Entertainment
Charlize Theron's Forgotten R-Rated Thriller On Netflix, Explores A Twisted Past
By Robert Scucci
| Published
Around the time Charlize Theron was transitioning out of one massive studio project (a little film called Mad Max: Fury Road) and into something far smaller and more restrained, she took on the 2015 crime thriller Dark Places. Based on the best-selling novel of the same name and fully committed to its mystery, Dark Places was mostly forgotten upon release, earning just over $5 million at the box office against its reported $11.9 million production budget. Even worse, the film took a beating on the critical front, landing at 23 percent with critics on Rotten Tomatoes and a not much better 33 percent approval rating on the Popcornmeter.
While I don’t necessarily agree with that harsh of an assessment, Dark Places is a difficult watch because it tries to do too much at once. It’s one of those cases where the timelines it explores are better suited for the page than the screen. What’s meant to be a present-day mystery informed by grisly events from decades earlier becomes a narrative tangle, which is frustrating because the screenplay itself is solid, the acting is even better, and the individual components mostly work. The problem is how those components collide.
Defined By Trauma, Motivated By Money
Dark Places’ present-day mystery centers on Libby Day (Charlize Theron), the sole survivor of a family massacre that occurred when she was just 8 years old, portrayed in flashbacks by Sterling Jerins. Her older brother Ben (Corey Stoll) was charged with the crime and is currently serving a life sentence. Ben insists that Libby never knew the whole story, and that when he was a teenager, portrayed by Tye Sheridan, there were other suspects who were never properly considered.
In the present day, Libby survives on donations tied to her notoriety as the girl whose family was murdered. As the years pass and public interest fades, that money dries up, creating financial pressure that not even her ghostwritten book is able to relieve. When Libby is approached by Lyle Wirth (Nicholas Hoult) and invited to speak at his true crime club, she agrees on the condition that she’s paid. Defined by her trauma and motivated by survival, Libby sees it as a necessary move to keep the lights on. That calculation changes quickly once she realizes what Lyle is actually after.
While Lyle does run a true crime club, it operates on two very different levels. The bottom floor caters to casual hobbyists, while the upper floor is filled with people who dedicate their free time to actively solving cold cases. Lyle believes Ben may be innocent, but Libby’s childhood testimony was compelling enough to secure a conviction. As far as Libby remembers, she told the truth. Still, she’s forced to confront the idea that memories formed under extreme trauma may not be as reliable as she once believed.
Initially showing up purely for the money, Libby agrees to visit her brother in prison to hear his version of events. That conversation sends her along a breadcrumb trail of half-buried truths, pushing her closer to the possibility that someone else murdered her family while Ben took the fall.
Two-Story Structure Kills The Momentum
On paper, Dark Places has a compelling setup. An estranged brother and sister work toward the same goal years after they’re separated, each carrying their own version of the truth. The tension is baked in, since Libby’s testimony put Ben behind bars, even though she was just a child and every piece of evidence at the time pointed directly at him. Ben has either accepted his fate or is playing a long game that even Lyle and his crew of amateur sleuths can’t fully see through.
Alternating with the present-day story is a second narrative set in 1985, leading up to the night of the murders. These scenes are drip-fed with the intention of eventually colliding with the present-day revelations. It’s a strong idea conceptually, but one that becomes unwieldy in execution. The audience can slowly piece things together as the film goes, but by the time Dark Places reaches its midpoint, most of the major cards are already on the table if you’re familiar with the genre.
Dark Places leans heavily into well-worn tropes, and to its credit, it executes them competently. The downside of that level of reliability is a story structure that follows a painfully familiar logic, which softens the impact of the mystery. The dual narrative is meant to heighten the tension, but instead it undercuts its own reveal. While I wouldn’t argue that Dark Places deserves its current critical score, it’s easy to understand why it left so many viewers feeling underwhelmed. All the pieces for a compelling thriller are present, they just never lock together in a way that feels satisfying.
For its performances and its core concept alone, Dark Places is worth a watch. But if you’re hoping for a mystery that really gets its hooks into you, this probably isn’t the one that will do it.
Dark Places is streaming on Netflix.
Entertainment
Mortal Kombat II review: The bar is in hell for video game movies, huh?
How many times do we have to go through this?
Yes, Mortal Kombat has been a massively popular video game franchise since its spawning in 1992. Yes, its over-the-top kills and thrillingly scornful catchphrases make the fighting games incredibly fun. But despite several attempts including 1995’s Mortal Kombat, 1997’s Mortal Kombat: Annihilation, and the 2021 reboot, also titled Mortal Kombat, not a single good live-action movie has been made from this IP.
Yet here we are again with another ugly, nonsensical mess, this time called Mortal Kombat II.
Mortal Kombat, the last film in this much-flubbed franchise, centered on Cole Young (Lewis Tan), a descendant of Sub-Zero (Joe Taslim), who’s a fish out of water in the titular fighting tournament world. This time, he’s relegated to a tertiary character, so the sequel can pivot to a new fish out of water, Johnny Cage (Karl Urban), a washed-up ’90s action star who’d rather crush a beer than a spine. However, when a malevolent conqueror named Shao Kahn (Martyn Ford) threatens Earthrealm, it’s up to Cage and a coterie of super-powered fighters to win a Mortal Kombat tournament to save their world.
Wisely, Warner Bros. led with Cage in their early promos, releasing teasers that showed a cheeky self-awareness of the Western martial arts movie while suggesting Mortal Kombat II would be funnier than its predecessor. Frustratingly, this is another example of good trailer, bad movie. And a big part of why is that Cage feels like he’s been wedged in, rather than centered on, for a new perspective.
Mortal Kombat II is a befuddling eyesore with sub-zero emotional depth.
Adeline Rudolph as Kitana.
Credit: Warner Bros. Pictures
Mortal Kombat (2021) director Simon McQuoid is back with muddy CGI settings, rubbery CGI fighters, and much of his movie’s cast reprising their roles. Along with Tan and Taslim, Jessica McNamee is back as Sonya Blade, Josh Lawson as Kano, Mehcad Brooks as Jax, Ludi Lin as Liu Kang, Tadanobu Asano as Raiden, and Hiroyuki Sanada as Hanzo Hasashi / Scorpion.
Joining the fighter line-up opposite Cage are fan-wielding Kitana (Adeline Rudolph), staff-armed Jade (Tati Gabrielle), the many-fanged Baraka (CJ Bloomfield), and Ford as brutish conqueror Shao Kahn.
Now, you might think that’s too many characters to create meaningful story arcs over the course of a 116-minute runtime. And you’d be right!
Sure, screenwriter Jeremy Slater could have narrowed the focus to Cage’s experience to better create a moving narrative, while still folding in the requisite fighting, brawlers, and game allusions. But hey, why not split the story focus between Cage, whose gruff has-been attitude pitches Mortal Kombat II toward a promising Galaxy Quest vibe, and Kitana, whose rebellious warrior princess thread is reminiscent of Guardians of the Galaxy‘s Gamora as she battled Thanos and her “sister” Nebula. But here, Thanos is Shao Kahn, who murders Kitana’s dad in the film’s glacially paced opening sequence. And Nebula is Jade, Kitana’s bestie/guard since she became Shao Kahn’s prisoner as a girl. (If you want more backstory, fret not, there’s plenty.)
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Tati Gabrielle as Jade.
Credit: Warner Bros. Pictures
Cage won’t even show up for the first 14 minutes of Mortal Kombat II. In that time, the sequel plunges into the same grim and self-serious atmosphere that made McQuoid’s first Mortal Kombat a bore. Sure, the fight scenes are really violent and bloody, befitting the film’s R-rating. But the fights feel disconnected from the storytelling. Worse yet, these battles are shot with very little visual logic, meaning some big blows just don’t hit.
And yep, there sure are recreations of memorable characters, their costumes, weapons, and catchphrases. But the major important distinction between this rebooted movie franchise and the games is, the games were fun.
The most fun Mortal Kombat and Mortal Kombat II can offer is Kano, the only character who resolutely refuses to take things seriously.
Karl Urban shines, but Josh Lawson is Mortal Kombat II‘s MVP.
Karl Urban as Johnny Cage, Hiroyuki Sanada as Scorpion, and Josh Lawson as Kano.
Credit: Warner Bros. Pictures
As Cage, Urban brings with him an American arrogance that shakes up the seriousness of the Earthrealm battlers. He’s snarky where they’re stern, creating a feisty dynamic that borders on amusing. But as Cage’s clichéd plot line demands he become a selfless, brave hero, he becomes more grave and less giggle-inducing. Thank the gods for Lawson’s Kano.
This crusty criminal and unrepentant asshole died in the last movie, but like other MK fighters, he’s resurrected for this sequel. Thankfully, rather than being brought back as another humorless revenant, Kano is as chaotically insulting as ever, slinging barbs with reckless abandon. When he mocks necromancer Quan Chi (Damon Herriman) for his “eyeliner,” I howled with laughter. And for a brief moment I thought that between Cage and Kano, this movie might actually begin to get fun!
Alas, my hopes were squashed like a skull under a warhammer. Kano and Cage get to be comic relief, while Kitana broods and a new quest kicks off to heist a magical gem from Shao Kahn, which he effectively uses as an immortality cheat code. Again, life-or-death battles and a heist into the heart of a tyrant’s castle? This should be exciting and entertaining!
Inexplicably, McQuoid bleeds any tension from these sequences with a mangled visual language that makes fights hard to follow and the quest feel like an afterthought. Suspense cannot build because in every other scene, Slater’s script delivers another exposition drop to explain the tournament, the realms, the revenants — on and on! Video games are a visual medium. Movies are a visual medium. Yet much of this movie feels like I got locked into a tedious podcast.
In the end, Mortal Kombat II feels like the wretched compromise of two movie pitches. One is a sequel that closely follows the saga and dolesome tone of the last movie. The other is an action-comedy in the vein of Dungeons & Dragons: Honor Among Thieves. Whether it’s Kano reading other fighters to filth, or a sequence where Cage is chased around a village by a rampaging Baraka, there are moments where Mortal Kombat II flirts with not taking this IP deadly seriously. But then McQuoid pivots back to a tone that’s less Shogun and more Iron Fist. And as sloppy and artless as this adaptation is, it probably won’t matter.
Gamers need to demand more of video game movies.
CJ Bloomfield as Baraka.
Credit: Warner Bros. Pictures
It’s long been a cliché that video game movies are traditionally bad. I was recently disappointed by the Until Dawn movie and moved to consider my own mortality over the vacuousness of The Super Mario Galaxy Movie. And yet, studios keep plugging along with these movies “for the fans.”
Don’t be fooled. That’s a cynical sales pitch that assumes gamers love the source IP so much that studios don’t need to bring skilled filmmakers or spend the money on top-notch fight choreography, stunts, or visual effects. They believe the fans will come regardless of what they actually put on screen. And maybe they’re right! After all, critics warned that The Super Mario Galaxy Movie was a soulless sequel with more allusions than entertainment. But it’s nearing a billion dollars for worldwide box office. So, why should studios change strategy?
Warner Bros hired a commercial director to make his feature directorial film debut with Mortal Kombat, and now he’s back with a muddled vision that’s an ugly and lifeless slog. But if fans go to the theater or stream this exhaustively on HBO Max, like they presumably did its predecessor, then the bar is in hell, and it won’t be raised.
At least we have more Last of Us to look forward to, right?
Mortal Kombat II opens in theaters on May 8.
Entertainment
This robotic pool vacuum is basically a Roomba that can swim, and it’s $449 off today
SAVE 35%: As of May 6, you can get the Beatbot AquaSense 2 for $849 at Amazon, down from $1,298. That’s a 35% discount or $449 savings.
$849
at Amazon
$1,298
Save $449
I don’t have a pool (well, not a personal one, anyway; I live in an apartment complex), but I do have a robot vacuum, and I know the joy of watching a little machine clean my floors while I do other things. If you apply that same logic to pool maintenance (which I imagine is a lot more annoying than keeping your floors clean), then investing in a robo pool cleaner makes a lot of sense.
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And, right now, you can get one of Amazon’s top-rated models for a fraction of the price. As of May 6, you can get the Beatbot AquaSense 2 for $849 at Amazon, down from $1,298. That’s a 35% discount or $449 savings. It’s also the lowest price we’ve seen this model go for. The only problem? Amazon marked this as a “limited-time deal,” and the countdown clock shows it ends in about 16 hours.
This thing works just like an indoor robot vacuum; it maps out its cleaning path and then uses an onboard 4-core CPU and 16 sensors to navigate using an S-path for the pool floor and an N-path to scrub the walls and waterline. It also has a “Double-Pass Scrubbing” feature for the waterline, so it’ll get the grimiest spots twice per pass. Bonus: When it’s done cleaning (or when the battery runs low), it automatically parks itself at the surface of the water so you don’t have to go diving to retrieve it.
Entertainment
Grandma Anne’s Secret Jell-O
I love making food that people appreciate — the kind of meal that makes the whole table go quiet at the first bite. But you know what I kind of love more? Making food that makes the whole table shriek like kids chasing the ice-cream truck.
So, when I happened upon a “secret Jell-O” recipe in chef Hillary Sterling’s new cookbook, Ammazza! — titled for the Roman slang term, which roughly translates to “wowee!” — I knew I had to share.
“This was the defining treat of my childhood,” explains Hillary. Growing up, her Grandma Anne always kept a bowl of Jell-O in the fridge. “She added halved grapes, and they’d hover in the middle while it ‘jellified.’ It tasted so cool, refreshing, and delicious.” As adults, Hillary and her sister tried to replicate it, but never managed to get the taste just right. That’s when their grandpa clued them in to Grandma Anne’s secret ingredient: sweet liqueur. “Turns out, our favorite childhood dessert was one part Grandma, one part frat party.”
Hillary’s own adaptation is a little more cocktail-party than frat, but just as festive: a ruby-red confection, studded with plums and served in a champagne coupe. Plus, it’s incredibly simple, with less than 10 minutes of active cooking time. And while I’ll give Grandma Anne the benefit of the doubt, and say she probably wasn’t trying to inebriate her grandchildren, this recipe has almost a shot’s worth of brandy per serving (wowee, indeed!). So, let’s maybe keep it at the grown-ups table.
Grandma Anne’s Secret Jell-O
from Ammazza! by Hillary Sterling
Serves 4
1/2 cup (115 g) prunes*
3/4 cup (180 ml) brandy
1 85-gram package cherry gelatin
*It’s true, prunes are dried plums. Here, they’re essentially rehydrated in the cooking process.
In a small pot, combine the prunes and 1/2 cup (120 ml) of the brandy. Bring to a boil, then turn the heat low, and cook until the prunes absorb all the liquid (about 5 minutes). Set aside. In a separate small saucepan, bring 1 cup (240 ml) of water to a boil. Place the gelatin in a heatproof bowl, then pour the hot water over it, whisking until fully dissolved (about 2 minutes). Stir in the remaining 1/4 cup (60 ml) of brandy and 1 cup (240 ml) of cold water.
Divide half of the gelatin mixture evenly among four glasses, filling them about halfway. (“This is the time to break out your heirloom wine glasses or champagne coupes,” says Hillary. “Style and presentation meant everything to my grandmother.”) Arrange the glasses on a small sheet pan for stability. Refrigerate, uncovered, until just set (about 1 hour).
Finally, divide the steeped prunes evenly among the glasses, gently placing them on top of the set layer. Top each glass with the remaining gelatin — the fruit will “float” as it sets. Cover and refrigerate until firm but still jiggly (about 1 hour more). Serve, and enjoy!
Thank you so much, Hillary! And congratulations on your beautiful cookbook.
P.S. More fun party recipes, including a chaotic pavlova and a pasta cake.
(Photos by Kelly Puleio. Excerpted with permission from Ammazza!, on sale now from Scribner, an imprint of Simon & Schuster. Copyright © 2026 by Hillary Sterling)
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