As the story moves along, Doug and Ralph become unwitting agents in the breakout of the coronavirus, which was orchestrated by fake Hillary to get rid of fake Trump after the 2016 election. It’s hard to tell what purpose Tucker and Ralph serve in the plot, since apparently, they don’t have any sway in the government despite being immortal and witnessing all the major events of American history. Since they have both been around for centuries, this is just an excuse for them to rant about the erosion of American values.

Bahrani’s skill as a storyteller comes through because in the first third of the movie, Davis comes off as a likable guy who wants to save lives and keep families together, but some dark truths are foreshadowed as the story develops. Davis’s character as depicted here slowly deteriorates, as interviews and events make him seem like he’s desperate to maintain his image as a savior.

While the performances in the movie range from average to bad, the real issue is the script. The writer clearly wants to include their social commentary on top of what is a bargain-bin-level idea and at this point, I think the general audience is past the point of needing bad movies that try to make statements on race and gender roles. Isabella is meant to be an empowered character by the end, but the execution is just confusing and sloppy.

What really makes this movie stand out is the brilliant writing and directing of Martin McDonagh, combined with the stellar performances from Colin Farrell as Padraic and Brendan Gleeson as Colm. Padraic goes through his own stages of grief since not only did he lose a friend in Colm, but others on the island have died, making it feel like Padraic’s world is shrinking. This all happens against the backdrop of the civil war.

Santoshi is a newly widowed father going through depression and dealing with debt as he tries to keep his daughter Kaede happy and in school. After telling his daughter that he plans to track down a serial killer for the reward money, Santoshi vanishes, leaving Kaede to investigate what happened to him. The first quarter of the movie has an almost lighthearted tone as Kaede does her best to find leads on her father’s whereabouts, but things get dark quickly after she has a confrontation with the serial killer.

Billy Corben’s God Forbid: The Sex Scandal That Brought Down a Dynasty gives a firsthand account of the seven-year sexual relationship between the Falwells and the infamously dubbed “pool boy” Giancarlo Granda. Here, Giancarlo details his first encounter with Becki while working in Miami. He chronicles his relationship with Jerry, meeting the Falwells’ children, becoming a business partner with the family, and his realization of the power the family held over him.

A seasoned screen queen, Dourif is well cast within the role.  A physical performer, her facial expressions and ticks create a sense of dread that feels genuine. As her screen partner, Dickinson has a good on-screen chemistry with Dourif and overcomes the burden of having to deliver much of the film’s exposition monologues and does so with ease. The film features some great visual flairs and excellent use of jump scares. Lee achieves impressively scary special effects despite the low-budget nature of the film.

While Washington and Robbie put in good performances, it’s Bale’s work that really stands out in the film. His portrayal of an eccentric doctor plagued with pain and trauma from the war is compelling and provides moments of comedy throughout the film. While a lot of the movie is lighthearted in tone, there weren’t any scenes that are "laugh out loud" funny, but the script does have some dry wit to it.

The film begins with a young woman named Tess arriving at her Airbnb to find out that it’s already occupied by a man named Keith. She ends up agreeing, begrudgingly,  to stay in the house for the night and starts to hear strange noises. In the morning she discovers that the rest of the neighborhood is completely run down except for the house she’s staying in. The movie does a good job of building tension while keeping the viewer wondering in which direction things are going.

The lighting and shots of the European countryside help create a creepy and uneasy atmosphere, although at times it does look a little too similar to other works that portray the Middle Ages. It’s an impressive feat for a movie that doesn’t have any supernatural elements and it keeps the slower scenes from feeling boring. One of the more notable shortcomings of Medieval is that none of the actors give breakthrough performances.