JEREMY THE CRITIC

The Invite

noreply@blogger.com (jeremythecritic) — Mon, 17 Aug 2026 22:33:39 +0000

Director: Olivia Wilde
Starring: Seth Rogen, Olivia Wilde, Penélope Cruz, Edward Norton
Running Time: 107 min.
Rating: R

★★★ (out of ★★★★)

Of the three films Olivia Wilde has directed, The Invite feels like a breakthrough of sorts, especially for those previously unconvinced of her skills behind the camera. But if that's not enough, we're also reminded here just how engaging an actress she is, directing herself to one of her best performances. So even those joking that she didn't have a high bar to clear after Don't Worry Darling would find it difficult to deny this tidy, low budget sleeper took serious skill to make, especially given its challenging setup.

It's easy to imagine another filmmaker failing to navigate all the tonal shifts present in Will McCormack and Rashida Jones' witty, thought provoking script, but Wilde manages it, keeping viewers anxiously hooked on the psychology of these characters for the duration of its running time. Though it starts with an invitation, the film's title comes to have another meaning as signals get crossed, lies and jokes are told, weed is smoked and arguments break out at a moment's notice between two couples with very different expectations about how the night will play out.

Failed San Fransisco musician Joe (Seth Rogen) works as a jazz band teacher at a local school, coming home late to discover his wife Angela (Wilde) has invited upstairs neighbors Piña (Penelope Cruz) and Hawk (Edward Norton) over for dinner at their apartment. While the plans were supposedly ironed out a while ago, a tired, cranky Joe demands Angela reschedule as she frantically puts the finishing touches on the meal, spawning a heated argument.

When Piña and Hawk arrive, awkward small talk leads to uncomfortable tension as the couples feel each other out. With a panicked Angela doing her best to impress their guests, an unfiltered Joe shares exactly what's on his mind, no matter how rude or inappropriate. But with Piña and Hawk indicating they came for reasons unrelated to dinner, an oblivious Angela and Joe prove too busy arguing to take the hint. By now, their marriage has deteriorated to the point that even this welcome jolt of excitement from their neighbors may not be enough to repair the damage they've already inflicted on each other.

From the minute an aching Joe struggles to fit his folding bicycle through the door, he and Angela's bickering begins. Whether it's about him removing his shoes before entering, their shortage of wine or his plans to devour the "twenty pounds" of cheese intended for their guests, everything's a potential screaming match. As a desperate Angela stresses about winning over the neighbors, she soon finds herself in the throes of a full-blown panic attack, only made worse by Joe's sarcastic, passive aggressive insults.

Joe's a self-loathing complainer while Angela's wound way too tightly, on pins and needles worrying what her husband will say or do next. She's also given him instructions not to mention a specific complaint he has that could trigger a conflict with the guests. So of course Joe taunts her with that, at least until it's finally brought out into the open. His "complaint" really cuts to the crux of the film as the neighbors' true intentions are hilariously revealed, establishing this visit as more than just a friendly get together.

While it's hardly a shock to anyone watching that Piña and Hawk are propositioning them for a four-way, Angela and Joe's befuddled reactions provide the real pay off. Capturing Angela's long brewing unhappiness with a marriage on life support, Wilde's never played such a hyper sensitive, insecure people pleaser, while a perfectly cast Rogen buries Joe's pain and regret behind a facade of self deprecating humor. They're also convincing enough as quarreling spouses that we buy them as once happy and in love, the fleeting glimpses of which are seen in a hazy opening flashback.

Cruz and Norton are outstanding as these dinner guests who aren't nearly as perfect or normal as Angela's convinced herself. Cruz flies delightfully off the rails as the feisty sex therapist and a brilliantly eccentric Norton plays straight man to all the histrionics, complete with a self imposed character nickname that carries an odd origin story of its own. And if Angela and Joe's bumbling antics, constant fighting and ability to squander this proposal isn't enough to convince them of their incompatibility, it's possible these outsiders can.

Eventually, Angela and Joe wake up to how bad it's gotten and realize there's probably more than enough blame to go around. They seem down for the count, if not for a tiny glimmer of hope suggesting their marriage isn't quite as doomed as it appears. But if that's true, the road back might require more work than either are willing to put in.

It's somewhat cheap even mentioning Wilde's last directorial effort, but also necessary, highlighting how far she's come in the span of a single film. Even if Darling wasn't the creative catastrophe it's been painted as, it's still strangely impersonal, with fascinatingly weird elements that seem assembled by committee. Despite this looking visually indistinguishable from other similarly themed indies, it's at least the work of a filmmaker with a voice, capably juggling this four person entanglement within the confines of a single location.

The Invite almost feels like the kind of twisted relationship comedy Woody Allen would have taken a stab at decades ago, and not just due to the presence of Rogen as leading man and a closing dedication to the late Diane Keaton. At first, its premise doesn't seem like much, but once the performances gather steam and Wilde gradually peels back its layers, there's real depth and unexpected tension bubbling just below the surface.

Supergirl

noreply@blogger.com (jeremythecritic) — Tue, 11 Aug 2026 16:48:29 +0000

Director: Craig Gillespie
Starring: Milly Alcock, Matthias Schoenaerts, Eve Ridley, David Krumholtz, Emily Beecham, David Corenswet, Jason Momoa, Ferdinand Kingley, Diarmaid Murtagh, Clara Rosager, Heather Agyepong, Alice Hewkin, Paul Hunter
Running Time: 108 min.
Rating: PG-13

★★★ (out of ★★★★)

If Craig Gillespie's Supergirl seemed like it never stood a chance, it wasn't due to quality, but the realization everyone had already made up their minds. And even if a standalone film centered around this character was always considered a tough sell for DC, the hostility still stung. Whether it was complaints about casting, its script or nearly any other aspect of a picture no one yet laid eyes on, financial failure gradually became inevitable. So despite the enthusiastic reception Supergirl's cameo got at the end of 2025's Superman, skeptics' knives were sharpened a while ago

It's never a good sign when your interest in a project rests on finding out whether it really is as bad as everyone says. And considering all the venom spewed in its direction, you can't help but think it must be. But that's the thing with Supergirl. There are no "correct" versions of her, just varying incarnations of a character that needs constant reinvention to stay relevant. This is the latest, and though she's a mess, the movie isn't, as writer Ana Nogueira sets her on a journey to move past the pain and find some version of "home." Clocking in at just under two hours, it has a clear mission and equally strong execution, making for a fun, breezy watch that's superior to lot of the underwhelming superhero fare it's accused of resembling.

Growing up on Argo City, Kara-El (Alcock) was raised by scientist father Zor-El (David Krumholtz) and mother Alura In-Ze (Emily Beecham) after they fled their destroyed planet of Krypton. But when the citizens of Argo suddenly start dying from the effects of Kryptonite, Zor-El sends Kara and her dog Krypto on a ship to Earth, where they're taken in by her cousin Kal-El/Superman (David Corenswet). Now on the eve of her 23rd birthday, Kara spends most of her time planet hopping and getting drunk, much to Superman's concern.

Partying on the planet Holzherr, Kara encounters young Ruthye Marye Knoll (Eve Ridley), who seeks vengeance on the Krem of the Yellow Hills (Matthias Schoenaerts) for brutally murdering her family. Initially, Kara dismisses Ruthye's pleas for help, at least until Krem shoots Krypto with a poisoned dart. Desperate to locate Krem and the antidote to save Krypto, Kara reluctantly takes Ruthye along as they face numerous obstacles, like a cocky bounty hunter named Lobo (Jason Momoa) who has a score of his own to settle with the Brigands. But as Krypto's life hangs in the balance, Kara and Ruthye must somehow move beyond their traumatic pasts to help each other.

Rather than digging into Kara's origin story right away, it's inserted into the film's middle section, allowing for a more memorable, attention grabbing introduction. And given her bratty, wisecracking attitude, the rebellious Supergirl does immediately leave a lasting first impression. That the script's adapted from Tom King and Bilquis Evely's beloved comic book series, Supergirl: Woman of Tomorrow sets the bar high, but producer James Gunn picked the right actress in Alcock, who successfully captures an unconventional version of the character most haven't been exposed to.

Apathetic and perpetually hung over, Kara wears a brown duster, sunglasses and a Blondie tee in place of that iconic suit for most of the running time. But it works, largely because it's a welcome departure that temporarily frees us from your usual superhero tropes. Just as Melissa Benoist wouldn't copy what Helen Slater did or Sasha Calle didn't pattern her performance after Benoist's, no Supergirl can fill the other's shoes. It's apples to oranges when we debate our favorites, each of whom personified a version of the role that suited their story's specific vision. So in this sense, Alcock fits right in, carrying on the tradition of being different from whoever came before.

Alcock does have a tight rope to walk in depicting a Kara who appears to be the polar opposite of her altruistic cousin, but still likeable enough to really root for. And her explanation that Superman sees the best in everyone when she sees "the truth," is a great line made better by the actress's dry, matter-of-fact delivery. But if Kara's recklessness and pessimism seems understandable once we recognize it as survivor's guilt, an even angrier Ruthye is hellbent on revenge, despite the further emotional scarring it'll bring. Of course, Kara's recognition of that and the begrudging willingness to take this girl under her wing suggests a bit more of Clark in her than she's willing to admit.

Cinematographer Rob Hardy's grungy, brownish, hue has drawn considerable comparisons to Mad Max, but Gillespie's entire approach is more reminiscent of Star Wars, as there's definitely a Mos Eisley cantina vibe to the bar scenes and a thrilling mid-air sequence featuring a plethora of alien species. As for all the complaints about its effects, they're surprisingly strong, even as the digitized Krypto has you wondering if they'd be better off casting a real dog. Doing that comes with its own set of challenges, but considering he spends most of this film asleep on a gurney, now was probably the time to do it. There's just something to be said for a pet owner's connection to their dog that can't be replicated with CGI stand-in.

Alcock and Ridley share natural big sis/little sis chemistry throughout, but when Kara's incapacitated, the latter actress proves herself capable of carrying the load alone with spunk and vigor. It also doesn't hurt that Schoenaerts' Krem makes for a formidably menacing villain who gets just the right amount of screen time to make an impact. And while many already believed the charismatic Momoa was born to play Lobo, his turn as the vicious but cool anti-hero supports that theory, stealing every scene he's a part of. Corenswet's effectively used as the Man of Steel, mostly because Gillespie doesn't get bogged down by it, wisely incorporating him in key spots to emphasize Kara's past and present.

Kara slipping into the suit for the action packed final act carries weight because it feels earned by a simple story told well, which in this frequently overcomplicated genre, shouldn't be dismissed. Lacking unnecessary sub-plots, distracting DCU crossovers or anything else that shifts the focus, it's briskly paced and efficiently constructed, creatively eclipsing this summer's The Mandalorian and Grogu and The Masters of the Universe. Unfortunately, Supergirl had people rooting against it in ways those other two didn't. Maybe now with more time and distance, this gets another look, and a renewed appreciation for all it gets right.

Backrooms

noreply@blogger.com (jeremythecritic) — Tue, 04 Aug 2026 23:45:59 +0000

Director: Kane Parsons
Starring: Chiwetel Ejiofor, Renate Reinsve, Mark Duplass, Finn Bennett, Lukita Maxwell, Avan Jogia, Robert Bobroczkyi, Krista Kosonen
Running Time: 110 min.
Rating: R

**This Review Contains Plot Spoilers**

★★★ ½ (out of ★★★★)

Certain expectations will accompany a film with a premise as far out there as Kane Parsons' creepy and mesmerizing Backrooms. So much so that even fans of the web series on which it's based doubted how such a sparse, high concept idea would play as a feature. But with a staggering directorial debut, Parsons proves them wrong, transporting us into a seemingly endless hell of liminal spaces and quietly foreboding dread. It's a hypnotizing world where stacked furniture, barren corridors and humming florescent lights appear to be the biggest threat, until we realize the gravest danger facing anyone who enters are themselves.

It's a place that misremembers details in shockingly disturbing ways, creating an endless loop where the search for answers only results in more questions and frustration for those willing to take the risk. Since coming and going is fairly simple, Will Soodik's puzzle box script really revolves around why its protagonist feels so compelled to stay, aside from his adventurous curiosity. But as each corner beckons the latest human guinea pig to go further, it absorbs every piece of their lives in the process, drawing visual and thematic comparisons to Cube, The Shining, Twin Peaks, Vivarium, Severance and even The Blair Witch Project. And yet there still isn't anything quite like it.

It's 1990 in Santa Clara, California and financially struggling former architect Clark (Chiwetel Ejiofor) owns and manages Clark's Ottoman Empire, a furniture store with a peg-legged pirate as its mascot. Battling alcoholism and struggling to cope with his wife leaving him, therapist Dr. Mary Kline (Renate Reinsve), grows exasperated by Clark's refusal to take responsibility for any of it. And as he continues to blame everyone but himself, she engages him in role playing exercises that frustratingly confirm his chronic complacency.

Rather than attempt to change, Clark doubles down, obsessing over an invisible portal in the furniture store's basement showroom that leads to an eerily threatening maze of dimly lit hallways and unoccupied office spaces. He also convinces reluctant employee Kat (Lukita Maxwell) and her stoner boyfriend Bobby (Finn Bennett) to join him in documenting this on video to show Mary he isn't crazy. But the deeper they go, it's clear this hidden space poses a far greater threat than anyone anticipated, including Mary, who searches for him just as the dimension's terrifying truths start to surface. Though for Clark, it may already be too late.

The first thing we see isn't Clark, but a prologue featuring a hazmat suited researcher with a camcorder filming the backrooms, frantically searching for a way out after being separated from the rest of his group. A lesser story would have employed a first person shaky cam perspective for the film's entire duration and probably focused solely on efforts to retrieve him. But this isn't your ordinary horror. Overwhelmed by the endless continuation of long corridors, the man runs from an unseen entity, failing to reestablish communication as we're shown a pair of scientists later studying this recovered footage. It's the ultimate tease, setting the stage for what Clark and Mary will ultimately experience.

Many of Clark's problems stem from his own denial as he dodges accountability at every turn. Mary sees through him right away, indulging his worst impulses with the hope he'll eventually have a breakthrough. Instead, he seems more comfortable listening to himself complain about his ex-wife. And if the biggest surprise about Clark's therapy sessions is him agreeing to go at all, Ejiofor's performance invests you in a flawed character whose fleeting moments of clarity conceal his resentful bitterness.

It's also hard not to share in Clark's excitement when he walks through that wall, dumbfounded by what he finds on the other side. Parsons lets us follow him into these rooms with the same sense of urgency as he that ill fated researcher did before things went south. None of this is about leaving, but what's left behind, as Ejiofor lets Clark's nervous silence do all the talking while he finds the way out, desperate to share what he's uncovered.

That Clark's so willing to tell this to a therapist who could have him committed speaks to how desperate he is. But it's only when a concerned, incredulous Mary reacts as anyone would that he goes off the deep end, selfishly dragging Kat and Bobby along for the ride. Aside from some excellent sound design, Parsons creatively employs found footage by confining it to the section where it's most needed. And though Clark doesn't have a clue just how dangerous it is in there, after a while, we start to wonder whether he even cares.

As an architect and personality, few are more likely to appreciate this space than Clark, who's finally found a home for the self satisfied smugness that defines his life. He is, after all, just "wired differently." Except the biggest problem with this new home isn't getting lost, attacked by furniture or even dying of starvation or thirst. It's something more sinister and possibly supernatural, despite Parsons' ability to keep one toe firmly rooted in reality. Mary's overtaken by the urge to find her patient not because she believes him, but out of a concern he's become a harm to himself or others. And she's not far off.

Some of the film's more underappreciated scenes involve flashbacks to Mary's tumultuous childhood under the care of her agoraphobic mother. And when we first meet the therapist, she's watching the house she grew up in get demolished, along with all the complicated memories that accompany it. Understandably gravitating toward a psychology career, she's tucked away painful parts of her past she'd rather not confront. Unfortunately, the backrooms will unlock it by trapping her in a prison similar to the one she grew up in, shut off from the real world.

Reinsve provides a lot while saying very little, as an empathetic Mary displays more patience with Clark than most could, plowing past his obnoxious facade and explosive temper to help. But as the story wears on, you slowly see her therapy mask slip and a fighter emerge when Clark's "connection" to this environment grows stranger. And in keeping with Parsons' brilliant melding of practical and digital effects, a terrifying figure emerges, culminating in a spectacular, vertigo inducing shot of Mary looking down at this phenomenal space in all its overwhelming expanse.

At one point, Clark equates his discovery as describing a dog to someone for the first time and asking them to draw it. And while that feels oddly accurate, it's also a lot more. By the time its conclusion arrives, we understand why Mark Duplass' mysterious researcher seems so permanently awestruck. By making us believe he's only scratched the surface of this bizarre universe, Parsons goes all the way down the rabbit hole with a final scene that's the stuff of nightmares. It'll provides answers, if only just enough to help viewers interpret the rest for themselves.

Masters of the Universe

noreply@blogger.com (jeremythecritic) — Tue, 28 Jul 2026 16:44:35 +0000

Director: Travis Knight
Starring: Nicholas Galitzine, Camila Mendes, Idris Elba, Jared Leto, Alison Brie, James Purefoy, Charlotte Riley, Morena Baccarin, Jóhannes Haukur Jóhannesson, Jon Xue Zhang, Sam C. Wilson, Sasheer Zamata, Christian Vunipola, Christiaan Bettridge, James Wilkinson, Kojo Attah, James Apps, Stephen Adentan, Kristen Wiig, Gary Martin, Tom Wilton, Artie Wilkinson-Hunt, Eire Farrell
Running Time: 140 min.
Rating: PG-13

**This Review Contains Plot Spoilers**

★★½ (out of ★★★★)

The biggest challenge in making a new Masters of the Universe movie was always going to be finding the right tone. Either you fully commit to capturing the sense of silly fun that defined the 80's toy line and cartoon series or more seriously embrace the mystical fantasy elements as if it were a continuation of The Lord of the Rings trilogy. Obviously, there are significant drawbacks to either approach, with each potentially alienating different segments of the audience. It also helps explain why we haven't seen any live-action attempts at tackling this material since 1987's poorly received cult flop starring Dolph Lundgren and Frank Langella.

Unlike Teenage Mutant Ninja Turtles or G.I. Joe, Mattel's slightly older MOTU franchise only peaked for a few years in the early to mid 80's, and aside from Kevin Smith's recent Netflix Revelation series, hasn't reinvented itself since. So for those wondering who this updated He-Man movie is "supposed to be for," few candidates seem better suited to tackle it than Bumblebee director Travis Knight, who briefly resuscitated one ailing retro franchise when Transformers was down for the count. But in paying tribute to the original Filmation series and introducing this world to a new, younger generation of fans, Knight does something few could have guessed. He tries a little too hard, resulting in a film that's almost too clever and subversive for its own good, but still sort of fun.

On the planet Eternia, a young Prince Adam is being trained for battle alongside his friend Teela's adoptive father and the king's Man-At-Arms, Duncan (Idris Elba). Weak and undersized, he progresses slowly as his parents King Randor (James Purefoy) and Queen Marlena (Charlotte Riley) worry about the future prospects of a son who can't even defend himself, much less their people. But when the evil, skull faced Skeletor (Jared Leto) attacks their city with right-hand woman Evil-Lyn (Alison Brie) by his side, Adam's parents are taken while Duncan's brutally injured by mercenary cyborg Trapjaw (Sam C. Wilson). Hoping to protect the young boy, Eternia's Sorceress (Morena Baccarin) sends Adam through a portal to Earth, entrusting him with the coveted Sword of Power, which he loses during his trip.

Fifteen years later, an adult Adam (Nicholas Galitzine) is living in Oklahoma with friend and roommate Hussein (Christian Vunipola). Now working in human resources, he clings to childhood memories of Eternia. having drawn sketches and come up with descriptively cartoonish nicknames for those he once knew, such as Fisto (Jóhannes Haukur Jóhannesson), Ram-Man (Jon Xue Zhang), Mekaneck (James Wilkinson) and Moss Man (Stephen Adentan).

Though returning home is impossible without the sword, Adam receives a tip on its possible whereabouts, bringing him face-to-face with Skeletor's vicious Beast Man (Gary Martin). Rescued by Teela (Camila Mendes), Adam is taken back to an unrecognizably decaying Eternia decimated by Skeletor's rule. Now with the help of Teela, Duncan and the rest of the crew, he'll need to summon the power of Grayskull to vanquish Skeletor for good.

Seeing that classic MGM lion logo replaced by the green, roaring Battle Cat makes it difficult for He-Man fans to not feel an optimistic rush when the opening chords of Brian May and Daniel Pemberton's chill inducing throwback theme, "Eternia" hits. To say it's all downhill from there is an overstatement, but it definitely qualifies as a mixed bag of hits and misses.

Despite atrocious visual effects and CG backdrops that remain a distraction throughout, the film starts on a relatively promising note with Adam's origin story baring more than a passing resemblance to Superman's. After being sent to Earth for protection, the script jumps ahead, allowing us to speculate how "Adam Glenn" acclimated himself as a parentless child. Instead, we get what amounts to an Office Space parody, where as an adult he's going through the motions of an HR job and drawing the ire of his condescending boss Suzie (Sasheer Zamata).

Adam's office scenes are the film's weakest link, if only because the four credited writers keep hammering the gag into the ground. These references even carry over into Adam's later return to Eternia and eventual transformation into He-Man, becoming the centerpiece of a plot that already seems desperate for laughs. But while more time is spent exploring Adam's "normal" existence on Earth than fans will prefer, it at least culminates in a thrilling highway action sequence that re-introduces a now adult Teela.

You'd think the joking would gradually subside when Adam starts to recognize the responsibility put before him, and though his physical metamorphosis into He-Man is a highlight, there isn't much of a change beyond the costume. And with no firm line differentiating the personas, Adam's whiny goofiness persists, leaving Galitzine to play this as a farce. Teela's exasperated reactions to his persisting insecurity reflect that, with the warrior goddess frequently rolling her eyes in disbelief, remaining reluctantly hopeful he'll maybe rise to the occasion. So are we.

A fantastic Camila Mendes doesn't misstep once in consistently portraying Teela as a formidable bad ass who might care a little more for her childhood friend than she's willing to admit. Or maybe not, considering all the babysitting she has to do for him during their adventure. This also extends to her dad, Duncan, who's now a disheveled alcoholic seemingly stricken with PTSD in the years following Trap Jaw's attack.

With a wisecracking Roboto (voiced by Kristen Wiig) by his side, the former Man-At-Arms aims to dust off the uniform and return to fighting form. And while it happens rather abruptly, Idris brings vulnerability and gravitas to Duncan, as he and Mendes successfully convey the challenges of repairing their broken father-daughter bond. For a short while, he even rubs off positively on his former pupil, helping Adam find some inner strength, at least until his quirkiness takes center stage again during the story's most crucial juncture.

Adam's nicknaming of Eternia characters is another joke that probably looked great on paper but doesn't play nearly as well on screen. One minute Fisto and Ram-Man are deeply offended by their monikers, only to later do an about face and embrace it during a cringeworthy pep talk from Adam that has us questioning how he really felt about his HR job. For someone who supposedly despised it, he sure loves talking about all the motivational lessons it instilled, causing him to come across as a slightly more sincere version of his nightmare boss, complete with the same politically correct corporate speak.

As Skeletor, Jared Leto again proves (as he did in Tron: Ares), that the frequent complaints about his casting have little to do with his on screen performance. In fact, no one would have a clue it's Leto behind that digitized skull face and blue muscled body suit had his name not been advertised. But since it was, there's an uproar, discounting the reality that his interpretation of this iconic villain ranks alongside Mendes' work as one of the film's very best aspects.

Replacing the cartoon version's nasally inflection with a Shakespearean British accent, Leto strikes just the right balance of frightening menace and comedy, like a Skeletor meme brought to life. And how the VFX team can so compellingly capture this character's look but fail hard in their depiction of a mostly absent Cringer/Battle Cat (voiced by Tom Wilton) is a mystery. But the reframing of Evil-Lyn as an abused, submissive underling who's a step away from turning on Skeletor is inspired, if underdeveloped, depriving us of more Alison Brie, who's great in this.

Possessing the sword and seemingly ready to take out Skeletor, complications and even a couple of deaths arise for He-Man as the movie drags its feet before arriving at the final showdown. And while the writers still can't resist turning this battle into a stand-up routine that calls back to Adam's experience in "conflict resolution," there's a saving grace. It comes in the form of a mind meld sequence where Skeletor hilariously inserts himself into Adam's memories and Knight finally nails that tone he seemed to be searching for throughout.

Extremely difficult to adapt, this is about as entertaining as it gets for a flawed movie based on a nostalgic toy franchise. Still, it's tempting to wonder what the results could have been with writers less interested in telling everyone how embarrassed they are by the original property. It's as if they seem desperate to make fun of the material before anyone else can, proving they're in on the joke. Some of that humor works, but the constant need to infuse every scene with it starts to takes its toll, especially when the stakes are highest.

In laying the groundwork for a sequel, post-credit teases involving Orko and She-Ra will now be remembered as mere footnotes, which is a shame considering how all the pieces were already there. Even when a story's ridiculous, audiences shouldn't be constantly reminded of that when they only want to escape, as has been proven with movies ten times more preposterous than this. But whether longtime fans feel betrayed or newer viewers roll their eyes at these characters, it does get a lot right. The music's incredible, certain performances hit in all the ways they should and the plot structure holds up. It's just everything else in between that ends up falling short.

The Mandalorian and Grogu

noreply@blogger.com (jeremythecritic) — Sun, 19 Jul 2026 18:28:50 +0000

Director: Jon Favreau
Starring: Pedro Pascal, Jeremy Allen White, Jonny Coyne, Martin Scorsese, Sigourney Weaver, Brendan Wayne, Lateef Crowder
Running Time: 132 min.
Rating: PG-13

★★★ (out of ★★★★)

Whatever problems exist with director Jon Favreau's The Mandalorian and Grogu actually have little to do with the film itself, which marks an admirable big screen outing for the once popular Disney+ series. The real issue is that it comes about five or six years too late, long after the show's popularity peaked and briefly gave Star Wars fans hope their franchise may have turned a corner. And with pop culture moving faster by the day, it's easy to forget just how big a moment it was when a Mandalorian bounty hunter discovered this adorable, childlike green creature we initially dubbed "Baby Yoda."

With that reveal, it seemed as if any criticisms, complaints and lingering resentment from the sequels momentarily subsided, replaced instead with the adoration millions suddenly had for Grogu. And for at least the first two seasons, Favreau and co-creator Dave Filoni couldn't miss, crafting a deliriously creative space Western that didn't coast on overexposed legacy names of the past. That is until Disney got greedy, flooding the market with inferior spin-offs and abandoning The Mandalorian after 2023's rough third season. So now amid creative chaos and confusion, this oddly becomes the first full-length Star Wars feature to hit theaters since 2019's The Rise of Skywalker. But awful timing aside, it is a blast seeing these two characters reunited in a film that's better than expected.

Mandalorian Din Djarin, aka "Mando" (Pedro Pascal) and his foundling Grogu are hunting down Imperial forces on the outskirts of the galaxy when New Republic commander Ward (Sigourney Weaver) tasks Mando with rescuing the late Jabba the Hutt's son Rotta (voiced by Jeremy Allen White) and returning him to Jabba's twin successors. In exchange for this, the Hutts' promise Ward intel on the whereabouts of a mysterious warlord, with Mando begrudgingly accepting the assignment after a new Razor Crest ship sweetens the deal.

Joined by his mini apprentice, Mando is directed to the moon Shakari, where he discovers Rotta pit fighting for crime-lord Janu (Jonny Coyne), Determined not to be judged by his father's tainted legacy or take part in the family business, Rotta enjoys newfound popularity as a fighter, making his extraction messier and more complicated than Mando anticipates. With Rotta disinterested in returning home and Janu unwilling to give up his prized competitor, Mando takes drastic measures, putting him and Grogu in harm's path. Only this time it's the foundling who's called upon to protect his adoptive father.

In keeping with recent tradition for the spin-offs, this begins with a short title card rather than the franchise's iconic opening crawl, wisely distancing it from the other films and dropping us into the action right away. For fans of the series, a formal introduction is unnecessary while new viewers won't feel lost when Favreau and Filoni stick to the familiar formula, albeit with a few added flourishes.

The central mission to save Rotta is a good one that isn't bogged down by extraneous side quests, setting Mando on a collision course with three formidable villains, two of which share a connection to one of the original trilogy's more substantial characters, both in girth and importance. And though it's awkward seeing any member of the Hutt clan move (think Jabba in Lucas's '97 Special Edition) much less engage in combat, Rotta's backstory is certainly developed well enough. So even if there's no getting around his visual limitations as a muscular, intergalactic UFC fighter, White's vocal performance creates a sympathetic character, especially in scenes opposite Grogu. We're also treated to brief but humorous voice work from Martin Scorsese as a fearful Ardennian fry cook who nearly steals the film's first half.

Sigourney Weaver's role as Ward is smaller than advertised, to the point that some of her scenes in the trailers and commercials appear to have been cut. But in terms of kicking off the plot, the actress's fair, no-nonsense approach as an authority figure can still be appreciated, however briefly. As for Grogu, he kind of tags along for the ride during the first hour, engaging in his typically cute antics while Mando handles the heavy lifting, at least until a major development changes the course of things.

Sixty minutes in, it feels as if this story's all wrapped up and the closing credits are ready to roll. Of course, we know that's not the case as Mando gets into deeper trouble escalating from his earlier decisions. And by necessity, Grogu will become more involved, giving the film its big payoff when he takes the initiative to rescue his dad.

Despite a slow section where maybe too much time is spent with Grogu alone in the woods, everything does come together for an exciting finale. And those still complaining about Pedro Pascal's overexposure may want to prepare themselves for Mando's helmet coming off, as it did a couple of times already during the series' run. But how he loses it is thematically warranted, hardly lacking in either context or motivation.

If Grogu's the real star, his closest competition might come from Oscar winning composer Ludwig Göransson, whose music here actually exceeds and builds on what he did on the show. And besides a return of that main title theme majestic enough to compete with John Williams' best, his electro-synth sounds interestingly highlight Mando and Grogu's excursion into Shakari's gritty fight pit.

The biggest concern was always whether this would go a more cinematic route or safely play like an extended episode of the series. As a "two-parter" of sorts, it's clearly the latter, hypothetically ranking among the show's stronger entries. But in successfully harnessing the spirit of a series we'll probably never see again, you wonder why Disney couldn't even manage to announce they were shelving it. To this day, no one knows. Still, Favreau and Filoni get their act together to deliver a fun, tightly scripted adventure that recaptures much of the early magic. It's just a shame it didn't come sooner.

Michael

noreply@blogger.com (jeremythecritic) — Mon, 13 Jul 2026 19:07:10 +0000

Director: Antoine Fuqua
Starring: Jaafar Jackson, Colman Domingo, Nia Long, Miles Teller, KeiLyn Durrel Jones, Laura Harrier, Juliano Valdi, Joseph David-Jones, Nathaniel Logan McIntyre, Rhyan Hill, Judah Edwards, Jamal R. Henderson, Jayden Harville, Tre Horton, Jaylen Lyndon Hunter, Jessica Sula, Mike Myers, Kendrick Sampson, Larenz Tate, Liv Symone, Deon Cole
Running Time: 127 min.
Rating: PG-13

★★★ ½ (out of ★★★★)

Despite widespread opinion that musical biopics are interchangeable, most can actually be distinguished by how far filmmakers stretch the truth and the level of devotion they hold for their subject. Director Antoine Fuqua's Michael proves this by delivering what's partially a tribute to unparalleled talent, but also an acknowledgment of his sad upbringing, both of which inform the superstar he later becomes. At one point he's told they'll never be anyone like him, and for better or worse, we realize just how accurate that statement is. More enamored with his fans than the idea of fame, he was pushed too far too soon, launching a career that reshaped music, but also destroyed him in the process.

Michael never stood a chance at a normal life, and while Fuqua predictably caught heat for omitting the serious allegations leveled against the singer, he didn't have much choice, reshaping his third act to clear the legal hurdles required in getting this made. But it wouldn't fit the tone or timeline anyway, which revolves around a rags-to-riches story that helps explain why it's hard to find anyone who doesn't call themselves a fan, regardless of age, race, gender or nationality. And this captures that with spectacular musical sequences and a pair of performances in the title role that avoid the groans and awkward laughs you'd expect to associate with the project.

It's 1966 in Gary, Indiana and steel laborer Joseph Jackson (Colman Domingo) forms and manages a boy bond consisting of sons Jackie, Tito, Jermaine, Marlon and 10-year-old prodigy and lead vocalist Michael (Juliano Valdi). Collectively dubbed the Jackson 5 by the strict, domineering Joseph, he works them into the ground as they perform gigs across the country, catching the attention of Motown record executive Suzanne De Passe (Laura Harrier). But with the Jacksons topping charts and the family relocating to an Encino, California mansion, label founder Berry Gordy (Larenz Tate) sees even bigger money in Michael as a solo act.

In 1978 when an adult Michael (Jaafar Jackson) releases his first solo album "Off The Wall" for Epic Records producer Quincy Jones (Kendrick Sampson), Joseph starts tightening the powerful grip he holds over his youngest son who yearns to break away and assert his creative freedom as an adult. With the support of mom Katherine (Nina Long), friend and bodyguard Bill (KeiLyn Durrel Jones) and loyal attorney John Branca (Miles Teller) he does just that, emerging as a pop culture phenomenon. But Michael's success comes at a cost, as he struggles to completely free himself from his father's grip.

From an early age, Michael is told by Joseph that life is made up of "winners" and "losers" and he'll have to decide which he wants to be. It's ironic advice coming from someone who couldn't be a bigger loser in life or this movie, as we've long heard how all of Michael's issues can be traced to his dad. Colman Domingo's performance as this monster definitely tracks, but the actor's perceptive in how he plays him, depicting a man for which nothing is good enough, pushing his kids as far as he wants while lining his own pockets in the process. And in finding hurtful ways to phrase even the most fleeting compliments, Domingo still manages to give Joseph small doses of humanity, until you realize it's just another con job to get what he wants out of his boys.

That the Jackson kids never refer to their father as "Joseph" is telling, highlighting not only the distance between them, but the fact he's their manager first, especially when it comes to Michael. So talented on stage that his brothers may as well be invisible, the ten-year-old's potential places him under enormous pressure and first in line for Joseph's vicious belt beatings.

In vaguely expressing her disapproval while occasionally offering up a delicately worded objection to Joseph's behavior, it's clear wife Katherine fears him. Long's role is easily the film's most thinly written, as we're expected to believe Joseph's reign of terror somehow skipped over the woman he married. For young Michael, escape comes in the form of Peter Pan, a story that reverberates through his adult life when he attempts to manufacture a childhood that was robbed from him.

Juliano Valdi's heartbreakingly impressionable turn as young Michael and the Jackson 5's formation is probably the least explored, but most pivotal aspect to his biography. It's also a credit to John Logan's script that this period doesn't differ dramatically from the adult section, much like Michael himself. Similar to his fictitious hero, he never grows up and can't, torn between the dread of standing up to Joseph and forging a career on his own terms with the help of super attorney John Branca. There's also an appearance from Mike Myers as CBS Records president Walter Yetnikoff that just might be his least distracting cameo yet.

Despite the two sharing only a handful of scenes, Michael's bond with his bodyguard Bill represents the rare instance where the singer seems able to forge a real connection with another human being. But like most of Michael's interactions, even this carries a sad transactional quality that could only come from being a star of such stature. His only true friends are the giraffes, snakes and dogs that will roam "Neverland Ranch" along with Bubbles the chimp, who's depicted with CGI laughable enough to temporarily take us out of the plot.

The second and third acts revolve completely around Michael's music, with Fuqua essentially transforming this into an extended concert film that recreates the singers' most iconic performances and videos. And did he ever make the right decision by casting Michael's own nephew, Jaafar Jackson, who's marvel in the role. Not only does he nail the voice, changing looks and isolation of a scared little boy trapped inside an adult's body, but shows us Michael's brilliance as a performer and choreographer. Whether it's "Beat It," "Billie Jean," "Thriller" or "Bad," even the most skeptical fans are in for a treat watching him capture the King of Pop's moves and mannerisms, all while capably filling the sadder, quieter moments in between.

The Pepsi commercial disaster is rightly marked as a huge pivot point, officially signaling the last gasp for the Jackson 5 as a unit and Joseph as a promoter too sleazy for even Don King (Deon Cole) to trust. More concerned with exploiting Michael than admitting his own role in the accident that nearly took the life of his now burned and disfigured son, this event only feeds into the star's obsession with altering his appearance. What starts as a rhinoplasty and treatment for vitiligo will spiral into multiple plastic surgeries, but the film stops just short of that. Instead, the focus remains on his stage shows and superstardom, with Fuqua depicting the hysteria of fainting concertgoers being carried out by security.

If Michael's easily the most eccentric, complicated and strangely inaccessible artist to have such a massive reach, this presents a strong case for why. In scenes when he's visiting hospitalized sick children and relating better to them than any adult his own age, an innocence and kindness shines through, perhaps hinting at what could have been. Of course, it's also impossible to watch this without the looming specter of those eventual allegations crossing our minds, creating an uncomfortable dichotomy.

Since the first hint of those still legally unproven claims don't surface until 1993, Fuqua gives us a Michael most would prefer to remember, with the caveat that anything resembling a normal, well adjusted life was sacrificed for the music. In a sense, Joseph was right about Michael eventually wanting to surround himself with enablers and "yes" men, possibly in an effort to retain the independence he was cruelly deprived of as a child. It's this that eventually leads to his undoing.

Michael's a true rarity in possessing near universal appeal, a fact this movie solidly hits on, justifying what some have labeled a "paint by numbers" treatment of the legendary entertainer. But given the scope of his music, this traditionally straightforward approach feels right, especially since the essence of Michael's likability depended on a desire to reach as many people from different backgrounds as possible. So whether his idealistic goal to unite the world can be traced to arrested development or an abusive childhood, he believed it. And as a result, so did his fans.

Obsession

noreply@blogger.com (jeremythecritic) — Tue, 07 Jul 2026 18:53:21 +0000

Director: Curry Barker
Starring: Michael Johnston, Inde Navarrette, Cooper Tomlinson, Megan Lawless, Andy Richter, Haley Fitzgerald, Darin Toonder, Curry Barker
Running Time: 109 min.
Rating: R

**This Review Contains Major Plot Spoilers**

★★★ ½ (out of ★★★★)

The supernatural premise driving writer/director Curry Barker's mind blowing horror thriller Obsession is so simple that it's easy to overlook all it does well, aside from the obvious. But audiences have noticed, which is a credit to how certain scenes and sequences linger, inviting the repeated viewings that's given it an unrivaled staying power. But it's tough going into a movie like that, almost as if you're primed for disappointment before the opening credits have even rolled. So this somehow still being able to overcome all the surrounding hype and expectations almost feels like an achievement in itself.

After this, we can at least hope those who routinely dismiss and dissect even the worthiest films for resembling The Twilight Zone will finally realize it's a compliment to earn comparisons to television's greatest anthology series. But this monkey's paw morality tale shares as much in common with the comedically twisted Tales From the Crypt, which also featured a similarly themed episode involving a mystical love curse. But here, Barker's tone, style and execution puts this in a different class, exploring issues of agency and autonomy that are sure to spark discussion as it builds toward its chillingly chaotic conclusion.

Shy, socially awkward Baron "Bear" Bailey (Mike Johnston) has a secret unrequited crush on his friend Nikki (Inde Navarrette) he considers revealing to her despite the uncomfortable dynamic it could create with their friends and music store co-workers Ian (Cooper Tomlinson) and Sarah (Megan Lawless). Grieving the sudden death of his beloved cat Sandy, Bear takes a trip to the local crystal shop to buy a Nikki a necklace, but instead picks her up the "One Wish Willow," a vintage toy promising to grant one wish per person when broken in half.

After driving Nikki home from the bar later that night, Bear nervously chickens out and misses a golden opportunity to reveal his feelings. After frustratingly breaking the Willow and wishing she "love him more than anyone in the world," Bear unleashes an unhinged, erratic Nikki who's immediately obsessed with him. Now prone to outrageous lies, screaming fits, self harm and violent outbursts, she smothers Bear with affection, causing Ian and Sarah to express serious concern for her mental state. But as Bear continues to date Nikki and frantically tries to curb her dangerous impulses, he'll find out the hard way to be careful what you wish for.

It's almost a relief to find a horror film with four characters who lack some kind of traumatic backstory, at least as far as we know. And though their ages are in question (with a minimum of two homeowners and another applying to schools), they're just normal friends and co-workers hanging out, which only heightens the impact of the curse that's about to upend their relatively mundane lives. Bear's the unassuming "nice guy," Nikki's an outgoing fun loving personality, Ian's an irritating frat boy while sympathetic tattoo artist Sarah seems the most grounded. She also harbors a crush of her own on Bear, who's too infatuated with Nikki to notice.

While it's easy to question Ian's motives for discouraging Bear's intended confession to Nikki and belittling him, we're also forced to admit he has a point since it's clear Bear was friend zoned a while ago and should probably just move on. Regardless, he can't muster up the guts to shoot his shot and instead breaks the Willow, robbing Nikki of whatever choice she would have made. It's here where things start to get really interesting since Bear's selfish actions aren't yet recognizable as those of a crazed misogynist. But having no clue this gag gift would work is a viable excuse for only so long, or exactly until the girl of his dreams transforms into "Freaky Nikki."

If all the characters suffer to some extent, a possessed Nikki easily endures the worst, causing stressful uncertainty in viewers about what this entity inhabiting her will do or say next. And she hasn't a clue herself, which makes this experience all the more nerve wracking, as its story rides entirely on an incredible performance that walks a razor's edge between campy humor and unrestrained terror. Everything Navarrette does could have so easily been cringy or flown off the rails, causing the whole premise to collapse under the weight of its lofty ambitions. Instead, we're on the edge of our seats dreading how far Nikki will go, or more alarmingly, what it'll take to stop her.

For all the justifiable praise Navarrette's gotten, an underappreciated Mike Johnston doesn't have it easy either, constantly reacting to the insanity and abuse his apathetic Bear unleashes, going along with this until Nikki's behavior forces him to take action. But he's weak, outing himself as a coward more interested in controlling Nikki's thoughts and feelings while she's relegated to helpless observer, trapped inside the mind and body of someone else. Of the three friends, only one seems to genuinely care about her well being, even if that concern comes at a deadly price.

More than a few scenes stand out, such as Nikki menacingly lurking in the shadows of the bedroom, her uproarious and instantly memeable reaction to a seemingly harmless house party game or Bear's desperate phone call to "alter" rather than reverse a curse he'd gladly support if all this other stuff didn't accompany it. There's also an unforgettable jump scare in the third act we do see coming, but still manages to shock since Barker is so skillful at distracting us, expertly milking the scene until he's ready to pull trigger. And when he does, we're devastated by just how long and uncomfortably brutal it is.

Consider that the final warning shot, leading to a cruelly karmic final act where Bear finally runs out of options and all hell breaks loose. Through all this, Navarrette consistently conveys fleeting glimpses of the old Nikki struggling to slip out and escape, waging a battle within herself she can't possibly win. The cruel victim of circumstance and hardly a survivor, she's now looking at a very bleak future once authorities arrive at the gruesome crime scene. And in wisely opting not to show any of it, Barker lets a single blood curdling scream tell us everything we need to know.

How to Make a Killing

noreply@blogger.com (jeremythecritic) — Wed, 01 Jul 2026 19:27:06 +0000

Director: John Patton Ford
Starring: Glen Powell, Margaret Qualley, Jessica Henwick, Bill Camp, Zach Woods, Topher Grace, Ed Harris, Bianca Amato, Raff Law, Alexander Hanson, Adrian Lukis, James Frecheville, Nell Williams, Grady Wilson, Maggie Toomey
Running Time: 105 min.
Rating: R

★★★ ½ (out of ★★★★)

Extending his streak of compelling, outside the box choices, a still very busy Glen Powell delivers another charismatic turn in writer/director John Patten Ford's unjustly overlooked How To Make a Killing. Seemingly popping up everywhere, Powell's been labeled as overexposed, this despite challenging himself in a variety of different roles where he's fared better than most. And having now recently proven his worth as an action and rom-com lead, he tackles a wicked, biting satire best described as Dexter meets American Psycho. It's also a real hoot, subverting expectations at nearly every turn.

As the narrative unpeels its numerous layers, it's easy to envision audiences complaining about an abundance of plot holes. But the script's tighter than you'd think, with Ford effectively covering his tracks by keeping the focus squarely on the antagonist's complicated and constantly evolving motivations. Skillfully mixing dark humor with social commentary, it aims higher than being the latest Hollywood outing obsessed with eating the rich, as there's actually a lot more happening beyond it.

On death row for murder, Becket Redfellow (Powell) awaits his final meal while telling a priest (Adrian Lukis) the story of how he wound up in prison. It begins decades earlier when his mom Mary (Nell Williams) was disowned by her father and wealthy Redfellow patriarch Whitelaw (Ed Harris) after her unplanned teen pregnancy. With Mary trying to make ends meet as a single mother to young Becket, the boy's crush on wealthy friend Julia Steinway falls by the wayside after his mom's shocking death sends him through a series of foster homes.

Years later, Mary's final wish for Becket to "fight for the life he deserves" still echos in his mind as an adult selling luxury suits in New York City. But after uncovering a legal loophole that entitles the last living Redfellow heir to a $28 billion inheritance, he gets an idea. Just as a recently married Julia (Margaret Qualley) reenters his life, he formulates a plan to kill the remaining members and collect the money. Considering the suspicions those consecutive deaths would raise, this proves challenging, at least until he's welcomed into the family by his generous Uncle Warren (Bill Camp). Though Becket starts to obtain the acceptance he's longed searched for, the murder and subsequent guilt continues, threatening to unravel this new life he's built for himself.

By bookending events with Becket's imminent execution, the film not only creates a sense of urgency, but enables Powell to establish this confident and relaxed character who strangely appears resigned to his own fate. And while the story he spins is far out there, we're left with the impression he isn't lying or fudging facts, allowing us to see how this cocky but superficially likable guy ends up on death row. It may be easy to assume he gets sloppy and his luck runs out, but what actually happens is a lot more complicated.

The intriguing pre-credit flashback prologue crucially sets the stage for all that follows, giving resonance to the cruel ultimatum Becket's mom receives at the hands of her cold, dismissive father. And whatever meaning she intended with her last words give him the green light for revenge, providing in his mind a reason to take what he's owed.

That whole section is enhanced by the brief but impactful performances of child actors Grady Wilson and Maggie Toomey, who play the respective younger versions of Becket and Julia. Not only do they physically resemble their older counterparts, but certain quirks and details of their personalities are later replicated by Powell and Qualley. For a change, it's actually not a stretch to believe both pairs of actors are portraying the same people, with only time and age separating them.

Once Becket commits to clipping the leaves off his family tree to become sole heir, hilarity ensues when he clumsily realizes he's good at this whole murder thing. Dimwitted, arrogant Stock broker Taylor (Raff Law) and pretentious artist Noah (Zach Woods) are his initial targets, but these hapless younger cousins are merely in Becket's way, standing between him and a huge payout. The plot then further thickens once he falls hard for Noah's girlfriend Ruth (Jessica Henwick), who hasn't a clue she's involved with a serial killer.

To Ford's credit, he preemptively addresses issues with the premise by having the FBI trail Becket early, even if they're incredibly dense and struggle to find a shred of evidence linking him to unexplained deaths of multiple family members. But at least the script has them make enough of that connection for us to accept he can't outmaneuver authorities forever, always remaining a misstep away from being caught.

Becket's bond with his uncle Warren might be the most genuine relationship he has, if only because he's the sole Redfellow sincerely apologetic about what happened to him and his mom. And in giving this long lost nephew a job and opportunity, he proves it, earning Becket's loyalty and presumably ending his killing spree, at least until he's tempted to finish off other slimy cousins like crooked pastor Steven J. Redfellow (hilariously played by Topher Grace).

When Becket keeps the murder train rolling long after he's accumulated enough money and status to stop, Powell's performance helps explain why. If maybe there's a sick, addictive rush that comes in getting away with it, everything still comes back to the quest to avenge his mother and fulfill her dying wish, however twisted that logic becomes.

Some may think Powell should have gone darker, but he gets it just right by playing him more reluctantly, putting viewers in the awkward spot of examining his justification, perhaps even while condemning the selected methods. Amid a plethora of less redeemable characters, he's at least given somewhat of a conscience as the actor strong arms us into considering whether Becket's really some sort of anti-hero.

Margaret Qualley electrifies as Julia, popping in and out to prey on her childhood bond with Becket. Every mannerism and line delivery help define the eccentricities of a quirky, unpredictable character you can't take your eyes off. And neither can Becket, whether he wants to or not. Inevitably, he's torn between Julia and loyal, pure hearted girlfriend Ruth, who Henwick effectively plays as nearly her polar opposite. In many ways she represents Becket's best life, if only he can let go of his obsession with the inheritance. Instead, the lies and games continue to pile up.

All this leads to the heavily awaited showdown with grandfather Whitelaw, who's chillingly played by a quietly intense Harris. And while Becket's encounter with the Final Boss who kicked his mom to the curb doesn't disappoint, there's also that nagging issue of how he ends up on death row. It's not for the reason you'd think, resulting in a devilishly ironic third act twist that carries strains of a gender reversed Gone Girl.

Loosely based on the 1949 British film Kind Hearts and Coronets, this is Ford's follow-up to his indie sleeper hit, Emily The Criminal. But save for a law breaking main character, it's a total 180, with the director using this bigger platform and budget to make a far different film featuring an exceptionally loaded cast of talent. Compelling from start to finish, it's just a lot of fun, as wild developments lead the story exactly where it needs to go, climaxing with a final act that solidifies this as a strange trip worth taking.

Hokum

noreply@blogger.com (jeremythecritic) — Thu, 25 Jun 2026 20:46:14 +0000

Director: Damian McCarthy
Starring: Adam Scott, Peter Coonan, David Wilmot, Florence Ordesh, Michael Patric, Will O'Connell, Brendan Conroy, Austin Amelio, Mallory Adams, Sioux Carroll, Ezra Carlisle
Running Time: 107 min.
Rating: R

★★★ ½ (out of ★★★★)

It's rare when watching a horror film to have almost no idea where the story's going or how it'll get there. In writer/director Damian McCarthy's moody, atmospheric Hokum, this happens so often you have no choice but to give in while it explores unexpected corners of supernatural trauma. Classifying this as purely genre almost sells it short, if not for the fact it's genuinely scary, with spine tingling moments of suspense that confirm we're in highly capable hands.

Equal parts folk horror and whodunnit, it's a haunted house throwback that could have easily aired on late night TV in the 70's or 80's, stopping viewers dead in their tracks and keeping them up for weeks. After a perplexing start, this seemingly low-key character study reveals its true ambitions when a creepy, unsettling feeling slowly builds, culminating in a chaotic and claustrophobic ordeal for an unlikably doomed protagonist.

On the brink of completing his bleak "Conquistador" trilogy of novels, American author Ohm Bauman (Adam Scott) makes a trip to Ireland to spread his parents' ashes, staying at The Bilberry Woods Hotel where they spent their honeymoon. While there, he meets the hotel's staff, consisting of owner Cob (Brendan Conroy), his son-in-law and front desk clerk Mal (Peter Coonan), bartender Fiona (Florence Ordesh), gruff groundskeeper Fergal (Michael Patric) and bellhop Alby (Will O'Connell). He also encounters Jerry (David Wilmot), an eccentric local living out of his van who drinks goat milk laced with magic mushrooms.

While the depressed, alcoholic Ohm cruelly belittles bellboy Alby's writing aspirations, he forms a brief bond with barkeep Fiona just before she goes missing following the hotel's Halloween party. And despite earlier dismissing her claims that the locked, long abandoned Honeymoon Suite is haunted, Ohm knows something's off, postponing his trip home to investigate as the staff closes up for the season. He also has demons to exorcise, specifically related to his mother's tragic accident and the rift it caused with his father. But as Ohm inches closer to the truth about Fiona, what lies in that mysteriously haunted suite forces him to confront the ghosts of his past.

Ohm's novel about the conquistador and young boy that bookend the film not only gives us valuable insight into the writer he is (a Stephen King type), but the bleakness that defines this work and life. Looking for a way out of the unusually cruel dilemma he's placed his characters in, he's drawn to the idea of visiting the hotel his late parents honeymooned at decades ago, perhaps even searching for a certain degree of closure, if not some relief from the emotional baggage he's carrying.

Once it's revealed what happened with Ohm's parents as a child and the role he played in it, we realize he isn't just a rude, belligerent jerk to this hotel staff because he's a cranky minor celebrity wanting to be left alone. There's an element of that, but his wounds cut much deeper, with McCarthy earning credit for writing a protagonist who at least in the early going fails to display any redeeming qualities.

Though the film contains quieter moments of subtle humor, some may still be surprised it's carried by an actor still better known for comedic roles, despite his undervalued dramatic range when playing smarmy, sarcastic know-it-alls like this. And Ohm's easily the most complex of these Scott's ever stepped into, resulting in his best big screen outing yet, altering any preconceptions to provide a grounded presence in the midst of pure insanity

Despite aiming to make his stay at Bilberry Woods as quick and painless as possible, after a few drinks Ohm opens up to quick witted bartender Fiona, who doesn't suffer fools, reminding him of his late mom. What he can't subscribe to is her theory about the abandoned suite, dismissing any idea it's haunted as "hokum." He'll soon find out whether that's actually true.

A secretive Mal and Fergal both forcefully wave off notions Fiona's somehow trapped in that locked suite while suspicions turn to crazy local Jerry, whose potentially violent past attracts interest from authorities. But Ohm doesn't buy it, forming an alliance with the old man that's one of the film's more rewarding developments, in large part due to David Wilmot's kooky, disarming banter with a deadpan Scott. But all roads lead to the infamous Honeymoon Suite, where getting inside proves easier than getting out.

How Ohm ends up in the deadly suite is cleverly intricate in itself, though nothing compared to the terror that awaits, resulting in a karmic comeuppance he thinks he deserves. Presumably operating within the parameters of a modest budget, Til Frolich's set design is a sight to behold, as its maze-like construction, mechanical contraptions and darkened corridors visually heighten the impending doom.

Whether evil lurks in the shadows or even directly in Ohm's face, there are genuinely frightening jump scares only bolstered by Colm Hogan's suffocating cinematography. We also get the menacing appearance of a children's TV host named Jack The Jackass, who supplies enough nightmare fuel in thirty seconds to make Pennywise look like Tinkerbell. Using a key and tape recorder as his entry point, McCarthy advances a carefully constructed plot that brings Ohm closer to solving the mystery and confronting the mistake he's spent his life trying to punish himself for.

When the time comes to provide a reasonable resolution, McCarthy doesn't drop the ball, which is no easy task considering the nature of this material. And if watching a writer struggle within the supernatural confines of a remote inn conjures up thoughts of The Shining, you wouldn't be far off since so much of the film rests on similar feelings of isolation. But by exploiting the idea of a traveler in unfamiliar surroundings facing his worst fears, Hokum manages to stand out in what's become an increasingly crowded field.

The Running Man (2025)

noreply@blogger.com (jeremythecritic) — Fri, 19 Jun 2026 19:00:19 +0000

Director: Edgar Wright
Starring: Glen Powell, Josh Brolin, Colman Domingo, Lee Pace, Michael Cera, Emilia Jones, William H. Macy, Daniel Ezra, Jayme Lawson, Alyssa and Sienna Benn, Katy O' Brian, Karl Glusman, Martin Herlihy, Sean Hayes, David Zayas, Angelo Gray, Oluniké Adeliyi
Running Time: 133 min.
Rating: R

★★★ ½ (out of ★★★★)

Of the many Stephen King adaptations that hit screens in 2025, a new take on The Running Man always seemed the most logical on paper. That's mainly due to so much happening in the world since the author first published his 1982 novel about a dystopian reality show that sees its protagonist competing in a nationally televised battle for his life. But when the Arnold Schwarzenegger original hit theaters a few years later, it arrived as a cheesy guilty pleasure very much of its era, yet ripe for a potential revisiting down the road.

Now, with the confluence of reality TV, the internet, smart phones, digital surveillance, artificial intelligence and socio-political conflicts, key aspects of King's eerily prophetic tale have come to pass, creating a wealth of new ideas from which co-writer/director Edgar Wright can draw. And does he ever, which only makes the chilly reception this received from critics and audiences even more perplexing. Unfolding at a breakneck pace, it's edited and constructed well enough to earn a lengthy run time, with much of its success attributable to Wright's world building, a smart script, its great cast and a handful of mind blowing action set pieces.

In a near future, the United States is governed by an authoritarian media entity called the Network, which ensures the country's population lives in poverty with little access to affordable healthcare. Rearing the nation's viewers on a trashy diet of reality TV and violent game shows, ordinary citizens are given a chance to beat the odds in rigged televised competitions that offer substantial monetary rewards. The most popular is The Running Man, where three "runners" have a shot at winning $1 billion if they survive 30 days without being killed by the Network's five "hunters." But for recently unemployed blue collar worker Ben Richards (Glen Powell), it could be his only chance at affording medicine for he and wife Sheila's (Jayme Lawson) sick two-year-old daughter, Cathy (Alyssa and Sienna Benn).

Despite Sheila's pleas, Ben auditions for the show, bringing him face-to-face with producer Dan Killian (Josh Brolin), who senses he might have a huge ratings draw on his hands. Ben signs on the dotted line, but when the hunt begins, he quickly realizes fans are being duped by Killian and bombastic show host Bobby Thompson (Colman Domingo) into viewing him as a cold, calculated criminal. But while Ben captivates the audience and outsmarts mysteriously masked lead hunter Evan McCone (Lee Pace), Killian orchestrates the ultimate finale, as the show's latest breakout star fights for his survival.

Even before the film's title card appears, we see a desperate, quick tempered Ben pleading for his old job back, having risked standing up for co-workers in a society where selfless actions aren't just frowned upon, but punished. Now with a sick child and his wife pulling double duty waitressing at a shady establishment, desperation starts sinking in. It's also our first glimpse of this corporate media dictatorship that strikes just the right balance of hewing close enough to certain aspects of contemporary culture while also having a semi-futuristic feel firmly rooted in sci-fi.

Wright and co-writer Michael Bacall are threading a thin needle here, but the execution is backed up by Andrew Whitehurst's VFX and some really impressive set design from Marcus Rowland that help move this far past the TV-centric plot of its 1987 cinematic predecessor. And though a certain cheese factor remains, it's considerably less, passing as an actual game show you'd watch, albeit one that serves the story's many thematic goals.

This battle-to-the-death manhunt presided over by its sleazy, carnival barker of a host manipulates viewers into accepting whatever constantly changing "rules" Killian sees fit. But it also accomplishes a larger, more sinister goal in keeping the lower class subservient to the Network, who dangle the possibility of hope over helpless contestants who don't stand a chance at winning. They're aware how stacked the deck is, but don't have a say, knowing their only shot at escaping poverty is surviving to the end. Cunning, athletic and angry enough for that to seem attainable, Ben's in a different league than fellow contestants Jenni (Katy O' Brian) and Tim (Martin Herlihy), creating an intriguing dynamic with Killian, who sees dollar signs for at least as long as he can control him.

The show's presentation and format is concisely explained without slowing the momentum, but it's what happens once Ben leaves the studio that makes for such a thrilling ride. If the '87 film failed at opening up King's story, this better explores Ben (given some flimsy disguises by William H. Macy's store owner Molie) contending with a bloodthirsty public eager to give him up for a reward. As the hunters close in, the film cleverly incorporates social media and drone cameras, making it clear even the highly skilled Ben needs more help. This is evident when mandatory video testimonials he mails in to air on the program are edited and manipulated by Killian to push the Network's agenda and turn viewers against him.

There's a relentless, brilliantly staged hotel action sequence that sees Ben attempting to escape the hunters' clutches that's somehow topped by a latter one that plays like a deranged and dangerous Home Alone reenactment. All of it eventually leads to a plane ride from hell that finds Ben in an explosive final showdown that'll determine his ultimate fate. Along the way we get some lively supporting turns from Daniel Ezra as a Running Man-obsessed streamer aiding Ben in his escape and a wildly entertaining Michael Cera, whose rebellious survivalist Elton will do anything to exact revenge on the Network that killed his father.

Cera's brief, but incredibly memorable and eccentric performance strikes just the right tone while Emilia Jones appears late in the third act as Amelia, a highfalutin woman taken hostage by Ben. Yes, her character's a plot device, but you'd never know that considering all she brings to a role that serves an such an important function in Ben's quest to open the public's eyes to government crimes and corruption.

Though Pace strikes an evil, imposing presence as masked vigilante McCone, it's Brolin's Svengali-like Killian who calls the shots, filtering instructions through Colman Domingo's flamboyant emcee. The latter puts his own unique spin on Richard Dawson's '87 outing while the ideally cast Brolin personifies this smarmy, manipulative mastermind with more than a few twists in store. He may respect Ben's will to win, but primarily sees him as a tool for further strengthen the Network's grip over society.

Ben becomes a symbol, and whether he survives the ordeal or not, his impact could prove longer lasting by showing citizens their potential power to invoke change. Powell provides a worthy mix of anger, desperation, physical prowess and morality to the rebellious Ben, demonstrating again why he received all those early Tom Cruise comparisons. While he's not there yet, and his best work remains 2024's overlooked Hit Man, this project can't help but feel like another step forward in further showcasing that versatility.

Aside from a pat, overexplanatory final few minutes that tells rather than shows, The Running Man flirts with perfection and may even be superior to King's similarly themed The Long Walk adaptation from the same year. Easily putting to shame the '87 version, it'll rattle Scott Pilgrim fans to hear it's a strong contender for Wright's best film, or at least his most focused and accessible. Free from any polarizing quirks, this looks and feels like a big deal, rarely letting up as it makes the most of its inspired premise. And by using time and technology to expand on the original's ideas, it enhances the potency of a message that's only grown in the decades since.

Dead Man's Wire

noreply@blogger.com (jeremythecritic) — Thu, 11 Jun 2026 18:50:51 +0000

Director: Gus Van Sant
Starring: Bill Skarsgård, Dacre Montgomery, Cary Elwes, Myha'la, Colman Domingo, Al Pacino, John Robinson, Kelly Lynch, Todd Gable
Running Time: 106 min.
Rating: R

★★★ (out of ★★★★)

During Gus Van Sant's biographical crime thriller Dead Man's Wire, a voiceover declares that holding onto anger is the equivalent of drinking poison and expecting the other person to die. But by film's end, we're left wondering whether that's true or the real life antagonist actually did get the satisfaction he sought. Eerily prescient, it focuses on this man with a grudge and the extreme measures he takes against those he thinks wronged him. And though his intended victim isn't around for the consequences, he finds a suitable replacement, leading to an unusual standoff that sends the cops and media into a frenzy.

Initially, the police want this abductor to feel as if he's receiving the attention he so desperately craves, hoping he'll drop his guard long enough for them to go in for the kill. But what happens when the public chooses to view him as a sympathetic figure screwed over by a soulless corporation? With a compelling tale like his, it's no surprise many can relate, enabling them to somehow see past whatever violence he's capable of, as scary as that seems.

On Tuesday, February 8th, 1977 in Indianapolis, a high strung, mustachioed man named Tony Kiritsis (Bill Skarsgård) arrives at the Meridian Mortage Company building for an appointment with CEO M.L. Hall (Al Pacino). Entering with a sling on his arm and a long box, an agitated Tony makes a scene when informed M.L. is vacationing in Florida. His son and company President Richard (Dacre Montgomery) intervenes, agreeing to meet with him. But once inside the office, Tony removes a shotgun from the box, wiring it to Richard's neck and rigging it to fire should he attempt to escape.

Believing the Halls cheated him out of money on a land development deal, Tony calls this abduction into the police himself, hoping to expose the Halls. With a wire wrapped around his neck, Richard's taken out of the building and onto the street by Tony, attracting the attention of Detective Michael Grable (Cary Elwes) and TV news reporter Linda Page (Myha'la), who's looking to raise her profile with a big story. As the FBI closes in and Richard's life hangs in the balance, Tony uses local radio DJ Fred Temple (Colman Domingo) to send his message to the masses. But with time running out, he wants money and an apology, or the shotgun goes off.

Aside from Skarsgård's genuinely unsettling performance and a remarkable sense of time and place, the film's greatest asset is how quickly it gets down to business, letting the smaller details pour out as this situation escalates. From the start, there's something off enough about this guy that the pressure's on to give him what he wants, or at least make him think he's getting it. It's also intriguing to watch these opening office scenes with the knowledge that Tony would have been immediately tackled at the front door if this occurred today. But it's the 70's, establishing him as just another irritated client on a Tuesday.

Viewed through a pre-9/11 lens with no security cams, it's easier to see how Tony pulls this off, his unusual shotgun contraption throwing off authorities as they proceed with heightened caution. All of this gives Tony time to lay out his terms and milk the public's attention while a terrified Richard suffers through the ordeal, his life potentially ending with one sudden move in the wrong direction.

Montgomery's performance conveys a thinly layered sense of guilt that Richard and his father really screwed this man out of his cash since that's what this company does. Pacino's big scene as M.L. confirms just how little respect he has for his own son, who's essentially a subservient hatchet man. Even with Richard's life on the line, the elder Hall proves too stubborn and entitled to give an inch, frustrating both Tony and the FBI. Pacino's subtle here, never hamming it up as his character comes across completely unaffected and incapable of relinquishing control.

While Van Sant gets a little heavy handed as he flashes back and forth between TV broadcast recreations and the actual action, tension remains at a fever pitch throughout, delivered in a style intentionally reminiscent of Pacino's Serpico and Dog Day Afternoon. A menacing, unhinged Skarsgård exudes false bravado as the walls close in on Tony, who still plans to walk away scot-free. Domingo also impresses with a nuanced, charismatic turn as the radio DJ caught in the middle of these volatile negotiations. As the only person Tony trusts, if not flat-out idolizes, you'd think using him as a liaison would give the FBI an advantage. And for a while, it does.

Logic dictates Tony can't get away with this, but his belief he will is what makes him dangerous. The closing title cards revealing the fates of those involved are legitimately surprising, as is the real news footage that appears over the credits. But by depicting the genesis of similar events we'll see play out over the following decades, Dead Man's Wire shows just how easily criminals become celebrities. And while they continue to bask in that adulation and exposure, it still still says as much about us as them.

Project Hail Mary

noreply@blogger.com (jeremythecritic) — Thu, 04 Jun 2026 20:11:27 +0000

Directors: Phil Lord and Christopher Miller
Starring: Ryan Gosling, Sandra Hüller, James Ortiz, Lionel Boyce, Ken Leung, Milana Vayntrub, Priya Kansara, Malachi Kirby, Liz Kingsman
Running Time: 156 min.
Rating: PG-13

★★★ (out of ★★★★)

Sometimes the most gripping stories involve a character waking up in an unfamiliar location with no idea of their identity or how they got there. Phil Lord and Chris Miller's exhilarating sci-fi space epic Project Hail Mary is one of those. A stirring adventure all audiences can embrace, it wouldn't have felt out of place among Spielberg's lineup of 80's hits, invoking a similar sense of wonder, excitement and awe. For a while though, we're kind of left wondering where it's headed, at least until it gets there and the pieces all eventually fall into place.

Cleverly mixing science with fantasy and comedy, it approaches The Martian author Andy Weir's 2021 novel with a respect for viewers' patience that stands out among Hollywood's dumbing down of popular bestsellers. And regardless of how much or little the science holds up under closer scrutiny, it's accessible enough to believe in, especially during quietly introspective stretches dealing with the challenges facing this lone survivor of this secretive space mission. But what he hasn't figured out yet is that his toughest battle still lies ahead.

It's 2032 and middle school science teacher and former molecular biologist Ryland Grace (Gosling) has awakened from an induced coma onboard a spacecraft light years from home. Suffering from amnesia, Grace eventually pieces together that he's a member of a three person crew, two of whom are dead, leaving him stranded alone on the ship. Flashbacks will reveal his recruitment by international task force head Eva Stratt (Sandra Hüller) to join her classified project studying a substance called "astrophage." Having already proliferating the Sun's surface, it's confirmed to cause a catastrophic cooling on Earth within thirty years.

Dubbed "Project Hail Mary" for its long shot odds, Stratt's plan to combat this centers around a manned space flight to Tau Ceti, the closest star unaffected by the outbreak. Unfortunately, with only enough fuel for a one-way trip, Grace now unwillingly finds himself on a suicide mision. After discovering another ship containing a five legged alien rock he nicknames Rocky (voiced by James Ortiz), they communicate and become friends, working together to find a solution. But as plans go awry and humanity's future hangs in the balance, Grace is faced with a devastating choice.

Glimpses into Grace's pre-flight life bring valuable context his current situation on the spacecraft since we haven't a clue how he wound up on it. Whether these flashbacks are intended for viewers or represent his memories gradually returning, a scraggly, confused Grace attempts to make sense of his surroundings. And in showing the energetic, enthusiastic science teacher who rides his bike to school out of necessity rather than choice, we see how the ex-biologist's world is turned upside down after he's approached by Stratt for help. As if he has any say in the matter. Grace is aided by Stratt's initially intimidating security specialist Carl (Lionel Boyce) as he attempts to breed astrophage fuel for the mission he'll be forced to partake in once complications arise.

With Grace alone on this ship trying to make sense of his perilous situation, we're blown away by Daniel Pemberton's cosmically eclectic, synth heavy score and cinematographer Greig Fraser's astounding visuals, both of which harmoniously co-exist in a film unafraid of wearing many influences on its sleeve. Once Rocky arrives, Drew Goddard's script really soars, with Grace realizing this alien life form (brought to life by mostly practical effects) is in a dire situation not so different from his own, having lost everything and everyone.

That the impending threat to Earth is gradual rather than immediate complicates matters, making it harder to blame an ordinary citizen for refusing to sacrifice themselves for a mass casualty event thirty years down the line. Stratt may have picked Grace for his expertise, but also on a judgmental assumption he has nothing to lose. The ethical implications of that are intriguing, especially considering how he ends up on this spacecraft and comes to terms with how important his role truly is. Hüller's turn is complex enough that Stratt could be read as a cold, heartless bureaucrat or rebellious rogue who leads Grace to discover his life's purpose, as duplicitous as her methods are. Or maybe she's a bit of both, as her memorable karaoke scene hints.

Despite some long lulls in the action, the film reaches its apex when Grace and Rocky join forces and form their bond, gradually morphing this into a moving tale of companionship and sacrifice that doubles as a great buddy comedy. It also successfully provokes tears in viewers over a rock that's so much more, with Rocky drawing justifiable comparisons to Cast Away's Wilson or even 2001: A Space Odyssey's HAL 9000. Inevitably, Grace will have to choose between getting home or saving a friend in danger.

Gosling's charismatic performance carries every minute, playing a different kind of reluctant hero who's brutally honest about his own faults, fears and deficiencies. How his character possesses so little interest in being a hero might qualify him as the best kind, whether he sees it or not. But after fully embracing what he's called on to do, it's a whole new ball game, culminating in a propulsive final hour more enthralling and immersive than we're used to seeing in most mainstream blockbusters.

The Drama

noreply@blogger.com (jeremythecritic) — Wed, 27 May 2026 20:22:49 +0000

Director: Kristoffer Borgli
Starring: Zendaya, Robert Pattinson, Alana Haim, Mamoudou Athie, Hailey Benton Gates, Sydney Lemmon, Hannah Gross, Anna Baryshnikov, Michael Abbott Jr., Zoe Winters, Damon Gupton, Jeremy Levick
Running Time: 105 min.
Rating: R

**This Review Contains Major Plot Spoilers**

★★★★ (out of ★★★★)

Writer/director Kristoffer Borgli's The Drama can be divided into two sections: Pre-secret and post-secret. And while the former encompasses only twenty minutes of the film's running length, it's the ideal entry point. In accurately capturing life's dark absurdities and the promising trajectory of a relationship between two seemingly likable characters, we're quickly won over. But the flashbacks charting this happy couple's tumultuous trip to the altar are even more valuable, laying the groundwork for a shocking twist that might not otherwise land as hard, especially since we haven't a clue just how bad things are about to get.

The film shows why secrets are kept and how little we consider them until the cat's completely out of the bag. Some are inconsequential and others potentially earth shattering, forcing its keeper to run for cover in hopes they can somehow avoid the fallout. The latter kind drives this story, which explores how a single piece of information can change your perception of someone you thought you knew. And it doesn't matter when the event occurred or whether it has anything to do with who that person is now. Sometimes just knowing is damaging enough.

When Charlie Thompson (Robert Pattinson) enters a coffee shop in Boston, he immediately notices Emma Harwood (Zendaya) sitting by the window and tentatively approaches, pretending to have already read the book she is. After Emma apparently ignores him, he'll return to apologize, only to learn she's deaf in one ear and hadn't heard anything he said. This mixup leads to their first date and eventually many more as we flash forward two years to discover they're set to marry within a week.

Problems begin when they spot their wedding DJ smoking crack on the street, prompting a dinner discussion with married friends Mike (Mamoudou Athie) and Rachel (Alana Haim) over whether they should fire her. This leads to a game where all four reveal the worst thing they've ever done, concluding with a drunk Emma, whose disturbing confession infuriates Rachel and sends Charlie into a tailspin. Now suddenly reevaluating his feelings for Emma, he wants answers. But in attempting to reconcile the woman he fell for with a younger version capable of something like this, he spirals out of control, jeopardizing their impending nuptials.

Say what you will about Emma's secret, but it definitely exceeds expectations in terms of being awful enough to give anyone pause. Why she chooses to share it could be attributed to the alcohol, a moment of weakness or perhaps the false sense security that those she trusts wouldn't judge her. But this is on a whole different level. At fifteen, she planned to commit a school shooting, going so far as to practice in the woods with her father's gun (resulting in her hearing loss) and bring the weapon to school, eventually choosing not to go through with it.

Due to a personal connection with gun violence, an outraged Rachel has the most visceral reaction to Emma's bombshell while Charlie's affected deepest, stammering and stumbling to come up with excuses for her in his own head. As if that isn't enough, Borgli goes even darker, actually showing flashbacks of an angry, disillusioned teen Emma.

By painting this powerful picture of a lonely, bullied girl who shares little in common with the adult she'll later become, we're reminded how far removed everyone eventually becomes from their high school selves. Of course, that does nothing to blunt the impact of watching an unrecognizable Emma (Jordyn Curet) fall into an online rabbit hole of gun violence and Columbine-inspired videos.

As Charlie imagines firearms everywhere, he now looks and feels unsafe in his future wife's presence as this depressingly painful part of Emma's past returns to haunt her, prompting premonitions of wedding guests being gunned down on what's supposed to be the happiest day of their lives. But maybe the most unsettling of Borgli's hallucinatory sequences finds Charlie suddenly walking side by side with Emma's younger, rifle toting counterpart.

After unsuccessfully attempting to laugh his fiancée's confession off, a neurotic Charlie probes for an explanation, which Emma begrudgingly provides, despite knowing none will suffice. Even worse, the reason she didn't go through with the shooting is purely circumstantial rather than the result of a sudden epiphany or change of heart. That comes later when her loneliness subsides and she takes a different path, accidentally stumbling upon the sense of purpose she didn't know she was looking for the whole time.

If a changed Emma grew up and realized the horrific implications of what she could have done, that's a detail everyone's chosen to ignore, including Charlie, who's unnerved enough to conjure up a more comfortable explanation to ease his panic. But it doesn't work since he's more concerned with how Emma's secret reflects on him, especially with friends in his ear influencing his actions.

A somewhat spineless Mike tries to appease all parties and stay out of wife Rachel's crosshairs when she vindictively hangs the information over Emma's head at her lowest point. And Alana Haim is so effectively detestable in the role, letting Rachel's hypocrisy shine through as she remains oblivious to the fact she not only initiated this game, but revealed a secret of her own that's arguably worse.

"What will this say about me?" may as well be written all over Charlie's face as he desperately flails at work and home, reaching new lows with embarrassingly selfish and self destructive actions. But amidst all the lies he tells himself to move past this, he does hit on the profound truth that many people walk around with terribly evil thoughts they never act on. We're just spoiled by the benefit of not knowing what those are.

Believing this, you'd almost think Emma's biggest mistake was sharing instead of taking a pass or just making something up during the game. Charlie understandably assumes her only excuse for not committing the unthinkable comes down to someone beating her to it, but that doesn't account for all the times before and since when she could have done this. And if we know anything about these shooters, it's that they'll rarely keep postponing the inevitable. They're the only person who can truly stop themselves, as Emma did by finding a community before it was too late.

Of course, this isn't to say Emma's still not nursing some serious emotional scars, most of which are reopened with her confession. We see this with the panic attacks and how long it took her to openly acknowledge her feelings for Charlie. And it's telling that when both attempt to handle the DJ situation they swap their previously held positions, almost putting on a show to prove the other wrong.

Pattinson has to walk a tightrope throughout, authentically registering the reactions of someone who sees a different person in front of him than the one he planned to marry. In actuality, little has changed except this new knowledge suggesting that everything should. It's clear Charlie can't handle any of it, but Pattinson brings dimensions to him that imply he has still as much growing up left to do as Emma.

Zendaya's casting is a masterstroke almost on par with the work itself, requiring viewers to adjust their expectations of an actress whose character is on defense the entire time. At simultaneous moments we doubt Emma's sincerity, empathize with her plight and cringe at our own conflicted feelings toward a would be school shooter. It was a risk to play the role as brutally honest as she does, but one that pays off with a brilliantly tangled turn that stays with you long after the film concludes.

Whether it's Rachel's drunkenly cruel maid of honor toast, Charlie's embarrassing speech or the violent fall out from his humiliating office incident with Misha (Hailey Benton Gates), the wedding's a tense, entertainingly uncomfortable, cringe worthy disaster. And though the pair appear to be finished before their married life has begun, the final minutes suggest they're still in some strange, messed up way perfect for each other. It ends with a clever call back to when their endearingly goofy coffee shop meet cute offered no hint of the chaos to come. Now they've come full circle, ready for a reset. At this point, there's nothing to lose in giving it another shot, if you'll excuse the expression.

With this, Borgli swings for the fences, delivering an effort just as audacious as his weirdly ambitious Dream Scenario, only far deeper. And in constructing an ethical crisis that'll have viewers obsessively debating what they'd do under similar circumstances, its wicked, subversive humor rests on two underappreciated actors giving their most complex performances yet. As thought provoking as it is controversial, The Drama may be the ultimate "what if," stretching the limits of forgiveness past its breaking point.

Scream 7

noreply@blogger.com (jeremythecritic) — Wed, 20 May 2026 20:18:37 +0000

Director: Kevin Williamson
Starring: Neve Campbell, Isabel May, Jasmin Savoy Brown, Mason Gooding, Anna Camp, David Arquette, Michelle Randolph, Jimmy Tatro, Mckenna Grace, Asa Germann, Celeste O' Connor, Sam Rechner, Mark Consuelos, Ethan Embry, Tim Simons, Matthew Lillard, Joel McHale, Courtney Cox
Running Time: 114 min.
Rating: R

★★½ (out of ★★★★)

While few expected the Scream series to even be watchable this far in, the hiring of directing team Radio Silence and actresses Melissa Barrera and Jenna Ortega for 2022's Scream and 2023's Scream 6 revitalized a struggling property, resulting in its two best efforts yet. And though a few legacy characters held on, the torch seemed ready to be passed, signaling an even brighter future ahead for the franchise.

Given this, you'd figure the studio would do anything to extend its streak and facilitate a smooth transition for the saga's next chapter. So of course they let Radio Silence walk, fired Barrera after a public controversy and watched Ortega exit. Now it's not only time to find out if Scream 7 can creatively recalibrate, but whether any actor or filmmaker is bigger than the franchise itself. Financially, we know the answer, as this became the series' highest grossing entry. But its level of quality is a separate issue.

Going all in with nostalgia, Neve Campbell is back, along with the original's writer/producer Kevin Williamson as director. We also get the returns of Courtney Cox, Matthew Lillard, David Arquette and others in various incarnations often too complicated or ridiculous to fully explain. And an actor being present in the film doesn't necessarily mean their character is, at least in the traditional sense. Unsurprisingly, this feels like a step back, as if the studio just wanted to get it over with to prove they could.

With the Macher house in Woodsboro now turned into an interactive museum and Airbnb dedicated to Ghostface's killings, Stab superfan Scott (Jimmy Tatro) convinces his reluctant girlfriend Madison (Michelle Randolph) to stay the night. After they find an unexpected guest and chaos erupts, word travels back to Sidney Prescott (Campbell), who's built a new life with teen daughter Tatum (Isabel May) and police chief husband Mark (Joel McHale) in Pine Grove, Indiana. But when Sidney receives a mysterious videocall from Ghostface, she's shocked to see a scarred, middle-aged Stu Macher (Lillard), the presumably dead killer from thirty years earlier.

Now Tatum, along with boyfriend Ben (Sam Rechner) and classmates Hannah (Mckenna Grace), Chloe (Celeste O' Connor) and Lucas (Asa German) suddenly find themselves in immediate danger. And despite Sidney's tension with Tatum over her refusal to share anything about her traumatic past, mother and daughter must work together to defeat Ghostface, just as a returning Gale Weathers (Cox) arrives to help. Is Stu actually still alive or is there a new killer on the loose? As usual, everyone's a suspect.

The film's extended cold open feels particularly reliant on the franchise's more obvious tropes, which is likely the point. Still, you can't help but roll your eyes wondering why we're going down this road again after the two visually and narratively superior installments preceding it. It's very much back to basics, and the Macher house, a setting that probably would have packed a bigger punch had it not already been featured in the fifth entry.

If you can get past the house being open to the public soon after the latest killing spree, Williamson and co-writer Gary Busick sticking to the formula won't seem like such a problem. But the familiar sequence plays out more transparently than usual, full of obvious fake-outs, clunky dialogue and manufactured jump scares. Things quickly improve once the action shifts to Pine Grove, which may as well be Woodsboro 2.0, with a touch of Halloween's Haddonfield thrown in for good measure.

The concept of local celebrity mom Sidney living her best life and freed from the past works, as does the rift those lingering issues cause with Tatum (who Sidney named after late best friend Tatum Riley). And most of Campbell's scenes opposite Isabel May find the teen wrestling with the shyness and insecurity she feels as the daughter of badass Final Girl Sidney Prescott, who's since become a closed book to those around her.

What's odd is just how ill prepared and uninformed Tatum is considering the widespread mainstream attention these murders have gotten for decades. Aware she'll always be a target, it's somewhat perplexing Sidney hasn't prepared her daughter for the worst beyond suggesting an emergency go bag Tatum leaves unpacked. Considering the situation, this might be a good time to fill it.

Of course, the big question is whether this really is Stu or a game being perpetrated by a new Ghostface using AI or some other deepfake technology. But considering the script doesn't have much to say about that and it's mainly used as an excuse to bring back legacy characters, its inclusion risks rubbing viewers the wrong way. Whether Stu's alive or not, Lillard's as entertaining as ever, almost making you wish they'd throw logic out the window and just give us what we want, regardless if it makes any sense.

Williamson does something at around the forty minute mark that has us wondering if we're headed into uncharted territory, before backpedaling with a more traditional approach. And while it's sort of a mess, there are some cleverly staged kill and chase sequences, like a memorable onstage demise during school play rehearsals, as well as a gory bar massacre. If there's a huge disappointment, it's the reduced presence of Roger L. Jackson as the voice of Ghostface, who doesn't figure in nearly as much due to the mechanics of this plot.

Collectively, the new cast is fine, if lacking a true standout since May understandably monopolizes the film's second half as Tatum. She and everyone else are immediately labeled as potential suspects, especially boyfriend Ben, who's humorously referred to as the "Gen Z Billy Loomis" by returning twins Mindy (Jasmin Savoy Brown) and Chad (Mason Gooding). And while it's great having both back for continuity's sake, the choice to make the siblings fledgling true crime reporters under the tutelage of Cox's Gale is an odd one. We also get a revisitation of her hot and cold relationship with Sidney, as the franchise frenemies work to bury the hatchet following Dewey's (Arquette) death.

We're all well aware of the rules going into any final reveal, such as the notion we can't trust any prior death, no matter how conclusive it appears. Or the prevalence of multiple Ghostfaces who share a connective tissue with the series' overall mythology. This time, a lack of the latter cements it as one of the more lackluster endings in the franchise. If there's a saving grace, it's the ability to read it as some sort of meta commentary on the fanbase's obsession with Sidney, and by extension, Campbell herself. But that's a reach.

The good news is that Campbell gets a chance to shine again, emerging as one of the stronger aspects of a flawed entry that commits to featuring her character as its centerpiece. Given the crazy circumstances, this is better than it has any right being, but also a warning of what happens when a horror franchise retraces its steps in search of the same result. For the first time in a while, fatigue sets in, with Scream 7 more closely resembling the franchise's own self-referential Stab movies than the two previous sequels that put it back on the map.

Anniversary

noreply@blogger.com (jeremythecritic) — Tue, 12 May 2026 19:19:00 +0000

Director: Jan Komasa
Starring: Diane Lane, Kyle Chandler, Zoey Deutch, Mckenna Grace, Dylan O' Brien, Daryl McCormack, Madeline Brewer, Phoebe Dynevor, Sky Yang, Rebecca O' Mara
Running Time: 111 min.
Rating: R

★★★★ (out of ★★★★)

Director Jan Komasa's Anniversary asks what happens when the actions of those surrounding you can longer be explained away as politics. It theorizes where that line is and how it gets crossed, bleeding over into legal and ethical waters that have less to do with party affiliation than an emerging ideological battle between "us" and "them." Scarier still is how many won't realize this until it's too late, their moral compasses malfunctioning when needed most.

If that sounds like an episode of The Twilight Zone, it easily could be, if only the film's events weren't so believably grounded in reality, even by Rod Serling's standards. With that comes the tendency to label this as a mirror reflection of current events or complain how it isn't taking enough of a "stance." Of course, that's precisely the kind of thinking this film rallies against and why it rises so far above similarly themed projects attempting to tackle such issues. It's about the story, leaving it all up on the screen for us to reach our own conclusions.

Georgetown University professor Ellen Taylor (Diane Lane) and restaurateur husband Paul (Kyle Chandler) are celebrating their 25th wedding anniversary with their adult children at the affluent family's sprawling estate. Attending are depressed environmental lawyer Cynthia (Zoey Deutch) along with her husband/fellow attorney Rob (Daryl McCormack), rebellious lesbian stand-up comic Anna (Madeline Brewer), aspiring teenage wildlife scientist Birdy (Mckenna Grace) and struggling novelist son Rob (Dylan O' Brien), who's accompanied by new fiancée Liz Nettles (Phoebe Dynevor). Polite and complimentary, Liz hopes to make a positive first impression on his parents, but Ellen eventually recognizes her as a former student who left Georgetown after the professor she pushed back on her controversial ideas advocating for a totalitarian government.

As Paul attempts to convince his wife that everyone deserves another chance, Liz gifts Ellen a copy of her latest book, The Change: The New Social Contract. Co-written with Rob, its contents sicken Ellen, who immediately realizes it's just an expanded, updated version of Liz's dangerous worldview. But by the time everyone next gathers, the book's already incited a full-fledged political movement that's sweeping the nation. And even while many of the Taylors remain vehemently anti-Change, Liz and Josh's power grows, as does their expanding influence, ripping the country and this family apart, just as Ellen warned.

Despite her employment at an academic institution under fire for its liberal leanings, Ellen categorizes herself as "non-political," believing such labels cause people to see only the truth they've conditioned themselves to accept. But what's more interesting is writer Lori Rosene-Gambino's choice to withhold the specifics of Liz's hugely influential novel beyond a brief excerpt and Ellen's descriptions of it as "anti-democratic" and "fascist." The film's actually less concerned with outlining what's in the book than showing us its subsequent impact, all while Ellen remains ahead of the curve, her premonitions about Liz's true intent initially falling on deaf ears.

Ellen knows Liz's incapability for growth, but any suspicions that a vengeful former student is back to infiltrate this family eight years later are dismissed by husband Paul as paranoia. And Lane gives one of her strongest performances in years as a wife and mother whose mannerisms can barely suppress the frustration that no one's seeing what she is, especially Paul, who's more interested in keeping the peace. But when Ellen gets an early glimpse of Liz's soon-to-be bestseller, she completely snaps, unable to contain herself any longer as the Change starts catching on.

We easily understand how everyone else would accept the self-assured Liz at face value, or at least assume she doesn't pose the massive threat Ellen speaks of. Coming across as friendly, intelligent and put together in every way, there's no reason to suspect the worst, aside from maybe wondering what she sees in a floundering Rob. But Dynevor's sneaky performance hints that something's off as Liz maintains this blank, almost coldly emotionless poker face the entire time. After a while we'll realize she's there with a single-minded purpose, even while continuing to question whether she's really capable of all Ellen alleges.

Much to Paul's displeasure, an explosive Thanksgiving family dinner erupts when the action leaps forward two years and it's increasingly hard to ignore for him to keep ignoring politics at the table. It's also difficult not to notice an unrecognizable Rob's transformation from geeky, self-loathing journalist into cocky, belligerent control freak. And few feel the wrath of that quite like outspoken sister Anna, who uses using her public platform to condemn the Change before facing disastrous consequences when more than just her first amendment rights are stripped away. Cynthia isn't thrilled about any of this either, with her depression and marital problems with Rob compounding an already dire situation.

The wild card is an introspective Birdy, who's played by an impressive McKenna Grace, whose quietly heavy lifting leaves her character's intentions up in the air. A confused, curious teen still figuring things out, we read the teen's expressions and mannerisms looking for hints, until realizing she may not know herself. Torn between an intense, anti-Change activist boyfriend Moses (Sky Yang) and a brother and sister-in-law looking to exploit her perceived vulnerability to their advantage, Birdy's allegiance is unclear. And yet she's stronger than they think, but also somehow weaker, with nothing fully preparing us for how important to the story she'll become.

With its stars centered in the middle, The Change regime's American flag is a clever, distorted perversion meant to symbolize the country joining in the middle, supposedly free from political parties and division. Of course, what that really means is an oppressive single party system that foists its beliefs on the nation with force. The distressing sight of it shakes Ellen to her core, causing her to do something she'll regret, or maybe not, since the character's defining trait is her unwavering commitment to standing up for what she believes. But whether a single book can carry this level of cultural currency and influence might be the wrong question to ask when sometimes all it takes is a small spark to set social media ablaze, allowing the public to take care of the rest.

The film's masterful in its escalation as Lane and Chandler's stressed characters subtly age a lifetime, deteriorating before our very eyes as they wonder how things went so spectacularly wrong, especially in raising son Rob, who Liz easily molds and manipulates into the person he thinks he wants to be. O' Brien's metamorphosis as Rob is the stuff of nightmares, particularly during his tense sit-down with Paul in the film's second half, as the latter now grasps the enormity of his own son's actions, finally drawing a line in the sand.

The always underappreciated Chandler plays Paul as a hardworking, salt of the earth everyman who isn't exactly naive, but chooses to see the best in people, especially his own family. He sees this as a problem that can be temporarily ignored, if not fixed, with small talk and a some burgers. Unfortunately, by the time he heeds his wife's warnings and hunkers down for an ugly fight, the country's careened into an Orwellian surveillance state, reinforced by a chilling third act census visit. But when any political movement gets too big and dangerous to control, no one's immune from the consequences, including those supposedly in charge.

What starts as a dysfunctional family drama morphs into an American tragedy before emerging as a full blown suburban nightmare that hits too close to home. It also boasts a loaded dream cast where each member stands on equal footing, their respective performances peaking at various points to cohesively form pieces of a much larger puzzle. Starting with an anniversary party and ending with a far different one, its incisive, unsettling script comes full circle with mind blowing developments and a guarantee you'll never hear Crowded House's "Don't Dream It's Over" the same way again.

In a less fragmented viewing landscape and with proper studio support, you can envision a scenario where Anniversary becomes one of the more hotly debated and discussed releases of the past year. Instead, Lionsgate seemingly buried it with a generically inoffensive title that hints at them not knowing what they had or maybe even being scared to promote it. Simply calling this The Change would have been a better call, at least drawing attention to the controversial uprising at the story's core. But audiences willing to put preconceptions aside and embrace this at face value can prepare for a thriller as terrifying as it is thought provoking.

Send Help

noreply@blogger.com (jeremythecritic) — Sun, 03 May 2026 17:59:00 +0000

Director: Sam Raimi
Starring: Rachel McAdams, Dylan O' Brien, Edyll Ismail, Dennis Haysbert, Xavier Samuel, Chris Pang, Thaneth Warakulnukroh, Emma Raimi
Running Time: 113 min.
Rating: R

★★★ (out of ★★★★)

Sam Raimi's Send Help is a survival story where you're not sure who should survive. But while under normal circumstances the refusal to give audiences someone to root for is seen as a glaring flaw, that's what makes this experience more gripping, especially after an opening that has us wondering whether we're in for a total disaster. And though not without certain imperfections, it's compulsively watchable, as Raimi commits to the absurdity, shifting between farce and barbaric horror to deliver a cleverly twisted morality tale.

Despite fan comparisons and minor stylistic similarities, this bares little resemblance to Raimi's The Evil Dead or Drag Me to Hell, aside from finding the director back in top form, doing what he's best at. And though the jury's still out on the film's rewatch value, it's undeniably loads of fun, even when you're occasionally distracted by some oddball choices or questionable CGI. But after a bit, hardly any of that matters, due mostly to its great premise and a brilliant performance from Rachel McAdams that feels as if she's hitting half a dozen notes at once, each more intriguing than the next.

Hardworking but awkward and goofy financial planning strategist Linda Liddle (McAdams) is expecting a long deserved promotion from new CEO Billy Preston (Dylan O' Brien), who recently inherited his deceased father's company. Instead, he passes Linda over for former fraternity brother Donovan (Xavier Samuel), citing her overbearing personality and nerdy appearance. But when Bradley reluctantly has her tag along with the team for a trip to Bangkok to help finalize a merger, the plane hits a storm and crashes, killing everyone except Linda and Bradley, who wash up separately on a remote island.

Putting her Survivor fandom to good use, Linda builds a shelter, gathers food and nurses the ungrateful Bradley back to health despite him continuing to treat her as if she's his underling. But irritated and desperate to escape, what he doesn't count on is his abused employee suddenly calling the shots. And for him to have any chance at leaving and reuniting with his model fiancée Zuri (Edyll Ismail), he'd be wise to start cooperating. Gradually, Linda and Bradley begin to peacefully co-exist, but with rescue imminent, neither remain capable of fully trusting the other, leading to explosive results.

Some of the early office scenes are really over-the-top in establishing these two characters, especially the bookwormish Linda, whose cringeworthy, borderline cartoonish behavior in social situations has uncomfortable bosses and co-workers looking to heave themselves out of the nearest window. At first, it's hard to believe she's somehow this superstar employee, but McAdams manages to sell that also, painting this portrait of a people pleasing do-gooder who shoulders all the work these high level executives dump on her and take credit for.

After meeting the company's heir apparent in O' Brien's arrogant, entitled Bradley, the irritating Linda suddenly seems more sympathetic, if not the better end of the deal. Silently fuming over her treatment, she begrudgingly puts up with the guys' behavior right up until the exciting, comedically gory plane crash that reveals just how hopeless everyone is without her help. Especially Bradley, who miraculously survives, only to find himself stranded with the last person he wants to spend an extra minute with. Worse yet, he's now entirely dependent on her support.

Really in her element on this island, Linda reveals surprising survival instincts that would make Jeff Probst proud, emerging as a completely different, more confident person when out from under the thumb of her demeaning boss. Of course Bradley doesn't take kindly to his subservient position, hinting at an inevitable clash as he continues to show his true colors as a grown baby incapable of working with others. But the strongest portion of the film arrives when they appear to reach a compromise, opening up about their very revealing histories and finding some common ground.

Since this tentative truce can't last, we anxiously wait for the big payoff. And does it ever come, with a few jaw dropping scenes, most notably one involving an octopus toxin. Linda has to feel needed while Bradley must regain control, creating a recipe for the kind of conflict that couldn't happen during a regular work day. But on this island, all bets are off. One of them has to turn on the other, and when it happens, Raimi revs up for a diabolically dark and comical third act filled with violence and a polarizing twist sure to grab viewers' attention.

There's also that pesky issue of "rescue," a word and concept that doesn't register equally for both. As shallow as it is or how little he seems to appreciate it, Bradley has a life to go back to while Linda's consists of watching Survivor with her pet bird. We see the toll that this and the secret she's carrying has taken, understanding why a return to the status quo is her worst nightmare. For now, she's in charge, and plans on pulling out all the stops to keep it that way.

McAdams is given material to figuratively and literally sink her teeth into opposite a co-star who's up to the challenge. But the film rests entirely on her shoulders as she obscures the clumsier elements in Damian Shannon and Mark Swift's script with a tour de force turn that deserves recognition. Given the genre, that might be an uphill climb, but the concept is fresh in how it pits two shades of grey characters against each other in this life-or-death scenario. And that smash cut at the end is a kicker, as Raimi and editor Bob Murowski go out with one of the more memorably jarring transitions we've seen.

Tables turn quickly when these adversaries' worst instincts rise to the surface while cruelly and selfishly angling for the upper hand. Viewers are awkwardly urged to choose sides, picking their poison between a wacked out weirdo and misogynistic pig. And yet it somehow becomes much more complicated than that as the story evolves. Less Cast Away than Lord of the Flies or Yellowjackets, it's a biting, often hilarious satire about how power dynamics can flip on a dime once everything else is stripped away.

The Pitt (Season 2)

noreply@blogger.com (jeremythecritic) — Wed, 29 Apr 2026 19:47:00 +0000

Creator: R. Scott Gemmill
Starring: Noah Wyle, Patrick Ball, Katherine LaNasa, Supriya Ganesh, Fiona Dourif, Taylor Dearden, Isa Briones, Gerran Howell, Shabana Azeez, Sepideh Moafi, Shawn Hatosy, Laëtitia Hollard, Alexandra Metz, Ayesha Harris, Tal Anderson
Original Airdate: 2026

**This Review Contains Plot Spoilers**

★★★★ (out of ★★★★)

In its sophomore season, the creator and writers of HBO Max's The Pitt provide an answer as to whether it's possible to improve on perfection. And still with just thirty episodes in the can, it feels as if we've past the point of calling it TV's best ever medical drama, easily clearing the bar set by its own executive producer John Wells' pioneering E.R. Instead, this occupies an entirely different realm reserved for only the upper echelon, putting to bed whatever lingering genre bias still remained.

What sets this apart isn't just the pressure cooker format of each episode being set in real time, covering the entirety of an emergency trauma center shift. Or even the onslaught of patients hovering between life and death as doctors attempt to treat them in the face of insurmountable overcrowdedness and staff shortages.

While it all contributes, what stands out most is the show's commitment to letting these cases do the talking, each new catastrophe revealing more about these characters than any manufactured storyline could. But that isn't to say this lacks heightened drama, as the show's frenetic pacing and non-stop action makes it impossible to turn away.

With its shaky-cam documentary style immersing us in the chaos, this season's tension is hammered home by a ten-month time jump, distinguishing it from shows that force viewers to wait three year for the next chapter. And since there's bound to be high turnover in a teaching hospital where new faces come and go, we get our first glimpse at how showrunner R. Scott Gemmill handles it, with one major departure and an influx of med students coming in to replace those moving up. But if frequent staff changes are business as usual in this kind of setting, it's still a scripted series where even the slightest shake-ups can upset the balance. The writers use this to prove that no character is bigger than the hospital or series itself, save for maybe just one. But now, even that's in doubt.

It's July 4th weekend and Dr. Robby (Noah Wyle) is starting his last shift before a planned three-month sabbatical when he'll embark on a cross country motorcycle trip. Taking his place as senior attending in the interim is Dr. Al-Hashimi (Sepideh Moafi), a VA physician and supporter of using AI technology to treat patients. Working alongside Robby, the two clash over their differing methods as he becomes increasingly skeptical of her ability to run things while he's gone. Meanwhile, Langdon (Patrick Ball) makes his long waited return from rehab, discovering certain colleagues aren't thrilled that he's working in this hospital again. Topping this list is feisty second-year resident Dr. Trinity Santos (Isa Briones), who notably turned him in for stealing drugs, leading to his suspension.

Farm boy Dr. Whitaker (Gerran Howell) comes into his own as a more confident, capable intern, emerging as a protege and potential successor to Robby as a new crop of students arrive, including overconfident know-it-all James Ogilvie (Lucas Iverson) and sarcastic but highly intelligent Joy Quan (Irene Choi). And still carrying the trauma from last year's assault, charge nurse Dana Evans (Katherine LaNasa) is shows trainee Emma (Laëtitia Hollard) the ropes on a first day she definitely won't forget.

As a stressed out Dr. Samira Mohan (Supriya Ganesh) and overwhelmed fourth-year med student Victoria Javadi (Shabana Azeez) are distracted by their overbearing mothers, Dr. Cassie McKay (Fiona Dourif) treats a woman dying from cancer while Dr. Mel King (Taylor Dearden) panics over her malpractice deposition and autistic sister Becca's (Tal Anderson) burgeoning independence. But when a technological catastrophe forces the entire staff to improvise, it's all hands on deck when Robby's frustrations simmer, his planned road trip looking unlikelier by the minute. And if he does go, there's no telling whether he'll come back.

If an emergency department is comparable to a revolving door, Dr. Al-Hashimi could either be viewed as the temporary replacement for Robby while he's away or an attempt to fill a crucial gap left by the departure of Tracy Ifeachor's senior resident Dr. Heather Collins. Or maybe a bit of both. Either way, she and Robby have a very different dynamic from the start, with him immediately questioning her expertise, judgment and ability to lead.

Aside from Al-Hashimi's controversial AI fixation, she's a controlled, unshakeable and observant physician with flexibility Robby often lacks, especially during this shift. But if any mutual respect develops between them, it's mostly one-sided since the prideful, stubborn Robby would likely find fault in anyone temporarily chosen to take his spot, regardless of their skills or qualifications.

As Robby's attitude worsens, we're introduced to the idea he's a martyr, intolerant of watching anyone fail at reaching the impossible standards he sets for himself. There were signs of this last season, but now the job's eaten away at his psyche, partially because he has no existence or purpose outside of it, making the decision to leave for a few months that much more agonizing. And while his instincts about Al-Hashimi are correct, it's not for the reasons he assumes, but rather a secret she's holding that becomes increasingly impossible to suppress.

The returning Langford is also waging an inner battle as the former cocky hotshot comes back significantly humbled and apologetic, fearing he'll no longer be the doctor he once was. But if the rehab stint changed him, Santos doesn't want to hear it, far preferring he be dismissed than get help or a second chance. And that few know the full extent of his actions is only more infuriating, as she's again forced to work alongside a doctor who treated her like dirt on day one.

With the show's accuracy continuing to earn high marks from those in the medical community, it again shows how massive cracks in the healthcare system affect doctors and patients alike. That's especially true for the mental well being of providers driven to burnout, addiction and far worse over the course of the season. There's also an emphasis on the violence many endure from disgruntled patients due to a lack of security and other protective safeguards.

If there are any quibbles about what happens over these fifteen hours, it's the sheer volume of bizarre, once-in-a-career cases that take place consecutively within a single shift. But it's not as if any viewer could complain given the tension it generates, hardly allowing the characters to come up for air before another crisis hits, each more challenging than the last.

Though the show's whole rhythm and structure is built around the idea we never see or find out what happens to these patients once they're discharged (or flat out leave), some reappear. Whether it's last season's beloved regular Louie Cloverfield (Ernest Harden Jr.) continuing to drink himself to death or construction worker Orlando Diaz's (William Guirola) inability to afford coverage, we're reminded just how much is out of the physicians' hands. That reality is further reinforced when a few month old baby is found abandoned, becoming a representation of the hope and helplessness that defines their jobs.

There's no better example of that than in the pivotal "1:00 PM" hour, when Dana and her trainee Emma collect evidence for a rape kit from victim Ilana Miller (an outstanding Tina Ivlev). Difficult to watch and feeling almost tortuously long, there's never been such a sensitive and precisely detailed depiction of this examination on television before. The silences are deafening as we watch a calm, understanding Dana walk this rape survivor through the most emotionally grueling process of her life.

While Dana was already established as the glue that holds this trauma center together, the material LaNasa gets to work with is even better this time around, with her character desperately trying to provide compassionate care, even as the memory of her own attack remains, along with everyone else's safety. This is especially true when masked ICE agents arrive with an injured detainee, causing immediate hysteria throughout the hospital.

Dana's mentorship of Emma is the season's most rewarding storyline, with actress Laëtitia Hollard bringing this sweetness and vulnerability to her character that nicely contrasts with Dana's no-nonsense, "tough love" approach. It's fascinating to watch the young nurse gradually win over her boss simply by listening, following instructions, doing the best she can and simply persevering.

Though Emma's green and understandably intimidated, you can tell Dana's proud of this girl for powering through, already displaying many of the traits that should make her a skilled nurse. And in Dana, Emma gets a glimpse into her possible future once the naivete fades and she's hardened by the profession's cruelty, as scary as that seems.

Whenever Shawn Hatosy's attending physician Dr. Jack Abbott appears, it's a safe bet business is about to pick up. After scrubbing in early last season for the PittFest shooting, he makes an even more impactful entry alongside an injured member of his SWAT team when a regional cyberattack forces the hospital to go offline.

With everyone suddenly transported back to the stone ages with written charts and dry erase boards, Hatosy again makes a huge impression in short bursts, his character the only one capable of getting through to Robby at his worst. Abbott doesn't want him going on this trip, but not because he thinks his friend doesn't need a break. He's more worried what he'll do once he gets there, noting how therapy is preferable to him being left alone in his own thoughts.

Robby proves Abbott right during this whole shift, as nearly every interaction he has is punctuated by either anger, sarcasm, harsh judgment or some combination of all three. Half a step away from blowing a fuse for hours on end, his lowest moment comes when he mocks Samira's "mommy issues" following a panic attack, yelling about how her personal issues are interfering with the patients' treatment.

As usual, Robby's right, but his clumsy handling of the situation is an embarrassment that the more level headed, empathetic Al-Hashimi rightly calls him out on. Even his later apology to Samira is accompanied by a backhanded insult about her being better suited to the slower pace of elder care.

While she's she's strong enough to put up with Robby, Samira becomes his proverbial punching bag this season, a development that'll leave her with one foot out the door by the finale. Of course, we know now this fan favorite isn't returning, becoming the second in what's sure to be a longer list of departures that test our appreciation of sacrificing cast members for realism. As one of the show's standouts, Ganish goes out at the top of her game, while unfortunately leaving viewers with a sense there was more Samira story left to tell.

None of Robby's behavior suggests he doesn't still have his favorites, like Victoria, who's just as distracted as Samira by her attending surgeon mom's expectations, but hardly faces any of the same criticism. This despite Victoria still buckling under pressure, making nervous errors that expose the hypocrisy of Robby's glowing endorsement. His respect for Whitaker's work is more understandable, with "Huckleberry" providing valuable guidance to the med students, most notably a shell shocked Ogilvie, whose hubris eventually results in a crucial mistake.

If the fates are conspiring to prevent Robby from departing on his road trip, he still has selfless moments, like his insistence on treating ornery biker buddy Duke Ekins (Jeff Kober) before leaving. Though this, Wyle adds new dimensions to a character more broken by life and his own perceived shortcomings than anyone suspected. He doesn't resent Langford for stealing drugs, but how he fears it reflects on him. When the two finally do have that long delayed "talk," the remorseful Langford correctly assesses that Robby's in as much need of counseling as he is, before it's too late.

You can't help but wonder what Al-Hashimi expects to hear from Robby when she reveals her medical condition. Surely it can't be reassurance or an encouraging pep talk to get back to work as he leaves his department in the hands of an attending who could have another seizure at any minute. Still, he manages to extend his streak of being totally right while still managing to sound incredibly wrong, throwing another fit during the most sensitive of circumstances.

Confiding in the only person she can, it briefly seems as if Al-Hashimi connects with Robby on the human level she intends, at least until he reminds her how she's jeopardizing the safety of patients and staff. But unless Robby clears his head and deals with his issues, he could find himself in a similar boat, unable to effectively perform his duties. With both their futures in doubt, a small glimmer of hope comes in the final scene when Robby finds comfort from an unlikely source, hinting at the possibility he could be going away for a bit after all, whatever form that takes.

Throughout this season, the show's damaged hero slides down a slippery slope, revealing himself to be more fallible and self destructive than he'd ever admit. The series also takes a big swing by presenting him as a ticking time bomb who affects every member of a staff already stretched far past their limits. But even as each shift feels like an endless loop in hell for these physicians, all that really matters is the next life that needs saving.

Sentimental Value

noreply@blogger.com (jeremythecritic) — Sat, 18 Apr 2026 19:17:00 +0000

Director: Joachim Trier
Starring: Renate Reinsve, Stellan Skarsgård, Inga Ibsdotter Lilleaas, Elle Fanning, Anders Danielsen Lie, Jesper Chistiansen, Lena Endre, Cory Michael Smith, Catherine Cohen, Andreas Stoltenberg Granerud, Øyvind Hesjedal Loven, Lars Väringer, Ida Marianne Vassbotn Klasson
Running Time: 133 min.
Rating: R

★★★ (out of ★★★★)

Early in Joachim Trier's Norwegian Oscar winner Sentimental Value, the main character suffers a debilitating bout of stage fright, and judging from the reactions of those closest to her, they've seen this before. Eventually, she'll power through, but with barely a second to spare as the cast and crew anxiously wait on pins and needles. Of course, such panic ridden episodes often have nothing to do with how well an actor knows their lines or skill level, but whatever else is going through their mind at the moment, which usually includes a few nightmarish scenarios related to failure and insecurity.

While those intrusive thoughts may be fleeting, they're no less paralyzing, and from what we can tell from the protagonist's unusual coping mechanisms, there's a lot more happening underneath. Trier and co-writer Eskil Vogt reveal what as the narrative zigs and zags, hitting occasional lulls before arriving at its inevitable, but still moving conclusion. As a small scale relationship drama about intergenerational trauma, it doesn't exactly break new ground, but the performances and pangs of missed opportunities and regret strongly resonate, echoing through the walls of this family's home.

Respected film director Gustav Borg (Stellan Skarsgård) is in a slump, struggling to get his latest projects financed when he completes a script inspired by his mother Karin, who was tortured by Nazis before eventually committing suicide in their Oslo home when he was a child. It's also the same house his two daughters Nora (Renate Reinsve) and Agnes (Inga Ibsdotter Lilleaas) were raised in by their therapist mom after he left Norway following their divorce. Now as adults, Nora is a successful stage actress having an affair with a colleague while sister Agnes is a married historian raising young son Erik (Øyvind Hesjedal Loven) with her husband.

When Nora and Agnes's mother dies, Gustav unexpectedly returns to Norway to reclaim the house despite the lingering resentment from his daughters. That's especially true for Nora, who refuses to read Gustav's new script, rejecting the idea of her playing his mother. Disappointed, Gustav instead casts popular American actress Rachel Kemp (Elle Fanning) whose star power helps secure the film a Netflix deal. While seemingly up for this challenge, the role proves more difficult than Rachel envisioned, with Gustav clumsily using the movie as a vehicle to compensate for his own shortcomings as a father. But when actually faced with taking responsibility and connecting with both his daughters, he risks losing them for good.

Jumping back and forth through time between the sisters' childhood, Gustav's and the present day, the house takes on a life of its own, becoming as much a character as its occupants, mainly due to all the memories forged inside. This isn't lost on Gustav, whose big plans involve filming there with Nora as his lead. But we can tell the very thought of working alongside him disgusts her, as she doubts he'll be able to effectively communicate any better on set than in real life.

Nora sees right through Gustav's intentions, which involve casting her to make up for years of abandonment, alcohol abuse and emotional inaccessibility. And if even her mother's recent death can't bring them any closer, nothing will, much less a vanity project at the end of a career he prioritized over them.

While Nora's understandably hard headed about reaching a compromise, Agnes implores her to at least keep an open mind, even if Gustav does himself a disservice by bombarding Nora with backhanded compliments about how her talent's wasted on the stage. Having starred in her father's most acclaimed film as a young girl, Agnes can relate, despite seemingly emerging from their tumultuous past better adjusted than her sister, though not without some lingering scars.

Gutav's determination to get his film made with or without Nora leads him to cast Rachel, the young ingenue impressed by his work and looking to prove herself. But she's also all wrong for a role written for someone else and one of the plot's best aspects is how Gustav refuses to see that, supporting and nurturing Rachel in a way he never did his daughters. Unfortunately, he won't be able to repair the real relationship with someone else playing pretend for him, no matter how good an actress she is or isn't.

Fanning has a tricky job in that she's called upon to have Rachel recognize the misguided futility of Gustav's experiment. It's also very meta in the sense that she's heavily pulling from experiences performers have when stuck in parts they feel ill suited for, digging deep and pulling at every thread to make it work. She's scared to death of screwing up, which could be viewed as mirroring Nora's stage fright, though in a slightly different context.

Thes rehearsal scenes are among the film's best as we watch Gustav guide Rachel through a process that just isn't clicking, but not from a lack of effort. Whether Rachel's even talented is irrelevant since the film's more interested in giving her credit for recognizing what Gustav can't, or doesn't want to. She knows who should really be playing this part.

Skarsgård and Reinsve hold this together as we wait to see if the internally troubled Gustav has an epiphany or Nora lets her guard down long enough to realize his movie's an apology, if not also a cry for help. And while the remarkable Reinsve unquestionably carries this, Lilleas's slowly evolving turn as Agnes gradually sneaks up on you, with Skarsgård delivering subtle, understated work as his character struggles to make headway with his daughters.

Both sisters carry decades worth of familial dysfunction, but one clearly feels the brunt, especially when her father's recent return reinforces just how raw a deal she got. But at the story's crux are complicated emotions and a shared history that somberly bubbles to the surface in its closing minutes, quietly subverting expectations right up until the final reveal.

Five Nights at Freddy's 2

noreply@blogger.com (jeremythecritic) — Thu, 09 Apr 2026 18:04:00 +0000

Director: Emma Tammi
Starring: Josh Hutcherson, Elizabeth Lail, Piper Rubio, Freddy Carter, Theodus Crane, Wayne Knight, Mckenna Grace, Teo Briones, Skeet Ulrich, Matthew Lillard, Miriam Spumpkin, Audrey Lynn Marie, Megan Fox, Kellen Goff, Matthew Patrick, David Andrew Calvillo, Grant Feely
Running Time: 104 min.
Rating: PG-13

★★★ (out of ★★★★)

When the heavily anticipated adaptation of Scott Cawthon's popular video game series, Five Nights at Freddy's hit theaters in 2023, critics and audiences were noticeably split. While the former group seemed appalled they had to sit through PG-13 horror centered around killer animatronic animals, the franchise's fans responded far more favorably, aware of what they'd be getting. If anything, director Emma Tammi incorporated enough elements from the game to please hardcores without alienating mainstream audiences completely unfamiliar with the property, but hooked by its strange premise.

If the first film was enjoyably flawed and crazy, it shouldn't have come as a total surprise given the nature of this material. But aside from the robotic creatures and an inspired setting, one of its better qualities came in knowing that an 'R' rating wouldn't have necessarily made a difference. Nothing felt cut or excised for commercial-friendly concerns as Tammi delivered an engaging adventure just gory enough to match the story. So you could say it's good news she's back to helm this inevitable sequel, which delivers much of the same, only bigger and messier.

It's 2002 and two years since Mike (Josh Hutcherson), his little sister Abby (Piper Rubio) and police officer Vanessa Shelly (Elizabeth Lail) survived their showdown with Vanessa's dad and child murderer William Afton (Matthew Lillard) at the abandoned Freddy Fazbear's Pizza restaurant. Since being killed by the spirits of his victims, the legend of Afton's murders has only grown, drawing greater attention to the case and spawning a town horror festival called "Fazfest." But as a now 11-year-old Abby experiences newfound popularity at school, she still mourns the loss of her electronic animal pals Freddy, Chica and Bonnie.

Giving Abby false hope he'll eventually repair the robots, Mike urges everyone to put what happened behind them, including Vanessa, who continues to emotionally struggle from the impact of her father's crimes. But while Abby secretly returns to the restaurant despite her brother's warnings, a group of ghost hunters arrive at a different nearby Fazbear's location where a little girl named Charlotte Emily (Audrey Lynn Marie) was shockingly murdered in 1982. And when the crew's presence awakens her spirit, the truth about how she's connected to Vanessa comes to light, putting her and Mike in a race against time to save a manipulated Abby, whose resurrected robot friends are ready for another rampage.

The film's opening sequence might be its best, flashing back to a packed, fully operational Freddy Fazbear's during a birthday party decades earlier, revealing what the franchise restaurant looked and felt like in its heyday. After initially assuming this is the now abandoned building Mike worked in as a security guard, we soon realize it's a different location, with atmosphere and attractions unique to that flagship eatery, like the Marionette, a terrifying animatronic conducting the robot animals on stage.

Baring more than a passing resemblance to Saw's Billy the Puppet, the Marionette is a major presence when young Charlotte is slain despite all her warnings to the restaurant's oblivious, self-absorbed parents. And Vanessa's childhood friendship with this ostracized girl ends up being one of many important details she neglects mentioning to a frustrated Mike as the pair reluctantly start dating.

Vanessa's selective secrecy, Abby's desire to reunite with Freddy and the gang despite previous events and the use of wireless technology in '82 are hurdles Cawthorne's script must clear, but instead conveniently glazes over at times. Thankfully the ghost hunting "Spectral Scoopers" (played by Mckenna Grace, Teo Briones and David Andrew Calvillo ) do serve a larger purpose while Freddy Carver's brief but creepy turn as a Norman Bates-like security guard proves a highlight.

Seinfeld and Jurassic Park star Wayne Knight gives the film's most wildly entertaining performance as Abby's condescendingly cruel science teacher Mr. Berg. And the ubiquitous character actor hasn't lost a step, chewing scenery as a jerk authority figure that could have stepped out of an 80's comedy. More than anyone, Knight knows exactly what kind of movie he's in as we wait anxiously to see this sniveling coward get his when Abby proudly unveils her unusual robotics project.

It's no surprise when Freddy and his friends are again on the loose, but with a soul possessing component that changes the game, giving Elizabeth Lail more interesting places to go with Vanessa. But while she still reels from PTSD stemming from her psychopathic dad, Hutcherson's Mike is fed up, burying the pain and wanting everyone to follow suit, even if he's just barely holding on. And Rubio continues to shine as the precocious Abby, whose loyalty to Chica leads to trouble.

Playing on a similar technical and visual playing ground as its predecessor, the secondary Fazbear's location actually surpasses that with its hidden passages, trap doors and waterways. Those who hated the first film will probably still despise this, but for everyone else, it's equally fun, giving us an expanded look at the nostalgically cursed Chuck E. Cheese inspired restaurant of the film's title. With allusions to ME3GAN, The Exorcist and Saw, it may incorporate a few more influences, but remains heavily indebted to the video games that spawned it, ensuring more sequels where this came from.

Rental Family

noreply@blogger.com (jeremythecritic) — Sat, 04 Apr 2026 18:41:00 +0000

Director: Hikari
Starring: Brendan Fraser, Takehiro Hira, Mari Yamamoto, Shannon Mahina Gorman, Akira Emoto, Kimura Bun, Sei Matobu, Misato Morita, Tamae Ando
Running Time: 110 min.
Rating: PG-13

★★★ ½ (out of ★★★★)

Rental Family features a fascinating premise that takes a bit to come completely into view, but once it does, the film starts asking the same questions we do, with surprising answers. It also provides further proof that the Brendan Fraser comeback is still in full effect, with the actor tackling exactly the type of role we hoped he would post-Oscar win. His likability and charisma makes him the ideal foil for an unusual concept that's even easier to envision as a series with a creative lifespan longer than this picture's designated run time.

If there's a complaint you could level, it's that there's no way to explore every moral and philosophical consequence of the title service, which does actually exist. But director/co-writer Hikari nearly covers all those bases with characters aren't who they say or think they are, creating their own distorted realities in a misguided attempt to protect those closest to them. And by facilitating lies that cause more harm than the truth ever could, the profiting company proves how the road to hell can really be paved with good intentions. We cringe as manipulative machinations meant to provide comfort cross a line our good natured protagonist grows increasingly uncomfortable with.

Struggling American actor Phillip Vanderploeg (Fraser) is looking for work while living in Tokyo, where he's resided since starring in a popular toothpaste commercial seven years earlier. Taking thankless roles as he waits for a bigger break, he's approached by Shinji (Takehiro Hira), who owns "Rental Family," a company that hires actors to play stand-in family members and friends for prospective clients. In Phillip, Shinji sees a white American capable of filling a specific niche, and however uneasy the unsuspecting applicant feels about the gig, it's still money.

After a rough first assignment, Phillip's next hired to act as the estranged father of young, half-Japanese girl Mia (Shannon Mahina Gorman), whose single mother Hitomi (Shino Shinozaki) needs him to get her enrolled in a prestigious private school. He'll also split his time as a journalist profiling Kikuo Hasegawa (Akira Emoto), a retired actor with dementia whose daughter Masami (Sei Matobu) wants him interviewed before he completely loses his memory. As Philip forges a bond with each, he realizes how a thin a line he's walking with their emotions, while also recognizing there's a lot left to understand about a culture he already assumed to know. But ultimately, they'll have just as much to learn from him.

Just the thought of a film centered around an American actor doing commercials in Japan immediately invokes comparisons to Bill Murray's character in 2003's Lost in Translation. But the difference is that starring in these ads isn't quite the punchline it was then, with many respected, big name actors now taking these jobs as a side hustle to bank supplemental earnings. Only Phillip isn't one of them, as we quickly get the impression that's his primary source of income and opportunities are drying up, causing shame and frustration.

Similar to Murray, but less cranky, Fraser excels at conveying that sense of depressive dislocation that takes hold when you're living in another country, or even just in different surroundings. And he does it by subtly projecting in Phillip the awkward look and feel of someone who arrived the previous day rather than seven years ago. So it's easy to see how this unusual job offer would pique his curiosity, allowing him to perform and connect with people who just want to be seen.

Early on, Rental Family employee Aiko (Mari Yamamoto) shares with Phillip why she does this, rationalizing that it fills an important void for sad, desperate clients while allowing the performers to feel needed in return. On the surface it almost makes sense, but those words will come back to bite her and company owner Shinji, who's living a lie of his own, until the bottom falls out, with damage far exceeding both their pay grades. And much of that is due to Phillip, who's justifiably unable to separate himself from these extremely personal assignments.

Optimistically hoping to make a difference and for these clients to appreciate him in return, Phillip gets the hang of it when playing groom to a closeted lesbian with traditional, controlling parents who's looking to secretly run away with her wife. But the company's real purpose, aside from making money, comes in enabling people to circumvent tough, necessary decisions by introducing giant lies that bury their problems. And it's only when the facade comes tumbling down that Hikari and co-writer Stephen Blahut's script can fully explore the messy truth.

While the film's trailers and commercials imply that everything revolves around Phillip's relationship with young Mia, what's most remarkable is how Fraser and a precociously superb Gorman convey their naturalistic father-daughter dynamic with far fewer scenes together than expected. And yet there's this real arc that develops as Mia slowly warms up to the idea her "biological father" may be sticking around this time.

By hiring Phillip to give Mia some semblance of an adult male figure in her life, the mom's clearly playing with fire. Even worse, he'll inevitably be blamed for whatever goes wrong, even when doing exactly what he's hired for. But the bigger issue is what becomes of Mia once he leaves or if she somehow finds out the truth. It's one thing pulling the wool over unsuspecting adult eyes, but toying with a child's emotions enters unconscionable territory, regardless of intent.

An equally serious set of challenges accompany Phillip's friendship with the elderly Kikuo, most of which involve boundaries related to his health and care. It's another delicate issue this flawed company can't navigate, with the heat again falling on the one person too empathetic to treat this as a mere performance. At first, we're left guessing how this secondary sub-plot ties into the A-storyline, wondering if the film's time would be better spent focusing exclusively on Phillip's bond with Mia. But we're proven wrong as a moving sacrifice involving Kikuo becomes major catalyst for what occurs in the final act.

The ending is notable for its restraint, as both Rental Family's clients and employees must come to the realization that this system is delivering the polar opposite of what's promised, hurting nearly everyone in the process. They may not know how absurd their behavior is, but the film does, culminating in a moving catharsis full of surprisingly logical twists that reveal both the best and worst in humanity. That Hikari accomplishes this without pouring on the schmaltz can be attributed to her deft touch, but also Fraser's earnestness, which has rarely served him better.

Song Sung Blue

noreply@blogger.com (jeremythecritic) — Mon, 30 Mar 2026 16:44:00 +0000

Director: Craig Brewer
Starring: Hugh Jackman, Kate Hudson, Michael Imperioli, Ella Anderson, King Princess, Mustafa Shakir, Hudson Hensley, John Beckwith, Fisher Stevens, John Belushi, Jackie Cox, Cecelia Riddett
Running Time: 132 min.
Rating: PG-13

★★★ (out of ★★★★)

Going strictly off the trailer, it's understandable some would assume Craig Brewer's musical drama Song Sung Blue is a Neil Diamond biopic that charts the legendary crooner's ascent to superstardom and relationship with his long suffering spouse. Well, at least until realizing you can't recall a wife or any other aspect of the singer's personal life, leaving us with just the sight of Hugh Jackson in a wig singing "Cherry, Cherry" to go on. But it's actually based on Greg Kohs' 2008 documentary about a married Midwestern couple who performed as an enormously popular Diamond tribute act in the 80's and 90's. And despite its flaws, or maybe even partially because of them, it's the kind of feel good crowd pleaser you can recommend to anyone, regardless of how they feel about the artist.

Though this isn't focused on the man himself, it's a more accurate reflection of Diamond's impact, popularity and fandom than any traditional biopic could be, with some cheesiness to spare. It also contains alcoholism, depression, a few heart attacks, a couple of car crashes, a bizarre Eddie Vedder impersonation, unplanned pregnancies and a recurring fixation on one of Neil's most overlooked songs. Brewer really piles it on, and yet this works, mostly due to its leads, both of whom play engagingly likable dreamers who pay their dues in biker bars and local fairs before eventually packing arenas across the country. But success is easy compared to what comes next.

It's 1987 when musical impersonator and recovering alcoholic Mike "Lightening" Sardina (Jackman) is set to perform as Don Ho at the Wisconsin State Fair. But when he quits after insisting to play his own material, he meets hairdresser and Patsy Cline double Claire Stengl (Kate Hudson) who suggests he start performing as a Neil Diamond tribute act. It's an idea he initially dismisses until singing with Claire and realizing this idea will only work with them as a duo.

It isn't long before Mike and Claire begin dating and take their show on the road as the newly christened "Lightening and Thunder," with Claire insisting they open with "Sweet Caroline" after a rough first few shows. They marry just as the band starts gaining traction, selling out shows nationwide and even opening for Pearl Jam. But when a horrific accident leaves Claire fighting for her life and Mike struggling to maintain his own sobriety, they consider the possibility their performing days are over. That is until they plot a comeback, hoping to recapture the spark they once had.

When we get our first look at Mike singing at an A.A. meeting, your first thought might be that Jackman's too old for this role, his weathered, lived in look seemingly at odds with the buoyant, energetic entertainer at the film's center. And while a similar observation could even be made about Hudson's casting, you'll quickly realize how wrong those assumptions are since it tracks with this story of two middle-aged single parents who've already faced their fair share of personal and professional disappointments.

It helps that Jackman and Hudson are great singers who share a natural chemistry that's on full display during their early living room duet of "Play Me," which not only solidifies their union as a Diamond themed act, but sets the template for more theatrical performances that follow. One of the smarter touches is Mike's initial rejection of this whole idea, fearing any kind of impersonation would somehow be disrespectful to his hero.

The charismatic but stubborn Mike also applies a similar logic in refusing to open shows with "Sweet Caroline," a song he admires, but doesn't believe should define a legendary career that's about so much more. And it's a philosophy the film takes to heart, spotlighting Diamond's less heralded "Soolaimon" alongside his catchiest, most famous hits like "Forever in Blue Jeans," "Holly Holy" and "I Am...I Said."

Once Mike puts on that sequined jumpsuit and adopts Diamond's Jazz Singer era haircut to team with Claire, it's game on, as Brewer captures the hysteria surrounding a pair that isn't your typical cover act. Fun, welcome supporting turns are also provided from from Michael Imperioli as a Buddy Holly impersonator and promoter turned band guitarist, Fisher Stevens as Mike's dentist/agent and Jim Belushi, whose bus driver becomes their unlikely manager.

One of the better executed subplots involves a touching bond that forms between new step-sisters Rachel (Ella Anderson) and Angelina (King Princess), who find common ground over their respective parents' issues and similarly messed up home lives. Anderson is particularly effective in a meatier role than expected, bringing surprising dimension to what could have become another moody, disaffected teen trope.

Just when "Lightening and Thunder" strikes, so does tragedy, seemingly over and over again. And it's here where an Oscar-nominated Hudson takes over, believably portraying Claire's mental and physical decline after her entire world is turned upside down. Brewer does lay it on a little thick, and while this chain of events can resemble a surreal stretch of manufactured catastrophes, Hudson is spontaneously authentic enough to sell it. She carries this to the end, nearly pulling double duty in the third act when Mike's misfortunes precipitously grow.

This has multiple endings before getting to a real one some will like, even if others find themselves wishing for a title card telling us what happened to their real life counterparts. But that's way too restrained for a movie that's all about being as big, emotional and demonstrative as possible, much like the performer himself. But credit Brewer for going all in, never underestimating how ridiculously fun and heartwarming a fairly basic, well acted underdog story can be. And considering how few entertainers have a karaoke ready catalogue better suited to this treatment, Diamond's songs only sweeten the deal.

The Secret Agent

noreply@blogger.com (jeremythecritic) — Tue, 24 Mar 2026 18:32:00 +0000

Director: Kleber Mendonça Filho
Starring: Wagner Moura, Carlos Francisco, Tânia Maria, Robério Diógenes, Enzo Nunes, Gabriel Leone, Roney Villela, Kaiony Venâncio, Maria Fernanda Cândido, Thomás Aquino, Alice Carvalho, Hermila Guedes, Isabél Zuaa, Italo Martins, Igor de Araújo, Laura Lufési, Isadora Ruppert, Luciano Chirolli, Udo Kier, Suzy Lopes, Gregorio Graziosi, Marcelo Valle, Licínio Januário, Robson Andrade
Running Time:161 min.
Rating: R

**This Review Contains Major Plot Spoilers**

★★★★ (out of ★★★★)

Unconventional in nearly every sense, the ambitious Brazilian political drama The Secret Agent will take a while to process when it's over, spanning generations while taking place against a period backdrop that carries massive cultural and historical implications. At its center is an everyman on the run, attempting to evade a government trying to persecute him simply because they can. Disguising and adapting as necessary, he's not exactly alone in this fight, but still forced to look over his shoulder at every turn.

Though he isn't yet fully aware, this protagonist's already perilous situation will go from bad to worse as director Kleber Mendonça Filho's slow burn thriller subverts all expectations, even when a seriously suspenseful stretch of tension and violence goes sideways in its third act. Hypnotically shot and masterfully acted, it employs an unusual structure that lays its pieces on the table before the whole puzzle comes together midway through. Distinctly human in the quirkiest, most inventive of ways, it seems destined to benefit from repeated viewings after all the dots connect and you look back in appreciation at the tinier details that make it so unique.

It's 1977 under Brazil's military dictatorship and ex-academic Armando (Wagner Moura) travels back to Recife during Carnival holiday, visiting young son Fernando (Enzo Nunes), who's been living with his late wife's parents. Arriving at a refuge run by former anarcho-communist Dona Sebastiana (Tânia Maria), he adopts the alias "Marcelo" and befriends the building's other political dissidents before being placed in a job at the identification institute. But while the position gives him an opportunity to search for information on his deceased mother, it fails to offer any protection or anonymity, risking exposure to corrupt police chief Euclides (Robério Diógenes) and his thuggish sons.

Though he's suspicious of Armando, Euclides takes him under his wing, despite having his hands full with an investigation into a severed leg recently found inside a tiger shark. But as Armando tries to lay low, he's informed by resistance leader Elza (Maria Fernanda Cândido) that a contracted hit was put out on him by a powerful, politically connected executive he crossed. With the assassins rapidly closing in, Armando prepares to flee, while in the present day two history students sift through audio recordings and newspaper clippings in an effort to uncover what happened to him decades ago.

The opening minutes immediately grab hold as Armando pulls his VW Beetle into a remote gas station where he sees a dead man lying on the ground covered in cardboard, casually dismissed by an attendant who claims to have contacted authorities days ago. That a corpse pumped full of bullets is viewed as such an innocuous, commonplace annoyance by every passerby but the sad eyed Armando is exactly the point, if not eerie foreshadowing.

When police do arrive, it's not for that, but unfounded suspicions about Armando, who they briefly interrogate, expecting a monetary "donation' in return. With this, the tension builds in an oppressive heat you can almost feel and smell, not only setting the mood for what follows, but introducing us to the bearded Armando, who we still know nothing about. Projecting a cool, calm demeanor, he flies just under the radar, saddled with the unfortunate luck of still somehow drawing attention wherever he goes.

Armando's hometown return is accompanied by a barrage of the area's sights and sounds, from the bright yellow pod-like phone booths to the nightmare inducing Carnival costumes he can't seem to shake. "Haunted" is the best adjective to describe his justifiably paranoid state of mind that's briefly eased by safe house residents like Angolan Civil War refugees Thereza Vitória (Isabél Zuaa) and Antonio (Licínio Januário) and single mother Claudia (Hermila Guedes).

In a cast large enough to fill a medium sized arena, it's Tânia Maria's scene stealing turn as the house's chain smoking, grandmotherly-like Dona Sabastiana that leaps off the screen, with the 79 year-old actress investing her character with an unmistakable mix of spunk, humor and sage wisdom. Regardless of backgrounds or cultures, everyone's met someone like her, making it even more perplexing she was overlooked at awards time for the kind of blunt, disarmingly entertaining performance voters usually reward.

One of the odder touches Filho employs are these Tarantinoesque grindhouse diversions that serve a greater thematic purpose than you'd expect from scenes that clash so harshly with the film's meditative tone. The public's lurid fascination with the shark incident may be a distraction, but it's the sort of one this whole narrative is built on, showing the bizarre lengths this military dictatorship will go to cover crimes and bury evidence. Because of it, the regime's brutality recedes into the background, replaced instead by a wacky urban mystery.

The same can be said for the more jarring, fantastical park sequence that comes later, which could just have easily been lifted from a B-horror movie like Attack of the Killer Tomatoes. And again the ridiculousness is intentional as Filho shows how those in control write the playbook, anticipating that everyone will swallow whatever misinformation is shoveled out. Some will while others won't, but the latter group hardly matters since they can't fight back anyway. And no one knows this better than the arrogantly crooked Euclides, who moves past his initial suspicions of Armando to take him under his wing. But the dirty chief's on a cruel power trip that becomes more blatant with his harassment of Jewish Holocaust survivor Hans (Udo Kier in his final role), much to Armando's veiled disgust.

Stuck between a rock and hard place, Armando needs to humor the chief somewhat, both to protect his identity and possibly earn a degree of trust and cover. But even he underestimates just how widespread and corrosive the corruption is, trickling down to even the most local levels of government. And Euclides isn't even the Big Bad, ranking relatively low on a food chain that extends to the very top, where Armando's greatest threat resides, plotting to take him out.

The bond Armando shares with son Fernando and theater projectionist father-in-law Sr. Alexandre (Carlos Francisco) is a tragic one, due mostly to the loss of the woman they all loved and mother this young boy fears he's already forgetting. They can't truly be a family with her gone, especially as this deadly threat hangs over Armando, keeping him a half step away from another fake passport and new identity.

The film transforms when Elza records Armando's testimony and we flash back to the chilling clash he has with a regime influenced executive (Luciano Chirolli) over his scientific research. We see how the escalating feud grows uglier and more personal, culminating in a dinner confrontation that features a brief but unforgettably explosive turn from Alice Carvalho in her only full scene as the late Fátima.

Everything goes south when stepfather and son hitman duo Augusto (Roney Villela) and Bobbi (Gabriel Leone) arrive, chaotically compromising Armando's escape with a reckless gunman (Kaiony Venâncio) who eyes his target. What unfolds next has caused audience debate, with Filho earning No Country For Old Men comparisons for his decision not to show Armando's eventual fate, revealing the death secondhand through a newspaper article discovered decades later by history student Flavia (Laura Lufési). But it works, mostly for making a larger thematic point about how history gets written or sometimes even rewritten by the winners.

The treatment of Armando's murder as an afterthought may not carry the dramatic electricity many envisioned as the film's action ramps up in the final act, but it isn't intended to. Poetic tragedy comes in the burial of his story, now relegated to a forgotten tabloid piece about some "spy" or "secret agent" gunned down in the street. And it would take nearly fifty years for someone to care enough about uncovering the truth to track down the little boy it affected, in ways even he still can't fully comprehend as an adult. But what's saddest in a film so heavily reliant on the relationships between fathers and sons is how the middle-aged Fernando now has no memory of a man his life once revolved around, however briefly.

That Moura also plays this present day version of Fernando in addition to Armando's various incarnations could have come across as a cheap gimmick in the hands of a lesser accomplished actor. But he's equally believable as the grown son, bringing the same authenticity to this role as he does his quietly compelling performance as Armando, marking a rare achievement in immersive subtlety free from unnecessary theatrics.

As Fernando, the magnetic Moura is equally contained, but conflicted, with the physician struggling to process the information he's getting about a father he hardly remembers, much like Armando's faded recollection of his own mother. But instead of a paper file, he's left with Flavia's flash drive as the last remaining record of a conspiracy that's come and gone. It's likely even she'll be moving on to something else before long, leaving Armando's story in the hands of the one person left who's able to tell it.

Whether Fernando will want to know more or can even bring himself to is questionable, but at least something did survive that can't be taken away. In this case it's a core memory that follows him to this day and remains untouched by whatever lies and propaganda were spread a generation earlier. The result is a brilliant framing device sure to invoke deeper analysis about time, memory and just how easily the past gets brushed under the rug when no one's looking.

Carried by a soul stirring lead performance and a wildly eclectic cast of colorful personalities that transcend cultural and cinematic barriers, this is as far as it gets from Oscar season homework. It's also the kind of epic you could easily imagine playing in theaters during the late 70's/early 80's era it takes place, perhaps even sharing screens with the film's heavily mentioned Jaws. Seemingly transported from a time when stories of its ilk wouldn't fall through the cracks or be cynically misinterpreted, The Secret Agent ends on a final coda that separates fact from fiction, and everything else we've lost in between.

Burning Questions From The 2026 Oscars

noreply@blogger.com (jeremythecritic) — Mon, 16 Mar 2026 17:22:00 +0000

Conan as Aunt Gladys?

Shouldn't Weapons have been nominated for more than just one Oscar?

Did that opening just give the whole movie away?

Aunt Gladys playing ping pong?

Aunt Gladys in KPop Demon Hunters?

Was that opening sketch an early sign Amy Madigan would win?

Didn't you know Conan wouldn't waste any time cracking a joke about Chalamet's ballet insult?

Wasn't he right about Ted Sarandos having never been to a theater?

Is it safe to assume that won't change now since Netflix isn't buying Warner Bros.?

Isn't it the sign of a good joke when the audience gasps with discomfort?

Did Conan's coronation ceremony make you want to see him actually win a Oscar?

Did you remember that Zoe Saldaña won Supporting Actress last year?

Actually, that one was kind of memorable wasn't it?

Is she aging in reverse?

Was everyone prepared to get that category wrong?

Was everyone prepared to get every category wrong?

Did every Oscar prognosticator breathe a sigh of relief when Madigan won?

Wasn't it a given she'd give an entertaining speech?

Was Conan's "Let's see him put his name in front of that" the line of the night?

How about his story about telling his wife he's the same age as Brad Pitt?

Any doubt KPop Demon Hunters would take Animated Feature?

Did they try to play those winners off quickly or what?

Was that because Madigan went long?

Was an upset winner for Animated Short the last thing anyone needed for their Oscar scorecard?

Was this the earliest in the show we've ever gotten a musical performance?

Wasn't that whole Sinners thing kind of wild?

Did you hear how into it the audience was?

Would it have gotten your attention if Frankenstein lost Costume Design to Sinners?

Or Makeup to...The Smashing Machine?

Who expected the first bleep of the night to come in the Hair/Makeup category?

Did you expect cast members to introduce each of their own film's casting directors?

Conflict of interest much?

But wasn't it kind of great?

How about that ovation for The Secret Agent?

Remember how sure everyone seemed of a category we've never had before?

Should we be a little more careful when predicting this one next year?

Did you see it as an ominous sign that Sinners lost in a category it was thought to be locked for?

Did that bode well for OBAA's Best picture chances?

A TIE????!!!!

How do we count this on our ballots?

Did you notice how careful Kumail was to reassure us it wasn't a joke after what we saw happen with Moonlight and La La Land?

And wasn't he right about the irony of the Live Action Short category taking twice as long now?

Retracting the winner's mic? Really?

Is Chalamet ever going to live this whole ballet thing down?

Unless he wins the Oscar, apologizes and dedicates it to dancers worldwide?

Should he know it's bad when winners are somehow incorporating it into their acceptance speeches?

Did you remember Kieran Culkin won Supporting Actor last year?

Didn't you just know Sean Penn wouldn't be there?

"Or didn't want to?"

Wasn't that Casablanca skit with Sterling K. Brown pretty clever?

Will it ever get tiresome seeing Paul Thomas Anderson accept a writing Oscar?

But isn't it about time for a directing one?

Would Ryan Coogler somehow losing Original Screenplay doom Sinners for the rest of the night?

Wasn't it great to see Billy Crystal on an Oscar stage again?

Could it possibly be under sadder circumstances?

Did you forget just how many popular, widely beloved titles Rob Reiner directed?

Did you spot Fred Savage on stage?

Wasn't that tribute an appropriate segue into the In Memoriam segment?

Is "appropriate" not usually the word we'd use to describe how they handle this portion of the show?

Isn't it scary the names we lost his past year?

Diane Keaton, Catherine O'Hara, Val Kilmer, Robert Duvall, Robert Redford?

Did they really just leave out James Van Der Beek?!

Eric Dane?

Brigitte Bardot?

How much longer are they going to keep pulling this?

Aren't you just waiting to hear the producers' lame excuse...again?

Were you about to lose it until remembering they did include Gene Hackman in last year's segment?

Did anyone else have problems understanding Barbra Streisand?

Wait, doesn't everyone call her "Babs?"

Not a question but...Grogu!

Isn't Avatar always good for an easy Visual Effects win?

They really want to get this thing finished by 10:30 don't they?

Didn't Grogu try his best to clap?

Why does the upcoming The Mandalorian and Grogu movie feel four years too late?

Remember when that Kimmel guy hosted the Oscars?

Did its title alone sway members to vote for Mr. Nobody Against Putin?

Did the lack of political speeches come to a screeching halt with this category?

Isn't F1 by far the weakest of the Best Picture nominees?

Am I the only one who doesn't get the deep affection for Bridesmaids?

But wasn't that bit with the notes funny?

Did Maya Rudolph have the best opening line with "Earlier today while I was counting my money?"

Did you expect the Academy President to look like a cross between Anna Camp and Brittany Snow?

Lewis Pullman does really look a lot like his dad doesn't he?

Did OBBA's editing win lock its Best Picture Oscar?

Or maybe not after that Sinners cinematography upset?

Can you believe a woman's never won in this category before now?

Didn't Train Dreams deserve it?

Isn't "Golden" inbsanely catchy?

Javier Bardem doesn't hold back does he?

Did anyone remember that Lionel Ritchie won an Original Song Oscar for White Knights?

Or recall the last time Diane Warren wasn't nominated?

They really didn't want that "Golden" songwriter to speak did they?

Weren't the producers downright militant in cutting time this year?

Doesn't it feel good to finally say PTA has a directing Oscar?

Wouldn't Zendaya and Pattinson in a PTA movie be intriguing?

Isn't it the truth that Adrien Brody saved last year's show from running short?

Has the Best Actor race ever been this tight?

Okay, maybe not?

Didn't Michael B. Jordan's mom look proud?

Didn't he give a classy speech of appropriate length?

But can we please keep Will Smith's name out of our mouths at the Oscars?

So maybe it didn't end by 10:30 but they still made really good time didn't they?

Is it hard for anyone to forget Mikey Madison beating Demi Moore last year?

Was it even possible to imagine a scenario where Jessie Buckley loses?

Are there any actors who can't sing?

Didn't the best film win for a change?

How about that impressive 1975 Best Picture nominee list PTA rattled off?

Isn't he right about Chase Infiniti being the heart of that movie?

How was she not even nominated?

But isn't it cool how she was named after two of 1995's most memorable movie characters?

Was Marty Supreme just completely shut out?

How about the show's ending skit?

Was that even more of a spoiler than the opening?

Or maybe not, if you didn't know which nominated picture they were spoofing?

Does appointing Conan as "Host For Life" actually not sound like such a bad idea?

2026 Oscar Predictions

noreply@blogger.com (jeremythecritic) — Fri, 13 Mar 2026 20:25:00 +0000

Over the past decade or so the Oscars have been getting harder and harder to predict. You can chalk it up to the preferential ballot system or an influx of new voters, but the shift is undeniable. And though we're free to speculate how we got here, there's no denying the fact there's never been a year quite like this one, where every major category is up for grabs. Picture, Director, Actor, Supporting Actor and Supporting Actress could all be decided by a coin flip, which should both excite and frustrate viewers following along with their scorecards.

There's also an unprecedented scenario where a film championed as the clear favorite all season suddenly feels vulnerable as we head into the home stretch. Sinners may have earned a record breaking 16 nominations but One Battle After Another was always the film to beat, at least until very recently, further proving just how important it is to peak at the right time. Or in this case, the moment voters start receiving their ballots. So even if its nomination tally is out of hand, there's no denying the outpouring of support for Sinners, even if I find OBAA to be a far more deserving winner and legitimately the year's best.

Had votes been counted a month or two ago this would a completely different conversation, but any perceived bump OBAA got from real world events was brief, opening the door for Sinners across numerous categories previously thought to be out of reach. But is it too late? We'll soon find out the answer to that and whether early frontrunner Timothée Chalamet did really sabotage his Best Actor chances when Conan O' Brien returns to host the show this Sunday.

Statistics always play a role but they've never felt less important than in contests as close as these. Sometimes it's best to just follow your gut, buckle up and enjoy the ride since it's looking like we could have another Crash vs. Brokeback or Moonlight vs. La La Land on our hands. Below are my predictions, along with an analysis of the top races, including that brand new casting category.

*Predicted Winners

ANIMATED FEATURE
Arco
Elio
KPop Demon Hunters
Little Amélie or the Character of Rain
Zootopia 2

ANIMATED SHORT
Butterfly
Forevergreen
The Girl Who Cried Pearls
Retirement Plan
The Three Sisters

DOCUMENTARY FEATURE
The Alabama Solution
Come See Me in the Good Light
Cutting Through Rocks
Mr. Nobody Against Putin
The Perfect Neighbor

DOCUMENTARY SHORT
All the Empty Rooms
Armed Only With a Camera: The Life and Death of Brent Renaud
Children No More: Were and Are Gone
The Devil Is Busy
Perfectly a Strangeness

INTERNATIONAL FEATURE
The Secret Agent (Brazil)
It Was Just an Accident (France)
Sentimental Value (Norway)
Sirat (Spain)
The Voice of Hind Rajab (Tunisia)

LIVE ACTION SHORT
Butcher's Stain
A Friend of Dorothy
Jane Austen's Period Drama
The Singers
Two People Exchanging Saliva

FILM EDITING
F1
Marty Supreme
One Battle After Another
Sentimental Value
Sinners

SOUND
F1
Frankenstein
One Battle After Another
Sinners
Sirat

PRODUCTION DESIGN
Frankenstein
Hamnet
Marty Supreme
One Battle After Another
Sinners

COSTUME DESIGN
Avatar: Fire and Ash
Frankenstein
Hamnet
Marty Supreme
Sinners

ORIGINAL SCORE
Bugonia
Frankenstein
Hamnet
One Battle After Another
Sinners

ORIGINAL SONG
"Dear Me" (Diane Warren: Relentless)
"Golden" (KPop Demon Hunters)
"I Lied to You" (Sinners)
"Sweet Dreams of Joy" (Viva Verdi!)
“Train Dreams” (Train Dreams)

MAKEUP AND HAIRSTYLING
Frankenstein
Kokuho
Sinners
The Smashing Machine
The Ugly Stepsister

VISUAL EFFECTS
Avatar: Fire and Ash
F1
Jurassic World: Rebirth
The Lost Bus
Sinners

CINEMATOGRAPHY
Frankenstein
Marty Supreme
One Battle After Another
Sinners
Train Dreams

ADAPTED SCREENPLAY
Bugonia
Frankenstein
Hamnet
One Battle After Another
Train Dreams

Though nearly every "major" race is tight, we can at least exclude this one, which is among the few where OBAA isn't competing against its top adversary. Paul Thomas Anderson's script has been locked as the screenplay winner for months having swept Critics Choice, Golden Globe, BAFTA and WGA. It also hasn't wavered or shown the same holes here as in other categories, mostly due to a lack of competition. As the most prestigious and literary of the bunch, Hamnet stands the next best chance, followed by Frankenstein, Bugonia and Train Dreams, but all are real long shots in comparison. Enjoy this predictability while it lasts.

ORIGINAL SCREENPLAY
Blue Moon
It Was Just an Accident
Marty Supreme
Sentimental Value
Sinners

Sinners is on a similar screenplay trajectory with Ryan Coogler securing Critics Choice, BAFTA and the WGA, making a loss here virtually impossible, even on this night. It Was Just an Accident and Sentimental Value are underdogs that don't pose a serious threat and we've since come a long way from Marty Supreme being considered a frontrunner. Blue Moon is highly respected, but it boasts only one other nomination in Ethan Hawke. So at the end of the first round, you can say that OBAA and Sinners tie with a screenplay win each.

CASTING
Hamnet
Marty Supreme
One Battle After Another
Sinners
The Secret Agent

Remember how excited everyone was when the Academy announced they'd finally be instituting a casting award? It's safe to say we all were until seeing the actual nominees and realizing that voters merely cut and pasted half the Best Picture category. Maybe part of the problem (aside from us lacking a concrete explanation of the qualifications) is that great casting is just so subjective and indeterminable, with even some classic films managing to succeed despite the lack of it.

The standout here is Marty Supreme, as casting directors filled major and minor roles with a plethora of outside the box performers who were perfectly suited for their parts, trained actor or not. But since this is mostly a popularity contest, Sinners' recent ensemble SAG win should help that close the deal. It's a shame voters managed to blow such a promising opportunity, opting instead to insert the same group of titles we'll be bombarded with all night.

SUPPORTING ACTRESS
Elle Fanning (Sentimental Value)
Inga Ibsdotter Lilleaas (Sentimental Value)
Amy Madigan (Weapons)
Wunmi Mosaku (Sinners)
Teyana Taylor (One Battle After Another)

This extremely close three-way race might be the toughest to call of any category. Taylor has the Globe, Mosaku won BAFTA and Madigan's back in the forefront with her surprising SAG win. While all three leap through the screen with their performances, the latter has the showiest role of the bunch as Weapons' unforgettably creepy Aunt Gladys. Plus she's an industry vet fellow actors will want to reward for decades worth of great work, as proven by the response she drew for the SAG speech. Then again, she's the movie's sole nomination, could face genre bias and voters might decide to overlook her in favor of an up-and-comer, as they did with Demi Moore last year.

OBAA's Taylor would have been considered a lock just a couple of months ago, but she actually hasn't fallen that far, making it a safe bet her brief but powerful turn as Perfidia is still at the forefront of voters' minds. Sinners' Mosaku went from not even being on the radar for a nod to potential spoiler who's now suddenly riding a wave of momentum heading into the ceremony. If she can come through we'll at least have a pretty good idea how the film's chances stand in bigger categories.

Sentimental Value actresses Fanning and Ibsdotter will get a "thank you for coming," as they're unlikely to earn enough votes to make any serious dent, perhaps even cancelling each other out. A race this close barely favors Madigan, but a lack of precursor wins and Weapons' absence in the Best Picture category gives me pause. Still, that recent SAG victory puts her over the top.

SUPPORTING ACTOR
Benicio Del Toro (One Battle After Another)
Jacob Elordi (Frankenstein)
Delroy Lindo (Sinners)
Sean Penn (One Battle After Another)
Stellan Skarsgård (Sentimental Value)

Early favorite Skarsgård doesn't even seem to be in the conversation anymore, Elordi never was and a fantastic Del Toro suffers from having to split votes with his OBAA co-star. That leaves us with Penn and Lindo in one of the more highly anticipated contests of the night. For all the hype surrounding Lindo, you haven't heard much about the actual performance, which didn't feel award worthy to me, at least on an initial viewing. But this is a career achievement prize above all else and there's no better way to honor a great, highly respected actor in his seventies who's inexplicably gone decades without a nomination until now.

Lindo's narrative may be too too strong to ignore, but so is Penn's disturbing, explosively bizarre performance as Colonel Steven J. Lockjaw, which ideally fits the template of a supporting Oscar winner. While the actor isn't widely beloved and will likely be skipping the ceremony, that didn't stop voters from awarding him twice before and won't again now. The only question left is whether this flood of adoration for Sinners is enough to power Lindo over the finish line. Maybe, but Penn's recent SAG win raised his stock considerably.

ACTRESS
Jessie Buckley (Hamnet)
Rose Byrne (If I Had Legs I’d Kick You)
Kate Hudson (Song Sung Blue)
Renate Reinsve (Sentimental Value)
Emma Stone (Bugonia)

Those speculating that The Bride's box office failure could spell trouble for Buckley should remember it was released after ballots were already turned in. But it's not like this would make a bit of difference anyway since she's the lockiest of locks, winning every precursor imaginable since the season started. Globes, Critics Choice, BAFTA, SAG. So she could have starred in a Norbit sequel and it still wouldn't have hurt her chances. It's just the right role at the right time for the right actress, creating an overwhelming consensus that none of her fellow nominees can compete with. It's also the only performance here that doesn't come down to a matter of taste, with even those lukewarm on the film praising her tremendous work in it.

Rose Byrne is probably in second place, but the movie's underseen, causing her performance to fly under the radar, with most only talking about how trying it is to sit through. Two-time Oscar winner Stone would be my personal pick for her complex turn as an abducted CEO in the mind blowing Bugonia, but with Buckley in the race, she won't be getting a third statue. Hudson's nod for Song Sung Blue feels reminiscent of Sandra Bullock's for The Blind Side, but minus the win. This makes Reinsve the odd woman out for Sentimental Value, but given the competition, that's nothing to be ashamed of. Buckley has it in the bag.

ACTOR
Timothée Chalamet (Marty Supreme)
Leonardo DiCaprio (One Battle After Another)
Ethan Hawke (Blue Moon)
Michael B. Jordan (Sinners)
Wagner Moura (The Secret Agent)

It's not voters' jobs to "humble" actors but sometimes they just can't help themselves, even when only the quality of a performance should matter. Chalamet was probably rehearsing his acceptance speech up until a couple of weeks ago when Michael B. Jordan so shockingly won the SAG that even he couldn't believe it, appearing genuinely stunned.

Combine that with Chalamet's campaign flying off the rails, Marty Supreme losing momentum and just the overall vibe in that room after Jordan won suggests he's no longer the underdog for his dual role as twins Smoke and Stack. Did Chalamet really just cost himself the Oscar? Well, he's probably not winning, although there's no way to know if Jordan would have closed the gap anyway. The shame is that Chalamet's performance is better, but he'll now have to wait his turn like others before him. And you can bet his publicist will be keeping him on a shorter leash next time.

The idea that the two fronrunners will somehow cancel each other out and The Secret Agent's untested Wagner Moura will swoop in to take the trophy is wishful thinking at best. Blue Moon just hasn't had enough of a presence outside Hawke's performance to give him a chance, with his deserved first nomination feeling like an award in itself. Leo was always top of mind for his stoned out, washed up revolutionary in OBAA without ever really being considered a strong possibility to win. The safe money's on Jordan, who's someone very few would have predicted even just last month.

DIRECTOR
Paul Thomas Anderson (One Battle After Another)
Ryan Coogler (Sinners)
Josh Safdie (Marty Supreme)
Joachim Trier (Sentimental Value)
Chloé Zhao (Hamnet)

Here's one category Sinners hasn't been able to shake up, if only because the groundswell of support for Paul Thomas Anderson winning his long overdue Academy Award seems unanimous, regardless of what happens elsewhere. PTA sweeping all four major precursors isn't just an indicator that OBAA is still holding strong, but that Ryan Coogler hasn't been able to get a foothold into this race despite all his film's other accolades.

Of course, we could have a Picture/Director split, but even that's unlikely to stop PTA from walking away with an honor he should have received at least three or four movies ago. OBAA also struck a universal chord, revealing even more dimensions to his talent and connecting with the mainstream audiences in a way few would have expected. Even better, this isn't some "make up" Oscar, as most wouldn't hesitate placing it toward the top of his filmography.

Aside from Coogler, the rest of the nominees don't really stand a chance since you could have easily changed out any of the three remaining directors and gotten the same result. If PTA somehow loses this to Coogler (which is possible) you can kiss OBAA's chances at the big prize goodbye. Conversely, if he wins, that still doesn't ensure a Best Picture victory. It's a tough spot to be in.

BEST PICTURE
Bugonia
F1
Frankenstein
Hamnet
Marty Supreme
One Battle After Another
The Secret Agent
Sentimental Value
Sinners
Train Dreams

Since we have to cancel out any film without a Director nomination, we'll say goodbye to my Bugonia, F1 (a requisite big box office inclusion), Frankenstein, The Secret Agent and an underappreciated Train Dreams. Marty Supreme is amazing but its momentum stalled along with Chalamet's. Hamnet and Sentimental Value are arthouse endeavors lacking the broad appeal to break through, even as the former still sits comfortably in third place.

On paper, this race should have been over months ago, but many mitigating factors are at play, a few of which only came into view within the past couple of weeks. OBAA impressively won PGA, DGA and WGA, failing only to clinch that SAG Ensemble, which went to a surging Sinners. But unfortunately no film has ever won Best Picture on just that victory alone.

Further working in OBAA's favor is that only three films in history managed to lose the big one after winning three of the four major guilds. That's a glaring stat but also somewhat misleading when you consider those losses predate the Academy's preferential voting system, which would seem to favor a popular crowd pleaser like Sinners. A combination of industry support following that unfortunate BAFTA incident and the enthusiastic reaction to those SAG wins have helped give it a huge bump at crunch time, only increasing its chances at defying the odds.

While firsts happen and it remains entirely possible all previously held stats can just break, OBAA dominated the season, leaving little time for Sinners to stake its claim. But it's still feasible Oscar voters' minds were made up and one SAG Ensemble win wasn't going to make a difference. So I'm reluctantly going with OBAA, acknowledging that chance Sinners could very well pull off the upset.

Train Dreams

noreply@blogger.com (jeremythecritic) — Tue, 10 Mar 2026 18:09:00 +0000

Director: Clint Bentley
Starring: Joel Edgerton, Felicity Jones, Kerry Condon, William H. Macy, Will Patton, Nathaniel Arcand, John Diehl, Paul Schneider, Clifton Collins Jr., Alfred Hsing
Running Time: 102 min.
Rating: PG-13

★★★ ½ (out of ★★★★)

Clint Bentley's unforgettable Train Dreams is about a seemingly ordinary man plagued by the feeling something terrible will happen. Though he has a dangerous job, it isn't risky in ways we'd typically expect, even as death surrounds him at every turn, waiting indiscriminately for the next opportunity to strike. Without so much as a hint of manipulation, the film deliberately unfolds, and while hauntingly beautiful to look at, there's also a constant sense of dread hanging over the story that just won't go away. And it isn't long before we discover why.

Its measured, evocative pacing may prompt complaints from detractors claiming the film "doesn't go anywhere" or lacks a narrative drive, but those fortunate enough to get on its wavelength will discover the most powerful of cinematic experiences. Based on Denis Johnson's 2011 novella of the same title, it features a protagonist who could easily represent the hundreds of thousands who worked, lived and struggled to survive in a previous era, only to be forgotten by history. But through him, Bentley's able to show how everyone's stories and contributions can carry over generations, whether they're openly acknowledged or not.

It's the start of the twentieth century when orphaned child Robert Grainier (Joel Edgerton) arrives in Idaho on the Great Northern Railway, eventually dropping out of school to work as a railroad laborer. But his fortunes change when he meets Gladys Olding (Felicity Jones) at church and they form an instant connection, marrying and settling in a riverside log cabin with new baby daughter Kate.

When Robert takes a construction job with the Spokane International Railway, he's not just dismayed by long stretches away from his family, but traumatized after watching the brutal, senseless murder of a Chinese crew member (Alfred Hsing). Haunted by nightmarish visions of the immigrant, he takes up seasonal logging work, which exposes him to colorful personalities like ornery fellow logger Arn Peeples (William H. Macy). Witnessing further tragedy on the job and facing financial hardship, Robert makes plans with Gladys to build a lumber mill and work closer to home. But the worst still awaits, unexpectedly altering his life's trajectory.

A character study from birth to death, Bentley's script (co-written with Greg Kwedar) and direction is effortless in capturing the serene rhythms of everyday, whether that's scenes of Robert and Gladys marking the location of their future home or the inescapable darkness that descends upon him in the film's second half. It's an event of such magnitude that it doesn't seem real for a shattered Robert who's constantly alone, regardless of whether he has any company. And even in the few precious moments he's able to appreciate what surrounds him, he sees a world he no longer recognizes or fits into.

Edgerton delivers the best work of his career, carrying lengthy, languid sequences while silently registering the emotional agony across Robert's bearded, aging face. When given a screen partner to bounce off or react to, he still manages to convey a sense of complete isolation, becoming this withdrawn observer to his own existence. But if the literary voiceover is correct in assuming the best anyone can hope for is to be remembered, there's still more than a few people willing to vouch for him.

Most memorable is the gruff, sarcastic Arn, who's played by an unrecognizable William H. Macy in a transcendent performance that's short on minutes but immeasurable in impact. Hiding behind a thick, gray mustache, smoking his pipe and speaking with a distinctive backwoods drawl, he's a brutally honest storyteller with the heart of a philosopher. And while a whole separate film could focus entirely on him, that would undermine his primary purpose as the kind of kooky, fascinating character who exits our lives as quickly as he appears, leaving behind a lasting impression along with some indispensable nuggets of wisdom.

Time stands still as Robert attempts to make sense of it all, sleeping in the rain while tormented by his own guilt at being unable to stop the unstoppable. Sympathetic shop owner Ignatius (Nathaniel Arcand), scrapes the logger up at his lowest, helping him reenter a society far different than anything he's known. Faced with the cruel reality his logging days have passed, he'll find work as a local carriage driver, meeting a kind free spirit in Forest Service surveyor Claire (Kerry Condon).

Eerily invoking a great American novel, Patton's narration is soothing, unobtrusive and plain spoken all at once, as if hearing an echo from the distant past. And in painting a vivid portrait of the Pacific Northwest with natural light, Adolpho Veloso's cinematography evokes memory and nostalgia that's only accentuated by a hypnotizing score from The National's Bryce Dessner. All these elements converge to create an ethereal aesthetic that earns justifiable comparisons to Terrence Malik's Days of Heaven and The Tree of Life.

Despite many deserved accolades, Bentley's film has managed to fly under the radar in the midst of showier competition, which isn't an indicator of its quality. If anything, a muted reception is more appropriately aligned with the contemplative journey depicted on screen. Quietly anchored by an actor who hasn't gotten nearly enough accolades, it feels like a micro masterpiece observed over a single lifetime and somehow squeezed into 102 minutes. But what a trip it is. Filled with joy, despair, hope and tragedy, the film's final few minutes hit hard, lingering in our minds long after the credits roll.