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In the traditional mold of Apple TV content, The Gorge is wonderfully shot by cinematographer Dan Laustsen and contains an interesting kernel of a sci-fi premise. Alas, none of that really leads anywhere and the chemistry between the two leads isn't good enough to bridge the gap in this Scott Derrickson-directed effort.

For a very basic overview, The Gorge tells the story of two sniper operatives-Levi (Miles Teller) & Drasa (Anya Taylor-Joy)-from the West & East stationed on each side of the titular chasm for protection. Not of the gorge-but what might come from it. Initially told not to contact each other, the pair slowly build a relationship until circumstances throw them together in figuring out just what the gorge holds.

Like I said, there are some solid ideas at play here. The sci-fi premise is intriguing, as is the overall setup. Two people on either side of an arbitrarily-important rift being told not to talk to each other. Seems relevant enough.

Alas, not much besides the visuals and tone actually works. As soon as viewers are made clear that the contents of the gorge will be revealed-and may be supernatural in some form-it sets forth a mystery box scenario that cannot help but be a let down in the reveal. Add to that the lack of chemistry-or really even length of interaction-between the two leads. Teller & Taylor-Joy are fine actors, but the odd flow of The Gorge's screenplay never really allows the relationship to "pop" like it should.

So, I ultimately settle on a right-down-the-middle 5/10 stars for The Gorge. Truth be told, I may even be over-rating it at that. But the concept is novel enough and the mystery (until the reveals start) is interesting enough that it had me fairly engaged about halfway through the two-hour runtime. But the back half really goes downhill quickly as the narrative and character payoffs run hollow.

I think that when everyone reaches the age (give or take a few years) of Michael Douglas' lead character in Falling Down, they sort of look around and realize the world has changed from their remembrances of childhood and adolescence. Some embrace the change--others are terrified by it. This is the story of the latter.

For a very basic overview, Falling Down tells the story of a man known only as D-Fens (Douglas)--who snaps one day and abandons his traffic-locked vehicle. He simply walks away--and his subsequent on-foot voyage through early-90s Los Angeles brings him (on multiple occasions) face to face with a world he no longer understands. Not exactly a 100% stable individual, this has harsh repercussions for those who get in his way. Meanwhile, last-day-on-the-job police detective Prendergast (Robert Duvall) is keen enough to avoid distractions and put together the pieces of exactly what is transpiring on D-Fens' reign of terror.

Falling Down is primarily a solid film because, in many ways, D-Fens is actually a very relatable character. I mean, haven't we all groused up increasing prices, corporate lying/greed, the "rat race", and/or just the nagging sensation that things around us are getting worse rather than better? When D-Fens complains about a can of Coke's pricing or goes ballistic when his burger doesn't look like the one pictured on the menu board at Whammyburger, it humanizes him.

Of course, what director Joel Schumacher (he's not just the "bad Batman movies" guy!) manages to thread the needle on here is the overall messaging of D-Fens not properly putting the pieces into context. As the film plays out and Prendergast does his digging, viewers learn along with him that D-Fens has some serious PTSD and potentially other mental illness triggers. That and--at the base of it all--he's just plain terrified, which is why he's offloading much of his pent-up frustration on foreigners, youths, and corporate structures. This is all a tough line to walk, and Schumacher pulls it off quite well.

It helps, of course, that Douglas and Prendergast are their typically-brilliant selves in front of the camera. The former's role steals the show and provides the iconic scenes that have stood the test of time, while the latter is the audience surrogate for slowly unraveling the mystery behind D-Fens.

It's interesting to watch a film like Falling Down--one that deals in such universal personal and societal themes--from the 2025 perspective, in which many of Douglas' character traits/thoughts have been co-opted by political parties. Like I said, here Schumacher makes it abundantly clear in the end that D-Fens' actions are wrong and he needs help. That's not necessarily the messaging behind diversity, the economy, and big business today.

Falling Down is a tad too weird and perhaps even a tad too violent to be a 9 or 10 star film. But its messages will remain evergreen as long as capitalism reigns and that (combined with some great actors) will largely allow it to stand the test of time.

For a syndicated series that produced a LOT of bad-to-average episodes over its 4-season run, when Superboy hit on a great concept it REALLY hit! Bodyswap is one of the finest Superman vs Lex Luthor tales you'll find in any medium.

For a very basic overview, Bodyswap tells the story of a nefarious "switch-er-oo" in which the consciousness of Lex Luthor (Sherman Howard) is transferred into the body of Superman (Gerard Christopher)--and vice versa. This of course leaves Lana Lang (Stacy Haiduk) caught squarely in the middle of both figures' seemingly impossible pleas.

If there ever was a doubt that Christopher is the definitive Superboy portrayal, this episode should put it to rest. His Lex-as-Supes performance is utterly spectacular--a 180-degree difference from his normal fastidiousness. The same can be said for Howard--no longer the cackling madman but now an earnest compatriot of Lana. Haiduk is--as usual for this series--also superb in sussing out her suspicions.

I was absolutely entranced by this episode as a child--and that feeling hasn't changed all that much as an adult (hahaha). In the grand tradition of Superman vs Lex Luthor battles in comic books or on the big screen, this one holds a rightful place right near the top of the heap.