Netflix: ‘Old Dads’ Continues Atop Weekly Top 10 Chart Through Oct. 29

Comic Bill Burr’s directorial debut, the adult comedy Old Dads, continued to resonate with streamers, topping both Netflix’s overall Top 10 chart and English-language chart with 16.3 million views for the week ended Oct. 29. The movie’s total views now approach 30 million in 10 days.

It was a strong week for new releases on the non-English language movie chart. The Brazilian thriller Burning Betrayal, an adaptation of Sue Hecker’s best-selling novel O Lado Bom de Ser Traída, claimed the top spot on the non-English language movie chart with 14.7 million views. The Spanish horror film Sister Death landed No. 2 (6.2 million views) and the bittersweet Dutch drama Crypto Boy came in at No. 8 (2.2 million views).

Season seven of the high school drama series “Elite” took the pole position on the non-English language TV chart with 5.3 million views. For the fourth week in a row, all three parts of French crime heist series “Lupin” charted. Newly released part three came in second with 4.7 million views, and parts one and two took sixth and seventh, respectively, with 2 million views each. 

The genre-defying U.K. limited drama mystery series “Bodies” moved to the top of the English-language TV chart with 7.7 million views. Additional chart newcomers included the true crime documentary miniseries “Get Gotti” with 7.3 million views and the natural history documentary series “Life On Our Planet,” narrated by Morgan Freeman, at No. 3 with 5.5 million views.

Meanwhile, the new movie release Pain Hustlers, co-starring Emily Blunt and Chris Evans, debuted No. 2 on the English-language movie chart with 14.1 million views. The Jennifer Lawrence starrer No Hard Feelings took third place with 13.1 million views — more than three-times last week’s debut. In its fifth week on the list, Reptile, co-starring Benicio Del Toro, Justin Timberlake and Alicia Silverstone, took seventh place with 3.5 million views.  

Mike Flanagan’s horror series “The Fall of the House of Usher” remained on the English-language TV chart in fourth place with 4.2 million views in its third week. The limited docuseries “Beckham” scored fifth place in its fourth week (4 million views) and season four of the U.K.’s “Sex Education” came in eighth place in its sixth week (1.7 million views). 

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Comic Bill Burr’s Directorial Debut ‘Old Dads’ No. 1 on Netflix Through Oct. 22

Stand-up comic Bill Burr’s directorial debut Old Dads, in which he co-stars with Bobby Cannavale and Bokeem Woodbine, debuted atop both Netflix’s English-language movie and overall charts with 13.3 million views through Oct. 22. The Swedish horror film The Conference moved up to the top of the non-English language movie chart with 6.5 million views.

“The Fall of the House of Usher,” the new horror series from Mike Flanagan, finished No. 1 again on the English-language TV chart with 7.9 million views. For the third week in a row, all three parts of French crime heist series “Lupin” secured spots on the non-English-language TV chart. Part three once again stole the top spot with 7.7 million views, while parts one and two nabbed the fourth (3.2 million views) and fifth spots (3 million views), respectively.

Among other charting English-language movies were the new documentary The Devil on Trial, which debuted in second place with 8 million views; the homicide drama Reptile, which came in at No. 4 (4.2 million views); and Chloe Domont’s workplace thriller Fair Play, which landed at No. 6 (3.8 million views). Sony Pictures’ adult comedy No Hard Feelings, starring Jennifer Lawrence, debuted at No. 7 on the chart with 3.8 million views.   

The limited docuseries “Beckham” landed in second place on the English-language TV chart with 6.9 million views. New charters included the U.K. limited drama series “Bodies” at No. 3 (5.5 million views) and season seven of the adult animated series “Big Mouth” at No. 7 (1.6 million views). Returning favorites rounded out the chart with season four of the U.K.’s “Sex Education” at No. 5 (2.6 million views), season five of “Love Is Blind” at No. 6 (1.8 million views) and “One Piece” at No. 8 (1.4 million views in its eighth week on the chart). 

Season seven of the Spanish steamy high school drama series “Elite” debuted at No. 6 on the non English-language TV chart with 3 million views, while the Korean romance drama “Doona!” premiered at No. 7 with 2.8 million views. The psycho-thriller “Dear Child” (Germany) entered the non-English language TV chart at No. 10 with 47.1 million views after seven weeks on the chart.

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Finally, returning favorites dominated the remainder of the foreign language movie chart with the dystopian survival thriller Nowhere (Spain) coming in at No. 2 (5 million views), the Korean action thriller Ballerina taking the No. 3 spot (4.2 million views), and the dramas Forgotten Love (Poland) and Ìjọ̀gbọ̀n (Nigeria) landing at No. 5 (3.6 million views) and No. 6 (2.9 million views), respectively. 

The Mandalorian: Season 2


Not rated.
Stars Pedro Pascal, Gina Carano, Temuera Morrison, Ming-Na Wen, Katee Sackhoff, Mercedes Varnado, Rosario Dawson, Timothy Olyphant, Bill Burr, Carl Weathers, Horatio Sanz, Giancarlo Esposito.

The eight episodes of the second season of “The Mandalorian” offer the kind of “Star Wars” moments the franchise’s fans have been clamoring to see for decades.

Series creator Jon Favreau and executive producer Dave Filoni are drawing from nearly all aspects of “Star Wars” lore for inspiration — not just the original trilogy, but also the prequels and animated spinoffs as well.

Instead of trying to reinvent the universe the way the sequel trilogy seemed to be trying to do, “The Mandalorian” unmistakably wants to play in George Lucas’ sandbox. The episodes have all the fun and joy of what it’s like to play with “Star Wars” toys as a kid, and imagine all the adventures possible in that galaxy far, far away.

It’s not fan service. It’s fantastic.

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Picking up from last season, bounty hunter Din Djarin, the Mandalorian of the title, embarks on his quest to return to the Jedi the child everyone refers to as “Baby Yoda” (whose name is finally revealed to be Grogu). But doing so will require a great deal of compromise and sacrifice. Along the way he encounters Bo-Katan (Katee Sackhoff), a Mandalorian from the “Clone Wars” and “Rebels” animated shows who desires to reclaim her home planet from the chaos of the Empire’s wrath. She leads Mando to another animated character brought into live-action, the former Jedi Ahsoka Tano (Rosario Dawson), who needs his help to free a village from a warlord in one of the season’s standout episodes.

Another great episode sees the return of Bill Burr, who has to help Mando on a mission to locate the menacing Moff Gideon (Giancarlo Esposito). Their infiltration of an Imperial base leads to some of the tensest moments on the show, culminating in the “Star Wars” version of the great basement shootout from Inglourious Basterds.

And if that weren’t enough, we get the return of Boba Fett (Temuera Morrison), last seen being swallowed by the Sarlacc in Return of the Jedi. Not only did he survive, but he’s finally living up to the potential for badassery only hinted at in his limited screen time in the movies but which has nonetheless made him a fan favorite since his introduction.

The season also has a few more surprises in store, leading to one of the most emotional and satisfying finales a fan could hope for.

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There have been some grumblings about the wide variance in running times of the episodes — ranging from barely more than a half-hour to more than 50 minutes. But this just demonstrates the creative advantages of posting content to an ad-free streaming service as opposed to needing to fill a set run time to account for a time slot and advertising. The show’s creators are telling the stories they want to tell, and they are using the time they need to tell them. No more, no less. And the results speak for themselves.


The Opening Act


Street Date 12/15/20;
RLJE Films;
$27.97 DVD, $28.96 Blu-ray;
Not rated.
Stars Jimmy O. Yang, Alex Moffat, Cedric the Entertainment, Neal Brennan, Debby Ryan, Ken Jeong, Bill Burr, Jermaine Fowler, Russell Peters, Whitney Cummings, Tom Segura, Iliza Shlesinger.

Fans of stand-up comedy should get a kick out of The Opening Act, the story of a young man at the crossroads of whether or not his life’s ambition is worth the pursuit. The cast of The Opening Act features a who’s who of the stand-up world, and only a few are actually playing the comedians.

Written and directed by stand-up comedian Steve Byrne (“Sullivan & Son”), and based in part on his own experiences starting out in stand-up, The Opening Act stars Jimmy O. Yang (“Silicon Valley”) as Will Chu, a claims adjuster who aspires to be a comic because growing up he bonded with his late father watching stand-up comedy together.

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Struggling just to get enough stage time with local open mic nights, Will gets the opportunity of a lifetime when a friend recommends him for a weekend MC gig for the Pittsburgh Improv. The headliner is Billy G (Cedric the Entertainer), who Will idolized growing up.

However, one awkward encounter after another leaves Will questioning if he has what it takes to make it in comedy. The feature comedian, Chris (Alex Moffat of “Saturday Night Live”) constantly wants Will to party, throwing off his concentration. A disastrous promotional appearance on a local radio show puts him on the radar for hecklers, throwing off his game as he tries out new material that just doesn’t land.

He seems more like he’s trying to go through the motions of what he thinks a stand-up comedian should do, without understanding what it takes to connect with the audience, until Billy G takes some pity on him, reminds him that every comedian has to learn to bomb hard, and gives him some advice that might help him turn things around.

All in all, the message of perseverance should resonate with all viewers.

The Blu-ray includes a six-minute making-of featurette, a three-minute featurette in which the cast members discuss the difficulties of getting started in comedy, and 11 minutes of footage of extended stand-up performances from the likes of Yang, Cedric, Whitney Cummings, Ken Jeong and more.

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The King of Staten Island


$29.98 DVD, $34.98 Blu-ray;
Rated ‘R’ for language and drug use throughout, sexual content and some violence/bloody images.
Stars Pete Davidson, Marisa Tomei, Bill Burr, Bel Powley, Maude Apatow, Steve Buscemi.

Even at an overlong two hours and 17 minutes, The King of Staten Island is a watchable enough comedy despite director Judd Apatow’s tendencies to overindulge in sentimentality. There are times the film seems almost like a character study, chronicling the story of a family continuing to cope with a tremendous loss a decade earlier, and turning into a personal and heartfelt tribute to firefighters.

The film is loosely based on the life of “Saturday Night Live” comedian Pete Davidson, who also stars in the film as Scott, a listless 20-something struggling to make something of his life. Davidson’s father was a firefighter killed during the collapse of the World Trade Center towers on 9/11 (his character of Scott is named for his father). In the film, Scott’s father is a firefighter who died in the line of duty years earlier when he and his sister were kids. Now, Scott’s sister is heading to college, while Scott has become a pothead who dreams of being a tattoo artist.

Eventually, Scott’s mother (Marisa Tomei) begins dating Ray (Bill Burr), who also is a firefighter, which upsets Scott, who thinks it’s disrespectful to the memory of his father.But working through his issues with Ray turns out to be cathartic for Scott (just as the making of the film would be somewhat cathartic for Davidson, he relates in the extras).

The film also drifts a bit from reality in the form of a romantic subplot involving Scott’s relationship with Kelsey (Bel Powley) a girl he grew up with, whereas in real life Davidson has plastered the tabloids plowing through several hotties of Hollywood.

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The Blu-ray includes a commentary with Davidson and Apatow, recorded in quarantine, in which they tell a lot of stories about the making of the film, and comparing it to the inspirations from Davidson’s own life.

It’s also interesting to note that even as the film runs long for a comedy, it could have been a lot longer. The Blu-ray and digital extras include more than 15 minutes of deleted scenes, plus a couple of alternate endings, a five-minute montage of alternate takes, and a six-minute gag reel.

More behind-the-scenes material is offered through several short featurettes, including a tribute to Davidson’s father.

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The extras also include a trove of marketing materials, such as the trailer, and several video calls of Apatow and Davidson discussing how to release the film during the pandemic, including telling Burr there’s no premiere party, and promoting the movie on “The Tonight Show.”

The Front Runner


Street Date 2/12/19;
Sony Pictures;
Box Office $2 million;
$30.99 DVD, $34.99 Blu-ray;
Rated ‘R’ for language including some sexual references.
Stars Hugh Jackman, Vera Farmiga, J.K. Simmons, Alfred Molina, Sara Paxton, Mamoudou Athie, Spencer Garrett, Ari Graynor, Kaitlyn Dever, Steve Zissis, Bill Burr, Mike Judge, Kevin Pollak, Tommy Dewey, Molly Ephraim, Josh Brener.

The bright future of a rising political star runs smack into the maxim that “a lot can happen in three weeks” in director Jason Reitman’s exploration of the relationship between politics and media.

The Front Runner isn’t much of a political movie, in that it doesn’t overtly deviate into policy debates. Nor does it lay out any easy answers or preach to the audience what to think.

The docudrama relates the brief campaign of former Colorado senator Gary Hart (Hugh Jackman) for the presidential election of 1988, when he was considered the most likely nominee upon entering the race in April 1987.

Hart had come close to becoming the Democrats’ presidential nominee in 1984 and was considered a favorite for securing the spot for 1988. However, dogged by rumors of womanizing, Hart challenged a Washington Post reporter to follow him around, claiming anyone who did so would be “very bored.” Subsequently, a team from the Miami Herald decided to do just that after receiving an anonymous tip that Hart was having an affair was planning to host the girl in Washington, D.C.

When the Herald reported that Hart had been seen at his home with a potential campaign worker named Donna Rice (Sara Paxton), the story exploded, though Hart denied having any inappropriate relationship.

Hart bristled at the notion that the public and the media should have any interest in a politician’s private life, but the exposure took a toll on his family, and within a week his political career was over (save for a brief return to the presidential race in December 1987, which the movie doesn’t get into, and some appointments during the Obama administration).

Reitman, who co-wrote the screenplay with journalist Matt Bai and political operative Jay Carson, describes the event as a defining moment of tabloid journalism swerving into politics, fueled by the expansion of telecommunications technology and the rise of the 24-hour news cycle.

In the past, members of the media had made an almost tacit agreement to ignore the infidelities of the politicians they covered. But at some point, notions of character and morality began to intertwine with notions of policy and perceptions of leadership, shining an ever-wider spotlight on the personal lives of those seeking the public trust.

The Front Runner

As relayed in the bonus materials, in Reitman’s eyes, the Hart incident serves to presage a modern media environment in which every scrap of social media will be scoured, every statement dredged up and over-analyzed, and every stone unturned in an effort to extract a partisan toll.

In terms of framing the story, then, Reitman asks two competing questions: “what is important?” versus “what is entertaining?” Accordingly, he constructs almost every scene to give the audience more than one thing to focus on, putting it on the viewer to decide what is more important to the story, and how it reflects the overall message of the film.

But in leaving so much for the audience to decide, The Front Runner ends up as more of a conversation starter than a definitive statement on the issue.

Fortunately, the regular trappings of cinema on hand make for an otherwise entertaining movie. The performances are spot on, and Reitman does a nice job handling an all-star cast whose orbs of influence only occasionally intersect.

Likewise, Reitman deftly captures the feel of the 1980s with some subtle camerawork that reinforces the costumes and set design in evoking the mood of the period. In particular, Reitman notes, is his insistence on letting the rawness of the film as a medium speak for itself, and not to clean up the image using modern computer editing.

The Blu-ray includes an audio commentary with Reitman, producer Helen Estabrook, production designer Steve Saklad, costume designer Danny Glocker and cinematographer Eric Steelberg, in which they delve into all the techniques and artistic touches they layered into the film.

There’s also a 15-minute featurette called “The Unmaking of a Candidate” that touches on the making of the film and the themes it’s exploring.

There are also three deleted scenes, including a slightly alternate opening sequence, that run about four-and-a-half minutes.