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Dive into our expert Oscar predictions and analysis, staying ahead of the curve on the films and performers destined for Hollywood glory. Awards Button Button Final 2025 Oscar Predictions February 28, 2025 By: Hunter Friesen 2025 Oscar Nominations - Winners & Losers January 23, 2025 By: Hunter Friesen Hunter Friesen Oscar Nomination Predictions Last Updated: 01/25/2025 Next Update: 02/28/2025 1 Anora 2 Conclave 3 The Brutalist 4 Emilia Pérez 5 A Complete Unknown 6 Wicked 7 I'm Still Here 8 The Substance 9 Nickel Boys 10 Dune: Part Two Best Picture 1 Sean Baker (Anora) 2 Brady Corbet (The Brutalist) 3 Jacques Audiard (Emilia Pérez) 4 Coralie Fargeat (The Substance) 5 James Mangold (A Complete Unknown) Best Director 1 Anora 2 A Real Pain 3 The Substance 4 The Brutalist 5 September 5 Best Original Screenplay 1 Conclave 2 Nickel Boys 3 A Complete Unknown 4 Emilia Pérez 5 Sing Sing Best Adapted Screenplay 1 Adrien Brody (The Brutalist) 2 Timothée Chalamet (A Complete Unknown) 3 Ralph Fiennes (Conclave) 4 Colman Domingo (Sing Sing) 5 Sebastian Stan (The Apprentice) Best Lead Actor 1 Demi Moore (The Substance) 2 Mikey Madison (Anora) 3 Fernanda Torres (I'm Still Here) 4 Cynthia Erivo (Wicked) 5 Karla Sofía Gascón (Emilia Perez) Best Lead Actress 1 Kieran Culkin (A Real Pain) 2 Yura Borisov (Anora) 3 Edward Norton (A Complete Unknown) 4 Guy Pearce (The Brutalist) 5 Jeremy Strong (The Apprentice) Best Supporting Actor 1 Zoe Saldaña (Emilia Perez) 2 Ariana Grande (Wicked) 3 Isabella Rossellini (Conclave) 4 Felicity Jones (The Brutalist) 5 Monica Barbaro (A Complete Unknown) Best Supporting Actress 1 The Brutalist 2 Nosferatu 3 Maria 4 Dune: Part Two 5 Emilia Pérez Best Cinematography 1 Conclave 2 Anora 3 Emilia Pérez 4 The Brutalist 5 Wicked Best Film Editing 1 The Brutalist 2 Conclave 3 Emilia Pérez 4 The Wild Robot 5 Wicked Best Original Score 1 El Mal (Emilia Pérez) 2 The Journey (The Six Triple Eight) 3 Mi Camino (Emilia Pérez) 4 Never Too Late (Elton John: Never Too Late) 5 Like a Bird (Sing Sing) Best Original Song 1 Dune: Part Two 2 Wicked 3 A Complete Unknown 4 Emilia Pérez 5 The Wild Robot Best Sound 1 Wicked 2 The Brutalist 3 Nosferatu 4 Conclave 5 Dune: Part Two Best Production Design 1 Wicked 2 Conclave 3 Nosferatu 4 A Complete Unknown 5 Gladiator II Best Costume Design 1 The Substance 2 Wicked 3 Nosferatu 4 Emilia Pérez 5 A Different Man Best Makeup & Hairstyling 1 Dune: Part Two 2 Kingdom of the Planet of the Apes 3 Wicked 4 Better Man 5 Alien: Romulus Best Visual Effects 1 The Wild Robot 2 Flow 3 Wallace & Gromit: Vengeance Most Fowl 4 Inside Out 2 5 Memoir of a Snail Best Animated Feature 1 Emilia Pérez (France) 2 I'm Still Here (Brazil) 3 Flow (Latvia) 4 The Seed of the Sacred Fig (Germany) 5 The Girl with the Needle (Denmark) Best International Feature 1 No Other Land 2 Porcelain War 3 Sugarcane 4 Black Box Diaries 5 Soundtrack to a Coup d'Etat Best Documentary Feature

The Cinema Dispatch is your one-stop-shop film review website that also offers lists, awards updates, and essays relating to the world of cinema. Reviews Thunderbolts* April 30, 2025 By: Hunter Friesen The Accountant 2 April 23, 2025 By: Hunter Friesen Havoc April 24, 2025 By: Hunter Friesen April April 25, 2025 By: Hunter Friesen Awards Button Button Final 2025 Oscar Predictions February 28, 2025 By: Hunter Friesen 2025 Oscar Nominations - Winners & Losers January 23, 2025 By: Hunter Friesen 1 Anora 2 Conclave 3 The Brutalist 4 Emilia Pérez 5 A Complete Unknown 6 Wicked 7 I'm Still Here 8 The Substance 9 Nickel Boys 10 Dune: Part Two Oscar Nomination Predictions - Best Picture Hunter Friesen Lists MSPIFF 2025 Recap April 16, 2025 By: Hunter Friesen Cannes 2025 Lineup Predictions April 3, 2025 By: Hunter Friesen Essays Button Button Tyler's Takes: Bassett's Undeserved Oscar Buzz for 'Wakanda Forever' April 22, 2025 By: Tyler Banark Tyler's Takes: Rapunzel is the Best Disney Princess March 20, 2025 By: Tyler Banark

Havoc April 24, 2025 By: Button Hunter Friesen A generic petty drug deal goes wrong in a generic city run by a generically corrupt mayor who was just saved from generic charges brought by the district attorney. The generic Christmas lights glisten in the night as the generically crooked cops chase after them. The apex is reached once the criminals reach the lair of the generic Chinese triad, only to find themselves involved in a shootout that frames them for the murder of everyone inside. The generically gruff police detective with a generically dark past named Walker (Tom Hardy) gets roped into the case, his past being used as blackmail by the mayor to sweep this whole thing under the rug due to his son being one of the criminals. This dime-a-dozen cops-and-robbers story has been a VOD and Redbox staple for decades, but the technological advancements of our time have shifted its importance to streaming. It's the kind where the detectives - one a grizzled veteran, the other a fresh face looking to do things by the book - roll up to the crime scene saying "What'd ya got for me today?" Walker's troubled past is given the generic summation line of "You live in this world, you make choices," right off the bat. His choice caused the fracturing of his relationship with his wife and young daughter. The former repeats the specifics of their breakup as if recapping the previous episode of a long-running television series, and the latter exists as a prop to be reminisced about from a distance as she colors in her book or plays tea with stuffed animals. All these valid complaints make it seem as if Havoc is one of the worst movies of the year, just another streaming exclusive designed to appear momentarily on the most-watched of the weekend list and then fade into the overpopulated land of obscurity. No, Havoc never threatens to plunge to those levels. But with a script that might as well be from the stack of rejected episodes within the CSI writer's room, it's damn near impossible to muster any emotional or intellectual reaction. Welsh filmmaker Gareth Evans directs from his own script. He's the creator behind the formerly cult classic, now insanely popular, Indonesian action films of The Raid: Redemption and its sequel, The Raid 2 . Both spawned a new wave of intricately choreographed, hyper-violent crime films (see Headshot , The Night Comes for Us , and The Shadow Strays ) that placed Indonesia at the forefront of modern action. Plot is merely a formality for these projects, a boilerplate connector for the bone-crunching action setpieces. Viewing Havoc through those lenses, the final product starts to look a little rosier. American action films have never been as brutal as things are here. Sure, the John Wick series may pile bodies for a mile in each direction, but there's a pristine sharpness injected into the choreography and set decorations. No such luxuries exist here, with the nicest location being the initial few minutes within an underground EDM dance club before it gets bathed in bullets and blood. Every character is just as grimy as the spaces they inhabit, with their only penance being the edge of a blade or the last bullet from a seemingly bottomless gun. In one of his few non-Venom lead roles since he took over the character in 2018, Hardy dives headfirst into the sweatiness. He still carries a lot of Eddie Brock-isms with him, likely from the fact that this film was shot in 2021, right between the first and second Venom films. He may not be as physically gifted as Iko Uwais or have a contract that allows him to get as bruised up, but he carries himself like a bulldozer. And, like every American, he always carries a bigger gun than his foe. For Evans, this is still a slight disappointment. Perhaps it's because the American studio system doesn't allow for as much freedom to innovate, or because its comparatively boundless riches make it too tempting to take the easy way out. The opening car chase is infested with snow and debris to hide the extensive visual effects, the camera swirling around at impossible speeds. The theatrical realism Evans has been known for was immediately stripped away, with a few glimpses throughout the rest of the film. Something is still better than nothing, which is what we usually get in this subgenre. More Reviews Thunderbolts* April 30, 2025 By: Hunter Friesen The Accountant 2 April 23, 2025 By: Hunter Friesen Havoc April 24, 2025 By: Hunter Friesen April April 25, 2025 By: Hunter Friesen Hunter Friesen

The Accountant 2 April 23, 2025 By: Button Hunter Friesen As a real-life accountant, there’s a guilty sense of pleasure I get seeing someone with my job title kick ass and take names. It must be what every police officer feels when they watch Die Hard , or a doctor whenever reruns of ER and Grey’s Anatomy appear on television, or archaeologists with the Indiana Jones franchise. Then again, all those films could be considered some of the least realistic depictions of said jobs, becoming a burden on the real professionals who have to endure countless questions about the practicality of what the on-screen protagonists do. Luckily for me, nobody went into the 2016 film The Accountant thinking it was going to be an honest reenactment of the day-to-day lives of your friendly bean counters. Never mind all the guns and talk about drug cartels, I can already tell you that the total absence of Microsoft Excel is an immediate red flag for believability. In a move that made me quite displeased but is admittedly the wiser business decision, The Accountant 2 (titled The Accountant² within the film for no logical reason) features just about the bare minimum of actual financial work. Mentions of 1040 tax returns, fraudulent claims of depreciation, and EBITDA are the only buzzwords handed out here. The moniker of “The Accountant” has as much to do with bookkeeping for our returning protagonist of Christian Wolff (Ben Affleck) as real bats have to do with Batman, or wolverines with The Wolverine. Considering Affleck’s previous stint as The Caped Crusader within Zack Snyder’s DC films, there’s a comfortable familiarity to seeing him again don superhuman abilities within the shell of a mortal man. Previously depicted as a sort of antihero, returning screenwriter Bill Dubuque and director Gavin O’Connor have morphed Christian into a full-blown crime fighter. Mentions of his criminal past are kept to a vague minimum, and the mystery he sets out to solve here is of the murder of Ray King (J.K. Simmons, who, at seventy years old, finally gets the action setpiece that his exceptional physicality deserves), the federal treasury agent who was once on Christian’s tail. Ray’s death unveils a spider’s web of drug cartel dealings, human trafficking, and several illegal activities surrounding our southern national border. The plot is borderline incoherent for much of the runtime. Worse, it’s horribly uninteresting once everything starts clicking into place. The stakes eventually become so high that they become instantaneously weightless, the villains' threats so heinous that there’s no way they would ever be executed in a studio blockbuster. Dubuque doesn’t seem to care all that much about that, instead dedicating more time to Christian’s antics away from the criminal underworld, such as rigging a speed dating system (complete with comedic slideshow transitions!) and reconnecting with his equally violent brother Braxton (Jon Bernthal). Leaning on the chemistry of Affleck and Bernthal is this film’s saving grace on several occasions. Their comedic banter is reliable, and even a few touching moments of reconciliation are put in for good measure. O’Connor struggles to merge the clashing tones, creating a hilarious whiplash effect between a scene where Christian gets a girl's number at a line dancing bar, only for the next scene to mention human trafficking of children and that a person’s attempted murder is why they have superhuman cognitive abilities. There’s also a team of similarly skilled autistic children who provide intelligence to Christian from afar, which makes them fully complicit for each of the dozens of corpses that are stacked up. The ludicrousness of this plot point still has me questioning if I should take offense to it or not. Despite its ho-hum competence, the original The Accountant packed a semi-interesting exploration of a morally grey protagonist who hides behind a black-and-white profession. In the act of making the sequel as fun as possible, those edges have been severely sanded down. Sure, there’s more personality than before, but not a sense of a unique identity. In an effort to please everyone, the creators have blocked all potential for someone to find something special here. More Reviews Thunderbolts* April 30, 2025 By: Hunter Friesen The Accountant 2 April 23, 2025 By: Hunter Friesen Havoc April 24, 2025 By: Hunter Friesen April April 25, 2025 By: Hunter Friesen Hunter Friesen

Thunderbolts* April 30, 2025 By: Button Hunter Friesen At this point in the Marvel Cinematic Universe, I often ask why I even bother. Why put up with the casting announcements, release date changes, rumors, and debates? Why sit through the endless credits for a small tease of what’s to come next, which, at this point, will likely be less than what it advertised? Why drift over to Disney+ to watch the required supplemental material? That’s a task I quickly gave up on after WandaVision vastly overstayed its welcome. I’ll tell you why. Because, like every Minnesota sports fan who's lived through countless seasons of agony and deep soul searching, there comes a time when the clouds lift and you feel as if you’ve been placed upon the highest mountain. The release of Thunderbolts* (no, that asterisk is not a typo) marks that time for the MCU. Of course, as any Minnesotan will tell you, the vast majority of those peaks still came just short of a championship. Thunderbolts* is also not a championship-worthy film for the MCU, more akin to the new era of the Minnesota Timberwolves after the doldrums of the early 2010s (I’m writing this analogy while doped up on the adrenaline of a 3-1 opening playoff series lead over the evil empire that is the Los Angeles Lakers). It’s also a movie that made me wish I was less forgiving of Captain America: Brave New World just a few months ago. I wrote that that movie was “a semi-comforting reminder that it’s okay for a movie to be just fine and forgettable.” Now I’d recalculate that allocation much more in the latter’s camp than the former. After some gloomy studio logos, everyone’s favorite raised-from-the-womb assassin, Yelena Belova (Florence Pugh), speaks that “there’s something wrong with me… an emptiness… a void.” She’s going through the motions, completing missions and erasing targets with nothing more than a blank stare. Thankfully, director Jake Schreier doesn’t share her sentiments when it comes to manning this $200 million behemoth. The helmer of the Netflix series Beef gives the opening proceedings a more flavorful edge, opting for a much-marketed practical skyscraper jump and longer-take in-camera fight choreography. In Yelena’s world, there is no such thing as loyalty, so a chance encounter between her, John Walker (Wyatt Russell), Ghost (Hannah John-Kamen), and Taskmaster (Olga Kurylenko) in the belly of a secret underground bunker housing the secrets of CIA director Valentina Allegra de Fontaine (Julia Louis-Dreyfus) is definitely not a pleasant coincidence. Everyone’s supposed to kill each other, leaving no more loose ends for the impeachment trial that’s digging up all of their involvement in Valentina’s off-the-book endeavors. Since they all realize that they have a common enemy, the loners decide to team up to increase their chance of survival, which, in this case, just means that they’d like to prolong the inevitable delay until their fate catches up with them. But unlike the Avengers and the Guardians of the Galaxy, this ragtag group does not consist of heroes looking to strengthen their commitment to protecting humanity or lovable misfits who just needed a chance to do good. These are all bad people, leaving miles of bodies in their wake. They’re also characters that don’t immediately scream that they’re all that interesting. Walker and Valenita are from The Falcon and the Winter Soldier , a show I never watched. Ghost and Taskmaster respectively appeared as the antagonists in Ant-Man and the Wasp and Black Widow , two films I’ve completely memory-holed. Yelena did make an impression in Black Widow and her successive appearances in the MCU, much of that coming from Pugh’s innate charm and pathos. Much credit goes to the performers, as well as co-writers Eric Pearson and Joanna Calo, for making these less-than-desirable characters into compelling people. The quips have been dialed back, and the ones that do stick around land at a much more consistent rate. David Harbour’s Red Guardian does throw off that balance on a few too many occasions, with the character’s lovability being sabotaged by an overwhelming eagerness. There’s also the presence of Bob (Lewis Pullman), a Valentina-sponsored human experiment who has the power to make those that he touches relive their worst nightmares. With the aid of the A24 veteran duo of cinematographer Andrew Droz Palermo and production designer Grace Yun, there’s a more natural balance to the emotional depth of these characters. That “Absolute Cinema” trailer touting the indie credentials of all the talent involved may have reeked of cinemaphile desperation, but the final product illustrates that the marketers weren’t lying about the goods they’ve assembled here. The theme of the film is recovering from driftlessness through finding a purpose alongside friends and family. For as much as a gun or a fist can accomplish, some nice words and a hug can do a lot more. To be talking about ideas and themes instead of easter eggs and cameos is a breath of fresh air for the MCU, one that I dubiously hope that they’ll maintain as they wade into the titans that are this summer’s Fantastic Four: First Steps and next year’s Avengers: Doomsday . More Reviews Thunderbolts* April 30, 2025 By: Hunter Friesen The Accountant 2 April 23, 2025 By: Hunter Friesen Havoc April 24, 2025 By: Hunter Friesen April April 25, 2025 By: Hunter Friesen Hunter Friesen

April April 25, 2025 By: Button Hunter Friesen April opens in a black void. A faceless and mangled woman wanders around in knee-high water for a few minutes in a removed static shot. What exactly we're looking at and what she's doing is a complete mystery. It then cuts to the ground level of a rainstorm for another few minutes, the droplets and whistling wind emulating what we've come to expect from those white noise machines. But then suddenly we're watching a live birth take place from God's vantage point. This wasn't purely staged for the movie, this is the beginning of life in all of its agony and ecstasy. The film was written and directed by Dea Kulumbegashvili, a Georgian (the country, not the deep-fried American state) filmmaker whose masterful debut film Beginning was unfairly kept in the shadows simply because of the fact that it was released in 2020. The film was placed in the First Features category as part of that year's Cannes Film Festival Official Selection, and gained a huge fan in Luca Guadagnino, who headed the jury at the San Sebastián International Film Festival and bestowed the film with a record number of prizes, taking home Best Film, Best Director, Best Screenplay and Best Actress. Guadagnino serves as a producer for April , which looks and feels like a natural leveling up of Kulumbegashvili's instincts as an artist. Presiding over that opening birth is Nina (Ia Sukhitashvili, reuniting with Kulumbegashvili), an OB-GYN who must put together the messes she inherits despite the limited resources allowed to her in the village. It turns out the pregnancy was never registered, which means neither Nina nor any of her colleagues were given the chance to find out that the lungs of the fetus were underdeveloped. The father makes accusations of malpractice against Nina, the prying eyes threatening to uncover the abortions she secretly performs in the village for girls who need them. From a legal standpoint, abortion is allowed in Georgia up to twelve weeks into the pregnancy. However, the ultra-conservative Orthodox Christian views shared by the large majority of the country's population make that right all but naught. Clinics can (and almost always do) refuse to perform the operation because of their beliefs, and any connection a person may have to it is enough to have them ostracized from the already confined communities. Viewers of Vera Drake back in 2004 may have been able to assuage themselves that the harrowing events took place in the 1950s before The 1967 Act made abortion legally protected in the United Kingdom. No such relief comes from within April, with the hostility towards women being felt in every frame. Each of those frames is expertly crafted by Kulumbegashvili and cinematographer Arseni Khachaturan. They are unbroken and still, lasting for several minutes and often blocking someone or something out of the frame. When Nina performs an abortion in the village for a teenage girl, we watch her from the girl's knees down as she writhes on the kitchen table from the pain. The boxed-in and closed-off nature of all these proceedings keeps both us and Nina isolated as to what is fully happening in this part of the world. Between the unsettling abstract visuals at the beginning of the film and the brutal real-life truths about bodily autonomy, this is one of the most bone-chilling films of the year. Sukhitashvili is an actress tailor-made to appear in films by Béla Tarr and Michael Haneke, her control of bleak stillness being unparalleled. Whether the camera is far away or a few inches from her face, Kulumbegashvili trusts her at every turn. Nina's past is kept in the dark, the few breadcrumbs we get here and there hint at romantic and professional trauma. Even as she tries to do the right thing, society makes her feel as if she's making things worse. Nowadays, almost every movie that brags that it needs to be seen in theaters is filled with extravagant visual effects and booming sound effects. The beauty of the cinema is not just in the sheer size of the speakers and screen, but the opportunity it gives us to break away from our world and be transported to a different one. This is the kind of movie where one of the top Letterboxd reviews states, "I fell asleep and when I woke up it was still the same shot." Absolute patience and concentration are a prerequisite, with any glances at your phone or minor distractions at home stripping away the spellbinding effect Kulumbegashvili has crafted. More Reviews Thunderbolts* April 30, 2025 By: Hunter Friesen The Accountant 2 April 23, 2025 By: Hunter Friesen Havoc April 24, 2025 By: Hunter Friesen April April 25, 2025 By: Hunter Friesen Hunter Friesen

Sinners April 15, 2025 By: Button Hunter Friesen Shot and marketed with IMAX cameras akin to something only Christopher Nolan would do, Ryan Coogler’s Sinners plays big and tall as it spans both centuries and genres to tell a story you’ve never quite seen before. Gangsters, musicians, preachers, conjurers, and vampires collide on one hot summer night, all of them ready to shake away the demons under the power of liquor, the blues, and sweat. Vampires, you say? Yes, those bloodsuckers that have ruined pretty much every protagonist’s day since the birth of cinema are in the Deep South too, and they possess just as much bark as they do bite. Although they live in the shadows very literally, those demons also represent themselves metaphorically through Coogler’s rotational use of the Ultra Panavision 70mm 2.76:1 aspect ratio. Normally reserved for epically scoped projects like The Hateful Eight and Ben-Hur , Coogler and cinematographer Autumn Durald Arkapaw flip the technique on its head, the black bars heavily weighing down on our mortal characters as the grainy photography captures the humid restlessness. Many of them fear that their lives are being drained away by the society that keeps them down, the chains of slavery from just a few generations ago replaced by the invisible shackles of Jim Crow in the 1930s. For Sammi (Miles Caton), the son of your usual movie preacher who warns about the dangers of sex, drugs, and rock & roll, there's a world of opportunity outside of Mississippi. But for the Smokestack twins (Michael B. Jordan as both Smoke and Stack), they know that those promises of a land of milk & honey where all men are created equal is just a bunch of fool’s gold. They’ve seen a thing or two to know a thing or two, which is that Jim Crow is a worldwide recipe, the only variable being the intensity of the flavor. The best strategy in a world set against you is to plant yourself where you know your enemy best. That means they’ve returned to their birthplace of Clarksdale, Mississippi after nearly a decade of ripping off gangsters in Chicago, a city that everybody asks them if it is as good as the legends say it is. The twins leave that question mostly unanswered, as they know the preciousness of hope and that they never were set on honest work to begin with. Fortunately for them, everybody in Clarksdale is a sinner, filling themselves up on liquor and fleshly desires. What’s the point of the future when the outlook is just more of the same shitty present? For as much as the marketing team has cranked up the promise of death and destruction, Coogler spends a large chunk of the first act examining the death and decay of the American dream. “The Klan doesn’t exist no more,” says the heavily assumed racist white owner of the sawmill the twins buy to refurbish into a juke joint. It’s a line that elicited uneasy chuckles from my audience, everyone knowing underneath that’s as much a lie in 2025 as it was in 1932. Between his two Black Panther films and Creed , Coogler has illustrated a near-masterful skill for diffusing incisive social commentary into the muscular frame of a popcorn blockbuster. Jack O'Connell’s vampire Remmick spins a yarn of a vampire world where everyone lives together in harmony, although his appearance signals that the only thing that will change is the ownership of those at the top of the social hierarchy. Without spoiling its specific contents in fear of robbing you of the experience of witnessing it with a clean palette, there’s a certain long take that merges the past, present, and future in an exhilaratingly fresh way that I didn’t think was possible for a $100 million studio film. Even if, for some odd reason, you’re coming into Sinners looking to turn your brain off, Coogler supplies more than a sizable portion of R-rated gnarliness. This is still a horror movie down to the bone, filled with characters who make dumb decisions and moments that will make you jump out of your seat. That long take also shows off the immaculate craft of his production crew: Hannah Beachler’s rich sets, Ruth E. Carter’s snazzy costumes, and Ludwig Göransson’s banjo and electric guitar layered score. Each of them is able to both open and rip out your heart at the drop of a hat, something the cast also replicates. If I had a nickel for every time a 2025 Warner Bros. film had its lead actor play multiple identical-looking characters, I’d have three nickels, which isn't a lot but it's weird it happened thrice. Luckily, this nickel goes to the top dog that is two Michael B. Jordans, and not the multiple clones of Robert Pattinson from Mickey 17 or the double De Niro in The Alto Knights . As twins, Jordan doesn’t play two totally different personas, just a closely overlapping Venn diagram. Hailee Steinfeld, who, believe it or not, hasn’t been in a live-action feature film since 2019, showcases why we shouldn’t have let that fact come to fruition and kept her on the path of being a full-time movie star. In a time when America is having an identity crisis (then again, when aren’t we?), Sinners looks back and ahead with the gumption that only a wild premise such as this could achieve. Coogler has shown you on multiple occasions a new path as part of a well-worn map, so now let him redraw the whole thing in blood and brimstone. More Reviews Thunderbolts* April 30, 2025 By: Hunter Friesen The Accountant 2 April 23, 2025 By: Hunter Friesen Havoc April 24, 2025 By: Hunter Friesen April April 25, 2025 By: Hunter Friesen Hunter Friesen

Discover a new dimension of storytelling as we delve into the world of cinema, sharing our perspectives and sparking conversations about the latest and greatest movies. Reviews Double click the dataset icon to add your own content. 1/1/2035 By: Author Name Double click the dataset icon to add your own content. 1/1/2035 By: Author Name Double click the dataset icon to add your own content. 1/1/2035 By: Author Name Double click the dataset icon to add your own content. 1/1/2035 By: Author Name Reviews by Hunter Friesen Reviews by Tyler Banark

The Legend of Ochi April 21, 2025 By: Button Hunter Friesen The Legend of Ochi screened at the 2025 Minneapolis-St. Paul International Film Festival. A24 will release it in theaters on April 25th. Before the (digital) film reel started spooling to unveil the story of The Legend of Ochi , first-time feature writer/director Isaiah Saxon gave a brief introduction via a video message set in what could only be assumed as one of the Romanian filming locations. Speaking in a comedically hushed tone, the filmmaker stated that he made this film for children and that their intelligence rarely gets the respect it deserves from Hollywood. Maybe it was just because I had seen A Minecraft Movie a week prior and had my brain fried from the TikTok toilet humor, or that the fact that the largely adult-oriented distributor A24 is finally breaking into the realm of children’s entertainment, but Saxon’s words really resonated with me. Here is a film for children that is explicitly meant to be engaged with on both an emotional and intellectual level, and not just be a vessel for memes and merchandise. Of course, I say all this and can immediately see that A24 has littered their online shop with Ochi swag and ironically posted about it everywhere on social media. I guess we can’t always get everything that we want… Unfortunately, it’s way more interesting to think and discuss what The Legend of Ochi represents than it is to talk about what happens between minute one and minute ninety-six. For as much as Saxon finds himself clearly inspired by the darker children’s films of yesteryear like The NeverEnding Story , Labyrinth , and E.T. the Extra-Terrestrial , there’s never a moment where the weight of comparison doesn’t fully crush this lush tale. Take for instance the premise of the young girl Yuri (Helena Zengel) growing up in a remote village in the Carpathian mountains. She has a strained relationship with her father Maxim (Willem Dafoe) and has been told her whole life that the local wildlife that goes by the name of the Ochi only live to feed on the flesh of the living. All day and night Maxim marches up the mountains rabble-rousing and training the local youth to hunt down these creatures. Being that she has a general distrust towards her dad, Yuri doesn’t buy into the jingoistic fervor. And it also only takes one non-gun-related meeting with these creatures to convince her that they aren’t as dangerous as she’s been told. One of the babies got caught in a trap and has been separated from its family, a feeling that Yuri figuratively feels every day. That connection spurs them on a quest of reunification and self-discovery. In this momentary void between the television hiatus of The Mandalorian and its 2026 film continuation, the titular baby Ochi has kicked Baby Yoda / Grogu off its perch at the top of the animatronic cuteness pedestal. Fully operated by hand, this monkey-ish puppet features solid black eyes, sharp teeth and claws, and a lovely bright orange coat of fur. When seen from a distance in the dead of night, one could almost forgive Maxim for duping himself into thinking these creatures are evil. But just as it does for any living creature, the sun illuminates our best features. There’s a loveliness to seeing the Ochi move with a little bit of jerkiness, as sanding off the artificiality with visual effects would have made it seem even more fake. Saxon surrounds his humans and puppets in a world of matte paintings and sets possibly borrowed from Midsommar . He’s already been forced to stave off unfounded claims of AI usage, and I fear he’ll be forced to continue that defense as more eyes are placed upon the film. I’ll admit, the imagery within the film does have a striking resemblance to those demo reels that float around social media preaching that technology has unlocked a new age of filmmaking. Along with the fact that it was filmed in 2021 before any of this AI nonsense was a serious threat, Saxon’s argument stems from the love and sweat put into his craft, which is always visible on the screen. But that love Saxon has for his work is never felt by us, with everything feeling more like an aesthetic than a fully realized world. The emotional coldness doesn’t help to bridge that gap either, David Longstreth’s score doing all of the communicating. Because of this, I fear that Saxon’s intended adolescent audience is unlikely to discover and commit to the task that this film lays before them. It’s foolish and unfair for one film to be beset with the expectation that it’ll reinvigorate a largely stagnant subgenre, although the words from the creatives and marketers certainly have set themselves up for that. Saxon has certainly earned another go-around, so perhaps that will contain the spark that sets all of this ablaze. More Reviews The Accountant 2 April 23, 2025 By: Hunter Friesen Havoc April 24, 2025 By: Hunter Friesen April April 25, 2025 By: Hunter Friesen Sinners April 15, 2025 By: Hunter Friesen Hunter Friesen

The Wedding Banquet April 18, 2025 By: Button Hunter Friesen The Wedding Banquet screened at the 2025 Minneapolis-St. Paul International Film Festival. Bleecker Street will release it in theaters on April 18th. Remaking Ang Lee’s 1993 film The Wedding Banquet in 2025 doesn’t make much sense. For starters, gay marriage has been legalized and is more widely accepted than it was then, and the idea of needing to marry is no longer as prescient. However, director Andrew Ahn, co-writing with the original film’s writer, James Schamus, doesn’t let those obstacles get in the way of updating a story that is much more universal than it is specific. Shifting the story from Manhattan to modern-day Seattle, Ahn also doubles the trouble by expanding the central conceit of a gay man going through a sham marriage to ward off his suspecting parents by adding a lesbian couple into the mix. Angela (Kelly Marie Tran) and Lee (Lily Gladstone) have been unsuccessfully trying to have a family through IVF treatment. It’s taken a toll on both the emotional and financial stability of their relationship. Living in their garage is the gay couple of Chris (Bowen Yang) and Min (Han Gi-Chan), the former sitting indecisively at a crossroads in his life, and the latter scrambling to find a way to stay in America before his visa expires and he’ll have to move back home to Korea to work in the family conglomerate business. The simple solution would be for Min and Chris to get married, but Chris can’t pull the trigger and Min’s family is still in the dark about his homosexuality and wouldn’t take too kindly to it. So Min proposes to Angela instead, offering to pay for her IVF treatment out of his trust fund in exchange for faking a heteronormative wedding so that he can obtain a green card. Even more so than it did back then, this plan makes no sense. Min is obviously loaded with cash and has been best friends with Angela and Lee for years, so why has he never offered to help out before? How far do Min and Angela expect to take this charade? Min’s grandmother (Youn Yuh-jung) is very adamant about him getting married, so I’d assume grandchildren are also part of her plan. A green card gotten through marriage is conditional for two years, meaning Min and Angela would need to legally stick together for at least that long. There are about five more holes I could poke, but you get the idea. For as much as these gaps sink the boat of logic, they also highlight key societal struggles. The challenge of starting a family is no longer about the fear of public perception, but its financial viability. Gay marriage and homosexual relationships may be fine in this generation and in parts of the world like Seattle, but members of the older generation like Min’s grandmother aren’t as open to the idea. Even Angela’s mother (Joan Chen), while a proud lesbian ally now, was very much against the idea of her daughter not following the traditional path of marrying a man. Ahn and Schamus are always precise with the emotional stakes of the story. There are plenty of moments to laugh, cry, or a bit of both. This is also a movie that serves its cast extremely well, all of them performers who have largely never been given the spotlight that they deserve. Any combination of characters, either one-on-one, in pairs, or in a group setting, makes for a sensational scene. The clear standout is Youn Yuh-jung, whose character adds yet another layer when she reveals that her marriage was arranged and that she never got the option to fall in love. If not for her recent Oscar win for Minari , I’d mount a serious campaign for her this year. Then again, the Academy has clearly become more open to awarding performers with multiple Oscars, so anything is possible. There’s a threading of the needle with all of this, melding the charmingly broad implausibility of a studio rom-com with the more serious-minded grounded indies. Which flavor you’re more inclined to like, Ahn has a slice of it waiting for you. More Reviews The Accountant 2 April 23, 2025 By: Hunter Friesen Havoc April 24, 2025 By: Hunter Friesen Sinners April 15, 2025 By: Hunter Friesen The Legend of Ochi April 21, 2025 By: Hunter Friesen Hunter Friesen

The Ugly Stepsister April 17, 2025 By: Button Tyler Banark Charles Perrault’s Cinderella is a rags-to-riches tale as old as time. It has been seen in various forms from Disney’s 1950 animated film and 2015 live-action remake to the Hilary Duff-starred A Cinderella Story from 2004. Now, in her audacious directorial debut, Norwegian filmmaker Emilie Blichfeldt delivers The Ugly Stepsister , a grotesque and poignant reimagining of the tale that was a hit at the Sundance Film Festival earlier this year. Departing from the sanitized versions of the classic story, Blichfeldt plunges into the macabre, crafting a body horror narrative that critiques societal beauty standards with unflinching intensity. Set in a fantastical kingdom where beauty equates to power, the film follows Elvira (Lea Myren), a young woman overshadowed by her radiant stepsister, Agnes (Thea Sofie Loch Næss). Under the manipulative guidance of her ambitious stepmother, Rebekka (Ane Dahl Torp), Elvira embarks on a harrowing journey to transform herself and win the affection of Prince Julian (Isac Calmroth). This quest leads her through a series of increasingly disturbing procedures, including archaic cosmetic surgeries and perilous dietary regimens, all depicted with visceral detail. Blichfeldt draws inspiration from the Brothers Grimm's more sinister version of the tale, infusing the narrative with elements of satire and horror. The film's unflinching portrayal of Elvira's physical and psychological torment serves as a stark commentary on the destructive pursuit of beauty and societal validation. Lea Myren delivers a compelling performance as Elvira, capturing the character's vulnerability and descent into an obsession with remarkable nuance. Her portrayal elicits empathy and discomfort, anchoring the film's emotional core. Her performance is reminiscent of Mia Goth in Pearl , but in this case, The Ugly Stepsister worked for me much better than that. Elvira isn’t annoying like Pearl, and although viewers may question her intentions, she still comes from a place of understanding as she’s an underdog we can feel for. Thea Sofie Loch Næss provides a striking contrast as Agnes, embodying the effortless allure that fuels Elvira's envy. She fits the Cinderella archetype, and we see her go through the ringer of a narrative audiences aren’t accustomed to seeing. In the case of The Ugly Stepsister , Agnes comes from a wealthy family, but gradually loses her power in life as Elvira and her mother Rebekka gain theirs. Visually, The Ugly Stepsister is a masterclass in juxtaposition. Cinematographer Marcel Zyskind crafts a world oscillating between opulent beauty and grotesque decay. Lavish ballrooms and intricate costumes, designed by Manon Rasmussen, contrast sharply with the graphic depictions of bodily transformation, creating a dissonance that underscores the film's themes. The meticulous attention to detail in the production design immerses viewers in an enchanting and unsettling setting. The score composed by John Erik Kaada is another highlight that showcases the contrast in the film’s physical and mental tone. Oftentimes, Kaada crafts a techno melody but then flips a switch and goes for an ethereal sound to make the viewer’s skin crawl. While the film's bold approach is commendable, its relentless focus on body horror may overwhelm some audiences. The graphic content is not for the faint of heart, as it ranges from popping a zit to gruesome medical procedures. However, these elements are integral to Blichfeldt's critique of the extremes individuals may endure to conform to oppressive beauty ideals. She does aim for the “in your face” approach that The Substance took last year, but it doesn’t work as well here. The screenplay, also penned by Blichfeldt, occasionally falters in approach, as it aims to be a horror comedy but leans more on the horror side instead. At its core, The Ugly Stepsister is a searing indictment of the societal pressures that dictate standards of beauty and worth. Blichfeldt's personal experiences with body image inform the film's authenticity, lending depth to its critique. The narrative challenges viewers to confront their perceptions of beauty and the often-destructive lengths pursued to attain it. The film is a daring and thought-provoking addition to the horror genre. It blends fairytale elements with visceral imagery to deliver a powerful commentary on societal beauty standards. Emilie Blichfeldt's debut establishes her as a filmmaker unafraid to tackle challenging subjects with boldness and artistry. While the film's intensity may not appeal to all, its message resonates, leaving a lasting impression on those willing to confront its unsettling truths…and perhaps, see a suitable fit for the slipper. More Reviews The Accountant 2 April 23, 2025 By: Hunter Friesen Sinners April 15, 2025 By: Hunter Friesen The Legend of Ochi April 21, 2025 By: Hunter Friesen The Wedding Banquet April 18, 2025 By: Hunter Friesen Hunter Friesen

Final 2025 Oscar Predictions February 28, 2025 By: Hunter Friesen One of the most chaotic award seasons in recent memory is finally coming to a close, and it looks like it’ll be a photo finish. For almost the entire nine-month duration since Cannes, we’ve been going back and forth on who’s got what it takes to be the top dog. Enough drama has been created, ended, and recreated to match a whole season of one of those “The Real Housewives” shows. Just as I mentioned in my nominations predictions update, the key to the Oscars is focusing your attention on what matters. So you’re going to see little analysis in categories with clear frontrunners and more in tighter races. Notable precursors that will be used to determine likely winners are the Golden Globes (GG), Critics Choice Awards (CCA), Screen Actors Guild (SAG), BAFTAs, and any category-specific guild award. I’d also like to point out that I will be predicting the three short categories, but won’t be producing analysis since I have none to offer. I’ll just be going with the GoldDerby consensus. Best Picture Anora Conclave The Brutalist Emilia Pérez A Complete Unknown Wicked I'm Still Here The Substance Nickel Boys Dune: Part Two After successive years of watching Everything Everywhere All at Once and Oppenheimer run the table, it's been fun to witness what this year has brought. Anora secured its frontrunner status after it had a whirlwind weekend where it picked up the CCA, PGA, and DGA awards. But then the winds shifted towards Conclave , which then took home the BAFTA and SAG Ensemble. Conclave 's predicted wins for Adapted Screenplay and Film Editing were enough for Argo , and Anora 's predicted wins for Director and Original Screenplay were enough for Parasite . If Anora were to lose, the combination of precursor wins it has would place it alongside Brokeback Mountain and Saving Private Ryan in the pantheon of Oscar upsets. That's something I can't predict will happen again. Best Director Sean Baker (Anora) Brady Corbet (The Brutalist) Jacques Audiard (Emilia Pérez) Coralie Fargeat (The Substance) James Mangold (A Complete Unknown) It's been a slugfest between Brady Corbet and Sean Baker; the former winning the Golden Globe and BAFTA, and the latter netting the DGA. The DGA award is the most predictive of the bunch, and people like Tom Hooper ( The King's Speech ) and Alejandro G. Iñárritu ( The Revenant ) have gone on to win the Oscar with only that award in their arsenal. It's still hard to pick Baker because Corbet's work is so much more aligned with what this branch rewards. I said the same thing when it came to Sam Mendes and Bong Joon-ho a few years back, and I was wrong to make the more conventional choice. The tide is with Anora more than it is with The Brutalist , so I'll go with that and bite my nails until the very end. Best Original Screenplay Anora A Real Pain The Substance The Brutalist September 5 For a brief moment, it seemed that The Substance was gaining some momentum after its win at the CCA. But that stopped once A Real Pain won the BAFTA. All this division means that I'll default to the WGA winner and Best Picture frontrunner, Anora . Of course, the fact that it's been unable to handily win this category across so many shows means that there's some weakness, so maybe we're in for a surprise. Best Adapted Screenplay Conclave Nickel Boys A Complete Unknown Emilia Pérez Sing Sing Just as I said during the nomination predictions, the choosing of four other nominees to lose to Conclave is merely a formality. Peter Straughan's screenplay has won the Globe, CCA, and BAFTA. It was not eligible for the WGA award, which means that the winner there, Nickel Boys , gets to be the unofficial runner-up. Best Lead Actor Adrien Brody (The Brutalist) Timothée Chalamet (A Complete Unknown) Ralph Fiennes (Conclave) Colman Domingo (Sing Sing) Sebastian Stan (The Apprentice) With A Complete Unknown getting four total nominations at SAG compared to the single mention for The Brutalist , it was no surprise that Timothée Chalamet claimed victory there. If he had won somewhere else between the Globes, CCA, or BAFTA, then I would be picking him here. But Brody took all those other awards, and The Brutalist received a lot more love here. Still, it would not be a surprise if Chalamet won considering this category continually falls head over heels with biopic performances and equally admired A Complete Unknown . Best Lead Actress Demi Moore (The Substance) Mikey Madison (Anora) Fernanda Torres (I'm Still Here) Cynthia Erivo (Wicked) Karla Sofía Gascón (Emilia Pérez) Demi Moore has won the Golden Globe - Comedy, CCA, and SAG awards; Mikey Madison has the BAFTA, and Fernanda Torres has the Golden Globe - Drama. Madison does have the power of the Best Picture frontrunner on her side, which would be more decisive if The Substance and I'm Still Here weren't also beloved and nominated for Best Picture as well. I think that Torres will siphon enough votes from Madison, and Moore will claim her final victory. Best Supporting Actor Kieran Culkin (A Real Pain) Yura Borisov (Anora) Edward Norton (A Complete Unknown) Guy Pearce (The Brutalist) Jeremy Strong (The Apprentice) We all know it's going to be Kieran Culkin winning this award. Let's move on and spend our energy elsewhere. Best Supporting Actress Zoe Saldaña (Emilia Pérez) Ariana Grande (Wicked) Isabella Rossellini (Conclave) Felicity Jones (The Brutalist) Monica Barbaro (A Complete Unknown) The one thing that the lovers and haters of Emilia Pérez can agree on is that Zoe Saldaña delivers a great performance, a sentiment that's carried her to wins at all the major precursors (GG, CCA, BAFTA, SAG). She's also delivered some great speeches as of late, which will make sure she doesn't become one of the victims of the controversies surrounding the film. Best Cinematography The Brutalist Nosferatu Maria Dune: Part Two Emilia Pérez The American Society of Cinematographers gave their top prize to Edward Lachman for Maria . It's not a surprising victory considering the legendary status that Lachman carries within that profession. But it's also a little surprising since Maria has greatly underperformed on the awards front, as evidenced by its sole nomination being in this category. Nosferatu won the CCA and The Brutalist got the BAFTA. Given that the latter award has some Oscar overlap, I'll go with that. Lol Crawley's work in The Brutalist is also more in line with the grand scale of previous winners like Dune and Oppenheimer . Best Film Editing Conclave Anora Emilia Pérez The Brutalist Wicked The not Oscar-nominated Challengers won the CCA, and the ACE awards are after the Oscars, which means we're flying pretty blind into this category. Conclave won the BAFTA and is the likely ACE - Drama frontrunner, which is just enough to convince me it'll win here. I'd also watch out for Anora given that it'll likely win ACE - Comedy and has the Best Picture frontrunner boost. This is going to be one of the most decisive categories of the night. Best Original Score The Brutalist Conclave Emilia Pérez The Wild Robot Wicked The Golden Globes and CCA threw a wrench into this category by awarding their prize to Challengers , which was not nominated at the Oscars. That means the BAFTA winner, Daniel Blumberg ( The Brutalist ), is the precursor favorite heading into the night. Volker Bertelmann ( Conclave ) took down equally stiff competition when he beat Justin Hurwitz's score for Babylon a few years back. But the fact that he lost at the BAFTAs despite Conclave winning the top prize shows that Blumberg's work is more beloved this year. Best Original Song El Mal (Emilia Pérez) The Journey (The Six Triple Eight) Mi Camino (Emilia Pérez) Never Too Late (Elton John: Never Too Late) Like a Bird (Sing Sing) With sixteen total nominations across thirty-five years, Diane Warren has to win at least once, right? Surely she'll win once within the next few years, but how am I supposed to predict that when history tells me it's very unlikely? "El Mal" from Emilia Pérez has already won the Golden Globe and the CCA, giving it every reason to be favored here. Best Sound Dune: Part Two Wicked A Complete Unknown Emilia Pérez The Wild Robot It's been a pretty split race all season. A Complete Unknown won the main prize at the Cinema Audio Society, Dune: Part Two won the Sound Editing prize at MPSE, as did Wicked for Music Editing. I'm thinking the two music-heavy films will cancel each other out, allowing for Dune: Part Two to repeat its victory from the first film. It also won this award over Wicked at the BAFTAs, with A Complete Unknown not even being nominated. Best Production Design Wicked Nosferatu Conclave The Brutalist Dune: Part Two Wicked won the CCA, BAFTA, and ADG - Sci-Fi/Fantasy Film awards, giving it a clear edge. Conclave did win the Contemporary category at the Art Directors Guild, as well as Nosferatu in the Period category, giving them both of them at least a chance. Best Costume Design Wicked Conclave Nosferatu A Complete Unknown Gladiator II The exact same circumstances from Best Production Design are repeated here, and so is my pick for who will win the Oscar. Best Makeup & Hairstyling The Substance Wicked Nosferatu Emilia Pérez A Different Man Horror makeup has historically been undervalued through this category's history, so the much-predicted victory for The Substance will be more than deserved. It's won the CCA, BAFTA, and multiple prizes at the Make-Up and Hair Stylists Guild, and also aided in the transformation for Demi Moore's possible Oscar-winning performance. Best Visual Effects Dune: Part Two Kingdom of the Planet of the Apes Wicked Better Man Alien: Romulus This category has been sewn up ever since Dune: Part Two delayed its release from November 2023 to February 2024. Further proof has been provided from its victories at CCA and BAFTA, as well as its mighty haul at the Visual Effects Society awards. However, the top prize at the latter ceremony went to Kingdom of the Planet of the Apes . But ape fans can't get their hopes up, as this scenario has played out for each of three previous Apes films, each one of them losing at the Oscar. Best Animated Feature The Wild Robot Flow Wallace & Gromit: Vengeance Most Fowl Inside Out 2 Memoir of a Snail The circumstances of this year's race in this category are nearly a repeat from last year's battle between Spider-Man: Across the Spider-Verse and The Boy and the Heron , with The Wild Robot and Flow taking the spots of the former and the latter, respectively. But I think the opposite result is going to come true this year. Flow doesn't have the BAFTA win that The Boy and the Heron got, and one could make the argument that the love for the legendary Hayao Miyazaki was worth far more than any precursor. The Wild Robot is also helped by the fact that it isn't a sequel like Spider-Verse was, which this category tends to dislike unless it's from the Toy Story franchise. Best International Feature Emilia Pérez (France) I'm Still Here (Brazil) Flow (Latvia) The Seed of the Sacred Fig (Germany) The Girl with the Needle (Denmark) Until this year, no film has ever been nominated for both Best International Feature and Best Picture and lost the former award, meaning that either Emilia Pérez or I'm Still Here will become a victim of circumstance and carry that unwanted distinction. Emilia Pérez won this award at both the Golden Globes and BAFTAs, and has a whopping ten more total nominations than I'm Still Here . But that doesn't mean this is an open-and-shut case, as the recent controversies surrounding Emilia Pérez star Karla Sofía Gascón, as well as the general vitriol towards the film itself, is a major thorn in its side. There's also the fact that I'm Still Here getting that Best Picture nomination illustrates that there's a lot of support for it, which seems to only keep growing. Best Documentary Feature No Other Land Porcelain War Sugarcane Black Box Diaries Soundtrack to a Coup d'Etat As usual in this category, the precursor leader, Super/Man: The Christopher Reeve Story , hasn't even been nominated here. This gives the edge to the DGA-winner, Porcelain War . However, the critical swell of support for No Other Land cannot be denied, especially when coupled with the extremely compelling fact that it's still fighting to secure US distribution. I'm going to lean with where everyone's heart seems to be, although it would not surprise me if that doesn't turn out to be true. Best Animated Short Film: Wander to Wonder Best Documentary Short Film : The Only Girl in the Orchestra Best Live-Action Short Film : A Lien More Reviews Sinners April 15, 2025 By: Hunter Friesen The Legend of Ochi April 21, 2025 By: Hunter Friesen The Wedding Banquet April 18, 2025 By: Hunter Friesen The Ugly Stepsister April 17, 2025 By: Tyler Banark