Author: MCDave

The 34^th Philadelphia Film Festival offered one of its finest slate of movies in nearly a decade. But this jam-packed collection of desirable titles mostly shared a common theme. They centered around dark or depressing themes involving unhinged conspiracy theorists (Bugonia), parents mourning the loss of their child (Hamnet), and a deranged scientist determined to reanimate the dead (Frankenstein). All this grim content left me craving some warm, wholesome entertainment, and I was gifted all that and more in the form of Japanese filmmaker Hikari’s upcoming heartstring-tugger, Rental Family.

Outside of a small supporting role in Scorsese’s Killers of the Flower Moon, Brendan Fraser has been almost nonexistent since his surprising Oscar-winning resurgence in 2022’s The Whale. But if you thought the tide of his career had passed him by once again, not so fast! Fraser returns in an emotionally charged role as Phillip Vandarpleog, a struggling middle-aged actor desperate for work while living in Japan.

It’s here where Phillip’s agent finally finds him a paid gig playing a “Rental Family” performer, acting as a required stand-in for roles in the personal lives of strangers. As odd as this cultural profession sounds, Phillip embraces the work and comes to find himself fully invested in the worlds of his clients. Yet, none of these newfound relationships are as strong as Phillip’s budding bond with a young girl named Mia (played by Shannon Mahina Gorman). Mia’s mother wants to get her into a competitive private school that requires both biological parents to be present during the interview. Therefore, she hires Phillip to pretend to be Mia’s real father, rather than asking her daughter to play a part in her lying and deceit to the school’s interviewers.

The beauty and magic of Rental Family is writer-director Hikari’s ability to embody the true essence of human connection and its irreplaceable value in a person’s life. Phillip begins as a lonely, down on his luck actor, but he quickly transforms into a meaningful cog in the lives of his many clients. Each role he plays is so unique and different, but all of which serve a much greater purpose.

Rental Family certainly delivers on an assortment of wholesome drama and well-intentioned subplots, due in large part to Hikari and co-writer Stephen Blahut’s poignant script and a spectacular acting ensemble whose personal stories wonderfully expand the scope of the film. But despite all of its uplifting elements, Rental Family also tackles the unfathomable question of, “what happens when clients want to terminate the employment?”. Embedded within this heartbreaking inevitability rests the film’s deepest themes, and Hikari and her cast explore these depths phenomenally.

Hikari’s latest work weaves through the highs and lows of Japan’s unique cultural profession with honor, grace, and dignity, shining a light on its positive impacts on Japanese society, as well as some shameful ones. There’s a great deal to chew on in this weighty script, but it’s newcomer Shannon Mahina Gorman and Brendan Fraser adorable chemistry and Phillip’s careless vulnerability that make Rental Family one of 2025’s most crowd-pleasing journeys.

GRADE: 4 stars out of 5

When you think of classic monsters and frightening figures, few have infiltrated pop culture as largely as Mary Shelley’s “creature” from the 1818 graphic novel, Frankenstein. This timeless scientific abomination has gone through countless adaptations and spoofs over the past two centuries, one might even think that no stone has been left unturned with Shelley’s source material. However, filmmaker Guillermo del Toro (Pan’s Labyrinth and The Shape of Water) masterfully transforms a familiar story into a uniquely fresh and original cinematic experience.

Opening with the dark and dooming backdrop of a ship trapped at sea in the ice waters of the arctic, crew members discover an immobile body on the ice. It’s that of a severely injured and near-dead scientist named Victor Frankenstein (played by Ex Machina’s Oscar Isaac). They rush Victor on board their trapped vessel to nurse him back to health, only to find themselves under siege from an abnormally powerful and monstrous being (Saltburn’s Jacob Elordi) who will stop at nothing to get his vengeance on Dr. Frankenstein once and for all.

Told separately through two distinct vantage points, Guillermo del Toro’s Frankenstein brilliantly recreates Mary Shelley’s classic tale into a heady examination of moral integrity. Diving deep into the thematic question of who the monster truly is, the audience journeys through a maniacal boundary-pushing scientist’s quest at reanimating the dead. He stitches together the limbs of fallen soldiers in an attempt to do the unthinkable, bring to life an undead creation. The madness and envy of Dr. Victor Frankenstein is displayed with immaculate precision at the hands of the gifted actor, Oscar Isaac. He transforms into the role, completely unrecognizable and devoted to del Toro’s bold cause.

In a similar vein, we bear witness to Dr. Victor Frankenstein’s undead creation, “the creature”. He never asked for this life, one forced upon him by the sinister ambition of his creator. As expected, this abomination becomes feared and hunted by nearly all of those he encounters. Yet, there are a few soulful humans he meets along the way, giving him hope in humanity for some brief, but fleeting moments. However, the world inevitably returns by showing its true colors, innately destined to fear and fight against that which it doesn’t know.

The Oscar-winning director and scribe, Guillermo del Toro, may not deliver the most monumental of hits in some people’s eyes. His Best Picture winner, The Shape of Water, has been a rather polarizing champion in retrospect. But no matter how you view del Toro’s career work, it’s impossible to argue against the beautiful look of his films. Gothic tones, crisp imagery, and impeccable detail grace the screen in every shot, making Frankenstein a true spectacle of cinematic wonder. This upcoming Netflix release will look magnificent on your home screen, but it so desperately deserves to be savored on the big screen.

Despite its storied history and multitude of versions and recreations, Mary Shelley’s Frankenstein has finally found its most complete rendition. And it’s no surprise that Guillermo del Toro is the perfect director to bring this centuries-old tale to life.

GRADE: 4 stars out of 5

All you have to do is mention the studio A24 and cinephiles shudder with excitement. Ever since Everything Everywhere All at Once won the Best Picture Oscar following its 2022 release, the studio has churned out well-received movie after well-received movie and it’s no coincidence. When things are going well, it obviously gives off the illusion that things are going well, and then the perfect cycle morphs into something like “Barbie Land”. To A24’s credit, they take chances on wild concepts and risky narratives, and perhaps none have been more bonkers than Alex Scharfman’s Death of a Unicorn.

Following the loss of their family’s matriarch to cancer, Elliot (played by Paul Rudd) and his daughter Ridley (Jenna Ortega) have had trouble connecting. Meanwhile, Elliot has consumed himself with work and his company’s wealthy owner, Odell Leopold (Richard E. Grant), has invited him and his daughter to visit their lavish estate. En route to the mogul’s remote mansion, Elliot and Ridley hit a unicorn and discover the immensely profitable healing properties of the dead mythical creature’s body.

If the premise sounds insane, that’s because it is. Writer and director, Alex Schwarfman, transforms everything we thought we knew and loved about unicorns into an unfathomable horror comedy that blends elements of creepy folklore with copious amounts of gore and brutality. Death of a Unicorn’s most redeeming quality is it’s brash sarcastic and dark humor. The script is relentless with its jokes, most notably at the hands of Will Poulter’s committedly over-the-top performance and inherent knack for generating laughs, but it’s just as unwavering with its outrageously graphic unicorn murder scenes. This bizarre concoction of ingredients makes for an undoubtedly unique but also uneven ride.

Death of a Unicorn also masquerades as a sharp piece of social commentary calling out corporate greed and economic puppet mastery. However, these thematic elements merely serve as a contextual backdrop rather than insightful ideas for Schwarfman to explore in greater detail. As a result, Death of a Unicorn stands as nothing more than mindlessly fun entertainment that welcomes brutal death sequences at the expense of wealthy socialite characterizations with whom the audience inherently desires to root against. It’s such low hanging fruit and it’s troublesome to think that A24 would even welcome such fluff. It’s as if A24 decided to produce a Sharknado film. There’s only so much a studio can do.

Finally, I’d be remiss if I didn’t acknowledge Death of a Unicorn’s CGI. When you’re given a movie about a mythical beast nowadays, the most effective and realistic way to bring them to the bring screen is through visual effects. While the unicorns admittedly look pretty good, the heavy dose of CGI needed in the film does grow more noticeable as the minutes mount. Needless to say, there are some movies that make us laugh, ones that can bring us to tears, and others are simply made to entertain. It’s hard to pinpoint why exactly this film came into existence. Outside of some cheap laughs and the greatest unicorn murder scenes ever put to screen (is there an Oscar for that???), Death of a Unicorn takes a supremely talented cast and allows them to waste away behind one of the most ridiculous and unnecessary scripts I’ve ever encountered.

Grade: 2 stars out of 5

SXSW isn’t just the home for indie premieres, it also includes the gusto of larger studio releases as well. This year’s lineup features the latest from Christopher Landon, a marquee horror/thriller voice in the industry. Landon opened up about his deep connection to the host city, Austin, Texas. He recollected how 20 years he moved to Austin expecting to give up on his dreams of being a filmmaker. He began working towards his Real Estate license while simultaneously squeezing his way into the local film community. It reinvigorated his passion for cinema, and it led to his writing of the Disturbia screenplay, which became a commercial success in 2007 and, as they say, “the rest is history”. Landon has gone on to writer and direct numerous entries in the Paranormal Activity franchise, as well as both Happy Death Day films, and even the recent-ish horror hit, Freaky.

But last night marked the World Premiere for Christopher Landon’s latest foray into the suspense and thriller genres with his upcoming Universal release, Drop. The film follows a single mother named Violet (played by White Lotus’ Meghann Fahy) whose reluctance to jump back into the arena of online dating is understandable, following years of abuse and trauma at the hands of her deceased ex-husband. Yet, she finally decides to take a chance on a first date with a charming bachelor named Henry (It Ends with Us’ Brandon Sklenar), but the evening immediately devolves into a hellish nightmare when Violet receives mysterious drops on her phone from someone in the restaurant making fatal demands.

Drop serves as a worthwhile edge-of-your-seat thriller that’s unpredictable and entertaining. Writers Jillian Jacobs and Christopher Roach offer a heady screenplay that keeps the mystery close to its vest and the intrigue at atmospheric levels. It’s clever in its pacing and deliberate in its details, delivering both red herrings and useful clues all throughout. And although Drop does very little to break the mold, it still manages to achieve its goals and have a bit of fun along the way.

Rising stars Meghann Fahy and Brandon Sklenar exemplify their characters well. To be clear, Drop isn’t a script written for awards shows, its characters are thinly developed within the story, but both acting talents certainly enhance their personas with veteran-like nuance. The movie navigates through a main concept of control, and the cerebral battle between puppet and master for the upper hand naturally feeds into this central theme. It’s also mirrored through Violet’s backstory as a victim of trauma, trapped and under the directive of her abuser. But as she managed to escape from that violent past, it gives her the strength to literally fight to save herself and her family once again. There’s an inspiring message of hope tucked deep within this haunting thrill ride.

Christopher Landon has been on an impressive streak with his Happy Death Day franchise, Freaky, and now Drop. He’s mastered the art of well-executed and suspenseful popcorn entertainment. It’s a great thing for Hollywood, movie theaters, and moviegoers alike. So sit back, relax, and enjoy the experience.

GRADE: 3.5 stars out of 5

It’s the vast number of World Premieres that help bring the heat to SXSW each spring, but some of the finest films to screen happen to be brought here from the cold, wintry Sundance slate in their Festival Favorites category. Last year gave us the Oscar-Nominated Sing Sing and critical darling I Saw the TV Glow, while this year gives us another Oscar hopeful with James Griffiths’ crowd-pleasing hit, The Ballad of Wallis Island.

Set against the picturesque backdrop of a remote island, the film follows a lonely local man named Charles (played by Tim Key) dreams of reuniting his favorite folk musicians, Herb McGwyer (Tom Basden) and Nell Mortimer (Carey Mulligan), who haven’t played together in years. He lures them to the island with hefty paydays courtesy of Charles’ lucky lottery win, where he hopes to watch them perform a private show. Yet, Herb and Nell struggle to put the past behind them and collaborate once more for their favorite fan.

The Ballad of Wallis Island plays to perfection with its infectious characters and endearing story. Co-written by leading stars Tim Key and Tom Basden, the film’s creators step firmly into their characters’ shoes and the result is something so natural and compelling. Key delivers a hearty turn as the eccentric loner and mega-fan who orchestrates this entire messy reunion. He’s relentless with an endless supply of humorous dialogue, goofy puns, and deep musical references. On the other hand, Basden shines as the film’s original songwriter and in his role as an unfulfilled musician unable to recapture the same glory he had with his old musical partner. Co-star and three-time Academy Award Nominee, Carey Mulligan, needs no introduction, but these unfamiliar faces still manage to go toe-to-toe with her onscreen brilliance.

In addition to a superb cast, Wallis Island blends an exceptional story with a remarkable original soundtrack, both of which have Tom Basden’s fingerprints all over them. The film revolves around a central theme of lost love and the lengths of which we’ll go to recapture it. Wallis Island tackles these ideas with supreme tenderness, wonderfully illustrating music’s natural ability to connect people through time and space. There’s also a genuine sadness to the core of the story that’s perfectly complemented by its folk-filled soundtrack. The songs are melodic and beautiful, and the characters are authentic and complex. They work together in tandem to create something so sweet, charming, and accessible to audiences of all types.

James Griffiths brings to life a lovely story of second chances that’s painted on a beautiful seaside canvas. Wallis Island is both moving and engrossing, and don’t be surprised if the film finds itself in Oscar contention for Best Original Song, or perhaps even more. It’s the crowd-pleaser of the year and one everyone deserves to enjoy.

Grade: 4.5 stars out of 5

The 2025 SXSW Film Festival wasted no time getting to its home run hitting premieres. While the largest crowds descend upon downtown Austin hoping to gain entry into the Opening Night and Headliner films, and this year’s Another Simple Favor being no exception to that rule, it turns out a lesser-known debut stole the first day of the festival.

Chad Hartigan has been an indie filmmaker in the purest sense of the phrase since the turn of the 2000s. His catalog is filled with mostly unknown works, mostly comedies and dramas that even I haven’t seen. His most notable accomplishment is the 2020 Olivia Cooke (Ready Player One) and Jack O’Connell (Unbroken) sci-fi romance, Little Fish, which follows a couple struggling to keep their relationship intact as a memory-loss virus sweeps across the globe. Little Fish was a fine little indie film but, from the success of his latest title, The Threesome, it’s clear that Hartigan is at his absolute best when the jokes are flowing.

The Threesome examines the complicated relationship of Olivia (Juror #2’s Zoey Deutch) and Connor (The Little Mermaid’s Jonah Hauer-King), two friends who had sex once before. While Olivia has never felt motivated to go down that road again, it was a truly meaningful moment for Connor as he’s fallen hard for her. And when a fun night out together leads to an impromptu threesome with a stranger named Jenny (Bottoms’ Ruby Cruz), their chance at a real relationship is completely upended when things go terribly wrong in every way imaginable.

Director Chad Hartigan is a self-described lover of romantic comedies. However, his goal with The Threesome, along screenwriter Ethan Ogilby, was to avoid the traditional, glossy and rosy Rom-Com formula with destined lovers overcoming simple and silly conflicts. He wanted his story to be, in his own words, “messier”, filled with challenging dilemmas and unbreakable consequences. Thankfully, The Threesome gives us all that and so much more.

At its core, the film is a love story. But finding and keeping love strongly intact can be difficult. No one understands this truth more than Connor. Every step forward he takes with Olivia, the clear and undeniable love of his life, he somehow finds himself stumbling two steps back. In most Rom-Coms you feel certain that the main couple will reconnect at the end. Thanks to a brilliant script filled with deeply-written characters, and smartly crafted obstacles, the audience is forced to navigate this couple’s journey without that typical sense of assurance. What transpires on screen is both hilariously unimaginable and emotionally heartbreaking as lives become altered forever. This rollercoaster ride transforms into a devotion of time, energy, and every ounce of your heart.

Along with a strong collection of supporting stars, the leading trio of Zoey Deutch, Jonah Hauer-King and Ruby Cruz are nothing short of spectacular. They work in tandem seamlessly, and shine brightly as individuals. Each of their performances are well-rounded and robust. Their comedic timing, charm and full commitment to their characters work hand-in-hand with Ethan Ogilby’s refreshingly original story to elevate The Threesome into one of the most thoughtful and impactful romantic comedies of the 2000s.

GRADE: 4 out of 5 stars

I remember watching actor-turned-director, Brady Corbet’s Vox Lux in 2018 and thinking, “what a messy yet bold film”. It took a compelling opening story and drug it through a convoluted swamp of ideas. It felt pretentious but it also demanded thought and reflection, and there’s something to be said for a movie that makes you want to keep the conversation going long after the credits roll. No matter how you felt about Vox Lux, it’s Corbet’s latest entry that’s carrying the awards season buzz. The Brutalist premiered to rave reviews at Venice and secured a Silver Lion award for Corbet’s direction. From there, the film was immediately thrust into the Best Picture conversation and hasn’t looked back. Yet, for all the accolades and praise bestowed upon Corbet’s latest work, The Brutalist remains a robust and fat-filled tale that weakens with every passing minute.

Immediately following the fall of Hitler’s Germany during WWII, former architect and Holocaust survivor, László Tóth (played by Adrien Brody), emigrates to America and takes a job with his cousin. Having been separated from his wife, Erzsébet (Felicity Jones), and his niece, Zsófia, during the war, László learns of their survival and plans to bring them to the states where he hopes to secure the “American Dream”. He finds his best chance at ascension through the pocketbooks of a wealthy industrialist named Harrison Lee Van Buren (Guy Pearce), who discovers László’s architectural talents and hires him to build a monument intended to represent Harrison’s successful legacy.

Clocking in with a hefty three-and-a-half hour running time, including a built-in 15-minute intermission, The Brutalist was scripted with ambition in mind. Corbet and his partner, Norwegian filmmaker Mona Fastvold, craft a two-part story that fully understands its destination, but ends up getting lost along the way. “Part 1” opens immaculately, capturing a majestic upside-down shot of the Statue of Liberty on Ellis Island as László arrives in his new country. We follow his rather typical immigrant journey, one filled with obstacles and hard work, until he’s finally taken under the wing of a wealthy admirer named Harrison Van Buren. Despite familiar immigrant tropes and an inability to break new ground in the genre, “Part 1” shines from a technical standpoint. The Brutalist looks amazing, boasts sharp direction, and satisfies visually. Adrien Brody excels in his role and the rest of the ensemble bring their own set of strengths to the film. Unfortunately, this respectful nod to the director and his cast begins to lose favor once the movie’s built-in intermission concludes.

As “Part 2” begins, it also signifies the arrival of László’s wife and niece. Here we’re given a heavy dose of Felicity Jones. While I have historically been impressed by her work onscreen, she delivers a middling turn in The Brutalist. In Jones’ defense, this feels largely like a writing issue. Poor character development and a meandering script force her into a variety of unnatural settings that flounder as the minutes mount.

Meanwhile, the audience witnesses a mountain of stress falling on László’s shoulders as he struggles to bring his vision to life. Creative differences with others in his financier’s life and continually going over budget, leads to growing tension between the architect and the hand that feeds him. “Part 2” deeply explores this dynamic through themes of power and control. It’s captivating at times, but both choppy and messy as well. Thankfully, though, after an over-extended and souring second half, The Brutalist closes with a gratifying final scene.

Corbet should be applauded for his efforts and boldness, but it remains that his heavy-hitting swing at “the next great American epic”, is more of a swing and miss. Just like with Vox Lux, there are clear signs of greatness smattered throughout The Brutalist, yet tedium and sloppiness eventually take over. Corbet is obviously a talented visionary, but he would benefit greatly from tackling more stripped down and straightforward stories.

GRADE: 2.5 stars out of 5

Independent American filmmaker Sean Baker has built a loyal fanbase deeply invested in his signature move of bringing stories about downtrodden, forgotten, and marginalized people in society to the forefront of his films. He keeps that string going with his Palme d’Or winning entry from the Cannes Film Festival, Anora. With his latest endeavor, Baker extends on the successes of his hits such as Tangerine, The Florida Project, and Red Rocket, to deliver his most accessible and complete film to date. Needless to say, you should expect to hear Anora’s name all throughout the awards season circus.

Ani Mikheeva (Mikey Madison) is an exotic dancer and sex worker, scraping by on her good looks and deep understanding of how to adequately seduce a client. Living with her sister in Brooklyn, Ani is immersed in a lonely and superficial lifestyle until Ivan “Vanya” Zakharov (Mark Eidelstein) shows up at her upscale Manhattan strip club. Vanya is the extremely wealthy and immature son of a Russian oligarch staying in America to study. He lavishes Ani with his wealth and their relationship begins to extend beyond the strip club walls as she meets with him at his home and they even vacation together. Ani takes to this high-class, no rules lifestyle and eventually agrees to marry Vanya so that he can stay in the United States. Yet, Vanya’s wealthy parents discover his relationship and will stop at nothing to get this marriage annulled.

Despite Baker’s lack of interest in extending beyond his well-established comfort zone, Anora proves that the gifted filmmaker is still improving his game. This spectacularly shot film is even more magnetic and profound than the director’s previous accomplishments. Baker places Ani’s internal longing for a more meaningful life on the center stage of his film. Shining a light on this core idea and taking the audience through the most 2024-take on the Cinderella story imaginable, and only in a way that Baker himself could achieve.

The films ventures through many tonal shifts, dipping its toes in many different waters but always finding a way to make this abnormal navigation work well. Anora remains a massively ambitious attempt from Baker, but one that’s so emotionally rewarding in its final payoff. Ani’s journey becomes as long as it is difficult, but her transformation into Anora makes every detail along the way worthwhile. Mikey Madison (Once Upon a Time in Hollywood) is truly exceptional in her leading role. She’s given an enormous platform to blossom in the film’s third act and she runs with the opportunity, capping it off with an unforgettable final scene that she delivers to perfection. Madison is destined for a Best Actress nomination, at the very least, and she’s fully deserving of the recognition.

Sean Baker has long put his talents on display, cementing himself as one of the premiere voices in modern American filmmaking. Despite his many successes as a director, he offers a career best film with Anora. And although its many twists and turns aren’t always the smoothest of rides, they culminate in exceptional fashion and prove that Baker and Madison will be industry fixtures for a long time.

GRADE: 4.5 out of 5 Stars

The phrase “Oscar Bait” gets thrown around often and almost entirely with a negative connotation. Especially in the midst of awards season, where Hollywood’s heaviest hitters make their world premieres on the festival circuit in hopes of cementing their legacy as the next Best Picture winner. Austrian filmmaker, Edward Berger, in no newcomer to this song and dance. His epic 2022 remake of All Quiet on the Western Front became an unexpected Oscar darling that secured 4 Academy Awards (including Best International Feature and Best Cinematography) and 9 Nominations in total (including Best Picture and Best Adapted Screenplay). However, this time around, Berger’s latest is getting the “Oscar Bait” label. His film Conclave centers around the Catholic Church’s daunting task of selecting the next Pope following the surprising death of their current leader. And while the “Oscar Bait” stamp may actually fit the film’s backdrop and premise, Berger’s talent and originality help make Conclave the best type of “Oscar Bait” possible.

The movie opens with the sudden passing of the church’s “Holy Father” due to a heart attack. Close friend and Cardinal-Dean, Thomas Lawrence (played by Ralph Fiennes), is tasked with overseeing the formal selection of the next Pope at the church’s formal Conclave. Here, 108 Cardinals from around the world meet and sequester themselves through rounds of voting that must continue until two-thirds of them (72 in total) cast their ballot for the same individual.

While on the surface, Berger and writer Peter Straughn’s (Tinker Tailor Soldier Spy) story sounds as exhilarating as watching paint dry, their collaboration masterfully turns this tiresome church-filled premise on its head by morphing the presumed tedium into an enthralling and up-tempo religious political thriller. Cardinal Lawrence and the rest of the conclave envision a four-man contest. Neo-Liberal, Cardinal Bellini (Stanley Tucci), and conservative traditionalist, Cardinal Tedesco (Sergio Castellitto), are in stark opposition of one another, while more moderate voices, Cardinal Tremblay (John Lithgow) and Cardinal Adeyemi (Lucian Msamati) from Nigeria, also seek the papacy with general support from the Conclave. Yet, as these church leaders begin to shield themselves from the world and voting gets underway, rumors of past transgressions and unholy deceit put the weight of the entire Catholic church on the shoulders of Lawrence.

Conclave’s mesmerizing screenplay is brought to life by Berger’s sharp direction and a brilliant ensemble. As the film’s lead, Ralph Fiennes has found himself near the top of the Best Actor race and deservedly so. His performance is an absolute tour-de-force, but the talent doesn’t start and stop there. Tucci is electric, and the rest of the throne-seekers are magnificent as well. The entire cast beautifully capture the essence of Berger’s desire to show the irony of revered religious leaders putting power over principle on full display.

The story moves briskly along until its shocking final moments, where Berger purposefully intends to stir up controversy and discussion. Although this late-film inclusion is assured to help build a vocal buzz and keep audiences talking about Conclave long after the credits roll, it’s relevance to this greater story seems contrived and unnecessary. Still, though, despite this minor blemish on an otherwise Oscar-destined work, Conclave remains one of 2024’s most fascinating and accomplished films.

GRADE: 4.5 Stars out of 5

M. Night Shyamalan has built a successful box office reputation by being a gimmicky filmmaker. The Sixth Sense and Split director’s integration of unique, thriller-esque stories capped off with wild, often unpredictable twists has kept audiences flocking to movie theaters for a quarter-century. Yet, if you’ve ever wondered what a more straight-forward Shyamalan film would look like, he finally delivers a “what you see is what you get” effort with his latest thriller, Trap.

After returning to the big screen for last year’s Best Picture winner, Oppenheimer, Josh Hartnett followed that up with a cameo in season three of the Emmy-winning Hulu series, The Bear. Hartnett’s resurgence continues as he stars as Cooper, a run-of-the-mill dad trying to enjoy a fun evening with his daughter Riley (played by newcomer Ariel Donahue) at the pop star, Lady Raven’s (played by Shyamalan’s daughter, Saleka), concert. However, Cooper carries a dark secret. He’s a serial killer known as “The Butcher”, and the concert is sting operation set up by the FBI to catch him.

While you’d expect something like the main character being the killer that police have been hunting all along playing out as one of Shyamalan’s signature twist endings, the writer-director tips his hand almost immediately in the film. Instead, Trap trades a gimmicky “gotcha” finale for a more straight-forward thriller tale. Sadly, some familiar issues that have plagued past works of his rear their ugly heads once again. The film’s dialogue is unnatural, its characters are hollow, and Cooper’s various means of avoiding capture by the authorities are insanely unbelievable. If anything, Trap feels more like a showcase for Shyamalan’s daughter’s singing and acting career than any semblance of a taut thriller.

Despite its many obvious deficiencies, M. Night’s latest effort does boast some committed performances. Josh Hartnett plays a sadistic sociopath quite well and The Newsroom’s Allison Pill delivers an impactful performance in the third act as Cooper’s wife. Saleka Shyamalan’s role as pop sensation, Lady Raven, begins as more of a background character, yet she evolves into a much bigger player in the film. While her acting chops aren’t seasoned, as she has some highs and lows, her singing is actually quite impressive and one of the finer aspects of Trap.

M. Night Shyamalan doesn’t always give us the most notable films, he’s generally survived in the industry for so long in large part because of his intriguing plots and unexpected twists. Here, Trap gives us neither. Instead, the film culminates as a half-hearted and bland snoozer that’s clearly intended to propel his daughter’s career more than his own. Let’s all hope that next time around, M. Night will return to hist twist-filled ways.

GRADE: 2.5/5

America’s political landscape has always been contentious, but it was Donald Trump’s entrance into the arena in 2015 that saw the vitriol between Democrats and Republicans reach what feels like an unfixable splintering. This gloomy outlook has become the backdrop to Alex Garland’s buzzy SXSW headliner, Civil War. The writer-turned-director transformed his impressive knack for penning creative sci-fi stories into a full-fledged filmmaking career as the visionary behind movies such as Ex-Machina, Annihilation, and Men. Yet, this time around, Garland sets his sights on a futuristic, war-torn America where city streets have become dangerous war zones. Tapping into this bleak, yet by no means unfathomable hypothetical scenario, Civil War is guaranteed to have audiences from all over the political spectrum talking.

The film opens with the American President (played by Parks and Rec’s Nick Offerman) declaring victory over the successionist Western Forces of California and Texas. However, war zone journalist Joel (Narcos’ Wagner Moura) and photographer Lee (Kirsten Dunst) sense a much different reality as they try to capture the realities of this war within United States. As rumors start to swirl of these opposing forces descending upon Washington D.C. to overthrow the President once and for all, Joel and Lee race to the nation’s capital along with fellow journalist Sammy (Dune: Part One’s Stephen McKinley Henderson) and the young aspiring photographer Jessie (Priscilla’s Cailee Spaeny). Yet, nothing can prepare them for the brutal realities that await all across their 800-mile journey to the White House.  

Alex Garland’s foray into filmmaking began with a bang. 2014’s Ex-Machina was a taut, thought-provoking exploration of Artificial Intelligence, and one that helped bring A24 to the forefront of independent cinema. Unfortunately, though, it’s been a slight but steady decrease for Garland’s film catalog ever since. Annihilation proved to be another heady sci-fi that was less mainstream but still quite effective. His next film, Men, polarized audiences but still had a loyal fanbase. And as for Garland’s latest effort, Civil War, marks a new low for the filmmaker. It’s a hollow and superficial story that’s more about the harrowing experiences of war-zone journalists than anything else. For a movie titled “Civil War” and one that uses an irreversibly fractured Unites States as its backdrop, there’s a refusal to address what specifically caused this breaking point. In fact, Civil War intentionally shies away from political discord (outside of one brief but tense scene headlined by Jesse Plemons). This failure to tackle the film’s central, namesake thesis is a bit of a headscratcher and crushes the validity of Civil War altogether.

Despite delivering a viewing experience unlike anything suggested by the film’s marketing, Garland’s Civil War does an admirable job of illustrating the insane but invaluable professions of war-zone reporters and photographers. Witnessing these characters rush towards gunfire and continually put their lives on the line for the purpose of showing the world first-hand accounts regarding the atrocities of war is astonishing. However, despite this eye-opening realization, Garland’s script fails to bring depth to the film’s central characters. Kirsten Dunst and Cailee Spaeny do their best with what they’ve been given, but they haven’t been given much.

Outside a few sporadic moments of strength and offering a unique perspective of those obligated to capture the harsh reality of battle, Civil War stands as a bland and shallow money grab effort from the usually reliable A24 studios. Alex Garland is capable of better as both a writer and director, yet this time around he fails to deliver on what was advertised. Somewhere within the premise of Civil War resides a more opportune and fascinating story, but it’s one that’s nowhere to be found in this film.

Grade: 2.5 stars out of 5

As a devoted horror fan, the Shudder streaming service has a direct line to heart. That’s why news of Ben Brewer’s upcoming Shudder release, Arcadian, debuting at SXSW meant that I had to experience it in a theater with over a thousand other horror-enthusiasts. In typical SXSW fashion, the audience didn’t disappoint and neither did the movie.

There are few actors with a fan-base as loyal and robust as the legendary Nicolas Cage. The crowd was so fired up for his 2022 festival selection, The Unbearable Weight of Massive Talent, and they were equally as amped for this world premiere. It’s Cage’s second collaboration with Ben Brewer, their first being the middling 2016 crime-thriller, The Trust. Yet, this time around, they nail the post-apocalyptic, monster-movie genre with their taut action-horror, Arcadian.

The film is set in the not-so-distant future where mysterious, bloodthirsty monsters terrorize at night, banging on barricaded doors and desperate to continue their reign over humanity. Somehow Paul (Nic Cage) manages to survive the undisclosed origins of this planetary invasion along with his two infant sons, Joseph (It’s Jaeden Martell) and Thomas (Lost in Space’s Maxwell Jenkins). 15 years later, after a lifetime of schooling his boys in the art of survival, their learning is put to the test when Thomas doesn’t return home by sundown. Paul must venture out into the perils of darkness to rescue his son, while Joseph protects their home by himself.

Arcadian handles its story well, molding the individuality of its characters while immersing the audience in this fearful end-of-the-world setting. The film not only keeps you on the edge of your seat, with white-knuckle tension and thrilling intensity, it tells a story of familial bond. These two brothers were born to the same parents, but they couldn’t be more different. There’s a delicate yin and yang balance to their personality traits. Joseph as the cerebral inventor who can survive on his quick thinking and cleverness, while Thomas has been gifted with brawn and bravery. However, for this family to survive in a world where they’re being hunted by these wolf-like monsters, they will need to harness both their strength and ingenuity.

Not only is Arcadian successful as both a gripping end-of-the-world horror entry and a story with explored depth, but its visuals are also impressive. These unexplained creatures that rule the darkness of night look fantastic and act menacing onscreen. The sound and visual effects aid in bringing these monsters to life in a terrorizing fashion. The ensemble is rather small, but they all deliver in their individual roles extremely well. Much to the dismay of the SXSW audience, Nicolas Cage’s role isn’t as prominent as we all hoped, the pair of brothers get more of the film’s scripted attention. Yet, that didn’t stop the crowd from unleashing some of its trademark rowdiness when Cage gave them the opportunity to cheer.

Director Ben Brewer shows evolution in his craft as a filmmaker. And while Arcadian may not be the most unique or groundbreaking effort in the post-apocalyptic monster-horror genre, the film still entertains in droves and tells neatly compacted human story of family and survival.

Grade: 3.5/5

One of the buzziest films out of this year’s Sundance class was Jane Schoenbrun’s dense but stirring indie, I Saw the TV Glow. While it’s clear, although not directly spelled out for you, Schoenbrun’s latest explores themes regarding those in and connected to the LBGTQ community so cue the polarization. Yet, what makes the film so poignant and effective is its quest to capture the overarching feelings within these concerned and confused teenage subjects, rather than making a statement about what’s right or wrong. As a trans woman herself, Schoenbrun somehow tackles this still socially taboo topic with restrained reverence and passionate conviction, creating one of the most emotionally complex and visually stunning experiences at this year’s SXSW festival.

Owen (Detective Pikachu’s Justice Smith) and Maddy (Atypical’s Brigette Lundy-Paine) are lonely teenagers at the same school in the mid-90s. When Owen catches Maddy reading a book about a strange new late-night, young-adult television show called “Pink Opaque”, their bond over this mysterious sci-fi program manifests itself into something far greater. Maddy begins to believe that her and Owen have a connection to the show’s main characters, one that goes beyond explanation. But after she mysteriously vanishes from town, leaving Owen to navigate his formative years on his own, Maddy returns years later so that she and Owen can live out the storyline from the show’s final episode.

I Saw the TV Glow is an immensely powerful allegory about freeing oneself. The film follows these two youths as they discover a deeper meaning in the episodes of their favorite television show. This inexplicable connection between the teenagers and their beloved TV program serves as a metaphor for those gay and trans youth who feel trapped in their circumstances and bodies. It’s a hypnotic story, framed in a lucid and dreamlike lens that intensifies the intrigue and magnifies the mystery. Thanks to the film’s cryptic narrative structure, I Saw the TV Glow is never feels preachy in its messaging but remains clear in its intention.

Writer and director Jane Schoenbrun has plenty to say about this marginalized community. Maddy is the fearless one, sure of the life she wants and refusing to settle for anything different. Owen, on the other hand, struggles to understand himself. He senses the disconnect between how he feels and how he knows he’s supposed to feel, but he doesn’t know how to respond or what to do. These two different perspectives are examined closely and amplified magnetically. The film not only addresses those in the LBGTQ community who have broken free from the shackles of an unchosen identity or lifestyle, it also shines a light on the lifelong purgatory of those who conform to societal norms and are sentenced to suffer with the internal conflict.

Another impactful aspect of the film resides in its delivery. Owen and Maddy constantly break the fourth wall, narrating the story by staring into the camera and speaking directly to the audience. It works superbly here, building intimacy between their characters and the viewer. Therefore, as the film begins to deeply explore the heartache and personal struggles of our two protagonists, it leaves you no choice but to empathize with their situation.

I Saw the TV Glow will have its detractors, that’s just the type of society we live in. However, you couldn’t ask for a more nuanced and meaningful examination of what it feels like to grow up different from those around you and how that struggle may never end unless you choose to do something about it.

GRADE: 4/5

One of the best parts of the SXSW Festival is the unknown prospects of each film. Outside of their “Festival Favorites” category, which brings select titles that have already been screened elsewhere (often Sundance), SXSW’s lineup is full of films that have never been seen by audiences or critics. I have a love/hate relationship with going into a movie “blind”. I love it when I’m unexpectedly blown away by a great piece of filmmaking but hate it when I leave a screening underwhelmed. It’s the crapshoot of SXSW, but it makes you appreciate those little gems that you discover so much more. And after only two days and seven films, I think I may have already found 2024’s hidden jewel. This year’s early leader for “Most Pleasant Surprise” goes to David Joseph Craig and Brian Crano’s dark comedy, I Don’t Understand You.

In the film, Nick Kroll (FX’s The League) and Andrew Rannells (A Simple Favor) star as Dom and Cole, a married gay couple desperate to add to their little family by adopting a child. After their first go-around in the adoption process ended in a soul-crushing manner, they try once again with an expectant mother (Amanda Seyfried) who’s nearing the end of her pregnancy. But before they begin this next chapter in their lives, Dom plans a romantic trip to Italy for their anniversary. And what’s supposed to be a calm and relaxing getaway slowly devolves into a nightmarish trip that will put their love through the ultimate test.

To say anything more about I Don’t Understand You is to say too much. In fact, the only bland thing about this movie is its title. Instead, this knock-your-socks-off comedy is enhanced by its unexpected twists and turns, and that’s because David Joseph Craig and Brian Crano are relentless in their mission of crafting a story that’s unapologetically bonkers. Thankfully, as a married gay couple themselves, they’re able to raise the stakes by overseeing the strong onscreen chemistry present in their leading stars. Kroll and Rannells sell their love and devotion perfectly, all while using their natural comedic gifts to push the boundary of sensibility in the film. Without fully developing these characters and their emotional bond, the audience wouldn’t be able to buy into the movie’s bizarre, yet completely gratifying third act.

Many will describe I Don’t Understand You as a blend of comedy and horror. But it’s truly only a horror in the sense of their romantic getaway being one big nightmare of a misunderstanding. This is a direct result of Craig and Crano’s brilliantly scripted fish-out-of-water fiasco that’s mainly brought on by the couple’s language barrier in a foreign country. After more than a decade of being force-fed comedies reliant on shock value to generate laughs, I Don’t Understand You derives its humor the way comedic legends intended, by setting up jokes in a clever, thought-out way based on situations and circumstances. This devotion to the evolution of a joke and letting the moment crescendo into sheer hilarity is a joy to witness over-and-over again throughout the film.

Another common trait of a superior comedy is a film’s ability to counterbalance laughter with genuine emotion. Beneath I Don’t Understand You’s raucous exterior lives a hearty story of eternal love and family devotion. The scary proposition of deciding to grow your family, and the challenges that exist for two-male couples desiring to do so are not lost in this film. They’re a crucial part of this story and the messaging is effective in its execution as well. I Don’t Understand You checks all the boxes and cements itself as one of SXSW’s finest offerings.

GRADE: 4.5/5

Many movie-lovers flock to Austin, TX to take part in the electric, high-energy vibes of SXSW’s tantalizing World Premiere screenings. The highly coveted Opening Night selection at this year’s festival belonged to Doug Liman’s 80s-remake, Road House. As expected, the glitz and glamor of celebrity talent like Jake Gyllenhaal and former UFC Champion-turned-actor, Connor McGregor, lured the crowd to Austin’s beloved movie venue, the Paramount Theater.

Yet, while the masses gathered in downtown Austin, I went against the grain and ventured down south to catch the U.S. premiere of Greg Kwedar’s touching real-life drama, Sing Sing. After generating a healthy amount of buzz following its World Premiere in Toronto this past September, one that saw A24 acquiring the theatrical rights to the film, Sing Sing instantly became a must-see title at this year’s SXSW festival. In attendance was leading star, Colman Domingo, a brilliant performer whose got BIG plans this Sunday as a Best Actor nominee at the Oscars for his role in the Netflix release, Rustin. However, Domingo said it best while referencing his awards season role as Civil Rights crusader, Bayard Rustin, “I do movies like that, so I can do movies like this”. A true testament to the power of independent filmmaking.

Sing Sing follows John “Divine G” Whitfield (Domingo), an inmate at the Sing Sing maximum-security prison in New York. Trapped behind metal bars and concrete walls, Divine G leads a theatre troupe that stages productions at the prison. After another successful show, the troupe decides to take on some new members and welcomes the self-proclaimed street hustler and gangster, Clarence “Divine Eye” Maclin (as himself), into the group. Divine Eye’s acclimation to the theatrical process isn’t all that smooth, but the troupe’s latest production, an original comedy, will only work if everyone is fully committed to the project.

Co-writer and director, Greg Kwedar, toes the line of documentary by bringing in some of the former real-life inmates to play themselves in the film. This extra level of authenticity makes for a truly unique and genuine story, and one that Colman Domingo helps elevate to a whole other level. As the guiding light for this group of incarcerated actors, Divine G understands that you must be open and vulnerable to your feelings in order to command the stage, something he’s mastered himself. Yet, harnessing those emotions and breaking through the rough exterior of Divine Eye proves to be quite the challenge. But it’s in these obstacles where Sing Sing shines brightest. The camaraderie of these men and the slow evolution of Divine G embracing this brotherhood and learning how to channel his emotions into the power of performance and storytelling is truly a sight to witness.

This film is built on the firm foundation of its ensemble. Colman Domingo and Paul Raci (Sound of Metal) join a raw collection of artists who make Sing Sing so memorable because they lived this life. They smashed through these emotional barriers to better understand themselves and to better understand each other. And through this journey, they learned how to escape the everyday violence and atrocities of life in a maximum-security prison by teleporting themselves to new worlds through the stories they told.

There are laughs, tears, joy, and sorrow. To witness Sing Sing is to witness the beauty and artistry of life. Despite some moments of sluggish pacing and other limitations from being an indie film in every sense of the word (I mean, the movie was shot in merely 18 days), Greg Kwedar delivers a story worth telling. Sing Sing is a film about expression, self-discovery, and the beauty of second chances. While it may not come with the same fanfare or budget of other SXSW entries, there’s enormous heart and soul here that everyone deserves to witness for themselves.

GRADE: 4/5

We evolve throughout our lives, discovering new and exciting ventures that guide our energy and interests. As we navigate through these chosen hobbies, they become a part of who we are at our core. And while these ever-changing interests come and go, they’ll never be forgotten. For me, wrestling was my first foray into television entertainment. It provided compelling story arcs, larger-than-life characters, and astonishing physicality that left me entranced. But as you get older, the innocence and naivety surrounding professional wrestling shatters. It’s a crushing sport, and no one knows that more than the individuals who call the ring their home. This sets table for writer and director Sean Durkin’s (Martha Marcy May Marlene) true tale of legacy and tragedy involving wrestling royalty, The Iron Claw.

As a world champion wrestler in the 50s and 60s, patriarch Fritz Von Erich (Mindhunter’s Holt McCallany) teaches his four sons the way of the ring and all the sacrifices that come along with the lifestyle. Kevin (Zac Efron), the eldest brother, paves the way as a rising star in local Texas wrestling. But the only thing he and his brothers Chris (Harris Dickinson), Kerry (The Bear’s Jeremy Allen White), and Michael (Stanley Simons) love more than being in the ring, is being with each other. Their bond strong and their dedication undeniable, they are destined to conquer the wrestling world. If only it could be so easy.

The Iron Claw captures the beauty of familial ties, and the heartbreak of loss. It’s as deep, dark, and honest a movie as you’ll ever see. Tragedy looms over this family like a dark cloud. The frequency of these brutal events feels so unbelievable and unlikely that these young brothers and the people around them start to wonder if it’s some kind of supernatural curse. Sean Durkin’s screenplay illustrates the fear and damage weighing on these young men and it’s both harrowing and visceral. There’s one fleeting moment when Kevin, a new father, sleeps underneath an office desk at his family’s wrestling venue. Without a word of dialogue, it’s clear that he’s distancing himself from his wife and child, afraid that these terrible misfortunes will find their way to the small family he’s built for himself. The Iron Claw’s sad and subtle demeanor makes for a soul-crushingly effective experience.

Yet, you can’t have heartache without love, and the film’s portrayal of the Von Erich’s brotherly bond is just as engrossing as its tragic elements. Kevin is the glue, committed to his family and always setting a good example for his younger siblings. They support each other without question, push each other without judgment, and love each other without bounds. Kevin’s love story with Pam (Lily James) is another uplifting storyline that counterbalances the unfortunate drama. In all, it’s a strong script and stellar performances that help drive this winning chemistry. The Iron Claw’s entire ensemble is worthy of praise, although no singular performance warrants awards season consideration. It’s a complete group effort, everyone working together as a collective to lift the film to impressive heights. It’s a testament to Sean Durkin’s direction as he gets the most out of his cast.

The Iron Claw isn’t always a pleasant watch, but it’s an effective film that does its source material justice. Sean Durkin gives us a movie that’s about so much more than just wrestling. It’s a heavy family drama that never relents and is so much better because of it. Embrace all your emotions with one of 2023’s finest films of the year.

GRADE: 4/5

Bradley Cooper delivered one of the finest directorial debuts of the 2000s with his thoughtful and poignant retelling of the Hollywood classic, A Star Is Born. The film enthralled us with its heartbreaking love story, compelling sub-themes, and a fantastic soundtrack performed by a multi-talented cast. And much like the film’s main character, Jackson Maine, opines throughout, A Star Is Born was so meaningful because it had something deep and profound to say. That’s why it’s so astonishing that Cooper’s highly anticipated follow-up film, Maestro, has very little to say at all.

Maestro navigates itself through the decades-spanning love story and marriage between world-renowned Orchestra conductor and composer, Leonard Bernstein (Cooper), and actress Felicia Montealegre (Promising Young Woman’s Carey Mulligan). Their introduction and early relationship blossom through a fiery passion and immediate chemistry. But as the years pass and their family grows, Lenny and Felicia face continued struggles at the hands of Bernstein’s bisexual infidelities.

Bradley Cooper and Academy Award winning screenwriter, Josh Singer (Spotlight), diverge from the traditional biopic formula, barely touching on the conductor’s rise to global stardom, and narrow their focus on Lenny and Felicia’s unconventional partnership. In doing so, they fail to differentiate themselves from similar love stories found in films like Todd Haynes’ Far from Heaven and the Queen biopic, Bohemian Rhapsody. A frequent moviegoer friend of mine phrased it best, “I went into the movie knowing very little about Leonard Bernstein, and I left still knowing very little about him”. Certainly, there must be a more interesting story to tell of Bernstein’s life. Instead, Cooper and Singer’s misplaced perspective culminates in a trudging and familiar tale that’s only saved by a talented cast and an exceptional symphonic score.

Although Maestro provides little insight into the development of Bernstein’s superior skillset and artistic mastery, the film still relies on intense musical orchestration during its strongest scenes. They come when Cooper magically transforms into Bernstein, taking command of his musicians and guiding them through a powerful symphony of sound. He does so with a whimsical waving of his arms, as if possessed by the melodic progression of the music. The sound, direction, and performance come together in fleeting moments of true perfection. Unfortunately, we are barely given a handful of these moments, enjoy them while they last.

Instead, Maestro stays focused to a fault on Lenny’s troubled marriage. It’s within this complicated drama Cooper and Carey Mulligan bring their characters to life. Both are proven performers and neither disappoint. However, even with a stellar and uber-committed turn, Bradley Cooper remains recognizable throughout the film. It’s as if an obsessive attention to detail surrounding every aspect of his performance feels overcalculated to the point that it no longer seems authentic. This creates a lingering distraction through an already tiresome and wordy two-hour endeavor.

I have all the respect in the world for Bradley Cooper. He’s a brilliant artist, capable of towering performances and stunning direction. Having been a big fan of his work for such a long time, I wanted to love Maestro. Perhaps my expectations were too high or perhaps they were just misplaced. Either way, Cooper’s sophomore effort struggles to find a unique voice and remains an unremarkable blip in an otherwise storied career.

Grade: 2.5/5

Very few directorial debuts have been as explosive and dialogue-inducing as Emeral Fennell’s Promising Young Woman. The Best Picture Nominee lost out to Chloé Zhao’s Nomadland in a trio of major categories (Best Actress, Best Director, and Best Picture), but Fennell won herself a Best Original Screenplay Oscar for the film’s electrifying script. So, what should be expected of Fennell’s highly anticipated follow-up feature, Saltburn? An even edgier and bolder, boundary-pushing socialite thriller that’s guaranteed to have movie-lovers talking for years to come.

From the opening scene it’s laid out right in front of us. Timid and out-of-the-loop Oxford student, Oliver Quick (Banshees of Inisherin’s Barry Keoghan), has an inexplicable fondness for his charming, aristocratic classmate, Felix (Euphoria’s Jacob Elordi). They begin as two students whose lives feel worlds apart, but eventually collide when Oliver comes to the rescue at a moment of bad luck for Felix. Thus begins the transformation of Oliver in Ollie, as the one-time outsider shoehorns his way into a friendship with Felix that leads to a summer of high society living at the privileged young man’s lavish family estate, Saltburn.

With her sophomore effort, Emerald Fennell pieces together another entertaining thriller. One that’s superficial but dares the audience to look away with raucous, high-octane story of desire and fulfillment at any cost. Saltburn may be light on substance, but it’s also as methodical and superbly paced as you’ll ever see from a dark and twisted popcorn-flick.

Barry Keoghan is downright hypnotic on screen, shapeshifting through whatever the moment calls for with a mystifying ease. Ollie is difficult to get a read on, from his soft-spoken and awkward beginnings at Oxford to his newfound confident demeanor displayed all over the Saltburn estate, his intrigue is what makes his character addictive. Keoghan captures this essence flawlessly, once again showing why he’s a rising star approaching deserved A-List status.

Jacob Elordi continues his massive year (he also stars as Elvis Presley in Sofia Coppola’s Priscilla) with another fine turn, demonstrating the epitome of esteemed, high-class living while also showing a genuinely compassionate side that adds to Felix’s allure. Another strong supporting performance comes from Academy Award Nominee Rosamund Pike (Gone Girl), whose regal tastes as Felix’s mom, Elspeth, make for some hilarious mind-blowing quips. For instance, Felix even hands a shaving razor to Ollie upon his arrival at Saltburn with strict directions to groom daily because his mother is repulsed by facial hair.

All in all, Saltburn takes the audience through an intoxicating journey of excess and lust with its collection of flat-out insane characters. Although there’s no real message to the film or deep-seeded existential meaning to what transpires, Saltburn’s greatest strengths reside in its performances and sheer unpredictability. Be warned, there are a few WTF moments, scenes you’ll have to see to believe. Fennell is fearless when it comes to pushing the envelope, and Saltburn is a firm reflection of that fact. And while Fennell’s latest isn’t as emotionally gripping and substantive as her debut effort, Promising Young Woman, it’s every bit as entertaining.

GRADE: 4/5

Nicolas Cage has made a storied career of tackling quirky, outside-the-box roles that only he could perfect. But the one-time Oscar winner becomes the thing of dreams as he returns to awards season form in A24’s hot new release, Dream Scenario, from director Kristoffer Borgli (Sick of Myself).

Cage stars as the quintessential “Joe Everyman”, Paul Matthews, a dull and forgettable small-school Biology professor who’s surprised to discover that some friends and acquaintances have noticed him appearing in their dreams. And when an ex-girlfriend and current journalist confesses that she’s dreamt of him as well, Paul agrees to do an interview. The article immediately goes viral, and Paul discovers that this strange phenomenon has gone global, transforming him into the most interesting man in the world despite that fact that he’s anything but.

Writer and director, Borgli handles the film’s bizarre and intriguing premise with extreme care, taking the audience on an unforeseeable journey of self-discovery for its main character. Filled with twists and turns, Dream Scenario follows the Roman Tragedy mold where Paul meets his tragic downfall at the hands of his own self-destructive character flaw. Here, his weakness is his desire for being someone of recognition. But be careful what you wish for, because his inexplicable appearance in dreams all across the globe transforms Paul’s life in a myriad of ways.

Despite the frequent tonal shifting that goes on throughout the film, a trait that works to Dream Scenario’s advantage, its dark comedy roots remain the connective constant. There are moments of pride, excitement, sadness, and suspense peppered all throughout this psychologically surreal narrative, but Borgli’s commitment to keeping things silly and authentic to human nature make the film a true darkly hilarious achievement.

Nicolas Cage’s character of Paul is an imperfect being, making him more complex and interesting by design. Cage feeds into this intrigue with a sincere reverence that enhances the various aspects of his character and the film in general. As Dream Scenario weaves through its ever-changing surreal landscape, Cage becomes a malleable star, striking all the right chords and playing to the moment with remarkable ease. The performance serves as a welcomed reminder as to just how precious and talented an actor he is. Do I believe that Nicolas Cage will find his way into the awards season discussion for Best Actor? No, I do not. But I can say with the upmost conviction that he’s extremely worthy of such accolades.

Dream Scenario stands as a brilliant blend of genuine creativity, human emotion, and Nicolas Cage at his absolute best. Paul’s unbelievable journey of self discovery culminates with a sad, yet perfect, finale that further cements Kristoffer Borgli’s latest work as one of the most fun and entertaining viewing experiences of the year.

GRADE: 4/5

Believe it or not, but behind this tough and rugged exterior lives a big softy who is easily moved by unique and genuine stories about love. Dare I say, a romantic? Any way you slice it, I applaud any worthwhile examination of life’s strongest and most complicated emotion. This year, we’re given an insightful new perspective of “true love” in Christos Nikous’ upcoming Apple+ streamed release, Fingernails.

It’s been long agreed that signs of hard troubles such as heart disease can leave their first signs of detection in the fingernails. The budding Greek auteur, Christos Nikou, takes this interesting medical phenomenon and uses it as a catalyst for his thoughtful and sincere love story. Set in the not-so-distant future, a physical test can be administered to determine if two people are truly in love (i.e. soul mates, although the film never uses this phrase) by having each of them sacrifice a fingernail for the analysis.

Jessie Buckley (The Lost Daughter and Women Talking) and Jeremy Allen White (Shameless and The Bear) star as Anna and Ryan, a couple who know that they’ve found true love thanks to this new technology. Yet, after a few years since receiving their positive test results, Anna still desires to try new things and to continue the exploration of their relationship while Ryan prefers to stick to the norm knowing that they’re scientifically compatible. These stark differences in their perspectives forces Anna to question the validity of this medical phenomenon.

While Fingernails tries to simplify life’s most complicated feeling by boiling it down to one small calculable approach, the beauty of the film lies in its examination of the complexities involved in being in a committed relationship. This juxtaposition is the driving force of this modestly budgeted indie. In fact, as Anna’s character secretly takes a job alongside Amir (Nightcrawler and Sound of Metal’s Riz Ahmed) at a Love-Testing Institute where she’s forced to work with couples desperate to strengthen their bonds before taking the test, she begins to forge her own thoughts and opinions regarding true love. She outwardly ponders whether love is something that simply is, or if it’s something that needs to be worked on and massaged every single day.

Christos Nikou’s Fingernails serves as a thought-provoking and original exploration of this powerful human emotion. Each performer plays their character “to a T”, perfectly guiding the audience through Nikou’s well-crafted vision of the story. Even a small, supporting role from Luke Wilson (Old School), who plays Duncan, the founder of the Love Institute where Anna becomes employed, proves invaluable. Through Duncan’s character, Nikou really hammers home the social implications of this profound, new test, as Duncan admits to immediately divorcing his wife of MANY years upon discovering their negative test result. This new world dynamic sets the stage for what’s to come in Fingernails. And while the film occasionally delivers a low-budget look and feel, the heartfelt sincerity of its characters and the complicated love story at its center are both guaranteed to satisfy any true romantic.

GRADE: 3.5/5

Nobody tackles the True Crime genre better than one of Hollywood’s most accomplished filmmakers, Martin Scorsese. Boasting a catalog featuring classics like GoodFellas and Casino, coupled with other strong, more recent efforts like The Wolf of Wall Street and The Irishman, Scorsese has mastered the artform of transforming reality into superb big-screen cinema.

This time around, Scorsese tackles a forgotten, albeit heinous, story of early American Greed with Killers of the Flower Moon. The film opens early in the 20^th Century, where the Osage tribe becomes the richest people in the world per capita after discovering oil all throughout their land. And as years of wealth begins to trickle down their generational bloodlines, an influx of marriages between young Osage women and white men take place. Yet, things grow more suspicious when dozens from the Osage Nation are murdered in the 1920s, prompting tribal members to flock to Washington, D.C. and demand that the government embark on their first major homicide investigation, leading to the formation of the FBI as we know it today.

Flower Moon uses every second of its always-compelling three-and-a-half-hour runtime to tell Scorsese’s meticulously crafted and detailed account of Mollie Burkhart (played by Lily Gladstone), a member of the Osage Nation whose immediate family experiences tragedy after tragedy following her marriage to a World War I veteran named Ernest Burkhart (Leonardo DiCaprio). Once her chauffer, Ernest begins his quest to court Mollie after his uncle, the local political boss Willam Hale (Robert De Niro), reminds his nephew of her large, impending inheritance.

Scorsese’s latest serves as a showcase for its performers, but it’s Robert De Niro who gives the most impressive turn. It’s easily his finest showing of the 21^st century, as De Niro offers a masterclass portrayal of a criminal architect. It’s a skin crawling performance that captures the deceitful and wicked nature of his character with a devilish calm. He’s downright diabolical. And as for the film’s leading stars, Leo is just fine (as he always is), but there’s a somber sacredness to Lily Gladstone’s onscreen work. Prepare yourself for the Oscar storylines as Gladstone could very well find herself as the first Native American Nominee to ever win an Academy Award.

Flower Moon’s inflated running time is sure to be a deterrent for certain viewers, but the film also carries another surprising flaw. The movie lacks those big, all-time classic scenes that live on forever. Essentially, Flower Moon is an effort that’s somehow greater than the sum of its parts. While this is often a compliment, here such a description stands as a disappointing realization that Scorsese’s latest achievement lacks any truly unforgettable cinematic moments. But still, more than half-a-century into his illustrious career, Martin Scorsese continues to churn our high-quality work and Killers of the Flower Moon is no exception.

GRADE: 4/5

This year’s SXSW Film and Television Festival opened with a dark cloud of uncertainty looming over the event’s heralded Closing Night timeslot. With no major announcements made and a simple “Secret Screening” tag printed in the festival guide, rumors were swirling everywhere regarding what the mystery might be. Some were banking on the new Ari Aster title, Beau is Afraid, while others declared it would be the new Nicolas Cage Dracula film, Renfield. No matter the guess, festival-goers knew it had to be something big and exciting. Well big and exciting is just what they got with the world premiere of Ben Affleck’s ultra-retro and uber-80s true story of Nike’s daring quest to become the biggest basketball shoe in the world, Air.

Matt Damon stars as Sonny Vaccaro, an NBA talent evaluator for Nike whose life revolves around his two greatest joys, watching basketball and betting heavy on sports and casino games. It’s a wonder how Sonny’s managed to last so long with Nike, a typecasted “running shoe” company that never chases the big fish in the NBA talent pool. But when this diehard risk taker decides it’s time for Nike’s failing basketball division to push in all their chips to sign the projected #3 pick in the 1984 NBA draft, Michael Jordan, he needs to convince everyone from ground-level coworkers to CEO Phil Knight (Ben Affleck) to take a shot at greatness.

The beauty of Air is that you don’t need to wear Nike apparel, or love Michael Jordan, or even know how to shoot a basketball to enjoy the film. It’s simply an underdog story, and that makes it relatable on all accounts. There’s a bit of silliness in suspending disbelief and venturing back to an early 80s world where Nike, now worth almost $200 billion, was a second-rate shoe company, floundering in mediocrity and grounded in complacency. Yet, Vaccaro’s keen eye for talent recognizes the inevitable greatness in college star Michael Jordan’s game and pinpoints now as the time to strike. Yet, convincing his boss (Jason Bateman) to allocate all of their $250,000 allotment to signing Jordan, verses the usual plan of spreading that money out amongst three or four mid-level players, proves a difficult task. This gives Sonny no choice but to bring the matter directly to Nike founder and CEO, Phil Knight. This prompts a tug-of-war, power play between the little guy who believes in his heart of hearts that he’s right, and a corporate entity whose decision-making must be tied to the benefit of its shareholders. This David vs. Goliath subtext helps build Air’s reliant underdog theme.

Another crowd-pleasing aspect of the film is Sonny’s quest to take matters into his own hands by circumventing the industry norms of communicating through an agent (played by Chris Messina) and taking his message directly to Jordan’s parents (Viola Davis and Julius Tennon) himself. It’s here where the audience gets antsy to see Michael on the big screen, but Affleck wisely avoids showing Jordan’s face to the viewer. He does so out of respect to his own story. Air isn’t about Michael Jordan stepping up to become the greatest basketball player of all-time. It’s about the small few who believed deeply enough in Jordan’s athletic abilities and psychological makeup to put it all on the line; their jobs, their reputations, and their livelihoods.

With Air, Ben Affleck transforms a simple underdog tale into a funny and heartfelt quest for validation. The film combines a totally rad 80s soundtrack with a collection of A-List performances. Matt Damon, Ben Affleck, Jason Bateman and Chris Tucker all shine as the Nike insiders willing to take the “big shot”, while Viola Davis astonishes as Jordan’s mother, Deloris. Ben Affleck the director (Argo, The Town, and Gone Baby Gone) has far surpassed Ben Affleck the actor, and Air is just another winning effort from the filmmaker that’s guaranteed to satisfy the masses.

GRADE: 4/5

They say, “the squeaky wheel gets the grease”. That little saying neatly sums up Julio Torres’ SXSW headlining film, Problemista. Doing its best Everything Everywhere All At Once (EEAAO) impression, and ironically being distributed by A24 films as well, the former Emmy-nominated SNL writer crafts an absurdly original immigrant comedy that’s 100% off-the-walls bonkers. But despite being of the same vein as this year’s Best Picture Oscar winner, Torres and his dynamic co-star, the always superb Tilda Swinton, can’t quite capture the same emotional heights as EEAAO.

Torres not only writes and directs but he also stars as Alejandro, an aspiring toy-designer who journeys from El Salvador to New York City with big dreams of “making it” at Hasbro. But as he soon discovers, big city dreaming comes with mountainous obstacles and no help whatsoever, especially for immigrants. Thankfully, though, as one door closes at Alejandro’s cryogenic freezing job, another one opens with an eccentric art-world outcast named Elizabeth (Swinton). She promises to sign off on Alejandro’s quickly expiring work visa if he can help organize an art show featuring her frozen husband’s (played by RZA) old egg-painting collection.

Problemista flounders at its onset, erratic in its focus and flat in its delivery. There are well-earned chuckles peppered throughout but its purpose remains muddied until its third act. Yes, we understand the stakes, Alejandro’s initial loss of employment puts him on the clock to deportation and his only hope is to do whatever is necessary to get Elizabeth to sign off as his sponsor and extend his work visa. Even if that means bearing witness to and giving validation to all her erratic social tantrums, like berating a server at a small restaurant or surrendering to her never-ending demand that he learns how to use the antiquated system FileMaker Pro. You see, Elizabeth comes off as a bit of a “Karen”, which Alejandro learns to handle with his overactive imagination, one that’s captured continuously throughout the film in a surreal manner and always keeps the audience in tune with what he’s thinking and feeling. However, all of this wackiness, as silly and somewhat entertaining as it may be, feels like a trade-off for a deeper, more meaningful story that fails to unveil itself until the final minutes.

Admittedly, though, when Problemista pulls back the curtains and finally delivers the changing of the guard, where the student becomes the master, we’re given a soulful understanding of what exactly Julio Torres is trying to say about navigating the bureaucratic world of U.S. Immigration Services and demanding social respect in a place where that isn’t always given to foreign-born workers. All in all, Problemista serves as another quirky, comedy-first title from A24, but one that struggles to harness its focus effectively enough to pack a desirable emotional punch.

GRADE: 3 out of 5

Most people adore the SXSW Festival for its abundance of World Premiere screenings. Being the first to do something almost always comes with an accomplished feeling. I, however, tend to gravitate to SXSW’s “Festival Favorites” section, where a handful of well-received films are generally plucked from the Sundance slate and brought to Texas for a few select viewings. One such film that made the journey from Park City to Austin is Laurel Parmet’s The Starling Girl, a meticulous and methodical examination of a teenager’s life in a strict, Christian fundamentalist community.

Jem Starling (played by Eliza Scanlen) is the eldest daughter of a devout Christian family. She’s the ideal oldest sibling, she helps take care of her younger sisters and she’s dedicated to God. But when the 17-year-old girl begins being courted by a young man that she’s flat-out uninterested in, her passions swiftly gravitate to Owen Taylor (Top Gun: Maverick’s Lewis Pullman), a married youth pastor who has recently returned to the community following a religious stint abroad. Jem and Owen’s organic friendship slowly evolves into much more and their compromising relationship leads Jem on a dark and difficult journey of self-discovery.

Writer and director Laurel Parmet uses her debut feature as a platform to deconstruct religious fanaticism and highlight a woman’s place in those communities. Jem, like her struggling father Paul (It’s Always Sunny in Philadelphia’s Jimmi Simpson), longs for a more meaningful life than just servitude to God. This quest for “more” begins harmlessly when Jem uses her natural influence over Owen to gain a leadership role in the church’s youth dance group, and where she immediately puts herself at the center of the choreography. Yet, Jem’s thirst for “more” continues to grow and it takes a more physical form as she and Owen begin a secret affair. It’s through these deceitful actions that Jem is forced to discover what she really wants and what she really believes in the face of the only life she has ever known.

The Starling Girl stands as a slow-boiling account of introspection. Laurel Parmet recognizes that the film’s significance lies within the many small details and, to her benefit, she refuses to rush the experience in any way. Pulling some inspiration from, perhaps, the first truly great female-centric literary work, Nathaniel Hawthorne’s The Scarlet Letter, we’re gifted a softly coddled and beautiful coming-of-age-story that’s exceptionally acted on all accounts and handled with Parmet’s extreme care.

GRADE: 3.5 out of 5

“All roads lead to Austin”, as writer and director Emma Seligman so neatly confessed to a packed house of 1,250+ at the Paramount Theater, all of whom were eager as hell to catch the world premiere of her second feature film, Bottoms. As she recounted, the acceptance of her 2018 short film, Shiva Baby, spawned a feature length adaptation that was intended to play at the 2020 SXSW festival before COVID struck and shut down the festivities. And although the film never got to premiere in Austin, as it was intended, Seligman’s debut feature went on to win a Spirit Award and a National Board of Review “Top Ten Independent Film” honor en route to propelling the director and her leading star, Rachel Sennott, to immediate stardom. But three years later, history corrects itself as Seligman and Sennott’s latest collaboration finally gets the Austin kickstart they so desperately deserve.

The film follows lifelong best friends PJ (Sennott) and Josie (The Bear’s Ayo Edebiri) as the they embark on their senior year of high school determined to shake off the ugly, lesbian-loser stigma that has plagued their entire teenage lives. But how can they possibly climb out of this social-pariah hole that they’ve dug themselves into and find a way to convince a pair of beautiful cheerleaders that they’ve been crushing on for years to switch teams and make out with them? PJ stumbles upon the answer when she convinces Josie to help her start a women’s self defense/fight club at their school. Yet, what begins as a colossal gathering of dysfunction eventually evolves into an empowering movement that helps these female misfits be seen and heard.

Bottoms stands as a Fight Club meets Superbad mashup with a rebelliously gay twist. This raunchy teenage comedy pulls no punches, using an onslaught of gut-laughing humor to solidify itself as an instant classic for a new generation. And while there is never a shortage of laughs in Emma Seligman’s sophomoric effort, equally as impressive is the unforgettable onscreen bond of the film’s best friend duo. Sennott and Edebiri each bring their own unique personality to the story, PJ the loose cannon who is more outspoken, and Josie who is more methodical and even-keeled. Their yin and yang behaviors form the foundation to Bottoms’ main friendship storyline that so eloquently elevates the film beyond a just “made-for-laughs” comedic endeavor. Behind this barrage of hilarity is a hearty core that addresses honest themes such as friendship, female empowerment, and community. Make no mistake about it, though, Bottoms is a full-fledged, comedy-first effort that evolves into something much bigger as you peel back its layers.

Sennott, who isn’t just a hysterical onscreen voice, serves as a co-writer on the film as well. Her organic sense for comedy shows itself in a wide variety of ways. As Bottoms navigates the audience through some typical teen comedy tropes that feel more like essentials than rehashed ideas, things like the popular dim-witted jocks and an outrageous teacher (kudos to Marshawn Lynch on his strong and sizable role) to name a few, it also embraces the misfit hero vibe as well. This collection of uniquely different characters come together to not only discover that they can give and take a punch, more importantly they lift each other up and show one another that they’re stronger than they ever thought possible. It’s fond moments like these that make Bottoms more than just an excellent comedy, but an excellent all-around movie.

GRADE: 4.5 out of 5

With nearly 100,000 people descending upon Austin, TX for the entire SXSW experience, you’re guaranteed to encounter a few crazy characters. And as I patiently awaited the screening for A24’s newly acquired Sundance horror hit, Talk To Me, in the lobby of the South Lamar Alamo Drafthouse, a boisterous duo took to the small and intimate makeshift Red Carpet at the festival venue. They were an animated pair, flipping off the cameras and rolling on the ground pretending to take part in a violent stomping scene as the pictures continued snapping. It was, by far, the rowdiest Red Carpet experience I’ve ever witnessed (and there have been many).

Shortly after, I made my way to the theater in sincere anticipation of what’s been dubbed the “next big horror film”. To my surprise, the same two gentlemen entered the theater to a thunderous applause as they were announced as the directing duo behind Talk To Me. It only took about 95 minutes of unapologetic thrills and sheer insanity to fully understand that this buzzed-about film is a complete byproduct of its writers’ and directors’ own wild nature, and we should be eternally grateful.

The film follows Mia (Sophie Wilde), an Australian teen still scarred by the unexpected loss of her mother. While her relationship with her father has since been frayed by cloudy circumstances surrounding the death, Mia finds solace in her best friend, Jade’s (Alexandra Jensen), welcoming family. Longing for some closure, Mia and Jade decide to take part in the latest underground fad with the cool kids at school. It involves an embalmed hand, the conjuring of spirits, and the introductory phrase, “Talk To Me”. But what begins as a harmless game played during their nightly get-togethers, quickly evolves into a hellish nightmare with deadly consequences.

Twin sibling filmmakers, Danny and Michael Philippou, craft one heck of a debut feature. Talk To Me works on so many levels. Not only as a hip and stylish elevation to the overdone demonic spirit genre, but also as a sleek and compelling tale of psychological fragility. The emotional trauma that haunts Mia serves as the backbone to the film, driving her motives and actions along the way. It’s an essential component that has to be nailed in order to bring the entire movie together. Thankfully, the Philippou’s found a superb lead actress in Sophie Wilde, one whose onscreen prowess perfectly complements the filmmakers’ energetic style. In fact, for a film centered mostly on teenage characters, their entire young cast does a phenomenal job of creating a true and authentic vibe that adds yet another level of sound sturdiness to an already impressive project.

I could go on forever about other shining aspects of the film, like its effective jump scares (thanks to clever directing and camera work) or its excellent use of makeup and aggressive gore during some indescribably visceral onscreen moments, but nothing can prepare you for this absolute thrill ride. And while it’s always cliché and almost expected to hear a new indie horror film coined as the “scariest movie ever” following a successful festival debut, Talk To Me may not be eternally haunting in a “scary” sense, but it will certainly blow your mind.

GRADE: 4 out of 5

Once a household name as a handsome, wide-smiling star throughout the majority of the 90s, it seemed as though Brendan Fraser’s time in the spotlight evaporated in an instant. His wildly successful starring roles in The Mummy franchise’s first two installments were almost immediately followed up by a few lesser-felt supporting roles (like in 2004’s Crash) and a collection of blockbuster blunders (including 2008’s Journey to the Center of the Earth). But how could a prominent Hollywood celebrity plunge into obscurity so quickly? Now, after more than a decade of irrelevance, Fraser returns with what has unimaginatively been coined as a “Bren-aissance” thanks to his gut-wrenching and Oscar-destined work in Darren Aronofsky’s latest character study, The Whale.

Living as a recluse in a small, one bedroom apartment and teaching online English classes over a Zoom-like app with his video eternally set to “off”, Charlie (played by Fraser) is a depressed, 600-pound man slowly eating himself to death as a penance for his loneliness. But when Charlie’s unexpectedly rescued from a heart-attack by a young, religious pamphlet-pusher (Ty Simpkins) who stumbles across his home, he uses this new opportunity in life to attempt to reconnect with his estranged daughter (Stranger Things’ Sadie Sink) from a previous marriage. Winning her affection proves difficult as Charlie continues to inch closer to his own death, despite heartfelt pleas to end this self-punishment from Liz (Hong Chau), his only friend in the world.

Director Darren Aronofsky prides himself on immersing the audience in dark and troubling stories of human suffering. From the psychological torment in his masterful thriller, Black Swan, to the sad and depressing depths of The Wrestler, these personal stories that Aronofsky brings to life become engrossing examinations of humanity’s bleakest edges. Yet, in this vast bleakness, the filmmaker’s central characters always manage to encounter a blissful pinnacle before their ultimate demise. Perhaps, in some ways, The Whale is par for the course, inherently derivative of Aronofsky’s other works but, at the same time, so completely original.

Like Natalie Portman and Mickey Rourke before him, Brendan Fraser is well on his way to another Oscar-nominated performance at the hands of Darren Aronofsky. After more than a decade of cinematic insignificance, Fraser has been thrust into the frontrunner position of the Best Actor race and deservedly so. Admittedly, his distracting fat-suit takes some time to accept, yet Fraser eventually sinks into his obtuse physical prosthetics and, more importantly, his character’s skin to deliver a handful of genuinely unforgettable onscreen moments that justify his front-runner status. Almost as comparable as Fraser’s leading turn are the performances of his co-stars, Hong Chau and Sadie Sink. Both are beyond impressive but it’s Chau’s work that feels a little more noticeable and deserving of awards season attention.

The Whale is a heartbreaking tale of emotional pain that’s caked in metaphors and imposes its will onto the viewer. Screenwriter Samuel D. Hunter adapts the story from his own 2012 stage-play of the same name and the film’s singular, enclosed setting is overcome by this enormously obese man who’s consumed by his own troubled past, creating such a suffocating and claustrophobic experience for the audience. While The Whale is imperfect in many ways, Aronofsky once again shows why he’s such a unique talent and why his work demands your viewing attention.

GRADE: 4/5

Immersing himself in the emotional construct of romanticism is nothing new for the Italian-born filmmaker, Luca Guadagnino. It’s a theme explored deeply in his early work I Am Love and the backbone of his monumental 2018 Best Picture Nominee, Call Me by Your Name. Yet, five years later, Guadagnino is making waves once again with a new love story, once that’s unconventional and comes with a bite. Adapted from Camille DeAngelis’ 2015 coming-of-age- novel of the same name, Guadagnino’s Bones and All shatters the romance-mold with a dark and mystifying twist to the classic love story.

Taylor Russell stars as Maren, a lonely young woman kept sheltered from the world from her father. But what feels like a harmless little teenage decision to sneak out at night and hang with some new classmates, quickly reveals why isolation has become a staple in Maren’s life. She’s a cannibal, not by choice but by some sort of genetic predisposition, struggling to resist the urge and temptation of human flesh. Maren feels heartbreakingly alone in this world until she crosses paths with Lee (played by Timothée Chalamet) another blood-thirsty youngster who helps her discover a hunger for love.

Bizarre, sinister, and profoundly beautiful, Bones and All is a genre-bending entry that will sadly struggle to find a mainstream audience. Director Luca Guadagnino spares no carnage as this tale of young love is forced to compete with quite a few graphic scenes. This cannibalism backdrop initially feels like a puzzling and unnecessary twist of brutality, but the film manages to humanize this dastardly element with remarkable tenderness thanks in large part to writer David Kajganich’s carefully calculated screenplay and a wide collection of exceptional performances. Oscar Winner Mark Rylance shines in his supporting role, one that seamlessly complements the film’s dark tone and is completely worthy of awards season recognition. In addition, Academy Award Nominee, Timothée Chalamet, delivers another superbly-committed turn alongside his lesser-known, yet equally effective, co-star, Taylor Russell (Escape Room and Waves). Their onscreen chemistry is both essential and magnetic, transforming Bones and All into a hypnotic blend of horror and romance.

Despite the film’s uncanny ability to transcend its rare and unclassifiable genre, Bones and All trudges along with a sometimes painfully long 130-minute running time. Guadagnino decides to let his latest entry marinate with the audience, often benefiting from stellar cinematography and an abundance of artistic beauty, but occasionally tainted with gratuitous conflicts that add very little extra to the story or its character development. Still, though, Bones and All stands as a boldly original coming-of-age tale that builds earnest and sympathetic characters who engage in unthinkable, horrific acts. It’s an astonishing accomplishment that could only be achieved under the perfect set of circumstances and, thankfully, Luca Guadagnino handles them all masterfully.

GRADE: 4 out of 5

Former film producer Harvey Weinstein was once synonymous with Oscar success. His far-reaching impact on Hollywood became so enormous that the movie mogul felt invincible enough to use his power and influence to pressure, and eventually force, eager young actresses into sexual situations beyond their will. Maria Schrader’s presumed Best Picture contender, She Said, shines a light on those courageous individuals who helped bring down a despicable Hollywood titan and change the course of the world.

After failing to sway voters with her shocking New York Times story of multiple sexual assault allegations against Donald Trump in the lead up to the 2016 election, Megan Twohey (played by Carey Mulligan) struggles to a see a light at the end of the tunnel. But with women protesting in Washington D.C. and standing up to speak out in large numbers, fellow journalist, Jodi Kantor (Zoe Kazan), gets wind of rumors regarding a famous movie producer using his industry stature to force unknown actresses into doing the unthinkable. And when all trails lead to Harvey Weinstein, Kantor convinces her colleague Meghan Twohey to take another crack at bringing predatory male behavior to the spotlight.

She Said is a movie made by women, for women and about women. The film tells a significant true story, one whose disturbing and disgusting realities undoubtedly spurred a monumental movement in world history. Now, relevance aside, German writer, actress and filmmaker Maria Schrader’s first foray into awards season contention also comes with many imperfections. She Said chooses to paint a black and white portrait of the world and the men who inhabit it. Outside of husbands and co-workers at The New York Times, essentially every other male in the film is crafted as an abuser, a person complicit and silent towards these crimes, or just a nasty everyday male who has evolved into a byproduct of this misogynistic system in place. For instance, even a casual Joe-nobody with zero relevance to the story is shoe-horned into a bar scene solely to be an obnoxious, instigating pig in an onscreen moment that feels wildly inauthentic. While writing decisions such as these add an emotional impact to the film’s harrowing real-life events, from the perspective of someone who is an ardent supporter of these women’s efforts, they also serve as a hyperbolic and disingenuous reflection of the countless male allies who also desire systemic change.

Also, from a viewing perspective, She Said is a two-hour long cycle through typical investigative journalism film tropes. It never deviates from the formula and often comes off as a paint-by-numbers effort, failing to make its minutes count. However, when the film ultimately reaches its climactic finale, Schrader and company do a superb job of capturing the stark bravery of these victimized women as they finally decide to speak out about their experiences after decades of being silenced.

All in All, Maria Schrader’s latest effort recounts a meaningful and necessary quest to change the world in an often flat and listless manner. Even a pair of excellent performances from leading stars Carey Mulligan and Zoe Kazan hardly keep the film afloat. While She Said has all the right ingredients to garner the interest of Academy voters, it’s a far cry from other journalistic greats such as All the President’s Men and Spotlight.

GRADE: 3/5