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There's Plenty Of 'Guilt' To Go Around In This Scottish Hit-And-Run Thriller

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movie review guilt

In the PBS Masterpiece series Guilt , Max (Mark Bonnar) and Jake (Jamie Sives) accidentally kill a man and then decide to cover up the crime. The series debuts Sept. 5. Courtesy of Expectation/Happy Tramp North hide caption

In the PBS Masterpiece series Guilt , Max (Mark Bonnar) and Jake (Jamie Sives) accidentally kill a man and then decide to cover up the crime. The series debuts Sept. 5.

Ever since Watergate, it's become commonplace to say that it's not the crime but the cover-up that takes you down. While this may be true of political or financial malfeasance, sometimes a crime is so grievous that covering it up might seem to be the smart move.

That's the move that gets made in Guilt , a darkly comic Scottish thriller about two Edinburgh brothers who do a bad thing then scramble to avoid the consequences. The latest offering of PBS's Masterpiece , this four-part series has a verve that made me think of the TV series Fargo , which I mean as high praise. Supercharged by a live-wire performance by star Mark Bonnar, this show starts breezy — and then deepens.

Guilt begins with sleek Max McCall (played by Bonnar) and his shambly younger brother, Jake, driving drunkenly home after a wedding. On a deserted residential street, they hit an old man and kill him.

An Old Murder Is 'Unforgotten' In This Crime Drama's 4th And Finest Season

An Old Murder Is 'Unforgotten' In This Crime Drama's 4th And Finest Season

Guileless Jake wants to call the cops, but overbearing Max is a high-powered lawyer who insists that turning themselves in will ruin them. And so they drag the dead man back to his home and try to make it look like he died of natural causes.

At first, luck is on their side. It turns out the old man was dying of pancreatic cancer and the authorities assume that's what killed him. Then the victim's American niece, Angie — nicely played by Ruth Bradley — turns up for the funeral and begins asking questions. Before the brothers know it, they're dealing with a drunken detective, an old woman across the street whose deadpan demeanor hides all manner of invisible wiles, and a gangster played by the wonderful Scottish actor Bill Paterson (who's been in everything from The Singing Detective to Fleabag ) .

'Fargo' Season 4 Is As Good As It Gets — Again

'Fargo' Season 4 Is As Good As It Gets — Again

As if that weren't enough, Jake and Angie fall for each other — they bond over naming the best Bowie record — while Max's wife, Claire, who feels trapped in their glossy, soulless house, is being wooed by a woman at the gym. Max keeps telling Jake that everything is under control, but every time they think they're safe, a new witness or clue appears. The show practically echoes with the sounds of other shoes dropping — and it doesn't help that neither brother trusts the other.

Now, you may want to put on the subtitles when you watch Guilt — the accents are as richly Scottish as a deep-fried Mars Bar. But don't let that put you off. This is a program that grabs you. The tension never lets up, and yet it possesses a core of human feeling, starting with the warped relationship between the brothers.

A failed rock musician who now runs a floundering used record store, Jake is a sympathetic forest creature of a man — he's even bearded and shaggy — and he feels bad about their fatal hit-and-run. Warmly played by Jamie Sives, he's an essentially decent guy who becomes less eager to turn himself in when he falls for Angie and he finally has something to lose.

Even as we root for Jake, Bonnar's bravura as the hubristic, cold-blooded Max makes us yearn for his comeuppance. This pale, white-haired lawyer — with his gimlet eyes, vicious teeth and smug smile — resembles some sort of deep-sea barracuda that's been bleached from living so long with no light. Rivetingly awful and increasingly frantic, Max is the kind who, when he assures you that everything is fine, you better start looking for the exits.

Guilt is an apt title for the show, which offers colliding versions of what the word means. For Jake, guilt is personal — something you feel when you do something you know is wrong. For Max, it's a legal notion with no morality or emotion attached — if you get away with it, you're not guilty. In between, you find the show's other characters who, to different degrees, are all doing things they feel they shouldn't really be doing. There's plenty of guilt to go around.

Of course, in life there always is. As the late Ohio humorist Erma Bombeck famously said, guilt is the gift that keeps on giving.

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Guilt

Sometimes it doesn’t take much to push a person to their breaking point.  But, as is the case with Guilt , a childhood spent witnessing abuse forces a person’s hand . . . and violence becomes the only recourse.  But is it ever the answer?

Guilt , a revenge thriller opening this week, attempts to answer the question and it begins with a scene of supposed quiet domestication - as a plumber arrives to fix a woman's toilet - that ends, rather shockingly, in brutal violence.  It is alarming, disquieting, and totally kick-ass. 

Because Jessie Fuller (a blisteringly fierce Janet Shay ) is taking the law into her own hands. And, when you see why, you will understand, too.

Jessie’s not a caped crusader, mind you, but this vigilante has had it with the amount of child abuse in the world.  With the Capital of New South Wales as her home turf, this child psychologist takes it upon herself to rid the streets of child sex offenders by violent means, hunting and killing them.  She's a pro at this and emotion has no room on the killing floor.  This is the tense and startling territory of Guilt , a film which grabs viewers by the throat and refuses to let go until the end credits roll by.

Guilt

And Grace, a woman involved in a child sex trafficking ring (but who avoided jail time after she convinced the judge that she was a victim of abuse herself, and feared for her life if she didn't obey the ring leader's demands) is bringing out the vengeful animal within her.  

Marking the feature directorial debut of Australian filmmakers Karl Jenner & Lyndsay Sarah , Guilt is a revenge thriller that explores all avenues of its namesake because it doesn’t hold back as Jessie comes in contact with one of her former clients and discovered, as part of his recovery, that he lied to her about his molestation . . . and, yes, she murdered the man he named.  Uh-oh.  Has she been used?

All of these situations are coming to a head in this Australian independent thriller.  Some you will see coming.  Others you won't, but Guilt makes for a solid flick.

Co-starring David Woodland, Raelee Hill and Tom Wilson as Mitchell, her former client who reveals his former lies, Guilt doesn’t necessarily redefine the vigilante revenge thriller genre and it certainly doesn’t have to.  The story, written by co-director Lyndsay Sarah , is involving and dynamic enough that any fan of the beloved Showtime series Dexter should check this title out, too . . . especially upon witnessing the lengths that Jessie will go to make Grace feel what her victim’s felt so many years ago.  

Guilt screens at the Film Noir Cinema in Brooklyn beginning September 26 and is currently available On Demand from GVN Releasing .

3/5 stars

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Guilt

MPAA Rating: Unrated. Runtime: 102 mins Director : Karl Jenner, Lyndsay Sarah Writer: Lyndsay Sarah Cast: Janet Shay, Hayley Flowers, Sandra Stockley Genre : Thriller Tagline: Vengeance for the Victims. Memorable Movie Quote: "They begged me for it." Distributor: GVN Releasing Official Site: http://www.digitalrealm.com.au/ Release Date: September 15, 2020 DVD/Blu-ray Release Date: Synopsis : Jessie Fuller was a child psychologist. After becoming overwhelmed with the amount of child abuse in the world, and noting how few cases are prosecuted, she decided to take the law into her own hands and become a vigilante, targeting child sex offenders. Her latest target is Grace O'Connell, a woman involved in a child sex trafficking ring, but who avoided jail time after she convinced the judge that she was a victim of abuse herself, and feared for her lifeif she didn't obey the ring leader's demands. Jessie doesn't buy it. She kidnaps Grace and holds her hostage, giving her the same treatment, and torment, that Grace did to her child victims. However, one of Jessie's ex-clients, Mitchell Douglas, five years on and now grown up, comes forward and admits to Jessie that he had lied during his sessions about a man named Geoffrey Callaghan, who had molested him, and ended up publicly shamed, convicted and murdered while on house arrest. Jessie had been the murderer. With this disturbing revelation, Jessie becomes pained and conflicted about what to do with Grace. Was she in fact a victim of abuse herself, and somebody who deserves a second chance? Or is she really a wolf in sheep's clothing, who outsmarted the justice system for too long?

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movie review guilt

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Guilt: Will Gompertz reviews BBC Scotland's crime drama ★★★★★

  • Published 16 November 2019

Guilt

There have been some really nasty mouths on TV and cinema screens over the years. Hannibal Lecter's springs to mind. Although, to be fair, the gimp mask didn't do him any favours. Batman's bete noire Bane (as played by Tom Hardy) suffered from the same indignity, poor chap. He probably had a lovely smile behind all that leather and metal. That's what his mother said, at least.

Albert Steptoe (remember him?) had a malevolent gurn so loaded it actually made you feel dirty. Not quite as filthy and rotten as Hessian Horseman's ghastly black gnashers in Sleepy Hollow, which made you retch (headlessness improved him no end).

For a more life-like mean mouth, pinched and bloodless and filled with nothing but venom, I always thought you need look no further than Begbie's cruel kisser in Danny Boyle's Trainspotting.

That was before watching Guilt on BBC Two, an Edinburgh-based four-part drama starring Mark Bonnar as Max McCall, a solicitor perpetually on the verge of losing it.

Robert Carlyle as Begbie in Trainspotting

Maybe the perma-snarl is a Scottish actor speciality, like Irn Bru is in the fizzy drink market. They're both livid, anyway.

With good reason in Max's case.

There he was, coming back from a jolly wedding having had a bottle of champagne or two, when his younger brother and designated driver goes and runs over an old man causing Max's top lip to take on the properties of a very thin and angry elastic band.

Jake (Jamie Sives) is all over the place; he's all panicky and muddled, which is hardly surprising given he is sky-high on weed.

Jake wants to do the right thing, Max wants to drive on: these two would disagree about the colour of The Beatles' Yellow Submarine.

"You've got no soul," says Jake.

"You've got too much," Max snaps back.

Guilt

They duly enter into a spiral of poor decision-making which serves them very badly indeed but works a treat for the plot. OK, it's not the most original set-up of all time: an odd couple crime caper in which the increasingly desperate attempts by the two anti-heroes to cover up their guilt leads them deeper into the mire.

It is often funny, not so much in a Laurel and Hardy "another fine mess" way, more like Noel and Liam Gallagher and their constant sniping and carping.

Max and Jake loathe each other.

They have a long-standing beef, which middle-age has done nothing to quell. In fact, their mutual disregard is just about the only thing they have in common.

Max is the bossy older sibling with all the trappings of success: the flash car, the big house, the expensive clothes, and a wife (Sian Brooke) he considers a trophy but who self-identifies as a sentient human being.

Guilt

Jake is the "kid" brother who never grew up.

While Max was doing the hard, corporate yards climbing the legal profession's ladder, his younger brother was dreaming of being a pop star. When he woke up a decade later to discover he wasn't duetting with Mick Jagger on a charity single but was actually stony broke with no prospects, he was only too happy to accept Max's offer of setting him up with a specialist record store.

Max is hard, Jake is soft.

Max plays with the big boys, Jake plays records. Max has a lot to lose, Jake couldn't give a damn. Until, that is, he meets the American niece (Ruth Bradley) of the man he ran down.

Guilt

I will say no more.

Other than, Guilt is very good.

There's a lot of telly about at the moment, but this is a notch or two above most.

Neil Forsyth's scripts are precise and darkly witty, his characters believable and entertaining. Robert McKillop's directing is crisp and evocative.

The cast brings this tale of the Edinburgh underworld vividly to life, playing up to its more surreal elements like Twin Peaks veterans. There's a welcome appearance from an in-form Bill Paterson (Fleabag), while a steely-eyed Ellie Haddington takes on the role of a curtain-twitching, nosy neighbour with whom you would not leave your kids.

Guilt

Guilt is the polar opposite to the trendy slow-burn box set.

It starts with a bang and builds from there, with a plot that twists and turns like the snakes in Medusa's hair.

My only whinge is four eps aren't enough for a proper binge, bring on season two.

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Guilt: Review

Jessie ( Janet Shay ) is a child psychologist . She spends her career counselling children who have experienced the most unimaginable things and it’s starting to become too much. Taking matters into her own hands, Jessie decides that it’s about time that she does what the police could never do, to give the abusers what she thinks they deserve. However, when a boy returns after years of being one of her patients, Jessie starts to realise that there are consequences to her actions.

Guilt is an Australian drama written and directed by Karl Jenner and Lyndsay Sarah . Going through Jessie’s life, the movie follows her closely as she finds one abuser after another and does what she needs to do to ensure that no other children are harmed again.

Although setting her as the protagonist, Jessie is also seen to do terrible things to people which opens up the question of whether her vigilantism is right. The trouble is that Guilt never really answers that question properly and despite showing moments of her own guilt, the movie still stays on her side even when she finishes off one last job after learning the full extent of her actions.

Jessie eventually meets Grace ( Hayley Flowers ), the girlfriend of a convicted child abuser and trafficker and although their initial meeting feels forced because Jessie knows exactly who she is, the movie does attempt to give depth to a side of child abuse that most people wouldn’t consider.

Shay and Flowers do play their scenes well against each other and their scenes are arguably the most compelling of Guilt’s story, but their story arc does leave the audience with mixed messages as it comes to a dramatic end.

Guilt may have all the right intensions and through the use of the media it shows that the movie does show that it’s not just one sided when it comes to understanding the victims, their abusers and the effect on wider society.

However, the story is just too simplistic, which leaves the audience who disagree with vigilantism to be appalled and those who support it to applaud.

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Guilt (2022)

Elizabeth, a struggling schizophrenic, begins having violent dreams where she sees a darker version of herself killing people close to her. Then those people show up dead in real life under ... Read all Elizabeth, a struggling schizophrenic, begins having violent dreams where she sees a darker version of herself killing people close to her. Then those people show up dead in real life under mysterious circumstances. She must solve the murder mystery. Is it her illness or somethin... Read all Elizabeth, a struggling schizophrenic, begins having violent dreams where she sees a darker version of herself killing people close to her. Then those people show up dead in real life under mysterious circumstances. She must solve the murder mystery. Is it her illness or something far more sinister?

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  • Aug 17, 2022
  • July 1, 2022 (United States)
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FILMS / REVIEWS Spain

Review: Guilt

by  Alfonso Rivera

05/05/2022 - Filmmaker Ibon Cormenzana and actress Manuela Vellés compel the audience to feel the confusion, desperation and the feeling implicit in the title of the film

Review: Guilt

A few weeks ago, the Malaga Festival screened Beyond the Summit   [ + see also: film review trailer interview: Ibon Cormenzana film profile ] , a film directed by Ibon Cormenzana in which Patricia López Arnaiz plays a mountain climber who takes refuge in a cabin, far from everything, fleeing from something traumatic that is never explained, but that can be sensed through her coarseness, coldness and few words. Now the producer (of successes like Blancanieves   [ + see also: film review trailer interview: Pablo Berger film profile ] ) is releasing Guilt on 6 May in Spanish cinemas, after screening at the BCN Film Fest   and with the distribution of  No tan chalados . The film has certain parallels with his previous work and has been made with the collaboration and full support of his partner, the actress Manuela Vellés .

The protagonist of films such as Chaotic Ana , Camino   [ + see also: trailer film profile ] and Happy Sad   [ + see also: film review trailer film profile ] (by Cormenzana himself) was already immersed in the fear of gender-based violence in the short film El orden de las cosas , by the Esteban Alenda brothers, back in 2010. But Guilt takes it further, as the camera remains focused on her throughout the whole film (reminiscent of Madre   [ + see also: film review trailer interview: Rodrigo Sorogoyen film profile ] , by Rodrigo Sorogoyen, produced by Cormenzana) and the script –written by the performer together with the director– follows her as she flees to go isolate in nature.

From the beginning of the film, we sense the imminence of the aggression that Anna's character is about to suffer, and we are terrified by the idea. Therein lies one of the greatest achievements of the film, in how it films (with the attack out of shot, but not its harrowing sounds) on a mobile phone, the aggression suffered by a woman whose life will be turned upside down from that night onwards.

It is certainly hard to understand what such deep suffering (and the reactions that follow) is like if you have not experienced the cause of it. Cormenzana and Vellés, by using real life stories to write the plot, create a highly psychological plot, at times bordering on the implausible. But how can we attempt to describe these desperate reactions as logical? Besides, doesn't it border on dementia when you fall into a mental cesspool, with no answers or solutions in sight?

With its compelling condemnation of violence, Guilt joins titles that also address this terrible social issue, such as the short film Suc de Síndria , by Irene Moray (2019 Goya winner), and Unfinished Affairs   [ + see also: film review trailer interview: Juan Miguel del Castillo film profile ] , by Juan Miguel del Castillo, which premieres a week after this film that disturbs and unsettles to unimaginable heights.

Guilt –which has its world premiere at the Vancouver Independent Film Festival, where Manuela Vellés received the award for best actress– is a production of No tan chalados , in association with Luna3 and Mundo Cero. It will be available on the Filmin platform from the 13th of this month. International sales are managed by Filmax .

(Translated from Spanish by Vicky York)

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movie review guilt

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At this year’s Sundance Film Festival, the first film that really started a buzz was from the relatively under-promoted World Dramatic Competition, Gustav Möller ’s “The Guilty,” now finally opening in limited release. It’s easy to see why so many critics and viewers have taken to this laser-focused study of a man whose prejudices and assumptions enhance a tense day on the job. With its single setting and real-time story, “The Guilty” is a brilliant genre exercise, a cinematic study in tension, sound design, and how to make a thrilling movie with a limited tool box. The film’s own restrictions actually amplify the tension, forcing us into the confined space of its protagonist.

The opening moments of “The Guilty” might feel like mere wheel-spinning until the “real story” kicks in but they’re essential to why the film really works. In them, we meet Asger Holm (Jacob Cedergren) a Danish police officer embroiled in a bit of a controversy, and so stuck at an Emergency Services (their version of 911) call center until it blows over. We get snippets of conversation about a testimony tomorrow and learn that he no longer lives with his significant other, but we don’t know the details—these are just elements that add to the fabric of tension, and reveal that Asger is under a lot of stress.

Asger is also kind of a jerk. In his role as the provider of necessary, often life-saving services, he can be judgmental and abrasive. A few calls early in the film reveal this character trait as he scolds one caller for taking drugs and allows another who has been mugged by a prostitute to stew in his bad decision before sending help. The idea that Asger isn’t as free from assumptions about the people who call him as he should be sets him up as a flawed character. And so when he gets a call that will change his life, we know that he’s already imperfect—and that could impact how the night unfolds.

The call comes from a woman, who Asger identifies through his call system as Iben. She sounds like she’s in trouble but she’s not making a lot of sense. We soon learn, with Asger, that she can’t exactly say what’s wrong but she alludes to a very bad situation, and our protagonist soon gets sucked into the nightmare she’s experiencing. Well, he gets sucked into his interpretation of what she’s experiencing. “The Guilty” is a complex examination of how commonly we make assumptions about other people—how easily we can take a limited amount of information and fill in the gaps in a way that’s not always right. Just as he blames the drug taker for making a bad decision without knowing anything about what led up to that decision, he jumps to conclusions with Iben that prove to be his downfall.

In a sense, all of us make variations on the mistakes that Asger makes in this film, only with less terrifying results (I hope). Think about how often we use a tweet or a text in ways to read the mind of the person sending it. One of the masterstrokes of “The Guilty” is how identifiable Asger feels. Even though he’s not exactly likable, we want him to pull out of the tailspin he’s in on this night, and “The Guilty” gains another level of complexity when Asger realizes that this night is allowing our hero to see how he got here—the aforementioned controversy—in a whole new light.

“The Guilty” is a tight, excellent piece of work that will likely be seen by way too few and forgotten in the year-end conversation. Denmark has submitted it for the Oscar for Best Foreign Language Film, a category that can often be hard to predict but typically goes with more recognizable auteurs or movies dense with internationally resonant social messages. It’s been a phenomenal year for this category with films like “ Roma ,” “Shoplifters,” and “Burning” almost certain to pop up. Those Cannes and TIFF hits deserve their acclaim, but don’t forget about the film from Sundance.

Brian Tallerico

Brian Tallerico

Brian Tallerico is the Managing Editor of RogerEbert.com, and also covers television, film, Blu-ray, and video games. He is also a writer for Vulture, The Playlist, The New York Times, and GQ, and the President of the Chicago Film Critics Association.

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Film credits.

The Guilty movie poster

The Guilty (2018)

Jakob Cedergren as Asger Holm

Jessica Dinnage as Iben

Omar Shargawi as Rashid

Johan Olsen as Michael

Katinka Evers-Jahnsen as Mathilde

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‘mea culpa’: the good, the bad, and the confusing.

Check out VIBE's spoiler-free breakdown of the best and worst parts of Tyler Perry's latest flick.

By Jessica Bennett

Jessica Bennett

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Mea Culpa screening.

Tyler Perry ‘s latest film Mea Culpa made its Netflix debut Friday (Feb. 23), immediately causing a stir thanks to a gorgeous cast lead by Kelly Rowland and Trevante Rhodes . Its eroticism, as the thriller was made to stand beside genre films like Eyes Wide Shut, Unfaithful and the classic Basic Instinct , was also a big selling point, with fans curious to see exactly what kind of chemistry the two leads would have on camera.

Unfortunately, the flick was immediately panned by critics and viewers. This is nothing new for Perry, who has received harsh criticism of his work for most of his career, though it’s usually reserved for his Madea -led projects. While the pistol-toting grandma is nowhere in sight here, Mea Culpa was still deemed by most who watched a subpar project.

movie review guilt

That isn’t to say everyone who’s seen the film has complaints, as Perry found support in fans who deem bashing the director as performative and expected, due to his reputation.

“Just got done watching this film. Great setup. Fabulous outfits. Crazy story. Ending was on some Get Out type ish. I liked it. Not bad Tyler. Not bad Kelly. Trevante fine and brilliant as always. Wanna see Ms. Rowland in more roles,” wrote one fan of the picture, with another supporter adding, “y’all gonna jump me if I say I liked mea culpa and y’all just mad because it’s tyler perry?”

Yes, despite social media reactions, it wasn’t all bad. Here, VIBE dives into the good, bad, and confusing aspects of Mea Culpa , spoiler free, of course.

The Good: Kelly Rowland

Kelly Rowland during Netflix's "Mea Culpa" Promo tour.

While the flick has definitely come under fire on social media, one bright spot for most was star Kelly Rowland herself. As Mea Culpa isn’t her first time in front of the camera, the star brought her acting chops to the gig, with her performance largely considered the best thing about the film.

“That’s how you know Kelly Rowland is a good actress, because even with a sh*t script with terrible writing she was still believable,” wrote one fan via X/Twitter, with another adding, “Kelly Rowland is a good actress, I hope she gets more roles with great writers /script.”

That’s how you know Kelly Rowland is a good actress, because even with a shit script with terrible writing she was still believable. TP needs jail time i’m so serious his crimes have done enough — budding ? worm ?????♉️ (@SistahSkinglo) February 26, 2024

The Styling

'Mea Culpa' still.

Another bright spot in the film were the looks Rowland as Mea Harper donned throughout, including chic, asymmetrical dresses, power suits, cozy sweaters, a plethora of gorgeous coats, and more styles coordinated by head of wardrobe, Raiyonda Vereen. Harper’s hair was also laid for the gods throughout the movie, which is a noticeable change from many of Perry’s previous projects.

“Stayed up late just to watch #MeaCulpa @KELLYROWLAND, you did a FABULOUS JOB and the FASHION was LITTY,” shared one fan of the Netflix film, with another adding, “ Kelly Rowland definitely said I’m bringing my own wigs for this Tyler Perry production.”

Stayed up late just to watch #MeaCulpa ? @KELLYROWLAND , you did a FABULOUS JOB and the FASHION was LITTY ??? The entire cast did a GREAT JOB ❗ @netflix , you have another hit on your hands ?? Thank you @tylerperry ?? pic.twitter.com/D6ZSLR164G — ? K I N G – C A L I O ? (@CalioWilliamson) February 24, 2024

The Bad: The Writing

Tyler Perry

Tyler Perry has been very transparent about the fact that he writes all of his own films and television shows solo, as it saves him time and money on any given production. He’s also been called out for the practice, with many insisting a team of writers would better serve Perry’s ideas, which are undoubtedly interesting and evocative, but often lack a consistent, narrative thread.

Unfortunately, Mea Culpa also falls into this trap, with bits of dialogue that feel soap opera-esque and plot pivots that would’ve required a more nuanced and detailed pen to truly execute.

“Tyler Perry don’t give af about proper writing and story development,” wrote one observer, with another adding, “Mea Culpa storyline was incoherent. The writing was so Tyler Perry and that’s not a good things. Does he do this on purpose? He being Tyler Perry.”

Mea Culpa storyline was incoherent. The writing was so Tyler Perry and that’s not a good things. Does he do this on purpose? He being Tyler Perry. I hate that he made her name Mea. — ??? (@psloveane) February 24, 2024

The Confusing: The Ending

Trevante Rhodes, Kelly Rowland and Nekia Nichelle.

Speaking of the writing, this directly led to the film’s conclusion being a true head-scratcher, with viewers calling out several loose threads the film failed to wrap up, or even acknowledge. Even for folks who took a liking to the film, its ending left them hitting Perry with the metaphorical side-eye. Without spoilers, here are some of social media’s reactions.

Mea Culpa actually started off really good…..the build up was good.. had me invested. Then that ending……… pic.twitter.com/aoKsCpBalC — i make a really nice broccoli (@kayy_ash) February 25, 2024
Mea culpa is the most confusing film I’ve watched — Ore Olagoke-Odunewu (@verified_ore) February 23, 2024
Nah the thriller side of this movie is confusing me ? #MeaCulpa — MANNY (@THEECLASSICMAN) February 24, 2024

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The Guilt Trip

2012, Comedy/Drama, 1h 35m

What to know

Critics Consensus

Seth Rogen and Barbra Streisand have enough chemistry to drive a solidly assembled comedy; unfortunately, The Guilt Trip has a lemon of a script and is perilously low on comedic fuel. Read critic reviews

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The guilt trip videos, the guilt trip   photos.

Before embarking on a once-in-a-lifetime road trip, Andy Brewster pays a visit to his overbearing mother, Joyce. That proves to be a big mistake; Andy caves in under pressure to take his mom along for the ride. Early on -- as the miles roll by -- Andy feels nothing but aggravation at her antics. Eventually however, he comes to realize that they have more in common than he first thought and that Joyce's wisdom might be just what he needs.

Rating: PG-13 (Some Risque Material|Language)

Genre: Comedy, Drama

Original Language: English

Director: Anne Fletcher

Producer: Lorne Michaels , John Goldwyn , Evan Goldberg

Writer: Dan Fogelman

Release Date (Theaters): Dec 19, 2012  wide

Release Date (Streaming): Dec 20, 2014

Box Office (Gross USA): $37.1M

Runtime: 1h 35m

Distributor: Paramount Pictures

Production Co: Broadway Video, Michaels/Goldwyn, Skydance Productions, Paramount Pictures

Sound Mix: Datasat, Dolby Digital

Cast & Crew

Barbra Streisand

Joyce Brewster

Andy Brewster

Brett Cullen

Colin Hanks

Andrew Margolis Jr.

Miriam Margolyes

Kathy Najimy

Yvonne Strahovski

Casey Wilson

Dale Dickey

Ari Graynor

Joyce Margolis

Analeis Lorig

Brandon Keener

Anne Fletcher

Dan Fogelman

Screenwriter

Lorne Michaels

John Goldwyn

Evan Goldberg

Executive Producer

Mary McLaglen

David Ellison

Dana Goldberg

Paul Schwake

Oliver Stapleton

Cinematographer

Priscilla Nedd-Friendly

Film Editing

Dana E. Glauberman

Christophe Beck

Original Music

Nelson Coates

Production Design

David Lazan

Art Director

Karen O'Hara

Set Decoration

Danny Glicker

Costume Design

News & Interviews for The Guilt Trip

Parental Guidance: Iron Man 3 and The Guilt Trip

Critics Consensus: Jack Reacher Features Tom Cruise in Control

Critic Reviews for The Guilt Trip

Audience reviews for the guilt trip.

In "The Guilt Trip," Andy(Seth Rogen) has just invented an organic cleaner that he plans to peddle to corporate stores around the country. While doing so, he also plans to bring along his mother Joyce(Barbra Streisand), not only to get her out of the house but also because he has also located her first love still alive in San Francisco. You know you're in trouble if in trying to make a comedy, the best scene is a serious one, hinting at where the overall tone of "The Guilt Trip" should have been in the first place. I mean Seth Rogen has shown he has been able to drama and comedy before but shows he has no idea here of how to be the straight man and Barbra Streisand's once great comic instincts have apparently atrophied to very little over the decades. That leaves it to Brett Cullen to steal the scene he is in, with another highlight involving a strip club. Because otherwise all you are left with are the cliches of the road movie genre, with the accompanying overwhelming product placement. The saddest thing is this might be the closest we come to a big screen adaptation of "Middlesex."

movie review guilt

I was very disappointed in this movie, as the previews were better then the movie, its a shame when you have to show all the comedy in the preview's to draw a sucker like me in to watch the whole movie. I will say that Barbra Streisand still has it after all these years, but a true New Yorker with her New Yorker accent reminded me of my Mother- In- Law. Sorry Barbra you only get 2 stars from me. 7-15-13

Don't let the critics for you on this one, The Guilt Trip is a highly talented and down to earth comedy. I honestly didn't expect much after watching the trailer and seeing the cast, I expected comedy cliche, a film with fart jokes and perverted moments to bring laughs. Not at all, while this did have some sexual jokes, this was overall just lighthearted humor, which has plenty of laughs. Writer Dan Fogelman (who wrote Crazy, Stupid, Love) really did a good job on this, director Anne Fletcher (The Proposal) carried along his work well. I liked both Rogen and Streisand together, and I never looked at the clock during this movie. Always nice to run into an underrated gem like this.

I thought that this movie was sweet....maybe it helps that I have always been a Barbra Streisand fan. Pairing her with Rogen was a good match, and together they manage a touching portrayal of a mother-son relationship. Their road trip together was delightful, and the storyline was enjoyable.

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Mea Culpa review – Tyler Perry’s schlocky Netflix thriller descends into silliness

Kelly Rowland and Trevante Rhodes do some heavy lifting in an often hilariously messy attempt to recall classics like Jagged Edge and Basic Instinct

T here are small pockets of low-rent fun to be had in Tyler Perry’s lurid erotic thriller Mea Culpa, some intentional, most less so. It’s a film that, yes, is about a woman called Mea who is also, yes, at fault, as women often are in the writer-director’s films. The mogul has gained a reputation for punishing his female characters , especially when they dare to stop believing in their husband, no matter how awful his behaviour might be, like in his atrocious 2018 thriller Acrimony, where he had the gall to waste, and chastise, Taraji P Henson .

His latest target is a powerful lawyer played by Kelly Rowland , making a convincing case as leading lady, trapped in a marriage with a letdown, a man fired from his job as an anaesthetist for turning up to work high and drunk (!). He’s also under the thumb of his vile mother, played to such laughable extremes by Kerry O’Malley that I half-expected her to literally start breathing fire. When Mea is approached about defending an extravagant painter, Zayir ( Moonlight’s MVP Trevante Rhodes, who deserves far better), accused of murdering his girlfriend, she initially turns it down, not just because the case seems unwinnable but because her brother-in-law would be the opposing attorney (!). But when the aforementioned battleaxe, also dying of cancer (!), insists that Mea not take the case, she decides to rebel and soon finds herself falling for her client. Kinky sex follows.

Perry clearly has his sights set on glossy 80s and 90s crowd-pleasers like Jagged Edge and Basic Instinct and for fans of that mostly dead subgenre, there’s some initially involving throwback pleasure as we go through the motions (Fatal Attraction-esque freight elevator – check!). Rowland and Rhodes have a blast doing sex eyes at each other, there’s a small role for the underused Surviving Remorse standout RonReaco Lee and while we’re clearly on a Netflix budget, Perry realises that part of the sleek thrill of these movies is watching attractive people wearing expensive clothes living in ostentatious homes. But Perry is no Joe Eszterhas, his script a clumsily thrown together house of cards that needs only a whisper to come crashing down. Eszterhas may have lost his lustre over time but at his peak he knew exactly how pulp like this should go down, a slick storyteller with a knack for knowing when and how to push buttons. Perry can barely reach the buttons let alone push them and instead, his junkily structured thriller goes from poorly paced to incoherently plotted.

As one might have guessed from the plot description, it’s hopelessly overstacked, Perry’s poor actors stumbling over absurdly soapy dialogue, needlessly busying something that required a lot more focus to work. While it might start out as an erotic thriller, it slows down to a damp relationship drama before meandering its way to a climax hinged on head-scratching twists that make little to zero sense. Perry has the ability to surprise (as he did in the stunningly silly ending of his last Netflix thriller A Fall from Grace , a film so shoddily thrown together it had to be re-edited after viewers noticed a number of glaring errors) but not the smarts to explain himself. The last act is full of such preposterous contrivances and nonsensical reveals that I had to keep rewinding to ensure I hadn’t missed something (I hadn’t). The stupidity of it all is certainly diverting but it’s all too scattershot and at times stiflingly portentous to cross over into pure camp.

This week saw Perry reveal how he decided to halt an expansion to his Atlanta studio after seeing what the controversial AI video generator Sora can do, both shocked and seemingly impressed (he also said that he has already been using AI in recent films). If Mea Culpa is what Perry creates without fully handing over the reins to machines then heaven knows how bad things are gonna get.

Mea Culpa is now available on Netflix

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    The trouble is that Guilt never really answers that question properly and despite showing moments of her own guilt, the movie still stays on her side even when she finishes off one last job after learning the full extent of her actions. Jessie eventually meets Grace (. Shay and Flowers do play their scenes well against each other and their ...

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