Brittany Runs a Marathon
John Wick: Chapter 3 - Parabellum
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An exquisite corpse of good ideas never fully formed, "Rachel, Jack and Ashley, Too" struggles to sew its many concepts together -- what does work can largely be attributed to Miley Cyrus' wholly committed and compelling performance.
Rachel, Jack and Ashley Too, may tell its story through a slightly different voice, but the story it imparts undoubtedly belongs in the cruel world of Black Mirror, and represents the best of Brooker's talent as a writer.
The show's take on the genre is also oddly stale, relying on a textbook dichotomy between "pop" and "rock."
"Rachel, Jack, and Ashley Too" has enough engaging material to make it the most successful outing of the show's latest season.
It's a little bit of slapstick, a little bit of drama, all wrapped in a few broad messages about predatory music industry marketing practices. It also feels particularly off-brand for "Black Mirror."
For an episode dominated by such unusual parallels to a real-life pop star in crisis, and one that gently pokes at a number of interesting themes, it is not quite the eerie, rainbow-coloured statement piece it could have been.
This is... a mess.
A straightforward tale of good and evil, buoyed by the speculative technology and some excellent performances.
By far my favorite episode of the season - and quite possibly of the entire series. Miley Cyrus delivers an amazing performance that seems to hit close to home for her.
What's amazing is the eery and sometimes hilarious meta references to Cyrus' real life. Her character and the real Ashley are differentiated by only a metallic wig, as you might remember from Hannah Montana.
Rice, Davenport, and Cyrus - two promising young talents and one of the world's biggest stars - are too talented for the middling roles they've been subjected to here.