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    Movie review

    The Good Nurse flatlines as a great serial killer movie despite Oscar-winning stars

    Alex Bentley
    Oct 27, 2022 | 11:20 am

    It could be argued that American audiences and content makers have an uncomfortable obsession with serial killers. That fixation has only grown through the years with the proliferation of true crime podcasts and streaming shows, each of which has returned to mass murderers repeatedly. A relatively recent killer with an unusual method is showcased in the new Netflix film, The Good Nurse.

    But anyone expected a dark and gritty film may be disappointed, as the film shifts focus from the killer, Charlie Cullen (Eddie Redmayne), to one of his co-workers, Amy Loughren (Jessica Chastain). A nurse at Parkfield Memorial Hospital in New Jersey in 2003, she becomes quick friends with Charlie after he starts there as a night nurse.

    Their bond, one which becomes tighter after Charlie helps hide the fact that Amy has a debilitating heart condition, keeps her from understanding that Charlie is killing patients, poisoning them by injecting insulin into random IV bags in the hospital’s storage room. It’s only when an internal hospital investigation triggers a police inquiry led by detectives Tim Braun (Noah Emmerich) and Danny Baldwin (Nnamdi Asomugha) that Amy starts to have her doubts.

    Directed by Tobias Lindholm and written by Kristy Wilson-Cairns, the film is well done, but never achieves the gravitas that would transform it into something great. Part of this is because the filmmakers never show Charlie as having any outward signs of being evil. He has a bland niceness about him that conceals his lurid impulses; that’s an effective way of showing that you can never know what’s happening in another person’s mind, but an ineffective way of building drama in a film.

    The telegraphed nature of Amy and Charlie’s friendship takes on the feel of a slightly higher-class Lifetime movie, one that doesn’t quite fit the expectations brought by two Oscar winners in the lead roles. What ends up being more compelling is the hospital administrators, led by Linda Garran (Kim Dickens), covering up Charlie’s crimes for unknown reasons, and the doggedness of the two detectives trying to discover what exactly is happening.

    On another note that’s admittedly a minor quibble, the film’s title does the story no favors. Using The Good… as the start of a title is a vastly overused crutch. Recent examples on both TV and in movies have included The Good Doctor, The Good Fight, The Good Wife, The Good Place, The Good Boss, and The Good House. Sometimes a film can overcome the plainness of such a title, but The Good Nurse is hampered by it.

    Chastain and Redmayne each give respectable performances, but they’re nowhere near the award-worthy ones they’ve put on in the past. The most notable actor in the film winds up being Asomugha, a former NFL player who’s been inching into the entertainment industry over the past decade. He’s flat-out great in this role and could use it as a springboard to bigger and better parts.

    The Good Nurse has its fair share of interesting moments and accomplished actors to bring them to life, but it falls short of being a must-watch. It’s a serial killer movie that mostly omits the killing, taking most of its reason for being with it.

    ---

    The Good Nurse is now streaming on Netflix.

    Noah Emmerich, Nnamdi Asomugha, and Jessica Chastain in The Good Nurse

    Photo by JoJo Whilden / Netflix

    Noah Emmerich, Nnamdi Asomugha, and Jessica Chastain in The Good Nurse

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    Movie Review

    Avatar: Fire and Ash returns to Pandora with big action and bold visuals

    Alex Bentley
    Dec 18, 2025 | 5:00 pm
    Oona Chaplin in Avatar: Fire and Ash
    Photo courtesy of 20th Century Studios
    Oona Chaplin in Avatar: Fire and Ash.

    For a series whose first two films made over $5 billion combined worldwide, Avatar has a curious lack of widespread cultural impact. The films seem to exist in a sort of vacuum, popping up for their run in theaters and then almost as quickly disappearing from the larger movie landscape. The third of five planned movies, Avatar: Fire and Ash, is finally being released three years after its predecessor, Avatar: The Way of Water.

    The new film finds the main duo, human-turned-Na’vi Jake Sully (Sam Worthington) and his native Na’vi wife, Neytiri (Zoë Saldaña), still living with the water-loving Metkayina clan led by Ronal (Kate Winslet) and Tonowari (Cliff Curtis). While Jake and Neytiri still play a big part, the focus shifts significantly to their two surviving children, Lo’ak (Britain Dalton) and Tuk (Trinity Jo-Li Bliss), as well as two they’ve essentially adopted, Kiri (Sigourney Weaver) and Spider (Jack Champion).

    Miles Quaritch (Stephen Lang), who lives on in a fabricated Na’vi body, is still looking for revenge on Jake, and he finds help in the form of the Mangkwan Clan (aka the Ash People), led by Varang (Oona Chaplin). Quaritch’s access to human weapons and the Mangkwan’s desire for more power on the moon known as Pandora make them a nice match, and they team up to try to dominate the other tribes.

    Aside from the story, the main point of making the films for writer/director James Cameron is showing off his considerable technical filmmaking prowess, and that is on full display right from the start. The characters zoom around both the air and sea on various creatures with which they’ve bonded, providing Cameron and his team with plenty of opportunities to put the audience right there with them. Cameron’s preferred viewing method of 3D makes the experience even more immersive, even if the high frame rate he uses makes some scenes look too realistic for their own good.

    The story, as it has been in the first two films, is a mixed bag. Cameron and co-writers Rick Jaffa and Amanda Silver start off well, having Jake, Neytiri, and their kids continue mourning the death of Neteyam (Jamie Flatters) in the previous film. The struggle for power provides an interesting setup, but Cameron and his team seem to drag out the conflict for much too long. This is the longest Avatar film yet, and you really start to feel it in the back half as the filmmakers add on a bunch of unnecessary elements.

    Worse than the elongated story, though, is the hackneyed dialogue that Cameron, Jaffa, and Silver have come up with. Almost every main character is forced to spout lines that diminish the importance of the events around them. The writers seemingly couldn’t resist trying to throw in jokes despite them clashing with the tone of the scenes in which they’re said. Combined with the somewhat goofy nature of the Na’vi themselves (not to mention talking whales), the eye-rolling words detract from any excitement or emotion the story builds up.

    A pre-movie behind-the-scenes short film shows how the actors act out every scene in performance capture suits, lending an authenticity to their performances. Still, some performers are better than others, with Saldaña, Worthington, and Lang standing out. It’s more than a little weird having Weaver play a 14-year-old girl, but it works relatively well. Those who actually get to show their real faces are collectively fine, but none of them elevate the film overall.

    There are undoubtedly some Avatar superfans for which Fire and Ash will move the larger story forward in significant ways. For anyone else, though, the film is a demonstration of both the good and bad sides of Cameron. As he’s proven for 40 years, his visuals are (almost) beyond reproach, but the lack of a story that sticks with you long after you’ve left the theater keeps the film from being truly memorable.

    ---

    Avatar: Fire and Ash opens in theaters on December 19.

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