Category: Reviews

Obi-Wan Kenobi Season 1 Review: A Star Wars Gem

Silhouette of a cloaked figure with a staff watching a binary sunset in a desert.

Hi everyone! Yes, I’ve been back watching Disney+ in a Star Wars frenzy. This time, I’ve been catching up with Obi-Wan in this heart-warming Season 1.

Obi-Wan Kenobi Season 1 (2022) is an emotionally resonant return to the Star Wars galaxy that successfully bridges the gap between Revenge of the Sith and A New Hope. This six-episode limited series elivers a character-driven story focused on healing, redemption, and quiet heroism, all anchored by Ewan McGregor’s masterful reprise of the iconic Jedi Master. While it doesn’t aim for the bombastic scale of some big-screen entries, it excels as an intimate, soulful exploration of trauma, purpose, and the enduring light of the Force. Set ten years after the fall of the Republic and the rise of the Empire, the series follows Obi-Wan Kenobi—now living in exile as “Ben” on Tatooine—as a broken man haunted by guilt over Anakin Skywalker’s transformation into Darth Vader. He has shut himself off from the Force, working a mundane job while secretly watching over young Luke Skywalker from afar.

Inquisitors who work on behalf of the Empire hunt Jedi or even people with limited abilities in the Force, adding an extra threat.

Ewan McGregor stars as the title character, reprising his role from the Star Wars prequel trilogy. Co-stars such as Joel Edgerton, Bonnie Piesse, Jimmy Smits, Hayden Christensen (Vader), and Ian McDiarmid also reprise their prequel trilogy roles. At the same time, Vivien Lyra Blair debuts as a young Leia Organa. The project originated as a spin-off film written by Hossein Amini and directed by Stephen Daldry, but it was reworked as a limited series following the commercial failure of the film Solo: A Star Wars Story (2018).

After remaining in hiding for the next ten years on the planet Tatooine, watching over Anakin’s son Luke, Kenobi is called on a mission to rescue Anakin’s daughter Leia when she is kidnapped by the Galactic Empire’s Jedi-hunting Inquisitors in a plot to draw Kenobi out.

At the core of the series’ success is Ewan McGregor’s phenomenal performance. He slips effortlessly back into the role, bringing layers of weariness, regret, dry humor, and quiet strength that make Obi-Wan feel profoundly human. Watching him evolve from a defeated hermit to a Jedi reigniting his connection to the Force is deeply satisfying and emotionally rewarding.

The supporting cast shines as well. Moses Ingram brings intensity and complexity to Reva (the Third Sister), a relentless Inquisitor whose backstory adds depth and tragedy to the Empire’s hunt for Jedi. Hayden Christensen’s return as Darth Vader is chilling and powerful—his limited but impactful appearances, especially in the later episodes, deliver some of the most memorable confrontations in the saga. The Inquisitors and other Imperial figures create a palpable sense of danger, while cameos and references to prequel and original trilogy lore reward longtime fans without feeling forced.

Visually, Obi-Wan Kenobi is a treat. The production design beautifully blends the sandy desolation of Tatooine with the sterile oppression of Imperial worlds and the vibrant, lived-in feel of Alderaan. Practical effects, impressive lightsaber duels, and John Williams-inspired scoring (with new themes by Natalie Holt) elevate key moments, particularly the thrilling finale that features some truly epic, emotional lightsaber action worthy of the franchise’s legacy.

Four stars out of five from me. May the Force be strong in you.

Abigail (2024): A bloody ballet of Horror and Laughs

Every now and again, I like to watch a good horror. There’s something about knowing that most of the characters will shortly be dead that is somewhat satisfying. Throw in a bit of blood and screams of terror, and I’m sorted.

So, unsurprisingly, I gave this film a shot.

Abigail is a 2024 American vampire horror comedy film directed by Matt Bettinelli-Olpin and Tyler Gillett, and written by Stephen Shields and Guy Busick. It stars Melissa Barrera, with Alisha Weir as the title character, and Dan Stevens, Kathryn Newton, Will Catlett, Kevin Durand, Angus Cloud (posthumously), and Giancarlo Esposito in supporting roles.

The premise is deceptively straightforward and hooks you immediately: a ragtag crew of criminals kidnaps 12-year-old ballerina Abigail (the phenomenal Alisha Weir), the daughter of a feared underworld figure, and holes up with her in a remote, opulent mansion for 24 hours while awaiting a $50 million ransom. Sounds so simple, right?

What begins as a contained crime thriller—complete with colorful character dynamics and snappy banter—quickly spirals into chaos when the kidnappers realize their seemingly innocent captive is far more dangerous than they could have imagined. The film smartly plays with expectations in its first half, building suspense through interpersonal tensions, before unleashing its horror elements with escalating intensity.

t the heart of the film’s success is its outstanding ensemble cast, who fully commit to the over-the-top fun. Melissa Barrera shines as Joey, the former army medic and most level-headed member of the group, bringing heart, resourcefulness, and genuine likability to a role that could have easily been generic. She’s the audience’s emotional anchor amid the madness. Dan Stevens is an absolute delight as the sleazy, self-centered Frank, chewing scenery with villainous glee and injecting plenty of dark humor. The supporting players are equally memorable: Kathryn Newton as the hacker Sammy, Kevin Durand as the dim but endearing muscle Peter, William Catlett as the pragmatic Rickles, and the late Angus Cloud (in one of his final roles) as the getaway driver Dean, who nearly steals scenes with his oddball charm.

ut the true standout is young Alisha Weir as Abigail. Following her breakout in Matilda: The Musical, Weir delivers a star-making performance here—menacing yet oddly endearing, vulnerable yet terrifying. She nails the ballerina grace in her movements (the fight choreography incorporating dance elements is brilliant and balletic), flips between wide-eyed innocence and feral predator mode effortlessly, and sells both the horror and the comedic beats.

isually and stylistically, Abigail is slick and confident. The isolated mansion setting is a perfect playground—grand, shadowy, and filled with opportunities for creative kills and chases. The practical effects and gore are top-notch: buckets of blood, inventive vampire violence, and some genuinely squirm-inducing moments that don’t shy away from the R-rating. Yet the directors balance the horror with sharp humor—quippy one-liners, absurd situations, and character-driven laughs that prevent it from ever feeling mean-spirited.

Three stars out of five from me.

Have you seen it? Let me know what you think.

Superman 2025: A Fresh Reimagining of the Hero

Comic art of a caped dog flying over a city. Text: SUPER-PUP TO THE RESCUE!

At forty-six years of age, I’ve seen my share of Superman films. To say the least, I was surprised to see that another one had been released. Still, I felt some excitement.

Superman is a 2025 American superhero film based on the eponymous character from DC Comics. Written and directed by James Gunn, it is the first film in the DC Universe (DCU) and a reboot of the Superman film series. David Corenswet stars as Kal-El / Clark Kent / Superman, alongside Rachel Brosnahan, Nicholas Hoult, Edi Gathegi, Anthony Carrigan, Nathan Fillion, and Isabela Merced. In the film, Superman faces unintended consequences after he intervenes in an international conflict orchestrated by billionaire Lex Luthor (Hoult). Superman must win back public support with the help of his reporter and superhero colleagues. The film was produced by Gunn and Peter Safran of DC Studios.

The first thing that stood out to me is that this is not just a reboot, it’s a whole new reimagining. There are other beings on this Earth with similar powers, and the films with Superman losing a battle.

David Corenswet delivers a standout performance as Clark Kent/Kal-El/Superman. He perfectly balances the awkward, earnest Midwestern reporter with the powerful, compassionate alien hero. Corenswet’s Superman isn’t brooding or tormented—he’s optimistic, kind-hearted, and driven by an unwavering belief in truth, justice, and the potential for humanity to be better. His chemistry with Rachel Brosnahan’s sharp, no-nonsense Lois Lane crackles with intelligence and warmth. Their relationship feels lived-in and believable, grounding the larger-than-life stakes in genuine emotion. Brosnahan nails Lois as a fearless journalist who challenges Superman while clearly admiring the man beneath the cape.Nicholas Hoult makes for a compelling and menacing Lex Luthor—a tech billionaire whose narcissism and intellect pose a credible threat. His scheme, which draws Superman into international conflicts and turns public opinion against him, adds real tension and forces our hero to confront the consequences of his actions in a complex world. The supporting cast shines brightly too: Edi Gathegi as the brilliant Mr. Terrific, Isabela Merced as Hawkgirl, Nathan Fillion as the cocky Guy Gardner/Green Lantern, and others bring colorful personalities and fun dynamics to the emerging DCU roster.

A special mention to Kypto, the superdog. He adds a whole different dynamic to the franchise, creating moments of angst but also of cheer.

Visually, the film is a feast. Gunn’s direction blends epic, high-flying action with vibrant colors and practical-feeling effects that honor classic comic book energy. The battles are dynamic and inventive, showcasing Superman’s powers in creative ways without feeling overly derivative. At the same time, quieter moments—Clark navigating his dual heritage, heartfelt conversations about what it means to be good, or simple acts of heroism—carry real emotional weight. The score swells with triumphant themes that elevate the spectacle, while Gunn’s signature blend of humor (never undercutting the sincerity) keeps things light and engaging.

Five stars out of five from me. Now go and watch it, relive your childhood wonder.

Disney+’s Alien: Earth Review – Horror Meets Sci-Fi

A picture of two menacing looking aliens.

Great news, readers, I recently got access to Disney+ through my Sky subscription. Yay for me! So what to watch? I flicked through what was available and then stopped. Yes, a new series about Aliens, the kind that like to break through your ribs. Happy days! To date, I have watched the first three episodes of the first of what I hope will be many series.

Alien: Earth is an American science fiction horror television series created by Noah Hawley. It is the first television series in the Alien franchise and is set two years before the events of the 1979 film Alien. The series stars Sydney Chandler, Alex Lawther, Essie Davis, Samuel Blenkin, Babou Ceesay, Adarsh Gourav, and Timothy Olyphant in main roles.

Set in 2120, the story unfolds in a dystopian Earth dominated by five mega-corporations, including the ever-sinister Weyland-Yutani. When the deep-space research vessel USCSS Maginot crash-lands, it unleashes horrors that force humanity to confront not only the classic Xenomorph threat but also new, unsettling alien forms and the blurred lines between synthetic life, human consciousness, and corporate exploitation. The premise cleverly weaves in elements reminiscent of Peter Pan (with character names like Wendy, Hermit, Tootles, and Slightly), creating a haunting, almost fairy-tale-like undercurrent amid the body horror and corporate intrigue.

The performances are outstanding across the board. Sydney Chandler delivers a breakout turn as Wendy, the synthetic infused with human consciousness, bringing vulnerability, strength, and quiet menace to a role that could have been one-note. Alex Lawther as Joseph Hermit is magnetic—wry, haunted, and deeply compelling—while Timothy Olyphant’s Kirsh adds layers of authoritative menace that fans of his work will savor. The ensemble, including Essie Davis, Samuel Blenkin, and others, feels lived-in and real, grounding the high-concept sci-fi in human (and post-human) emotion

.Visually, Alien: Earth is a triumph. The production design, practical effects, and CGI blend seamlessly to create some of the most bone-chilling creature sequences ever put on television. The Xenomorphs remain terrifyingly iconic, but Hawley introduces new designs and behaviors that expand the lore without cheapening it. The atmosphere is thick with dread—shadowy corporate towers, rain-slicked wastelands, and claustrophobic crash-site carnage—while the overture-style episode openings (flashing, atonal images set to an unsettling score) are a masterstroke that demands your full attention.

I’m really looking forward to watching the rest of the series and promise to give you all a quick update. So far, four stars out of five from me.

Do you agree?

Let me know in the comments.Don’t forget to subscribe if you haven’t already done so.

Wheelchair Wars 2 (ii)

The next morning, they rose early. No words were exchanged between them. Audrey was first in the wheelchair. She looked at her roommate, struggling to catch up, sweat dripping from her brow. The sound of chanting from the main hall was audible. Audrey’s mouth opened, but then closed again.

A few minutes later, Jessica was also ready.

“Ready?” Audrey asked.

Jessica nodded, but did not meet her eyes.

When they reached the main hall, their battle chairs were already waiting for them. Audrey felt elated. The others from their group were still to appear.

As Audrey transferred into the battlechair, she could hear jeering.

“You two, think you’re special, do ya?” As Audrey took control of the chair, she surveyed her surroundings. The comment came from Cian. His jaw was clenched, his face crimson. There were two more, on either side of him, of similar disposition.

They were in Falcon B chairs and armed with long swords.

Shouts of “Fight, fight” went out over the great hallway. The others stopped what they were doing, clearing the arena.

“We don’t want to fight,” Jessica implored.

Audrey’s hand was shaking. She thought of what Timothy would say.

The Falcon X was faster and more versatile. She knew what she needed to do.

Review of Join or Die (2023): A Powerful and Hopeful Call for Community

This is an interesting documentary that I came across recently. As we all know, American democracy is looking fairly shaky at the moment. But why? Well, this posits that it’s about diminishing social capital.

Join or Die is a 2023 American documentary film regarding community connections and club participation, based on the work of political scientist Robert Putnam.

The film includes interviews with Hillary Clinton, Pete Buttigieg, Surgeon General Vivek Murthy, Eddie Glaude Jr., Raj Chetty, and Priya Parker.

The documentary Join or Die, directed by Pete Davis and Rebecca Davis, is an insightful and deeply inspiring exploration of one of the most urgent social questions of our time: why are people becoming increasingly disconnected from one another, and what can be done to rebuild a sense of community? Centered on the research and life work of renowned political scientist Robert D. Putnam, the film delivers a compelling blend of history, social science, and human storytelling that makes a powerful case for the importance of civic engagement.

t the heart of the documentary is Putnam’s groundbreaking concept of social capital—the networks of trust and cooperation that bind communities together. His influential book Bowling Alone: The Collapse and Revival of American Community argued that Americans have become increasingly isolated since the mid-20th century, with declining participation in clubs, associations, and civic groups. Join or Die takes this idea and transforms it into a vibrant cinematic narrative, showing how the erosion of these social ties has profound consequences not only for individual well-being but also for democracy itself.

One of the film’s greatest strengths is its accessibility. Rather than presenting Putnam’s research in a dry academic format, the filmmakers weave together archival footage, animated visuals, and personal stories from communities across the United States. This creative storytelling approach brings complex sociological ideas to life, making them both understandable and emotionally resonant. The pacing is energetic and engaging, ensuring that the film remains both informative and entertaining.

Beyond its intellectual depth, Join or Die is ultimately an optimistic film. While it acknowledges the troubling decline in civic participation and trust in institutions over recent decades, it does not dwell on pessimism. Instead, it offers a hopeful and practical vision of renewal. By highlighting grassroots groups, neighborhood initiatives, and local organizations that are rebuilding community bonds, the documentary demonstrates that the solution may be surprisingly simple: people coming together in real life.

Emotionally, the film resonates because it speaks to a universal human need—the desire to belong. In an era defined by digital interaction, loneliness, and social fragmentation, Join or Die reminds viewers that meaningful connections are essential for both personal happiness and collective prosperity. The film suggests that joining a club, volunteering, or participating in community groups can have transformative effects not only on individuals but on society as a whole.

I found it quite interesting, and it gets three stars out of five from me. Hey, no sex or violence.

But what did you think? Let me know in the comments.

The Dinosaurs Series Review: A Thrilling Journey into Prehistoric Times

There is something about the T. rex that brings out my inner child. So it was with great excitement that I started watching The Dinosaurs on Netflix.

The Dinosaurs is an American television nature documentary miniseries produced by Amblin Documentaries and Silverback Films. Executive-produced by Steven Spielberg and narrated by Morgan Freeman, the four-part series focuses on the history of dinosaurs from their appearance in the Triassic period until their demise in the Cretaceous–Paleogene extinction event.

First, Morgan Freeman adds so much to the series with his unforgettable accent -ddinossaursss. But it also has so much more to offer.

The Dinosaurs is one of those rare shows that manages to be both wildly entertaining, educational and surprisingly meaningful at the same time. From the very first episode, it pulls you into a colorful prehistoric world that feels playful, imaginative, and full of personality.

What immediately stands out is the show’s charm. The characters are lovable, expressive, and memorable, each bringing a different kind of humor and heart to the story. The family dynamic is especially engaging—full of funny misunderstandings, heartfelt moments, and the kind of everyday situations that viewers of all ages can relate to. Even though the setting is prehistoric, the themes feel very modern and relatable.

The humor is another major strength. The show strikes a balance between slapstick comedy and clever jokes, offering situational humor that appeals to both younger viewers and adults.

The series consists of four episodes: Rise, Fall, Empire, and Fall.

Fall, of course, is the saddest one. Watching all those poor dinos being cooked brought a tear to my eye.

Go on, it’s a good watch. Four stars out of five from me.

Netflix’s War Machine Review: Big Action, Bigger Robot, Great Results

Alan Ritchson as Ranger 81 in War Machine 2026 Netflix film

Ladies and gentlemen, you know how I love a good sci-fi. And a sci-fi with plenty of action is even better. Well, a proper gem has just been released on Netflix!

War Machine is a 2026 science fiction action film directed, co-produced, and co-written by Patrick Hughes. It stars Alan Ritchson, Dennis Quaid, Stephan James, Jai Courtney, Esai Morales, Keiynan Lonsdale and Daniel Webber.

In Afghanistan, an unnamed Staff Sergeant arrives to help his brother’s broken down convoy. His brother tries to convince him that they should apply to become Army Rangers, when they are attacked by Taliban insurgents. Everyone is killed except the Staff Sergeant, who suffers a knee injury. The Staff Sergeant tries to carry his mortally wounded brother back to base but passes out before making it. When he wakes up in the hospital, he learns that his brother had already died, but he is awarded the Silver Star. This is one part of the film where the visuals could have been better. The background was out of focus. The scenery of Afghanistan was worth getting right.

Two years later, the Staff Sergeant attends RASP to join the 75th Ranger Regiment, and is given the candidate number of 81. 81 excels at training but does not bond with his fellow recruits and refuses the role of team leader, despite his record. After he allows himself to nearly drown during an underwater exercise, regiment leaders Sergeant Major Sheridan and First Sergeant Torres question his mental state over his PTSD and insist he step down from the program to recuperate, but 81 refuses. Sheridan and Torres allow him to advance and assign him team leader for the final exercise, a simulated mission in the forest to destroy a classified aircraft and rescue its pilot. Around that time, reports come out of a suspected asteroid revolving around the planet breaking off in pieces.

During the exercise, the team is startled by an unknown blast in the sky, which knocks out communications, and finds a strange looking object by the creek, which the team believes is the classified aircraft. After detonating it with explosives, it remains undamaged and transforms into a walking machine that starts killing the team. Oh yeah baby! I love it.

War Machine (2026) is a high-octane sci-fi action film that delivers exactly what modern action cinema should: relentless tension, striking visuals, and a compelling hero at the center of a desperate fight for survival.

One of the film’s biggest strengths is the commanding presence of Alan Ritchson in the lead role. As the emotionally scarred but resilient soldier 81, he delivers a performance that balances physical power with vulnerability.

Ritchson brings credibility to the character through demanding stunt work and intense physical scenes, many of which were performed practically during filming. It makes it all the more compelling.

Where War Machine truly shines is in its action sequences. Director Patrick Hughes crafts battles that feel raw and immediate, with soldiers navigating forests, rivers, and rugged terrain while being pursued by an unstoppable alien machine.

The film’s use of practical stunts and real explosions adds authenticity rarely seen in streaming action films. Scenes such as rappelling over rapids or underwater endurance tests push the actors physically and create a visceral sense of danger.

My favorite part was the chase between the armored car and the machine. It was edge of the seat stuff.

The robotic antagonist is also a highlight. Its mechanical design and relentless pursuit give the film a thrilling “survival horror” edge, reminiscent of classic sci-fi action films where humans must outsmart a technologically superior enemy.

And the good news is that there are more aliens on the way, so there’s room for a sequel.

Have you seen it? Let me know what you think. Five stars out of five from me.

The Outlaw King Review: A Gripping Tale of Scottish Independence

There’s something about medieval Scots fighting the English that warms the heart. “Freedom” sounds great, but any reason to fight the old enemy is good enough in truth. Well, from a film perspective. I love English people, really. So when I saw that this was available on Netflix, I pressed play.

The Outlaw King is an electrifying and emotionally resonant historical epic set in 1304 that brings Robert the Bruce’s story to life with striking authenticity and intensity. Directed by David Mackenzie and led by a commanding performance from Chris Pine, this film stands as a gripping portrayal of Scotland’s fight for independence — raw, human, and deeply inspiring.

From the very first frame, the film immerses viewers in the harsh, mud-soaked reality of medieval warfare. Unlike glossy historical dramas, The Outlaw King embraces realism. It also predates the CGI nonsense plaguing modern films. The battle sequences are visceral and unflinching, especially the climactic confrontation at the Battle of Loudoun Hill, which is staged with breathtaking choreography and tension. The long, chaotic tracking shots during combat create a sense of immediacy that makes you feel as if you’re right there on the battlefield.

Chris Pine delivers one of the strongest performances of his career. His portrayal of Robert the Bruce is layered and compelling — not a flawless hero, but a determined and conflicted leader who grows into his destiny. Pine captures the vulnerability, resolve, and quiet intensity of a man who risks everything for freedom. His Scottish accent is impressive, and his physical commitment to the role adds authenticity.

The supporting cast is equally strong, particularly Florence Pugh as Elizabeth de Burgh. Pugh brings intelligence and emotional weight to her role, portraying a woman whose strength matches the film’s epic scope. The chemistry between her and Pine adds heart to a story otherwise dominated by political tension and warfare.

Visually, the film is stunning. The rugged Scottish landscapes — sweeping highlands, mist-covered hills, and medieval castles — are captured with moody cinematography that enhances both the beauty and brutality of the setting. The natural lighting and muted color palette reinforce the grounded tone, making everything feel lived-in and historically authentic.

What truly sets The Outlaw King apart is its focus on resilience and leadership. Rather than romanticizing rebellion, the film shows the cost of resistance — betrayal, loss, hardship — and makes Robert’s eventual victories feel earned. It’s a story about persistence in the face of overwhelming odds, and it resonates far beyond its historical setting.

For fans of historical dramas, war epics, or character-driven storytelling, The Outlaw King is a must-watch. It’s bold, intense, and emotionally stirring — a film that honors its history while delivering cinematic excitement. A powerful reminder that freedom is rarely won without sacrifice.

The one drawback to the film, unlike the classic Braveheart, this feels like a war between nobles, the top tier in each country. It doesn’t feel to me, watching it, that this is a battle of your average Scot.

For that reason, it gets three stars out of five from me.

Unforgettable Performances: Jodie Foster’s Best Roles

My earliest memory of watching Jodie Foster was as Clarice Starling, an FBI trainee in one of my favorite films of all time – The Silence of the Lambs. Her acting, and that of Anthony Hopkins, was unforgettable. In particular, the conversations between Clarice and Dr. Hannibal Lecter.

For many years, I had thought that was her breakout role. But I was wrong.

Foster first stunned audiences with her haunting performance in Taxi Driver, directed by Martin Scorsese, as a child prostitute. At just 14 years old, she delivered a performance of extraordinary emotional intelligence and control, earning an Academy Award nomination. It was immediately clear she was not a typical child actor but a serious dramatic force. Set in a decaying New York City following the Vietnam War, it stars Robert De Niro as veteran Marine and taxi driver Travis Bickle, whose mental state deteriorates as he works nights in the city.

Jodie Foster has since built one of the most intelligent, fearless, and enduring careers in modern cinema. From child prodigy to two-time Academy Award winner to respected director, her body of work reflects an artist who consistently chooses depth over glamour and complexity over cliché.

Throughout the 1980s and 1990s, Foster solidified her reputation for portraying fiercely intelligent, resilient women. Her Oscar-winning role in The Accused showcased her extraordinary courage and vulnerability, anchoring a difficult, socially significant story with nuance and dignity. She followed that triumph with perhaps her most iconic performance as Clarice Starling in the previously mentioned The Silence of the Lambs.

What distinguishes Foster’s career is her commitment to intelligence—both her own and that of her audience. In films like Contact, directed by Robert Zemeckis, she brought emotional gravity to philosophical science fiction, grounding big ideas in human vulnerability. Even in high-concept thrillers such as Panic Room, she elevated genre material through subtle character work and psychological realism.

Beyond acting, Foster has also proven herself an accomplished director. With films like Little Man Tate and The Beaver, she demonstrated a thoughtful, character-driven approach behind the camera, often exploring themes of identity, intelligence, and emotional isolation—subjects that have consistently fascinated her throughout her career.

Another hallmark of Foster’s legacy is longevity. The most recent work I’ve seen her in was the fourth season of True Detective. It is set in the fictional town of Ennis, Alaska, north of the Arctic Circle, during polar night. It follows the investigation of the disappearance of eight men from a research station. The season stars Jodie Foster and Kali Reis as Detectives Liz Danvers and Evangeline Navarro.

Foster’s character is central to each episode. Despite her increasing age, the inner beauty shines through in a determined, eerie performance.

Lets hope she keeps going for another few decades.