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It's hard to believe that these were the best candidates they could find for this competition. There is constant emphasis on how the winner will be "joining the ATK family," but it's clear that most contestants are interested only in boosting their own social media presence and/or independent careers, not in working for ATK. Look at how they say they would spend the $100k winnings - generally it's on a project that would let them build a career with no relevance to working at ATK, such as opening a restaurant. None of the contestants are all that appealing, nor do they seem like the kind of dedicated food educators ATK is known for. I'm not rooting for anyone after watching four episodes. I'm very puzzled about a show called "the next generation" including a 49-year-old contestant! I think I'm done watching this show.

Good voice acting and excellent animation. The script is packed with so many jokes that we plan to rewatch the film, because we missed some of the gags when we were laughing. We are two middle-aged adults and found it laugh-out-loud funny.

SPOILERS INCLUDED BELOW I truly can't understand why the writer/director of this adaptation felt it was necessary to inject a lot of politically loaded topics into a classic novel about a strong-minded woman who is willing to accept the consequences of an unpopular choice.

The addition of lesbian overtones, drug use and images of slaves being raped and tortured really didn't add a thing to the story. Such images don't modernize the central story -- in fact they distract from it. Nor do these deviations from the original book expand our understanding of the characters in any significant way.

What is the point of making Sir Thomas Bertram into a lecherous creep? Austen's depiction of him as a well-intentioned but misguided man who has been absent from his own household so much that he has no idea what his family is about, is frankly more believable and more universal in its appeal.

Likewise I can't see what purpose was served by turning Lady Bertram into an opium addict. It's enough that she's just silly... we've all known someone just as empty-headed as the character Austen created.

Some of the casting is brilliant, but this version of the novel is ridiculously overwrought and heavy-handed. If you're going to try "improving" a great writer like Austen, you'd better have some great stuff to offer. This writer/director is no Austen.

Lucky Night gets off to a roaring start, with Loy and Taylor tearing up the town and obviously having a ball together. There's great chemistry and the situations they get themselves into are a lot of fun to watch. For awhile I was really thinking this movie was going to turn out to be an underrated and little-known gem.

Unfortunately, when the pair sober up the next morning, the story goes off the rails and becomes a dreary, incoherent mess. Taylor's character keeps rambling about how he has some "idea" about what life should be, but he can't articulate what he means. The dialogue actually becomes so bizarre at times that I wondered if the writer was all there.

This one is worth checking out if you're a fan of Loy -- she's always a pleasure to watch -- but if you start to get antsy halfway through, change the channel. You won't be missing anything.

Most films made in the early 30s are entertaining only as period pieces that give us a glimpse into another era. Often they are so dated that they've become unintentionally funny.

The Public Enemy is a totally different thing. It is such a well-crafted and honest film that it still has the power to shock us. The violence in this film is every bit as brutal as anything in a modern "gangsta" flick, even though some of it takes place off-camera.

Based on the stills I had seen of the grapefruit scene, I thought it would be a light-hearted moment. In fact, it's anything but. In that encounter, Cagney's character exhibits a total disregard for others that is downright chilling.

The final scene is extremely disturbing. You won't forget it.

A classic example of how really bad things had become for British film by the late 50s. The cast is studded with actors who went on to much better things, but they can't save this poor effort, with its low-rent special effects, terrible dialogue, cardboard-cutout characterization, and horribly dull plot line.

It's a movie about gravel truck drivers. Even Patrick McGoohan can't make that interesting.

This delightful film works well because of the perfect combination of William Powell and Hedy Lamarr. It's a classic screwball romantic comedy -- silly, fluffy, hilarious. Stunningly beautiful Hedy Lamarr (who was actually a serious intellect offscreen) is surprisingly convincing as a ditz who is blithely unaware of the effect her obsession with astrology is having on her long-suffering professor/astronomer husband (Powell). If this were real life, you'd want to throttle her -- but that's a lot of the humor here. Powell puts across just the right amount of loving good humor mixed with near-homicidal frustration. There are some cute surprises along the way, and lots of recognizable character actors rounding out the cast. While the script falls short of the witty dialogue you'll find in comedies like The Palm Beach Story and Bringing Up Baby, it's still a fun trip down memory lane.