Director: Jeff Tremaine
Writers: Amanda Adelson, Rich Wilkes
Stars: Douglass Booth, Iwan Rheon, Daniel Webber, Machine Gun Kelly

Synopsis: The story of how Mötley Crüe came to be one of the most notorious rock ‘n roll groups in history.

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“Kneel down ye sinners to streetwise religion. Greed’s been crowned the new king. Hollywood dream teens. Yesterday’s trash queens. Save the blessings for the final ring. Amen.” (“Wild Side”, Mötley Crüe)

And a life on the wild side they lived. Formed by Nikki Sixx, Tommy Lee, Mick Mars, and Vince Neil (not their official names, as I’m sure you could tell), this gang of misfits would eventually dub themselves as the “world’s most notorious rock band”. Whether you agree with this notion is certainly up for debate, as the Hair Metal movement has since become notorious in its own right (almost like a taboo genre), churning out the most overly processed, superficial, and phony rock music of its time; the literal embodiment of sex, drugs, and rock and roll. Bands like Skid Row, Poison, Ratt, and Warrant were a youth gone wild who wanted nothing but a good time, a routine they circumnavigated round and round (maybe even chowing down on some cherry pie in the process).

I may have a bit of soft spot for 80’s Hair Metal, but even I can admit how stale many of these acts were. But amidst all the lipstick and leather pants, Mötley Crüe at least stood out. Releasing their debut album Too Fast for Love in 1981 (a genuinely great album in this writer’s opinion), Mötley Crüe in many ways predated and kickstarted the Glam Metal movement, nor did they fully succumb to the branded machine the genre would eventually turn into (aside from their wildly overrated hit album Dr. Feelgood in 1989). This motley crew were not pretty boys out for glamour, they were out for blood and anarchy, perhaps the closest thing to punk that the Sunset Strip ever housed.

Blood and anarchy are what fueled the band’s autobiography The Dirt: Confessions of the World’s Most Notorious Rock Band (the basis for this film adaptation now up on Netflix). That novel (which is a great read for any fan of rock and roll) represented a now older gang of misfits looking back on the nasty choices they made in the 1980s, with a strange blend of admiration and regret. This made for an interesting dichotomy, about a band who has become increasingly self-aware of their debaucherous lives; the pain it caused themselves and others, while still seemingly prideful in their actions. Whether they are still proud, it cannot be denied the vulgarity the band stood for (if we are to take their words truthfully). Just as they sang, Mötley Crüe lived life on the “Wild Side”, and their autobiography noted that.

But within our current landscape of music biopics, The Dirt just feels more like the “Same Ol’ Situation”.

It doesn’t open up that way, as the first five minutes of The Dirt should feel like a breath of fresh air for anyone who thought Bohemian Rhapsody played it way too safe. I won’t describe what happens here just for the sake of censorship, but it proves the Crüe’s life of disgusting debauchery, and demonstrates exactly why the band brought on Jeff Tremaine (of Jackass and Bad Grandpa fame) to direct.

…THEN The Dirt plays it safe.

“Safe” is the last word I thought I would use when describing a film about Mötley Crüe; but for all the Crüe’s depravity, it never feels more than merely implied. Amanda Adelson and Rick Wilkes’ screenplay does exactly what all modern music biopics should not do, adapting the band’s Wikipedia page instead of their novel. The band’s decadence and anarchistic motivations are directly explained to each other and to the audience, many times lazily breaking the fourth wall to do so, or with more voiceover narration than Robert McKee from Jonez and Kaufman’s Adaptation could stomach. The dirty implications themselves aren’t enough to leave an impact, and The Dirt just lays face down in the dirt because of it; perhaps we needed more of Ozzy Osbourne snorting fire ants and drinking his own (and Nikki Sixx’s) bodily fluids. For a film called The Dirt, it certainly could have (and should have) been dirtier.

Perhaps even more of the blame should be given to Jeff Tremaine, who makes his biggest transition to scripted features with The Dirt. The Sunset Strip in the 1980’s was its own cultural world, but nothing in The Dirt seems to understand that; the aesthetics are both too superficial and too clean, rendered so modernly that this could have taken place in the 2000’s. The film seems aware of this too, as its depth of field is so tight, contained, and quickly edited as if to desperately mask its failed sense of place. But nothing can compare to the film’s manipulative conclusion depicting this gang for what they always were – a family. I won’t discredit the real-life bandmates themselves, as I’m sure they truly feel this way about one another (and to be fair, their hardships involving Nikki Sixx’s mother, Vince Neil’s daughter, and the death of Hanoi Rocks drummer Razzle are necessarily explored); but within the context of The Dirt it all feels disingenuous, brief, tonally off-balance with the film’s degeneracy, and so saccharine that it may have actually been more disgusting than watching Ozzy Osbourne drinking urine.

The Dirt has some good scenes, especially when director Jeff Tremaine lets loose. The concert scenes are sometimes very electric (the band’s legendary first gig is a high point), a go-pro style sequence involving Tommy Lee’s daily routine is rather inspired, and not all the performances suffer under the weight of the material (Iwan Rheon as Mick Mars is arguably the only more than serviceable performance). And in these moments, The Dirt had musical potential. And that potential was precisely why I was shamefully excited for this film; perhaps even nostalgically so, as Mötley Crüe was one of those bands my high school friends and I would endlessly play along to, in leather pants of course (I realize I was born in 1989, don’t judge). Alongside my affection for the band’s novel, it’s easy to at least admire the film’s attempt at debauchery, something Bohemian Rhapsody deliberately chose to shy away from. But I urge anyone (even Mötley Crüe themselves) to watch The Dirt and decipher what makes this narrative different than the experiences of any other hard rock band.

Maybe it’s only appropriate that The Dirt ends up being the kind of music biopic that it is, a direct reflection of what 80’s Hair Metal became – overly processed, superficial, and phony. It so desperately (and tritely) tries to kickstart our hearts, but it lacks the looks that kill.

Overall Grade: C-

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Director: Emilio Estevez
Writers: Emilio Estevez
Stars: Emilio Estevez, Jena Malone, Alec Baldwin, Michael Kenneth Williams

Synopsis: An act of civil disobedience turns into a standoff with police when homeless people in Cincinnati take over the public library to seek shelter from the bitter cold.

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The Public is about the relationship between librarians and their patrons, specifically ones that are homeless. Before I saw this movie, I was unaware that public libraries were being used as makeshift homeless shelters during the day. People with nowhere else to go, especially when it’s cold, will go to the libraries to stay warm, have a good conversation, read, use the computers, etc. Then when the library closes, they leave, and are back waiting before the doors open in the morning. This is apparently a common occurrence in libraries all across the country, especially in areas with a large homeless population. This film does a beautiful job telling that story from all points of view; focusing mainly on the librarians and how this affects their job on a daily basis. The film takes place (and was mostly filmed) at The Public Library of Cincinnati and Hamilton County during a cold snap. In the beginning of the film they periodically show news clips about the extreme cold weather and about people on the streets dying of exposure. The cold and lack of shelter space leads a group of homeless patrons to stage a peaceful protest and refuse to leave the library at closing. The protest evolves into a standoff with police, political figures show up, library staff has to choose sides, and the media is scrambling trying to figure out what’s going on.

The film features strong performances from the lead and supporting cast. My favorites were Jena Malone, who plays a quirky librarian named Myra, and Michael Kenneth Williams who is a kind of spokesperson for the group of homeless men who refuse to leave the library. He does a great job providing comedic relief, as well as being the main point of view and storyteller for the homeless characters in the film. Emilio Estevez also does a good job as librarian Stuart Goodson. Goodson has a relationship with his homeless patrons and plays an integral role in the protest. This is not a subtle film, Estevez has the films messages out in the open, multiple times, in a variety of places. He is clear about his feelings about libraries being “the last bastion of democracy” and not to judge someone based on their social standing- even the title can have a double meaning within the movie.  Some critics have called the film a bit “preachy”, but I don’t feel it is.

Some negatives for me would be with the character development. This film is packed with good actors and interesting characters, but maybe it was too ambitious with the story to give them a chance to shine. I really liked Alec Baldwin as the police negotiator, he had a good backstory, but I wanted more. Christian Slater plays a jerk, I feel like that’s his go-to role now? I also wanted to learn more about the homeless patrons. We get to know a few of them, but I wanted more of their stories. The other character that was lacking was the library administrator/boss man Anderson (played by Jeffrey Wright). Wright is such a strong actor, and we didn’t get enough of him in this film.

I saw The Public at a local film festival (Alamo Drafthouse Lost Weekend XI) and was lucky enough to have a Q&A with writer/director Emilio Estevez after the showing. A big thing I took away from this film and the Q&A was there are no such thing as “homeless people”, there are people who are experiencing homelessness. There was an emphasis on making sure everyone, no matter their current situation, is seen as a human being, the same as everyone else. I believe the exact phrase I heard in the Q&A was they wanted this film to “celebrate humanity”. Emilio Estevez did a 30-city tour for the film at libraries, for homeless advocacy groups, and at film festivals. I enjoyed listening to him talk afterwards, he was obviously very passionate about the film and its subject matter. He talked about the 12-year process to get the film made, how he spent lots of time in libraries (incognito in a hoodie) for research and learning about the almost sacred relationship between librarians and their patrons.

Even with the flaws, I love this movie. It told a story I had no idea I needed to hear and inspired me to try and find a way to get more involved. It did a great job humanizing its characters. Librarians don’t just sit around and read books all day, and homeless people aren’t just crazy beggars like they’re portrayed in so many other films. It also doesn’t paint the other side – the police, politicians, media – as negative. It’s filled with strong, relevant messages while still being fun and watchable. It was one of my favorites of the film festival and I really hope others get a chance to support and love this film too.

Overall Grade: A

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Director: Jordan Peele
Writers: Jordan Peele
Stars: Lupita Nyong’o, Winston Duke, Elisabeth Moss, Evan Alex, Shahadi Wright Joseph

Synopsis: A family’s serene beach vacation turns to chaos when their doppelgängers appear and begin to terrorize them.

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When Jordan Peele’s debut film Get Out came out a couple of years ago, I didn’t see it till it had left the theater. When I finally saw it, I thought it was a real fun horror movie with social messages that rang true to the time we were living in. I think I gave the movie a B letter grade. But as the months went on, I couldn’t get it out of my head, thus when I went back and I rewatched it, the letter grade bumped up. When I saw it again last year, I realized I had made a mistake in not putting it in my top 10 and would rank it really high if I went back and did that exercise again.

So when I was given the opportunity to go to South by Southwest for this website, I felt there was no better way to watch his follow-up, Us,  than by watching it at the world premier with a massive audience that would be clamoring to see what Peele gives us next. And by the time the end credits rolled up on the screen, I sat in my seat speechless, wondering what it was I had just seen. It took me weeks and a rewatch of the film outside of the festival to finally settle on how I feel about Us, which I think is one of the smartest films in years and one of the most layered horror films of all time. Peele takes everything we loved about Get Out and doubles down with a message about how are country is broken and that the real people we should be worried about is the person you see in the mirror.

Us follows Adelaide (Lupita Nyong’g), who is a wife to Gabe (Winston Duke) and mother of two to Zora and Jason (Shahadi Wright Joseph, Evan Alex). When Adelaide was young, she experienced a traumatic event where she confronts what looked to be a copy of herself while being at a carnival near the beach with her parents. That moment shaped her life to what it is today and how she raises her two children. While on an annual family vacation, Gabe suggest that they all go to the beach for the day with their friends the Tyler family (Elisabeth Moss, Tim Heidecker, Cali and Noelle Sheldon). Adelaide doesn’t want to go, knowing it would be the exact same beach as the one from her nightmare encounter but she caves and goes with her family.

They arrive at the beach and spend some time there before Jason wonders off and Adelaide maniacally looks for him and, when she finds him, demands that they go back to their house in fear of something similar that happened to her happening to Jason. They get home, spend a normal cozy night together, and before they go to sleep, Jason comes into his parent’s room and tells them that there is a family standing at the top of their drive way. But it is not just a family, it is a family of doppelgangers who are in red jump suits with shape gold scissors in their hand. They are here for an awakening of the world that Adelaide and her family live in and what soon follows is some of the best storytelling of the years that will not be spoiled in this review so don’t worry.

What I will talk about are the themes of the film, and some of the messages that I felt Peele was trying to talk about within the characters and story that we saw on the screen. While Get Out is about race in American, Peele takes Us to a different level in discussing the true state of America as it is right now. These doppelgangers, or the Tethered as they are called in the film, represent so many things that are wrong with America today. When it comes to the unheard people who live in the middle part of the country, the untold stories that are never told on the news, and the rage that one gets when the people you lived with your whole life are suffering at the hands of others that don’t even think that you exist. And thus the uprising that we see in the film is one that we can relate to, with many people feeling so enraged when having discussion about changing the world that they would strangle each other just to get their points and message across. There is also a call back to Hands Across America, used in an effectively creepy way to show not just the symbolism of the border wall discussion that is going on in modern American politics but it also shows this attachment to the ideas of the past and not moving on with new ideas and policies for the modern world we live in. With this attachment to the past, the Tethered cling to the idea of getting this country back and doing whatever it means necessary to be the ones in charge.

Beyond just the themes of the movie are the performances from the cast but especially Lupita Nyong’g, who is compelling as Adelaide and completely deranged, evil and sympathetic as Adelaide’s doppelganger Red. It’s is really hard to give two performances within the same film and give them so much pathos and memorability and yet she nails every scene she is in, giving the best performance in a horror film since Linda Blair in The Exorcist, yes she is that good. It’s crazy to think that this is her first lead actress performance of her career but it is and she knocks it out of the park. The kids are stellar in the film, working great alongside Nyong’g and Duke, giving us a lot of fun moments.

But speaking of fun moments, if Lupita wasn’t in this movie, the performance we would be talking about in this movie would be from Winston Duke, who does a complete one-eighty from his performance in Black Panther last year, and gives us so many hilarious moments that really bring levity to the darker tones that are consistent throughout the film. The actors playing the Tyler family are solid, with Elisabeth Moss shining over the bunch and really giving us a smaller version of what Lupita was giving us in her performance. But while the focus of the film is never on them, they do a great job with they are given and put in some pretty solid work.

Besides the performances, the biggest thing that stood out in Us was the maturity in Jordan Peele’s direction. While the script has a lot to say, and isn’t as clean as Get Out (which is the point), it is the direction in Us that, in my opinion, is leaps and bounds ahead of his debut. The colors of the fun house mixed with the close-ups are similar to the Sunken Place scene but they feel more terrifying and beautiful than that memorable scene, reminding me of the close-ups Barry Jenkins has in Moonlight and If Beale Street Could Talk. The ending of the film has one of the best shot sequences where Adelaide and Red face off, with dynamite editing mixed with a perfect score from Michael Abels. The scene is very much an early contender for scene of the year for me and Abels score could be an early contender for best score as well considering how hypnotizing yet elegant it is.

I could write a whole book about how much I love this movie but I will leave you with this final thought. Us has shown me that Jordan Peele is slowly becoming one of my favorite directors working today. I love how he understands how to attract audiences to smart, audacious genre movies better than anyone right now. I continue to be in awe of him and keep thinking that we are seeing someone grow into the next big thing in front of our eyes by their own rules. And just like that audience that I saw this movie with for the first time at SXSW, I can’t wait till his next film comes out so I can be just like them, being all in and knowing what I’m about to get into with this audience. I want to feel like this because I’m all in on what Peele is selling right now and I’m buying stock in him as the future storyteller of this generation.

Overall Grade: A

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Hear our podcast review on Episode 318:

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Director: Shin’ichirô Ueda
Writers: Shin’ichirô Ueda
Stars: Takayuki Hamatsu, Yuzuki Akiyama, Harumi Shuhama

Synopsis: Things go badly for a hack director and film crew shooting a low budget zombie movie in an abandoned WWII Japanese facility, when they are attacked by real zombies.

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One Cut of the Dead is a Japanese film (in Japanese with English subtitles) that is part horror, part comedy. The plot is fun to describe, it’s about a live streamed tv zombie apocalypse movie, who’s film crew runs into real zombies while filming. The movie can be split into three parts- First, the entirety of the low-budget One Cut of the Dead film (which is done as one 37-minute continuous shot). Then, the film zooms back a month prior to filming and shows you how this movie came to be and gives you background on the characters. Finally, the movie wraps with the hilarious “behind the scenes” look at the live tv broadcast and all the craziness that happened while making the movie. It’s a movie inside of a movie inside of a movie. It’s weird to describe but go watch it and it will make sense.

I cannot express how much I love this movie. I am so grateful I got to see it on the big screen and that I went in mostly blind as to what I was going to be watching. All I knew is that it was Japanese zombie movie that my friend highly recommended. This film is the perfect balance of cheesy zombie gore and camp that keeps you eager to see more. Once the film got going, I did not stop laughing, I’ve never seen anything quite like it. They managed to fill the movie with jokes and mayhem, while also giving you a good background on the characters. Takayuki Hamatsu, who plays the film’s director Higurashi, was a stand out for me. His energy, facial expressions and comedic timing were just as good (if not better) than any well-known comedic actor working today. My other favorite was Harumi Shuhama who plays the director’s wife, Nao. She added some great comedic bits to the film. I love the format of the film, how they kind of unofficially split it into three sections, it was something different for me. The music also stood out and was a great feature of the film.

One Cut of the Dead hasn’t had a wide release yet. It has been making its way around film festivals, primarily in Asia, since November of 2017. It’s been well received at its screenings and has been racking up great reviews and ratings for two years. I know it was one of the fan favorites at the film festival, Winchester Film Club’s Lost Weekend XI, where I was lucky enough to see it. I heard stories about a pirated copy appearing on Amazon and it causing problems with the films distribution. I hope these are resolved in the future and people can see this film. I know an American/English remake is in the works, but I am confident it will not have the charm the original holds.

One Cut of the Dead has definitely made its way onto my “Favorite Movies of All Time” list. It has re-sparked my interest in Japanese films, so I will need to go out and discover more to enjoy. A prominent feature of this film is its 37-minute continuous shot, as well as its masterful balance of zombie gore and humor. I highly recommend this movie to anyone who has the chance to see it.

Overall Grade: A+

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Director: Tim Burton
Writers: Helen Aberson (novel), Ehren Kruger (screenplay)
Stars: Colin Farrell, Michael Keaton, Danny DeVito

Synopsis: A young elephant, whose oversized ears enable him to fly, helps save a struggling circus, but when the circus plans a new venture, Dumbo and his friends discover dark secrets beneath its shiny veneer.

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While the messages of friendship, heartbreak, and overcoming adversity resonate throughout Tim Burton’s Dumbo, the delivery system of such messages is cumbersome, ineffective, and to no one’s surprise, pointless.  This is to be our new norm. Disney will keep pumping out live-action remakes of their beloved animated classics until the box office dries up.  2019 alone has three such releases (four if you count the sequel to 2014’s Maleficent).  As Disney racks up talented directors to tackle these pictures, the hope is that the quality of the remakes will increase, therefore driving box office numbers.  Unfortunately, that correlation has not come to fruition. Tim Burton’s Dumbo is just another mediocre interpretation of previously tread material.

Dumbo, based on the 1941 animated film of the same name, maintains the same basic premise as its seventy-eight-year-old cousin. A baby elephant born with enormous ears discovers he can fly, thus saving the circus and his mother. In some cases, the original animated film is about as long as that previous sentence. Clocking in at sixty-three minutes, the original Dumbo doesn’t even tackle the topic of flight until around minute fifty-three.  The build up of the film reaches its climax with the discovery of his ability to fly, thus saving the things here ostensibly cares about (we don’t know, because Dumbo doesn’t talk). The episodic nature of the animated film made it feel whimsical and fun (all racist allusions aside). However, Tim Burton’s Dumbo feels like a five-hundred-pound elephant in the room that sits firm and never moves forward.

One key difference of the film vs. the original is that Burton uses the point of view of humans to tell Dumbo’s story. Cleverly, the 1941 film used the animals themselves to drive the story. Through the eyes of Dumbo and Timothy Q. Mouse, we witness the innerworkings of the circus through the translucent sides of a tent. In this way, Dumbo is separated from the humans, living in his own world with his own stakes. In the 2019 version, the story is mishandled by a group of characters that seem to be hyperbolic variations of the characters they are meant to play. Through these inefficient characters, Dumbo’s communications are announced to the point of exhaustion. Nothing is subtle with these interactions. Dumbo’s thoughts and feelings, though easily understood through context, are bludgeoned into the audience, even with the understanding that this is a children’s film. This insult of intelligence is unreconcilable. With that being said, there are many other faults that haunt this film.

The characters that inhabit this decidedly Burtonesque realm seem forced and each has an inexplicably terrible accent, which is all the more frustrating once one thinks of the career that Tim Burton has had directing some of the best actors in generations.  Michael Keaton’s pseudo-Disney is weak as a villain and his constantly changing accent is frustrating to say the least. Eva Green is magical but seems wedged into a story that doesn’t require her. Danny DeVito is a saving grace, but his comedic breaks are few and far between. Colin Farrell’s Holt Farrier is sad but unassuming and brings zero charm where there needs to be. The effects and sets of the film are subdued when compared to other Burton films. Although there is beauty in the set design, it still feels heavy and constructed and in no way ever seems to fit with the story.

As stated earlier, the story shares messages with the original, but is extremely incohesive and tries to do way too much with the material.  There are too many character arcs that need resolution. Dumbo is the star; let his story take the lead. However, the plot gets muddled down with human greed, loss, and arrogance. If Dumbo’s story was allowed to flourish, this version of Dumbo would have soared.  Unfortunately, the filmmakers cannot seem to get out of their own way and Dumbo crashes before it takes flight (which is about minute ten by the way).  In this way, all the wonder is lost and the magic is spent.

Overall Grade: D+

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Hear our podcast review on Episode 319, coming soon!

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Director: David F. Sandberg
Writers: Henry Gayden, Darren Lemke
Stars: Zachary Levi, Mark Strong, Jack Dylan Grazer, Asher Angel, Djimon Hounsou

Synopsis: We all have a superhero inside us, it just takes a bit of magic to bring it out. In Billy Batson’s case, by shouting out one word – SHAZAM! – this streetwise fourteen-year-old foster kid can turn into the adult superhero Shazam.

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Shazam! introduces us to another superhero and supporting characters from the DC universe. It’s both an origin story and a great coming-of-age film. While most DC films have been darker in nature, Shazam! is a fun and mostly kid appropriate movie. This change of style works for this character, but I’m not sure how he will fit in the bigger DC picture, or if they are even planning to do that in the future.

Shazam! tells the story of Billy Batson (Asher Angel); a teenage orphan with a habit for running away from foster families to search for his birth mother. Eventually he is placed with the idyllic Vazquez family and their other five foster kids- Freddy, Darla, Mary, Eugene, and Pedro. One day after an escape attempt, Billy ends up on the subway and is magically transported to a different realm. There he finds a wizard (Djimon Hounsou) who tells Billy he is the “chosen one” and needs his help to save the world from the evil Dr. Thaddeus Sivana (Mark Strong) and the seven deadly sins. The wizard transfers his powers to Billy, so now when he says the wizard’s name -Shazam!- he transforms into the buff, adult, red-costumed superhero (Zachary Levi).

My favorite thing about this movie is the relationship between Billy and his foster brother Freddy (played by the scene stealing Jack Dylan Grazer). At the beginning of the film Billy has trust issues and no desire to belong to a foster family. Freddy slowly wins him over with his crazy amount superhero knowledge, his loyalty, and his” never give up” attitude. Freddy is easily one of my favorite characters in the film. He stands out, even when sharing the screen with Zachary Levi and Mark Strong. He serves as a sort of wisecracking mentor to adult superhero Billy while he’s learning the extent of his powers and choosing a superhero name. I look forward to seeing him in more films. The other foster siblings are also good in their limited roles; I especially liked the video game obsessed Eugene, and the adorable little sister Darla.

Mark Strong is always good when cast in an antagonist role. I know he likes being the bad guy and always does the best with what he’s given. I wasn’t a huge fan of the other villains in this movie, The Seven Deadly Enemies of Man (Seven Deadly Sins), I feel like they weren’t represented well. Usually you can easily pick out which one is which sin, but in this case only Gluttony was obvious. In the comics they’re much easier to identify, so I’m not sure why they got this gargoyle-like redesign for the film.

Along with the fun origin story for our hero, we also get a great message about family. The film shows us that family isn’t necessarily what we’re born into, it’s who we choose to be with and who embraces us. It’s a great coming-of-age story for Billy as he grows up (emotionally and physically) as Shazam.

Overall, Shazam! is a fun movie with mature themes sprinkled in. It embraces the camp and humor this character needs to succeed on the big screen, even poking fun at previous DC heroes and films. There are great lead and supporting characters, some cameos, and even a funny scene stealing Santa. I’m not sure where Shazam will fit into the DCU, but I’m looking forward to more films. There are two post credits scenes so make sure to stay until the very end.

Overall Grade: B

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Hear our podcast review, coming soon!

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