Tag: A24

THE MOMENT (2026) – Review

With all the talk recently about a certain feature documentary’s box office take being bigger than any recent “concert doc”, it appears that filmgoers will get another cinematic “front-row seat” this weekend. Yes, it’s a feature documentary all around the preparations leading up to the first venue (building sets, creating effects, rehearsals, etc.), but we see very little of the big show, other than a pre-end credits montage. Oh, and it’s really a “mockumentary”, though it mixes real celebs with fictitious characters. However, those actual people are playing a “satiric” spin on their personas, much like in the recent Spinal Tap sequel, and HBO’s classic “The Larry Sanders Show” and the “future classic”, “The Studio” on AppleTV+. But it’s no surprise considering the film’s focus, as this snarky pop diva uses a new (to her) media to capture THE MOMENT.

That person is the Britain-born Charlie XCX (born Charlotte Emma Aitchison), who is at the center of a multi-media frenzy back in 2024 after proclaiming the warmer months as “the Summer of Brat”. We get a quick collection of clips with puzzled news anchors trying to figure out its meaning. That doesn’t concern her label, Atlantic Records, as they want to keep this “blitz” going well into the fall, while its creator wants to move on. But she’s got an arena tour coming up, so Charlie enlists her BFF Celeste (Hailey Benton Gates) to design the look of the big concerts. But that’s not enough for her exec at the label, Tammie (Rosanna Arquette), who sends two of her reps to guide the singer. First, they push her into doing a “cross-promotion” with a credit card company (the neon lime green plastic would appeal to the “young LGBT” demographic). But the label is really excited that they enlisted “hot’ filmmaking genius Johannes Godwin (Alexander Skarsgard) to document the backstory of the tour. Charlie’s feeling the pressure and decides to take a quick “recharge” trip to a swanky foreign locale. Unfortunately, Johannes makes a “power play” and takes the creative control of the show away from Celeste. After an encounter with another big media superstar at the resort, Charlie goes ahead with the new direction, tossing her original “vision”, and causing a strain with her pal. During this turmoil an international scandal erupts that puts Charlie XCX in the center of a cultural firestorm. Could this cancel the tour and extinguish her new “heat”?

I know I sound like a tired old “boomer”, but I had no knowledge of Charlie until her hosting gig last season on SNL. She did an excellent job there, which may explain her terrific comedy “chops”. She knows how to sell a joke effortlessly, and when to ramp up the energy (and that’s to match the overall frantic feel). I also saw her in a small role in the recent 100 NIGHTS OF HERO, so she can excel in character roles. I’ll be interested in seeing her follow-up work, either comedic, dramatic, or even an all-out musical (it seems she’s been making music shorts for nearly 15 years). The other pleasant surprise here is the “go-for-broke” funny turn by the usually stoic Skarsgard as the pretentious, bewildered film “visionary”, who has no end of hackneyed ideas and concepts (“you’ll be on wires, floating above your fans”). We get the impression that Johannes has done no real research on Charlie, as he implores her to engage in “crowd work” (“Happy to see you, where are you from?”). Now, this actor should be in an action film or superhero parody. Also very strong in the film, in more of a straight drama turn, is Gates as the dedicated artist who is sincerely concerned about how Charlie is handling fame. Her silent expressions as she realizes that her talents are being tossed aside provide the film with a touch of tragedy. I keep on thinking that if Emma Stone needs someone to play her sister in a flick, well… Screen vet Arquette also scores some laughs as the always annoyed “lady boss”. And we get great supporting work from Jamie Demetriou as “buried in his cell phone” aide Tim, Kate Berlant as snarky makeup artist and confidant Molly, and the bubbly Rachel Sennott as a hard-partying version of herself. Oh, I must commend Arielle Dombasle, who steals her single scene as a holistic masseuse with no patience for Charlie’s toxic “aura”.

The almost non-stop chaos of this flick is directed (perhaps conducted is more appropriate) by Aidan Zamiri, who also co-wrote it with Charlie and Bertie Brandes. Those with weak stomachs, be prepared for the extensive use of handheld cameras giving a real “fly on the wall” style, but also adding to the frenetic tension, making us yearn for a quiet spot (like Charlie’s talk with her oblivious driver). The plot is a wonderful satiric take on the constant bombardment by all of the media (talk about sensory overload). And the manic need to stay hip and relevant. And there’s a lot of that Spinal Tap ridiculousness, from the concert staging to the fervent fan worship. Kudos also to the script team for taking us in plenty of unexpected directions and not tying up the major conflicts with a dainty “let’s hug” bow. Going in with no expectations, this was quite a nice surprise during the winter doldrums. You could say that now in the movie world, Charlie XCX is enjoying THE MOMENT.

3 out of 4

THE MOMENT is now playing in theatres

ETERNITY (2025) – Review

So what new genre are the fine folks at A24 going to tackle now? This current “indie darling” studio has made its mark with searing dramas and harrowing horror (I can’t even think about BRING HER BACK). What’s next? How about the “rom com”? Sure, this year’s MATERIALISTS would qualify, though it’s a pretty sharp comedic commentary on the current dating scene. Maybe they’ll look into one of those “sub-genres” such as the “fantasy/rom com”. Yes, indeed, their foray drops in theaters this holiday weekend. The fantasy part is the setting for most of the story: the afterlife. But there are no halos, or wings, or harps (maybe on the soundtrack). The plot concerns souls that are in a kind of limbo as they ponder some big decisions. See, it’s not just a question of “where” you want to spend the afterlife (more about that in a bit), bur rather “who” you want to be by your side for all of ETERNITY.


The story really starts on good ole’ planet Earth, today. The long-time elderly married couple, the Cutlers, are on their way to a “gender reveal” party, spurring much debate about current quirky traditions. But the celebration takes a tragic turn and suddenly the hubby/grandpa’ is on a very bizarre train. And he’s not in his 80s, instead he looks to be a spry thirty-something. Larry (Miles Teller) arrives at an equally strange station and is met by Anna (Da’Vine Joy Randolph) who explains to him that he has passed away and is in a heavenly ‘holding zone”. She’s his personal “Afterlife Coordinator”, further explaining that he is at his “happiest age” and has a week to decide which “afterlife area” he will exist forever. Lots of reps for the many different “worlds” bombard him with sales pitches (maybe “Sports world” or “Business world”, among hundreds of choices). But hey, Larry wants to be with his wife, so he has the option of staying in this zone and taking a job (the place resembles a massive resort) until his love arrives (dies, really). It doesn’t seem like a bad choice after conversing with a friendly affable bartender named Luke (Callum Turner) who’s pouring drinks until his lady love shows up. It’s not too long until Larry’s beloved checks in at the train station. A disoriented Joan (Elizabeth Olsen) is greeted by her own “AC”, Ryan (John Early). Anna swoops in with Larry, but Ryan has another option. Seems he’s also the AC for Joan’s first husband, who had been killed in a war not long after they wed. And you can guess who that is. Now, Joan has to make the biggest decision of her life (actually afterlife). Should she join Luke in “Mountain world” or be with Larry in “Beach world”? Let the chaotic comedy contest begin…

Although this flick is marketed as an otherworldly love triangle, the “side” with the most screen time is probably Teller as the often befuddled and a bit coarse Larry. Though, he made his mark in action flicks like the TOP GUN sequel and the “under-the-radar” sci-fi/romance THE GORGE. Teller displays a deft comedic touch here as Larry schemes to “wreck the system” in order to win his lady’s heart. Plus, he scores some big laughs as he still thinks like an 80-year-old despite his youthful vigor. With the right script, Teller could carry an all-out farce. At the center of this “tug-of-war” is Olsen as the ever-flustered Joan. She’s more known for her dramatic fare, along with being part of the MCU, so it’s great to see Olsen taking a chance in this genre. Like Larry, she’s in the “old soul/young body” dilemma, though she’s not given enough “shtick” before Joan is being torn by the big choice. The other fella’ turning up the heat is the more stoic Luke, played by Turner as more of a “fish out of water”, being a man from the 1950s dealing with a duo from the next century. Plus, he’s more grounded since he’s been in this “zone” a very long time. Rather than joining in the gags, Turner conveys a smouldering intensity in order to make Larry “step up his game”. Oscar-winner Randolph as Anna has a nice snarky delivery while doing a great slow burn as Larry really gets on her “last nerve” despite her eternal tenure. She’s a nice contrast to Early as the rival AC, who displays a prim but perky aggressiveness which irritates Anna. Also of note is the funny deadpan performance by Ryan Beil as Fenwick, the bored ticket taker at the “museum of memories”.


The assured, steady direction is by David Freyne, who also worked on the script with Patrick Cunnane. He keeps the pace flowing for most of the first half, and giving this fantasy backdrop a grounded look, combining elements of a sales convention (lots of reps recruiting) and a massive vacation hotel (I was reminded of the interior wall of room inside the Luxor in Vegas). Somehow he keeps us focused on the trio, forgoing any flashy effects and camera techniques. And then the big “lull’ occurs at the midway point, just as we should be more invested in the big conflict. It just seems to run out of “juice”. Maybe more bits of satire were needed in the script since most of the “other worlds” are mentioned and tossed aside (I will say that the best joke concerns a world that’s unavailable due to its appeal to women, and I’m not talking about a “Chippendale’s World”). By the final act, we’re just reminded of the much better realized afterlife rom/coms like the 70s HEAVEN CAN WAIT and especially Albert Brooks’ DEFENDING YOUR LIFE. It’s a shame because the three lead actors are really trying to make the premise work, but when the jokes wear thin and the producers try to pluck at our heartstrings, this time spent at the multiplex really does feel like an ETERNITY.


2 Out of 4

ETERNITY opens in theatres on Wednesday, November 26, 2025

THE SMASHING MACHINE – Review

Now, just two weeks ago, I reviewed the rare movie hybrid, a sports/horror flick called HIM. As it nears the end of its deservedly brief theatrical run, another sports film hits the multiplex. However, its subgenre is one that is most familiar in cinema history, the sports “biopic”. To be even more specific, this is a dramatic profile of a fighter. If you’re thinking about pugilists like LaMotta (of RAGING BULL) fame or Muhammad Ali, then you’re in a different arena. No, this week’s new release is set in the world of MMA (Mixed Martial Arts), a backdrop in action flicks going way back to 1980’s THE OCTAGAN. In more recent years, diverse actors, from Kevin James to Halle Berry, have flexed their fists and feet on the canvas. Now an action flick superstar, who first gained fame in another fighting ring, gets a chance to show off his dramatic skills (along with his impressive pecs) as the athlete dubbed (in an acclaimed HBO documentary) THE SMASHING MACHINE.

Yes, that’s the intimidating nickname of Mark Kerr (Dwayne Johnson). We’re first introduced to him as he’s being interviewed at a UFC match in the late 1990s. The undefeated champ is asked how he’d feel if he lost a match. It’s something he’s never thought about, so he’s truly at a loss for words. Later, after another victory, we observe him grabbing an extra vial or two of painkillers. Luckily, he can’t hide it from his devoted but often annoyed (Mark doesn’t “open up”) girlfriend, Dawn (Emily Blunt). In search of bigger cash prizes, Kerr joins, along with old wrestling pal and trainer Mark Coleman (Ryan Bader), the rival UFC league in Japan, PRIDE. Ultimately, Kerr’s substance abuse takes its toll as he loses focus in the ring, with one big bout ending as “No Contest”. Finally he enters a rehab facility as Coleman’s star begins to rise as a solo MMA star. When Kerr completes the “program,” his sobriety puts an even greater strain on his relationship with Dawn. But he’s still a big draw at PRIDE, so Kerr is back at the training gym, guided by his mentor Bas Rutten (himself). But will the strain of addiction, paired with a chaotic home life derail his chances at a big championship event that could have him facing his old buddy Coleman?


The film truly rests on those (really, really big and broad) shoulders of Johnson, who utilizes his considerable charm and charisma, which propelled him on the big screen, making us believe him as this worldwide champion. And then he surprises (he’s “gone A24”) us by plunging into the darkness of this “sporting life”, showing us how the affable Kerr “cons’ the medical system with his infectious grin and “gentle giant” persona. Kudos to Johnson for getting out his “comfort zone” of the overblown action “tentpoles” (in some of them he looked a tad “unconnected”, to the point of “phoning it in”) to explore the psyche of the laser-focused competitor. Perhaps he’s at his best early on as Kerr describes the “rush” of delivering a knockout blow. Matching him in intensity is the versatile Ms. Blunt, who makes Dawn more than Kerr’s “eye candy” housemate, and keeps us “off kilter” as she lashes out over being on the “sidelines” and viewed by her beau’s team as a flitting “distraction” from battle. By the big “blow-up” in the third act, Blunt makes her a volatile “wild card’ in a verbal (and nearly physical) throw down reminicent of Albee’s George and Martha. In his first acting gig, Bader is very compelling as “friend to the end” Coleman, making us wish for a greater “dive” into his story, aside from a few brief minutes of him playing with his adorable offspring. Also solid is Rutten as, well, Bas Rutten, a tough but nurturing guru for Kerr, in and out of the ring.

Much like the creative parting of the Coen brothers, this is the first film from writer/director Benny Safdie after a long cinematic collaboration with brother Josh. And as I noted, he turns Johnson and Blunt into a potent screen team (we know her dramatic chops, but he’s doing a big career shift). It’s a shame that they’re not in service to a more compelling script. Focusing on three or four years in Kerr’s “sports rise”, we don’t get a chance to see him in his “hungry years” during the “climb”. In other ways, the story needs more ‘space”. We only see him enter and exit the rehab center, with no scenes of his “steps”. And often Kerr is so stoic, it makes us wonder what his motivations are (especially when he’s fixated on a demolition derby match), though it gives us a chance to appreciate the subtle, but superb make-up work of Kazu Hiro, chipping away at “the Rock”. Plus, the film’s pacing somewhat “lurches” from interchangeable matches (it’s often difficult to ID the fighters as they become “pretzels”) to another screaming match at the Kerr casa in Phoenix. The often overbearing (drowning out dialogue) music score (two ill-timed Elvis tunes and a “jackhammer” jazz drum solo during the big matches) doesn’t aid the film. Yes, there are a few interesting sequences, particularly when Kerr sweetly explains his job to a grandma in a doctor’s waiting area, or when he takes his pal to “press the flesh” with his Tokyo fans, but the script feels like it’s “spinning its wheels” until the big “updates” prior to the end titles. Fans of the two principals will be pleased with their taut performances, but many will find that there are more than a few hints of “rust” and strain in THE SMAHING MACHINE.

2 Out of 4

THE SMASHING MACHINES opens in theatres everywhere on Friday, October 3, 2025

NE ZHA II – Review

As we reach the end of the big Summer cinema season of 2025, feature animation fans have had a variety of entries to savor. Though the biggest hits have been the “live action” adaptations of HOW TO TRAIN YOUR DRAGON and LILO & STITCH, mind you, the filmmakers utilized realistic computer techniques to render the latter’s title co-star and the winged beasties of the former, there have been a few fully “created from pencil and computer” flicks. Near the start of the year, we saw a hit family film based on the DOG MAN book series, while in the last few weeks, we’ve been treated to another visit from the SMURFS and those BAD GUYS. Perhaps the greatest work may be an extension of a long-running live-action series with PREDATOR: KILLER OF KILLERS. One segment of it was set in feudal Japan. Now, if that piqued your interest in more furious martial arts action, then that indie powerhouse A24 has just the movie for you. They’re releasing to theatres the dubbed-into-English box-office blockbuster (the biggest one in China ever) sequel NE ZHA II.

And it hits the ground running, and leaping, and punching. From that previous film, we see that the demon-like Ne Zha and angelic Ao Bing are without bodies. Luckily, Master Taiyi Zhenren is overseeing the villagers of Chentang Pass, who are mixing up a gelatinous goo that will form their new physical body “hosts”. Unfortunately, Bing’s forming body is destroyed while defending the town from an attack by three of the Dragon Kings. But his spirit is sent into the body of Zha. His parents, Lady Yin and Li Jing, send him with Taiyi aboard his flying pig on a quest to regain his immortality and split up the personalities. But they’ll have to face a series of trials and tests set up by Wuliang of the heavenly Chan set in order to acquire the needed magic potion for Bing. Ah. but things get complicated as his nefarious father, Ao Guang, actually the Dragon King of the East Sea, is preparing an attack, leading an army of undersea hybrids. Several decptions and double-crosses culminate in a battle for the planet with an advancing heavenly army and a fiery cauldron that creates elixers to confront the dragon forces and the increasingly more powerful Ne Zha.

To say that the film is visually stunning doesn’t really describe the amazing artistry that went into this. It’s told in now-traditional computer animation with incredible attention to detail along with some glorious effects (fire, oceans, etc.), and superb character design, especially the snake-like sea dragons. Unfortunately, that’s most of what stayed with me after the very lengthy 143-minute runtime. The story seems to be zipping in several directions all at once, making it jumbled and confusing. The only “big name” voice actor in this English “dub” is the always compelling Michelle Yeoh as the ethereal beauty Lady Yin. The other vocal talent often sounds as though they’re playing “catch up” with the exaggerated mouth movements. It’s especially the case with the motor-mouthed Taiyi (often a gluttenous bufoon) and the ill-tempered at times Ne Zha, who resembles so many anime tots. What really surprised me was the barrage of bodily fluid and functions gags (literally) that really try to elicit strained laughter or “gross-ou” groans. I did enjoy one comedy sequence in which Yin and Jing try to come up with the “perfect image” of Ne, going from muscle-bound behemoth to cuddily cute ragmuffin. This film is an interesting look at an action-adventure cartoon tale (well, the battle with the marmot tribe is pretty good) that may fascinate animation aficionados, but the average filmgoer may be baffled and a little dumfounded (maybe “brain-numb”) by the “eye candy” on display in NE ZHA II.

1.5 Out of 4

NE ZHA II is now playing in select theatres

BRING HER BACK – Review

Just because the Summer movie season is officially in full swing (Memorial Day was last Monday, already), it doesn’t mean that there isn’t room at the multiplex for a daring original (and often brutal) horror flick amongst the family-friendly fantasies and the action “tentpoles”. Well that was the thought three years ago when a spooky Australian chunk of “nightmare fuel’ opened (some might say that it crawled out of the “bad place”) and alerted genre fans to a new pair of suspense cinema siblings, Danny and Michael Philippou. It’s title was really a “command”, TALK TO ME. And now the brothers have another adamant ‘request” for their sophomore effort, which veers a bit away from the supernatural to explore the real horror and caranage (lots of it) that human beings inflict when they pull out “all the stops” to BRING HER BACK.

The directing duo throws moviegoers “off balance” with the film’s monochrome opening images, as though we’ve popped in an old VHS tape that we shouldn’t attempt to view (shades of THE RING). After a few unnerving minutes, we’re back in the present day as a visually impaired teenager, Piper (Sora Wong) tries to interact with her school’s “popular girls”. Thankfully, her seventeen-year-old big brother Andy (Billy Barratt) shows up to take her home before the moment gets too awkward (the girls silently mock Piper). He scolds her for not using her cane, but Piper pleads that it’s too embarrassing to use. Home should be a safe refuge for both, but tragedy awaits when they find their father lifeless on the bathroom floor, having crashed through the shower door. After Dad is taken away by the authorities, the siblings have a meeting with the brusque Wendy (Sally Anne-Upton), the child services supervisor. Andy wants to be Piper’s legal guardian, but he’s months from eighteen and will have to provide a stable home. Luckily, Wendy’s got the perfect foster parent lined up. She takes them to the off-the-beaten-path house of former social worker Laura (Sally Hawkins), who has recently lost her own sightless daughter. It’s a big sprawling place that they’ll share with another orphan, pre-teen Oliver (Jonah Wren Phillips), a mute who silently wanders the yard. Laura seems to be kind and caring, but Andy soon becomes aware of her intrusive and nearly smothering behavior, leading to some tense confrontations. Yet Piper adores her, which puts Andy between a rock and a hard place. Can he get someone, perhaps Wendy, to believe his concerns over Laura’s “quirks” before his sister becomes too attached? Andy wants to leave with Piper, but what bizarre scheme is Laura planning for them?

For this follow-up flick, the Philippou brothers have scored a gifted veteran actress to anchor this twisted tale. And Laura might be the most twisted role of all, perhaps due to the powerful and completely unpredictable performance from Hawkins (hey, she starred in the Oscar-winning horror/fantasy THE SHAPE OF WATER). This “queen mother” appears to be a perfect fit for the just-orphaned duo, though some of her choices are far from the “foster parent manual”, especially has she shares a bottle of booze with her new charges. But that’s the least of her questionable “parenting” decisions. Hawkins commands our attention through the most vile and cruel acts, and keeps us “strapped in’ for the wild “ride”, if only to learn of her final destination. Barrat is the closest character to the horror “hero” as his Andy deals with his regrets over past violent acts, while trying to “sound the alarm” when nothing seems to make sense, especially in protecting his adored sister. But Wong as Piper is no mere “damsel-in-distress” as she tosses off some epic “burns” ( her “favorite activity” answer is hilarious), and pushes back on anyone, even Andy, who tries to pity her. But that fierce independent spirit may place her in greater danger. She erects a tough outer shell to contain her sadness. Also impressive is Phillips as the hovering, staring wanderer. His quiet, sullen stare reminded me of Karloff in THE OLD DARK HOUSE as we wonder if he’s a real threat or yet another potential victim of this haunted, decaying house.

The Philippous built upon the promise of their first flick, giving us a modern fear fable full of shocks and surprises, courtesy of the original story from Danny and co-writer Bill Hinzman. Some might post “trigger warnings” or other cautionary advice. I’ll just say that the scares and sights of TALK TO ME seem very tame to many of the brutal sequences that have been created to make the most jaded “gorehounds” squirm in their seats. This is some rough s…stuff concocted by an expert makeup team, enhanced by some inspired editing choices from Geoff Lamb, punctuated by effective music bursts from Cornel Wilczek. By the harrowing final act showdown, most of our questions are answered in an exhausting crescendo of chaotic carnage. It’s one well-made “thrill ride” that many may never wish to endure again, unless they bring a friend to another screening to revel in their reactions. Aside from the searing set pieces, the Philippou brothers give the entire story a feeling of menace and a sense of moral and physical “rot” while illustrating the devastating after-effects of grief (maybe the story’s true “monster”). For those cinephiles with a strong heart (and stomach), BRING HER BACK is a true nightmare-inducing “chiller thriller”. Consider yourself warned (or perhaps encouraged)…


3 Out of 4


BRING HER BACK is now playing in select theatres

FRIENDSHIP – Review

This week’s new indie comedy (a “micro-budgeted” flick squeezed in between two holiday-weekend studio “tentpoles”) explores the difficulty for adults to make new, meaningful connections in the hectic modern world. Now it’s not really a “rom-com” (though some may interpret it as such) about the meet-cute and “wooing” of two “camera-ready” twenty-somethings. This focuses on a duo in their early 40’s, though one of them was a recent People Magazine “Sexiest Man Alive”. It’s concerned with the convoluted, rocky road to acquiring a new pal, echoing a similar film from one of the actors, 2009’s I LOVE YOU MAN. He’s considered a “mainstream” star (he’s in the Marvel Cinematic Universe, y’know) while the other is the offbeat star/creator of several streaming cult comedies. So, one of the film’s big questions, and a “curiosity factor” is, will they somehow form a convincing and compelling FRIENDSHIP?

We first meet one of the two men at an unlikely setting for the opening scene of a comic romp. Craig Waterman (Tim Robinson) is at a meeting of a cancer support group with his wife Tami (Kate Mara) where she talks of her concerns about her disease returning. Craig tries to lighten the mood with some ill-timed humor that falls flat with the attendees. Back at their suburban home in Clovis, Colorado, Tami dives back into her flower decorating job, taking phone orders for arrangements, helped by their high-school-aged son Steven (Jack Dylan Grazer). Apart from prepping the house for a possible sale (they want a bigger place), Craig has little to do away from his “team-builder” nine-to-five job at an online PR firm. He can’t even get his wife or kid to join him at the multiplex for “the new Marvel”. Tami suggests that he should try to make some new friends. The next day, a mistaken package delivery sends Craig on his new quest. This parcel on his doorstep is intended for the newly occupied house down the street. He walks it over and meets his new neighbor, recently relocated TV “weatherman” Austin Carmichael (Paul Rudd). This “television star” (on the morning news) is gregarious, welcoming, and so very “cool”, offering Craig a chance to “hang” that evening. Later, they share a beer and take a walk in the nearby woods, where Austin guides Craig on an “adventure” as they “trespass” into the town’s long dormant maze of underground sewage tunnels (they even emerge in the city hall). The next night, Austin invites Craig to see him play guitar with his “band” at a local pub, prompting Craig to order a drum set so they can “jam”. He’s smitten, but a big “speed bump” (unlike the ones Craig got the city to install on their busy street) appears when Austin invites him over to have some “brews” with some of his old buddies. Craig is eager to be part of the “gang,” but his attempts to bond (they have a familiar “shorthand”) horrifyingly “backfire,” and Austin “ghosts” him. Can Craig somehow “thaw” this brutal “freexe-out” and somehow repair this exciting burgeoing “bromance”, or is this the beginning of a devastating downward spiral?

Though he’s not the big “box office draw”, this film is a showcase for the ‘particular” (and some might say “peculiar”) skill of Robinson as the socially awkward (that’s an understatement) Craig. Those unfamilar with his unique streaming shows “Detroiters” and “I Think You Should Leave with Tim Robinson” may be lulled by the opening scenes into thinking that Craig is dim but sweet, with a “wonky internal filter” until his encounter with his “ideal hang”. “All bets are off” as he’s submerges into Austin’s whirlpool of “coolness”. Many viewers may be repulsed by his awkwardness, while others are somehow “drawn in” (guilty), like watching a collision (with only property damage) in slow motion. Robinson truly “goes for it” with no retraint or concerns about “likability”. Rather than softening his “edges” in his feature film lead acting role, Robinson sharpens them to a prickly, painful point. Perhaps he seems most extreme while alongside the relaxed acting style of the ever-charming Rudd, a tsunami of “chill” whose vibe is a near-fatal siren call to Craig. He’s a more mellow spin on his iconic ANCHORMAN role of Brian Fantana, while mixing in elements of the earlier-mentioned I LOVE YOU MAN in which he was looking for a BFF, though with little of Craig’s awkward obsessions. But Austin’s not perfect as we see his own trepidations at fitting in at his new station (I’m guessing he’s been bouncing from “market to market” for more than a decade), which may account for his need to extend a well-manicured hand to his nerdy neighbor. As for the “support squad,” Mara is very good as the vulnerable Tami, who has the patience of a saint in dealing with her hubby, making us wonder if Craig may have turned a “corner” in his personality during her health struggles. And Mara is a superb straight “woman” as she reacts to Craig’s bizarre rants and retorts. Ditto for Grazer as the teen who, like most, his age is uncomfortable spending time with dad, while becoming overprotective of his mum, and a tad too physically affectionate (no worries, it doesn’t go “there”).

This marks the feature film debut for writer/ director Andrew DeYoung, who has contributed to many of the most innovative cable and streaming comedy shows (along with some shorts) of the last couple of decades. Here he expertly taps into the strengths of Rudd and Robinson (I thought this may have been his own script) and elicits excellent work from them along with a wonderful group of supporting players. The plot flows smoothly, even as it builds and connects several inspired set pieces and “set-ups” which had me chuckling to myself while walking out the theatre doors (no spoilers, but here’s a hint at one: “frog”). This springs from the sub-genre of awkward comedy, perhaps best exemplified by TV’s “The Office”, though a better phrase may be the classification of “cringe comedy”. Viewers may literally squirm in their seats (think of a horror flick with odd behavior replacing gore), as we brace for the social “trainwreck” happening before us. DeYoung doesn’t offer quick cuts or flashy editing to ease our discomfort, but rather hits us “head on” with the often baffling “man-child” Craig. And remember the old adage of the “Seinfeld” TV show: “No hugs. No lessons learned”, as the story careens to a very “off the rails” finale. Yet DeYoung does bring some “heart” as he establishes the town’s setting as cold and dreary until the “awesome Austin” brings the sun and warmth to the place, and especially to Craig’s life. Yes, the Robinson persona is certainly an “acquired taste”, but for those who relish his unique brand of weird and wacky “quirk”, FRIENDSHIP is a very entertaining and engaging voyage through the rough waters of male bonding.

3.5 Out of 4

FRIENDSHIP is now playing in select theatres

I SAW THE TV GLOW – Review

Okay, the big Summer blockbusters are coming in “hot”, but there’s no reason for the offbeat “indies” to sit on the sidelines till the Fall. At least that must be the intent of the fine folks at A24, who are still basking in the box office of their biggest hit, CIVIL WAR. Ah, but this one is a true “test” for the studio’s fervent fans. It’s a truly “out there” ode to several small screen touchstones for ” 90’s kids”. In fact, you could probably have an interesting game (just not in the theatre, please) of “checking off” winks and nods to some “cult faves”. Oh, but there’s much more happening in this exploration of suburban teen life as its young hero seems to be energized by the tube’s warmth as he swears that I SAW THE TV GLOW.


That “hero” is the main focus, twelve-year-old Owen (Ian Foreman), who lives a fairly sheltered life in a small town in New York state. Due to his social awkwardness, stoked by over-protective parents. he’s glued to the big tube TV on weekends in 1996. While “binging” the shows on the “Young Adult” cable network. Owen absorbs several promo commercials for the tween supernatural serial “The Pink Opaque”. This bit of “forbidden fruit” (it airs past his bedtime, at 10:30 p, before the channel reverts to old black and white shows), He’s obsessed with it. Then on election day, he finally gets his wish. Tagging along with his mother Brenda (Danielle Deadwyler), Owen meets a slightly older young woman (he’s 7th grade, she’s 9th) who is a “super fan” of “TPO”, the dark moody Maddy (Brigette Lundy-Paine). Though at first dismissive (“You’re a baby!”) she takes pity on him and allows him to sneak over to her home for a Saturday night “sleepover” (Owen tells Mom that he’s at the home of an old male buddy). Owen is hooked, and when the story jumps two years, high school freshman Owen (Justice White) is “devouring” VHS tapes of TPO that Maddy leaves for him in the school’s photography dark room. After the death of his mother Brenda, Owen’s only relief from grief seems to be the passion for the program’s “mythology” he shares with Maddy. But when the series ends its run, she begins to drift into that fantasy world. Could Owen eventually join her in an escape from the cruelties of the upcoming 21st century?

Taking leave of his role in two big film franchises (“Jurassic World” and “Dungeons & Dragons”), Smith delivers a compelling performance, effectively going from 15 to 23 to a frail 43 (health issues take a real toll) as the shy, unsteady Owen. Smith conserves his energy in order to show that the real joy in Owen’s life comes from his escape into the world of TPO. But there’s still that child-like clumsiness and an aching vulnerability when he is humbled by the true monsters lurking around his life. In a way, Smith shows us that Owen is a true hero just by surviving and making it through every day. Plus he builds on the great work in the first act, by his young version played with a sweet sadness by Foreman, who yearns for any connection outside his stifling home life. His lifeline comes via an unlikely “big sister” Maddy, who is given a real rough edge by the talented Lundy-Paine. Though she is kind to Owen, there’s an underlying anger oozing from Maddy’s dark eyes. Lundy-Paine, through her often rigid body language, conveys the character’s disgust with her settings ignited by her mania for the show she wants to enter. Deadwyler, so wonderful in TILL, is another loving matriarch here, though her screentime is far too brief. It’s an extended cameo, though much longer than the scenes with actors from the original shows that inspired the story (Nice to see you, A.B.).


Writer/director Jane Schoenbrun has crafted a sometimes engaging, but often baffling exploration of teenage loneliness and the ways that the media can reach into their psyche. The time period is expertly recreated with exacting homages to several TV shows from 25 years ago. Many viewers will latch on to the details of TPO that are inspired by Nick at Night (here called the YAN) and their half-hour tween supernatural series. An even bigger influence seems to be the video version of “Buffy the Vampire Slayer” even down to the credit font, the name of its creator (Joss Whedon becomes Josh Pemberton), the Tara character (with a baseball bat rather than a stake), and the fandom “catchphrases (“big bad”, “monster of the week”). all given a VHS grain and static. This is somewhat fun, but the story gets bogged down by the oppressive smothering atmosphere of the late 90s “Anytown USA” with empty shopping carts hovering outside to a loud garish kids’ arcade and pizza palace. The story meanders, stopping the drama for a self-indulgent music performance, and baffling bits of weirdness (is this really happiness are we inside somebody’s head). Plus there seems to be no life for Owen and Maddy outside their media mania, no insight about their classes, and just a glimpse of family. The sequences of Owen breaking the fourth wall to narrate and update feel clumsy, as do the extreme time jumps and the abrupt ending, making this feel more like a filmed foray into experimental theatre (especially as extras “froze” in the finale). The “tele-tributes” are fun, and the lead performances are very good, but I SAW THE TV GLOW frustrates more than it enlightens, though I wouldn’t mind seeing a full “ep” of “The Pink Opaque”.


2 Out of 4

I SAW THE TV GLOW opens in select theatres on Friday, May 17, 2024

PROBLEMISTA – Review

In 2024, could there be sure a thing as a “hip film studio” that would attract both filmmakers and adventurous filmgoers despite the subject matter or “creatives” (actors, directors, etc.)? From the intense internet “buzz” the answer is a big yes. A century ago it was those Warner Brothers with their urban crime thrillers (before expanding into swashbucklers and tearjerkers). And there are those studios that specialize in a genre as Blumhouse does with horror and the Marvel Studios with their comics properties. Perhaps the last time a studio inspired nearly blind loyalty may have been in the early 90s with Miramax, which introduced us to, among many, Kevin Smith and Quentin Tarantino before one of the founders started the spark that became “Me Too”. Today it is A24, which grabbed the top six Oscars a year ago. Last week saw the release of LOVE LIES BLEEDING. From that quirky crime noir/love story we get this weekend’s equally quirky comic nightmare/fantasy, PROBLEMISTA.

This story, as told by narrator Isabella Rossellini, begins in the wild paradise of El Salvador where an artist named Dolores (Catalina Saavedra) builds elaborate art installations in the jungle inspired by her six-year-old son Alejandro. Over a decade and a half later, he (Julio Torres) moves to NYC to pursue his dream of designing and creating toys for the Hasbro Company (a big rival to Barbie’s Mattel). He rents a room in a run-down apartment with some other artists as he collects a mound of rejection letters from the company. Luckily Mother Dolores encourages him over the phone, but he’s got to keep and hold a steady job or he’ll be deported. Alejandro lands a gig at a cryogenics facility, making sure that the icy chambers are never unplugged. Of course, he knocks the cord out for a few seconds, which alerts his boss who promptly fires him. Luckily he then encounters Elizabeth (Tilda Swinton), the angry wife of the affected client, a “fringe” painter named Bobby (RZA) , who hires him as a personal assistant/gallery scout (to set up a venue to sell these odd portraits of eggs). Alejandro endures her manic mood swings and verbal abuse to get her to write and sign a proof of employment to satisfy the local immigration services office. And he needs the money, which is very slow in arriving. He then turns to many desperate “side hustles” (subletting his room, forcing himself to sleep on the couch in the living room/art studio), eventually answering the “siren call” of “Craigslist”, all in order to make the proper contact who will open up the golden door to toy biz superstardom.

As Alejandro, Torres has almost perfected a flat deadpan delivery that helps to amplify the often absurd situations that almost squash his creative spirit. And yet there’s a bit of the con artist inside him as he tries to bluff his way into the “fancy-schmancy” art circles of the Big Apple. We also get a bit of his tender naive spirit, especially in those hasty (running out of minutes) calls to his “Madre”. Torres is often the “straight man” to the film’s real “scene stealer” Swinton as the loopy “force of nature”, the scatter-brained (her hubby dubbed her the “Hydra”) Elizabeth. She’s almost a second mother figure to Alejandro, though she’s almost impossible to read or predict. But Swinton is also “fierce” as Elizabeth protects the legacy of her beloved Bobby while having an obsessive devotion to the prickly software of “File Maker Pro”. This is another inspired eccentric in Swinton’s ever-expanding resume of roles. In the flashbacks, RZA is the coolest of all creators as the “egg-cellent” Bobby. Saavedra is a warm and supportive mama while Larry Owens is the slithering and seductive embodiment of the opportunity beacon of Craigslist. And there’s a terrific cameo by an A24 actress who was superb in last year’s PAST LIVES, the gifted Greta Lee.

I didn’t mention that Torres is also the writer and director (his first feature) of the film. His tenure on Saturday Night Live and other “sketch shows” comes through in several very clever sequences, from the demonstrations of his weird toy prototypes to a sword & sorcery riff when the “hydra” encounters a bank officer slavishly defending an outrageous overdraft policy (look for an update on it at the end of the credits list). Plus Torres has an eye for excellent locations that showcase some striking visuals, particularly as a transport car that hovers over the skyscrapers. And there are some clever slapstick antics as Alejandro evokes the classic silent clowns (he just needed Buster’s flat hat) as he lugs Bobby’s big paintings all over the town and up countless flights of stairs. Alas, the film doesn’t quite equal the “sum of its parts” as the constant “panic vibe” becomes exhausting as the tale suddenly takes a few very dark and dangerous turns (a stint as a “private housecleaner” is much too creepy). Luckily a charming and witty “flash forward’ ends it all on somewhat of a “high note”, but we’re still left with the feeling that the film might have worked better as a series of SNL sketches or even a streaming one-hour comedy showcase. Still, it will be interesting to see where the career of Torres progresses from the uneven PROBLEMISTA.

2.5 Out of 4

PROBLEMISTA is now playing in select theatres

THE IRON CLAW – Review

Ladies and gentlemen, get ready to …watch another sports-themed movie! Sheesh and people whine about a “glut” of superhero flicks! So far this year we’ve got four or five “sports flicks”, the latest being the soccer comedy NEXT GOAL WINS. Now that’s based on a true story, like most of the others. Oh, and two more true sports films finish out the year on Christmas Day. So, what sets this weekend’s release apart from the others? Well, it’s set in the world of professional wrestling in the “go-go” 1980s. Hmm, sounds like lots of campy, flashy fun. And you’d be a bit mistaken. Mind you, there are chuckles but this true tale is really a tragedy, close in spirit to a Greek one or even Shakespeare, but with spandex and mullets. In the center ring…a fable of a wrestling family dynasty whose patriarch gained fame through his signature “move”, THE IRON CLAW.


The film actually starts a couple of decades earlier, in the final moments of a match won by Fritz Von Erich (Holt McCallany), and he does indeed use “the claw”. In the parking lot, he meets up with his grade-school-aged two sons and their mother Doris (Maura Tierney), and introduces them to their newer bigger vehicle for traveling on “the circuit”. She’s annoyed, but little Kevin and Kerry are thrilled. Flash forward about a decade and a half as buff twenty-something Kevin (Zac Efron) goes for a morning jog around the family’s Texas ranch home. He finishes in time for a big breakfast with Mom, Dad, and kid brothers David (Harris Dickinson) and Mike (Stanley Simmons). And what of brother Kerry (Jeremy Allen White)? The prodigal is away training for the upcoming 1980 Olympic games. Fritz is out of “the game” and now works as a manager for Kevin while starting up a new league, World Class Championship Wrestling. Unfortunately, despite his physical prowess, Kevin is awkward in front of the camera in promotional interviews, while David proves to be more of a “showboat”. This prompts Papa to focus on him, much to Kevin’s frustration. He does get a boost from dating a lovely fan named Pam (Lily James), leading to an eventual marriage. And then world politics impacts “the act” when the USA boycotts the Olympics, sending Kerry home. Fritz then creates a three-man tag team with Kevin, Kerry, and David as Mike pursues his music dreams. But fame splits the trio, as the brothers go solo, and tragedy spurs Mike to enter the “family business”. Fate is far from finished with them as the rumored “Von Erich curse” threatens to destroy the tight-knit group.

As the eldest Von Erich son, and the film’s main focus, Efron achieves a real maturity as an actor, blasting beyond his teen heartrob era to convey the complexities of the deceptively simple Kevin. Though he has the shape of a Samson (and many other “sword and sandal” screen stalwarts) Kev seems to be a vulnerable youngster yearning for his papa’s love and respect. His behavioral development seems a bit stunted perhaps causing his inability to sell himself on camera, and later when in his relationship with Pam (like his pop, she’s almost his coach). Efron shows us how life chips away at that awkwardness until he pushes back against his dad in a powerful third-act sequence. As Pam, James completely morphs into the twangy Texas belle who’s awed by the “beefcake” and then smitten by the timid soul beneath. White, the breakout star of TV’s “The Bear”, doesn’t have nearly as much screen time, but his struggles with a cruel impairment give extra strength to the changing family dynamic. Dickinson oozes charisma as David who becomes the face of the family franchise with his boasting bravado and showmanship (he rocks all those sparkly stetsons). As the “baby”, Simmons has a real warmth and sweetness as he tries to break away with his tunes while obviously crushing on his big bro’s gal. This makes his fate even more heartwrenching. The talented Tierney isn’t given enough to do as the sometimes aloof matriarch, though she is an excellent partner to the blustery, manipulative McCallany is the former fighter denied his glory who now believes he can attain it, along with the big payday, through his boys. For much of the story, he’s more of a villain than any of the wrestling adversaries, and McCallny brings all the intimidation and callousness needed for the role.


This sports saga is told bywriter/director Sean Dirkin who crafts a believable bond between the brothers and deftly recreates the era when wrestling was beginning its steady climb into the mainstream. Dirkins gets great work from the ensemble and makes effective use of the Texas locales. However, the matches themselves seem to lack the trashy campy exhilaration of those big events. Much as in the recent PRISCILLA, the spectacle seems “muted” with the action at a distance and in shadows, perhaps to obscure the backgrounds. We hear some of the chatter between the champs and get a look at their camaraderie in the locker room, but some of the absurdities are “watered down”. Outside the arenas, we never really get to know the brothers, aside from Kev, until the “curse” begins picking them off like an early 80s horror flick stalker. I’m wondering if the story should have had more room “to breathe”, perhaps as a TV mini-series (this may be the reason why one brother, Chris, was completely written out). The last act is given a boost by the big confrontation between father and son but is then diluted by a fantasy/dream sequence that feels cloying and mawkish like something from a film from eighty years ago. Still, this is not to take away from the excellent cast, who “flex their pecks” and give heart to the Von Erichs in THE IRON CLAW.

2.5 Out of 4

THE IRON CLAW is now playing in theatres everywhere

PRISCILLA – Review

Woo boy, here’s a new flick that’ll make the multiplex shake, rattle, and roll (well, the screens that aren’t still running the Taylor Swift concert juggernaut). Yes, it’s a brand-spankin’ new biopic centered around the king of rock and roll, the ruler of Graceland, the ….whoa, wait a minute! This is 2023, not 2022, Last Christmas we got a big-budget musical docudrama all about the man who was always “takin’ care of business” from Baz Luhrmann. Yes, and this is quite a different spin. For one thing, it’s from an indie studio with a more modest budget. There is a highly regarded director behind this, but rather than focusing on “E” or “the Colonel” it follows the path of the “Queen of the King”. As the title implies, this is the story of PRISCILLA.

This look at her life with EP begins after he’s gone into the Army and is stationed over in Germany. In the military diner, we first encounter the 14-year-old “Army brat” Priscilla Beaulieu (Cailee Spaeny) as she enjoys a milkshake at the counter, She’s approached by another high-ranking soldier, the entertainment co-ordinator of the base, who invites her to a party being held for their most famous recruit. After much pleading with her parents and a visit from that officer, she’s allowed to attend. There she is naturally dazzled by the charismatic Private Presley (Jacob Elordi). Soon he escorts her away from the other partygoers for a private “chitchat”. He’s smitten as Priscilla seems to be more of a regular “downhome” gal, briefly kissing her before she is driven back home. Soon, they begin a secret courtship, always with escorts, causing her to daydream of a future with him while distracted at school. Priscilla is heartbroken when Elvis finishes his “stint” and flies back home to restart his career in music and the movies. The two continue to communicate via letters and phone calls, as he insists that all the fan magazine romance stories with his co-stars are lies. Ann Elvis does come back to her and asks her parents to sign an agreement making her the ward of his Papa Vernon and promising that she will finish her education in Memphis while living in her own room at his estate Graceland. There it’s all-day parties with EP and his “Memphis mafia” and long lonely days when he’s off at a movie set. The romance has its ups and downs as Elvis molds her (makeup and fashions) into his “ideal woman” before marrying her. Years pass, they have a daughter Lisa Marie, and their mutual dependence on pills and booze begins to take its toll. Priscilla’s fantasy of her perfect life with her dream man starts to crash and crumble.

Anchoring the love story at the film center is the title role performance by a most compelling young actress. Though she’s had several supporting roles in TV and the movies. Ms. Spaeny gives Priscilla a real arc as she begins to mature from a pre-teen to a strong-willed young mother. In the beginning of the relationship, Spaeny conveys the all-consuming awakening of first love, drifting as though on a cloud, apart from the mere mortal teenagers in her school hallway. Soon we see her deal with the pangs of jealousy, working up the courage to confront her famous beau. Spaeny makes it seem as though Priscilla is passive as her look is formed, but her eyes tell us that she knows that something is very “off”. Over time she shows us how Mrs. P strived to break out of her hubby’s long shadow. Elordi plays him with loads of genteel Southern charm (perhaps it was the sound system, but I lost lots of words due to that strong drawl), especially as the chaste, respectful suitor. Later he reveals his manipulative darker side with the dress shop scene invoking Scotty’s “makeover mania” from VERTIGO. Then the fame and the drugs seem to seal him off emotionally, as Elordi makes E more distracted and secretive, exploding in quick scary outbursts followed by pleading apologies. In much smaller roles (mainly in the first act) Dagma Dominczyk and Art Cohen are effective as the wary parents of Ms. P, while Tim Post is a grumpy Vernon, always looking out for his “boy”.

Directing this new look at the music icon through the eyes of his first true love is Sofia Coppola who also wrote the adaptation of Priscilla’s memoir “Elvis and Me” that she penned with Sandra Harmon. And though it may have followed that tome very closely, the pacing is dragged down by the near-endless scenes of Presley playing with his posse while his wife sulks, then dealing with her loneliness as he leaves for a concert or a film, then starting the cycle again (yes, I’m sure that’s much like her life then but it becomes so tiring). The sets evoke the locales and the costumes and hairstyles give the film a real nostalgic authenticity. But after the stylish splash and “eye candy’ of last winter’s spectacle, it all feels somber and “scaled down” with the feel of a TV movie. However, the biggest absence is the King’s music itself. There are a few fleeting chords of classics, but the estate wouldn’t okay their use. Yes, there are a few songs, but on the first “date”, Elvis regales the partygoers with a hit from another 50s icon. That may turn off his ardent fans along with eschewing the sweetness of Baz’s take to this “groomer” of a child ten years his junior (accentuated by the height difference between the two leads). Also, the film ends too abruptly with no postscript to the lead’s life post-Memphis. Ms. Spaeny and Mr. Elordi are very good, but they can’t quite inject a spark into the whirlwind romance of Elvis and PRISCILLA.

2.5 Out of 4

PRISCILLA is now playing in select theatres