent on revenge-fueled destruction. Toss in a long-lost grandfather Robotnik (also played by Jim Carrey, opening up an entire separate dimension for his reliably impressive brand of physical comedy and strange noises), and the filmmakers now have enough characters to where the likable but also intrusive human additions can be pushed off into the background, making an appearance for cameo purposes or when it actually fits the story being told. Despite that, some human cameos don’t need to be here, aren’t funny, and feel contractually obligated more than anything. For the most part, though, everything is much more tolerable and sensible.

Aside from the prologue, when Sonic’s human best friend Tom (James Marsden) and his partner Maddie (Tika Sumpter) pop up, it’s not solely for jokes but typically to push forward a specific central theme regarding loved ones, dealing with anger, and important choices in life that directly correlate to with what Shadow (voiced by Keanu Reeves in John Wick mode, which is pleasantly fitting for the character) is going through.

Having been contained and studied for roughly 50 years upon being discovered in a meteorite crash, Shadow has escaped and is obsessed with bringing forth chaos and ensuring others feel his pain. Such torment movingly plays out in flashbacks, revealing that while he was frequently experimented on, Commander Walters’ daughter Maria (Furiosa‘s Alyla Browne, already a notable effusive presence from these two movies alone) occasionally broke him out to play and developed a close bond. She became the only bright spot in his experience on Earth, meaning that one doesn’t have to be a rocket scientist to figure out that something tragic eventually happened.

It appears that whoever is cooperating with Shadow is also utilizing whatever is left of Dr. Robotnik’s technological weapons. The mad scientist turns out to still be alive and has put on a few pounds (although not quite as heavy as the character’s depiction in the video games, but considering there are more movies to come, one presumes he might not be done gaining weight) while watching Spanish soap operas and chilling with his loyal minion Agent Stone (Lee Majdoub.) Enemies decide to join forces to discover who is behind the commotion temporarily. Agent Stone realizes that Sonic and company aren’t just a team but also friends, a dynamic he wishes he could have with Dr. Robotnik. As previously mentioned, Dr. Robotnik discovers that his grandfather (just as diabolically insane and intelligent) is alive, paving the way for another familial dynamic and some nutty off-the-wall chemistry between two Jim Carreys.

And while there are unquestionably brief stretches of horrendously delivered dramatic dialogue from supporting characters and cringe gags (dancing across a hallway filled with lasers), there is a moving-through line of heroes and villains forced to look within themselves and determine who they ultimately want to be, especially as betrayals occur. Perhaps most importantly, it leads to impressively staged action that is epic in scale, showcasing Sonic and Shadow beating each other senseless across the entire planet and into outer space, amplified by genuinely emotional stakes regarding love and loss.

With Sonic the Hedgehog 3, Jeff Fowler and company have found the right balance of humor (even Jim Carrey feels reinvigorated and energized more than in the first two, up for the goofy acting challenge presented that is right inside his slapstick wheelhouse, while also simply given mostly funnier material to work with) and frenzied action elevated by strong, vibrant CGI (this is unquestionably one of the better-looking special-effects extravaganzas of recent memory) alongside an engaging story. There is a case to be made that Shadow’s back story could have been even longer and not limited to a couple of flashbacks, but the right characters here are put front and center, which makes all the difference for a Sonic adaptation to click.

Sonic the Hedgehog 3 is aware it doesn’t always “gotta go fast,” occasionally slowing down to ensure we care about these characters while laying out its themes with affecting sincerity.

Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★

Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the Flickering Myth Reviews Editor. Check here for new reviews, follow my Twitter or Letterboxd, or email me at MetalGearSolid719@gmail.com

https://www.youtube.com/watch?v=embed/playlist