Summer House’s Amanda Batula has been spotted as she faces backlash from her romance with West Wilson – and it appears her ex Kyle Cooke is supporting her through the drama.

In new photos published by Page Six, Batula, 34, was snapped reuniting with Cooke, 43, on Friday, April 4.

During the outing, the pair chatted on the street while walking their dogs. At one point, Cooke hugged Batula.

Batula and her Summer House costar Wilson, 31, confirmed their romance earlier this week after speculation increasingly swirled about the nature of their relationship.

 “We’ve seen the growing online speculation, so while this is still very new, we wanted to provide some clarity,” read an Instagram statement on Tuesday, March 31. “It was never our intention to purposely hide anything. Given the complicated relationship dynamics involved and the scrutiny that comes with being on a reality show, we needed a little space to process things privately before speaking on it.”

Batula and Wilson continued to address how their relationship changed.

“We’ve shown up for each other as friends over the years, through all the highs and lows, and what’s developed recently was the last thing either of us expected,” they continued. “Our connection grew out of a genuine, longstanding friendship, which made it especially important for us to approach this with care.”

Both Batula and Wilson have come under fire for the relationship, as Wilson previously dated Batula’s best friend and Summer House costar, Ciara Miller, in 2023.

Cooke broke his silence on his ex’s burgeoning romance with Wilson on Wednesday, April 1.

“I’m good. I appreciate people checking in. I’m actually really worried about Amanda, if I’m being honest,” Cooke told street journalist Adam Glyn in a TikTok video.

Cooke added that he had spoken to Batula, who gave him “a heads-up” about making a statement on her relationship with Wilson.

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“I talked to her last night, and I understand people have all sorts of opinions, and I’m not justifying any behavior, but, like, from what I’m seeing, she’s getting cyberbullied,” he said.

Cooke and Batula announced in January that they had separated after four years of marriage.

“After much reflection, we have mutually and amicably decided to part ways as a couple,” the pair said in a joint statement at the time. “We share this with a heavy heart and kindly ask for your grace and support while we focus on our personal growth and healing.”

Of all the major crime procedurals, Criminal Minds is considered one of the darkest, thanks to its focus on serial killers and their often twisted psyches. But that is also the reason why this show has been around for so long, with its 19th season airing this year and its renewal for a 20th season already confirmed. Serial killers can be heinously creative, which means Criminal Minds still has so much inspiration to draw from and ideas to churn out. Really, the series could go on forever. Apart from pushing the bandwidth of morbid creativity, the show has a legacy that survived a rebranding, one that bodes well for its future.

‘Criminal Minds’ Finds Horror Realism In Even the Most Absurd Ideas

Criminal Minds dug into the niche of serial killers and gave it a psychological twist that makes every episode feel new, even if some of the basics are recycled. We’ve seen countless iterations of sexual sadists, yet by analyzing behavior, each episode feels fresh with different M.O.’s that can be traced back to the perpetrator’s childhood. Other times, there are antagonists whom we can’t help but sympathize with, or ones that chill us to our core, like children who turn out to be sociopaths. As social customs and technology evolve, the show’s capacity for creativity does too, leading to a hauntingly never-ending supply of ways to terrify.

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This show even came back from the dead.

However, the true marker of success in Criminal Minds’ approach to episodes is that the show manages to root out horror realism in every idea. Of course, some are as simple as the awful sentiment of children being stolen from their families and tortured for years, or the terror of just being in the wrong place at the wrong time. But even in the most seemingly outrageous ideas, like an underground social media for serial killers or a Norman Bates-styled hallucination or the psychosis of bugs crawling under one’s skin, the show maintains a grounded semblance of horror, as if these things could really happen. They feed on very real concepts of the dark web and mental health, then push it for entertainment value while never losing sight of why it’s so chilling. The formula works, and as long as Criminal Minds sticks to it, the show can continue to churn out grisly episodes while still provoking the same addictive response.

‘Criminal Minds: Evolution’ Has Proved the Show’s Ability to Adapt

What really cements Criminal Minds’ longevity is its proven ability to survive and thrive after a rebranding. In 2020, the original show was canceled after Season 15, but only two years later, it returned in full force as Criminal Minds: Evolution. As the subtitle suggests, the show evolved from a crime procedural to something akin to a psychological thriller, where longer overarching storylines are prioritized over episodic ones. However, that doesn’t mean the show has forgotten its roots, as the cases explored during these three seasons are still creepily realistic in the most unexpected ways, even when it dips into bureaucratic conspiracies and schools for budding psychopaths.

Even though the episodic cases aren’t the foundation of the series anymore, it’s actually beneficial for the show. Opting for these longer storylines forces Criminal Minds to be more mindful about the occasional standalone case inserted into the season, while allowing the team to pace their creativity and offer killers that are more twisted than ever. Since the rebranding, we’ve gotten acid chambers, misogynistic zookeepers, and (shudder) spiders, all proving that Criminal Minds still has a deft handle on what makes them stand out in the world of crime.

Over the years, the show has adapted and pivoted to remain relevant, finding unique ways to inject a bit of terror into our lives while exercising its creative muscles. Serial killers will always hold space in the public imagination, and as long as that’s the case, Criminal Minds does too.

Amy Duggar King has seemingly slammed Kendra Duggar for continuing to support her husband Joseph Duggar following his arrest.

While she did not call out Kendra, 27, directly by name, Amy, 39, appeared to take a swipe at her cousin’s wife in a scathing TikTok video posted on Thursday, April 2.

“How in the hell can she not be so unbelievably distraught and mad and disgusted at him,” Amy said, seemingly referencing how Kendra is responding to Joseph, 31, being arrested last month on child molestation charges.

Amy continued, “Oh, just wait, I’ll tell you why, because women in these really toxic systems, like this one, are taught that anger is a sin.”

Related: Amy Duggar Changes Statement of Support for Joseph Duggar’s Wife

Amy Duggar King has taken back her previous support of embattled cousin Joseph Duggar’s wife, Kendra Duggar, following Kendra’s arrest on a child endangerment charge. “I think that was a plot twist that no one saw coming,” Amy, 39, said of Kendra’s arrest during a Saturday, March 21, interview with TMZ. “When I gave that […]

Amy continued to slam the conservative culture that the Duggars were brought up in, claiming it was problematic that they were taught to not express anger.

“Anger is wrong and you cannot express it, you have to just keep it inside. Stay sweet, keep the peace and don’t create waves,” she continued. “Oh, and the biggest one that just drives me crazy is you have to forgive quickly, very, very quickly. Because heaven forbid, you take time to process what in the world has just happened, that your entire foundation of what you’ve built your life on with your children has now been completely disrupted and it’ll never look the same again.

She added, “But you’re not allowed to take time for yourself in this kind of environment, to even think for yourself. At all. So when you are angry, you can’t express it so you have to smile, talk sweetly and remember that your husband loves you no matter what.”

@amyrking

♬ original sound – Amy Duggar King

Amy said that “grace” is encouraged within the Duggar family, which she believes is unhealthy to use for all situations without question.

“My favorite term that they always use is ‘grace.’ ‘We show them grace. We show the men grace because sins happen and grace covers it,’” Amy said. “Grace does offer repentance. Grace is something that is wonderful. Not in this instance. This isn’t grace, this is suppression. And this is how the cycle continues.”

Amy went on to state that she believes that Kendra is unlikely to be “dealing with the trauma,” and instead is more likely to “defend him, she will smile sweetly, she will talk very kindly to him and she will downplay the situation at hand.”

Amy explained that she believed the feeling of anger has a crucial role in situations that warrant it.

“The healthy response to being hurt and to being betrayed and being, like, completely like, broken-hearted is anger. Anger is a part of it all. Not in this culture,” she said. “It fires me up because instead what you’re going to see is the most perfect, sweet little angel of a wife who’s right beside him through thick and thin and who does that remind you of? The fact that she is not angry at all should deeply concern you.”

Us Weekly has reached out to the Duggar family for comment.

Related: Amy Duggar Thanks Fans for Prayers After Joseph and Kendra’s Arrests

Amy Duggar King has thanked fans on behalf of her family following the arrests of her cousin Joseph Duggar and his wife, Kendra Duggar. The 19 Kids and Counting alum, 39, shared a message from the “God Lady Talk” Instagram account on Friday, March 27, which read, “Surround yourself with people who pray for you […]

Joseph was arrested in Arkansas on March 19. He was charged with lewd and lascivious behavior involving molestation of a victim less than 12 years old and lewd and lascivious behavior conducted by a person 18 years or older after a 14-year-old girl came forward to police accusing Joseph of molesting her when she was 9 during a 2020 vacation to Panama City Beach, Florida.

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Joseph was extradited to Florida earlier this week, where he pleaded not guilty. He was later released on $600,000 bail.

In addition to the molestation case, Joseph and Kendra were both charged with four counts of endangering the welfare of a minor and four counts of false imprisonment. These charges are unrelated to the molestation allegations.

If you or someone you know has been sexually assaulted, contact the National Sexual Assault Hotline at 1-800-656-HOPE (4673). If you or someone you know is experiencing child abuse, call or text Child Help Hotline at 1-800-422-4453.

Love on the Spectrum sparked several romantic connections — but which couples are still dating and who has broken up?

Netflix’s hit series, which premiered in 2022, follows a group of young people on the autism spectrum as they navigate the dating world.

“The show itself has actually become the template for people to then think, ‘That’s what love can look like in my life, and I can be like that character who doesn’t necessarily fit the typical stereotype,’” cocreator Karina Holden told Tudum in 2025. “The uniqueness of individuals within Love on the Spectrum has allowed people to be confident to pursue their version of relationships and friendships and love.”

Over the years, some cast members such as Abbey Romeo and David Isaacma have formed a long-lasting connection while others called it quits.

Scroll down to find out whether your favorite Love on the Spectrum couple is still together:

Abbey Romeo and David Isaacman

The pair, who played a smaller role in season 4, are still going strong off-screen.

Connor Tomlinson and Georgie Harris

Connor Tomlinson chose to end his relationship with Georgie Harris in season 4 of the hit Netflix series.

“It was my decision to end things. Georgie and I … this season was the longest time we spent with each other,” Connor told Us in March 2026. “The more we did, the more we came to realize we’re just two different people. Good people, yes, but not each other’s people.”

He continued: “What she wanted, I couldn’t give her. What I wanted, she couldn’t give me. We both decided it was for the best.”

Shelley Wolfe and James Jones

The duo’s relationship has only gotten more serious as they look for a home together.

Madison Marilla and Tyler White

After finding love, Madison Marilla and Tyler White got engaged while filming season 4 of Love on the Spectrum.

“We have not even started [wedding planning] yet. We want to wait until the time is right,” Madison exclusively told Us Weekly in March 2026 about enjoying life as a newly engaged couple. “I know we’re going to do a very big wedding. We will have all our family and friends and cast mates there.”

Madison teased plans to wear “a big ball gown with lots of bling and lots of tulle,” while Tyler promised to be sporting his signature cowboy hat. The pair revealed to Us that they are still living “down the road” from each other.

“We’re saving moving in together until we’re married,” Tyler noted, to which Madison replied, “We’re saving all that until marriage.”

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Emma Sue Miller

Season 4 showed Emma Sue Miller briefly formed a connection with a guy, but they have since parted ways as she continues to search for The One.

Logan Pereira

In the fourth season, Logan Pereira developed feelings for a date but they have called it quits since then.

“I have been thinking about dating after that date,” Logan shared with Us. “I’m looking for somebody that has the same interest as me. Maybe somebody that likes model trains and somebody with really nice hair — even if it’s not curvy or straight. Also somebody that has the same connection with me and likes cheesecake and red velvet cake.”

Some movies look like they were made to be judged twice. Mercy had a rougher time making its mark in theaters, but the setup was always solid enough to suggest it could hit differently at home. A near-future thriller about a man racing to prove his innocence inside an AI-driven justice system was always going to get a second look once it landed on streaming. And now that it’s on Prime Video, that second look is turning into a real breakout.

The movie has climbed to No. 1 on Prime Video in the United States, while FlixPatrol’s global snapshot also shows it leading in a number of markets. That has helped turn Mercy into one of the bigger streaming stories of the week, even after a theatrical run that didn’t really catch fire.

Directed by Timur Bekmambetov, the film stars Chris Pratt as detective Chris Raven and Rebecca Ferguson as Judge Maddox, the AI authority deciding his fate. The premise is easy to pitch, and it’s even easier to understand why it’s working on streaming: It’s fast, high-concept, and built around a ticking clock. Prime viewers clearly wanted a slick sci-fi thriller, and Mercy is getting the benefit of arriving at exactly the right time.

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Is ‘Mercy’ Worth Watching?

Collider’s review, written by Jeff Ewing, stated that Mercy was a surprisingly inventive evolution of the screenlife subgenre, even if its ambitious ideas occasionally outpaced its logic. The film built on Bekmambetov’s reputation as a pioneer of screen-centric storytelling while cleverly expanding the format through AI-driven crime-scene reconstructions that injected scale, action, and cinematic energy into what could have been a claustrophobic thriller.

“Pratt delivers a sufficiently admirable performance, while Ferguson is stellar as the AI judge. Some of the twists move a little too quickly; even watching on a big screen leads blink-and-you’ll-miss-them details flying by too quickly. There are also a few logical issues with various machinations and character plans, and the world only makes sense in the most superficial of ways. There are successful elements in the script, certainly, but there are also several frustrating moments that simply needed another draft to work the knots out. All that said, it’s a successful foray into sci-fi territory thanks to a willingness to stretch the subgenre’s established rules, making for a fun murder mystery that keeps audiences guessing.”

Mercy is streaming on Prime Video.

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Release Date

January 19, 2026

Runtime

100 minutes

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Director

Timur Bekmambetov

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Writers

Marco van Belle

Producers

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Charles Roven, Majd Nassif, Robert Amidon, Timur Bekmambetov

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In 2024, Apple TV quietly launched one of its most ambitious and emotionally grounded sci-fi dramas in Constellation. The series had all the right ingredients: sharp writing, standout performances, and a great blend of cerebral sci-fi and intimate character drama. Known for giving its shows room to grow, many expected Apple to let Constellation find its footing as a show with clear potential to expand its world and deepen its characters.

Instead, the series was disappointingly cancelled after just one season. The decision was especially frustrating given how gripping and well-crafted the show was. It’s no surprise that Stephen King called it “just about perfect.” But with Apple pulling the plug so early, we’re left wondering why a series that earned both critical and audience praise ended so unceremoniously without the chance to finish what it started.

‘Constellation’ Was the Perfect Mix of Sci-Fi and Grounded Drama

From its first episode, Constellation proved it was more than a typical space thriller. While it delivers all the chilling elements you’d expect, what makes it stand out is how deeply it is rooted in character. The series follows Jo Ericsson (Noomi Rapace), an astronaut trying to piece herself back together after a harrowing, potentially world-altering event. After returning to Earth following a catastrophic incident aboard the International Space Station, Jo finds that reality no longer feels right. Her young daughter doesn’t remember her the same way, objects are out of place, and even her own memories seem to shift.

The mystery only deepens from there, using its sci-fi elements to explore personal questions about memory, motherhood, and identity. Jonathan Banks (Breaking Bad) plays Henry Caldera (at least in one universe), a brilliant but unstable physicist tied to the strange phenomena unfolding in Jo’s life. The show builds tension not with jump scares or explosive action, but with the quiet terror of no longer recognizing the people you love or even yourself, and wondering if you’re losing your mind. Both Rapace and Banks deliver standout performances, supported by an excellent cast including James D’Arcy, William Catlett, and twins Davina and Rosie Coleman, who share the role of Jo’s daughter, Alice.

Visually stunning and technically ambitious, the series is created by writer Peter Harness (Jonathan Strange & Mr. Norrell) and executive produced by Michelle MacLaren, who also directs the first two episodes and establishes the show’s striking visual tone. Constellation constantly plays with the question: Is Jo experiencing space sickness, or has something fundamentally shifted in the universe? That uncertainty allows the show to move seamlessly between high-concept sci-fi and grounded emotional drama. Yet amid all its complexity and suspense, it never loses sight of its emotional core. The season’s shocking cliffhanger only deepens the intrigue, landing somewhere between heartbreak and horror, and leaving viewers wanting more.

There Were Already Plans for ‘Constellation’ Season 2

What makes Constellation’s cancellation even more frustrating is how clearly it sets the stage for a second season. In a 2024 interview with Collider, showrunner Peter Harness, who also wrote all eight episodes, revealed there were big plans beyond the initial arc. With such a dense and ambitious story, Harness naturally developed ideas that didn’t fit into Season 1, especially around the dynamic between Henry and Bud. As he puts it, those ideas are “saved up for a rainy day in the future,” hinting at a deeper mythology that only begins to unfold.

Harness was also careful not to end the season on a total cliffhanger, aware of how unsatisfying that might feel. He made sure to tie up key threads, like Jo and Alice’s relationship, in a way that feels emotionally complete while still suggesting that there’s plenty more story to tell. Some viewers may have felt like the ending was still satisfying, but it’s hard not to imagine the possibilities left unexplored: what happens if timelines collide, or if the boundaries between realities fully break down? What if, as Noomi Rapace hoped for, both Jos met each other? It’s truly a shame we’ll never know.

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The kind of mystery Constellation builds isn’t meant to be rushed. Harness avoids over-explaining or accelerating major plot developments, allowing the emotionally resonant character work to breathe. A story like this needs time to peel back its layers, slowly drawing the audience in while keeping the focus on its characters. Season 1 does that with remarkable restraint. Even without all the answers, the experience remains captivating, helped by Apple’s weekly episode rollout, which gives viewers time to absorb each chapter.

That’s what makes the cancellation sting even more. Apple TV+ has a reputation for nurturing high-concept shows, which makes Constellation’s abrupt ending feel particularly disappointing. In a streaming landscape overloaded with content, this is a show that delivers for both die-hard sci-fi fans and for viewers who are looking for characters to connect with. For a platform that champions slow-burn storytelling like Severance and For All Mankind, cutting Constellation short feels premature. Stephen King wasn’t wrong when he called it “just about perfect.” And while it may never get the second season it clearly earned, Constellation will be remembered as one of the most daring, resonant sci-fi series in recent memory, and a reminder that storytelling this thoughtful deserves room to thrive.

Season 1 of Constellation is available to stream on Apple TV+.

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Release Date

2024 – 2024-00-00

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Showrunner

Peter Harness

Directors

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Michelle Maclaren

Writers

Peter Harness

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In many ways, the 1980s were one of the most formative decades in American history, with its art, culture, and style continuing to be a key influence in the world today. The decade was a golden age for thriller filmmakers, who pushed boundaries of storytelling and spectacle with gripping, psychosexually charged movies. However, not all of those experiments in subversiveness paid off, and quite a few of the thrillers of the time have not aged well.

With some of these movies, the fact that they’re dated and uncomfortable doesn’t necessarily take away from what they do get right in terms of storytelling and performances, even if their representations and ethics are questionable. But in some cases — the ones we’re looking at in this article — they really have aged in the worst ways possible, getting more and more unpalatable with the passage of time. Without further ado, here’s our selection of some ’80s thriller movies that have truly aged like milk.

1

‘Body Double’ (1984)

Image via Columbia Pictures

A neo-noir erotic thriller directed and produced by Brian De Palma, Body Double follows Jake Scully, a struggling actor house-sitting for his wealthy friend, who becomes obsessed with a female neighbor and starts watching her constantly. His voyeuristic habits land Jake in deep trouble when he witnesses the woman’s murder and becomes the prime suspect in the case, taking him down the dark alleys of the entertainment industry. The film stars Craig Wasson as Jake Scully, with Gregg Henry, Melanie Griffith, Deborah Shelton, and Guy Boyd in notable roles.

Body Double clearly feels like a tribute to Alfred Hitchcock and his favorite psychosocial themes like obsession, voyeurism, claustrophobia, and anxiety, but it was never one of Brian De Palma’s best works. Though it earned Griffith praises for her performance and a Golden Globe nomination, it was simultaneously criticized for its vulgar and violent narrative. Not only did it age badly, but the film was also a commercial and critical failure even in its time, owing to its exploitative sexual politics and campy tone, all of which leave a bad taste for the viewer.

2

‘Blue Velvet’ (1986)

Image via De Laurentiis Entertainment Group

Written and directed by David Lynch and named after the 1951 song of the same name, Blue Velvet follows college student Jeffrey Beaumont, who returns to his hometown and finds a severed ear in a field. When he starts investigating, it leads him down a dangerous path of sexual obsession involving a troubled nightclub singer and a criminal conspiracy. Kyle MacLachlan stars as the protagonist, Jeffrey, with Isabella Rossellini as the singer, Dorothy Vallens, and Dennis Hopper and Laura Dern in other key roles.

When it was first released, Blue Velvet met with a divisive critical response from viewers and critics, and yet it is widely regarded as one of David Lynch’s best films and has achieved cult status over the years. On the one hand, the film’s surreal style, unsettling tone, and Hopper’s terrifying performance still hold power in terms of filmmaking. But four decades since its release, the film’s tropes and treatment now feel unduly exploitative, where sexual violence and voyeurism only dehumanize Dorothy’s situation and trivialize her trauma.

3

‘Cruising’ (1980)

Image via United Artists

A crime thriller written and directed by William Friedkin, Cruising is based on the 1970 novel by Gerald Walker, a New York Times reporter. The film, like the book, follows a New York City detective, Steve Burns, who is on a hunt for a serial killer who only targets gay men, especially within the leather subculture. Al Pacino stars as Detective Burns with Paul Sorvino, Karen Allen, and Don Scardino in supporting roles.

Despite the grungy atmosphere and Pacino’s raw and intense performance, Cruising has always been a controversial film that has only gotten staler with time. Even at the time of its release, the film had mostly negative reviews and was heavily critiqued for sensationalizing gay subcultures and stigmatizing the representation of the same. While the film aims to be an abstract psychological exploration of identity and violence, the crime thriller elements often get overshadowed by the reductive narrative, unlike other films by William Friedkin, such as The Boys in the Band, which became a milestone of queer cinema.

4

‘Jagged Edge’ (1985)

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Years before Damages, Glenn Close earned recognition for playing a lawyer in this neo-noir legal thriller film directed by Richard Marquand and written by Joe Eszterhas. Jagged Edge follows Teddy, a high-profile lawyer who reluctantly represents Jack Forrester, a charming publisher arrested on suspicion of murdering his rich heiress wife. While Teddy gets romantically involved with Jack, she remains uncertain if he is truly innocent or not. Close plays the role of Teddy Barnes with Jeff Bridges as Jack. Peter Coyote, Robert Loggia, and Karen Austin appear in supporting roles.

Genre fans might find Jagged Edge to be a satisfying, trendy potboiler that has enough suspense and thrills, but it cannot be called a well-crafted crime mystery thriller with an evergreen appeal. The legal thriller did not manage to age well owing to its formulaic, melodramatic courtroom scenes and outdated genre tropes. Even though the film remains mostly recognized for Glenn Close’s anchoring performance and the overall atmosphere, Jagged Edge is best seen as a relic of the past and fails to hold up to modern standards of storytelling.

5

‘Black Rain’ (1989)

Image via Paramount Pictures

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A neo-noir action thriller directed by Ridley Scott, Black Rain follows two NYPD detectives, Nick Conklin and Charlie Vincent, who arrest a member of the yakuza and transport him back to Japan. When their prisoner escapes on the way, the two American police officers find themselves in uncharted territory, forced to traverse the dangerous underbelly of Japan’s criminal underworld. Michael Douglas stars as Nick and Andy Garcia as Charlie, with supporting performances by Ken Takakura, Kate Capshaw, and Yūsaku Matsuda in his final film role.

Black Rain was a box office success at the time of its release, but was not a critical favorite like most Ridley Scott films. The film scores plus points with Michael Douglas’s strong performance, Hans Zimmer‘s musical score, and good editing, but has been criticized for the screenwriting, clichéd storyline, and lack of character development. But most importantly, the frequent and offensive Asian stereotypes make Black Rain fall flat as a genre classic in retrospect, even though it has a cult following.

6

‘Sea of Love’ (1989)

Image via Universal Pictures

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Written by Richard Price, directed by Harold Becker, and inspired by Price’s 1978 novel Ladies’ Man, Sea of Love tells the story of a troubled New York City police detective, Frank Keller, who investigates a serial killer known for finding victims through singles ads in newspapers and leaving the titular song playing at the crime scene. During his investigation, Frank gets into an intimate relationship with one of his main suspects, which puts his personal life and professional duties in jeopardy. Al Pacino stars as Detective Keller with John Goodman, Ellen Barkin, Michael Rooker, Richard Jenkins, and Michael O’Neill in various roles.

Sea of Love was a commercial success, mostly because it marked Pacino’s comeback after 1985’s Revolution, but it had a mixed reception in its time and even in the years since. While the film has been praised for Al Pacino’s excellent performance and the moody atmosphere, it has also garnered criticism for its writing and characterizations. Despite its suspenseful crime noir premise and good casting, Sea of Love gets weighed down by the formulaic dialogue, outdated gender dynamics, and character tropes that fail to make it memorable.

7

‘The Morning After’ (1986)

Image via Warner Bros. 

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A psychological crime thriller film directed by Sidney Lumet, The Morning After follows Alex, a washed-up, alcoholic actress who wakes up hungover in an unknown loft beside a dead body, with no memory of the events from the night before. As Alex struggles to uncover the truth of what happened and get a grip on her reality, she seeks the help of Turner, a lone ex-cop whom she encounters while on the run. Jane Fonda stars as Alex and Jeff Bridges as Turner, with Raúl Julia, Diane Salinger, Geoffrey Scott, and Kathy Bates in supporting roles.

If The Morning After can be called a remotely good thriller film, it is mostly due to Jane Fonda’s committed performance as an amnesiac, anxiety-ridden victim and Lumet’s crisp direction. However, the film did not age well and feels stale against the modern cinematic landscape, where the depiction of alcoholism feels trivialized along with its implausible mechanics. Despite the strong performances and chemistry of Fonda and Bridges, The Morning After is best left buried in a 1980s time capsule.

8

‘The Mean Season’ (1985)

Image via MGM

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Directed by Phillip Borson and written by Leon Piedmont (a pseudonym of Christopher Crowe), The Mean Season is based on the 1982 novel In the Heat of the Summer by John Katzenbach and follows Malcolm, a Miami reporter burned out from covering local crimes, who is suddenly contacted by a serial killer he once wrote about. When the killer informs Malcolm of his next kill, Malcolm finds himself unconsciously pulled into the murders, blurring the lines between reporting a crime and becoming a part of it. Kurt Russell stars as Malcolm, with Mariel Hemingway, Richard Jordan, Richard Masur, Joe Pantoliano, Luis Tamayo, and Andy García in supporting roles.

While the film intends to be a crime thriller with an underlying social commentary, The Mean Season loses its thematic sensibility along the way. Despite its strong cast and convincing performance by Kurt Russell, the film did not garner much acclaim or praise at the time of its release, nor did it evolve into an ’80s classic that is worth remembering. The trope of “reporter vs. killer” feels more topical and tense for its time, but is largely considered outdated and predictable today, as is its pacing and dialogue.

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Release Date

February 15, 1985

Runtime

103 Minutes

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Director

Phillip Borsos

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  Mariel Hemingway

  Christine Connelly

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  Richard Jordan

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  Alan Delour

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