The Phoenician Scheme May 28, 2025 By: Button Hunter Friesen For his review of the 2005 Steven Spielberg film, Munich , film critic for The New York Times , A.O. Scott, began with the title: “An Action Film About the Need to Talk.” It’s a succinct way to describe the main theme of Spielberg’s underseen docudrama masterpiece that recounts Israeli operatives hunting down the people responsible for the Black September capture and massacre of their athletes at the 1972 Olympics. Were the retaliation measures justifiable, or were they just blind vengeance? And even if they could be justified, wouldn’t the cycle of violence just be perpetuated by the other side until they each go blind? Although it substitutes slapstick and levity for the blood and bullets of Spielberg’s film, Wes Anderson’s newest work, The Phoenician Scheme , goes about those ideas in a pretty identical manner. And although the lack of dialogue between the warring factions was part of the problem in Munich , too much talking on the part of this film’s main character, Zsa-zsa Korda (Benicio Del Toro), sets everything in motion here. Middle school history students would describe him as a “robber baron” or a “tycoon” on account of his shrewd business practices. Famines? He’s started them. Slavery? He’s indulged in it. Hand grenades? He has enough lying around that he offers them to all guests like cookies. Fiddling with deals and going back on his word is largely why he’s amassed his fortune, and probably why so many attempts have been made on his life. https://www.youtube.com/watch?v=GEuMnPl2WI4 That’s exactly where we meet Korda in this story: surviving his sixth recorded airplane crash. At some point, the house is going to win, which is why he’s made the precautionary move to have his estranged novitiate daughter, Liesl (Mia Threapleton), returned home so that she can assume possession of his estate should the unthinkable happen. But before he can defy his enemies by retiring, he must tighten the final screws on a massive infrastructure project in the fictional Middle Eastern territory of Phoenicia that will bring him and several future generations enough passive income to stay atop the throne. On this journey, we stop to meet each of the members who comprise this wall-to-wall A-list cast. Many of them have previously featured in Anderson’s films, such as Tom Hanks and Bryan Cranston returning from their live-action debut in Asteroid City to play American train tycoon brothers who prefer to settle disputes over a game of H-O-R-S-E. I will jump the gun here and say that the scene where they challenge Zsa-zsa and the prince of Phoenicia (Riz Ahmed) to said game might be the funniest moment Anderson has ever created. There are also multi-film veterans like Mathieu Amalric (coincidentally, also in Munich) , Jeffrey Wright, Scarlett Johansson, Bill Murray, Willem Dafoe, and Rupert Friend. “The story of a family and a family business” is the plot summary provided. It’s apt, as a full explanation of all the machinations that go on here would require many more paragraphs. I was never quite sure who everyone was, why they were important, and what needed to happen between them for the conflict to be resolved. But I also don’t think Anderson wants us to pay that much attention to the nitty-gritty details. I suppose you could if you really wanted to, as there’s plenty of information doled out through the trademarked sumptuous production. What’s really important here is not the 5 Ws, but the 1 H. Spurred on by a combination of Liesl’s objections to his malpractices and the gradual melting of his cold, Grinch-like heart, Zsa-zsa begins to see the error of his ways. “Let’s communicate,” is a punchline he says in each encounter, all caused by everyone’s instinctual failure to bring their best intentions to the table. In a time when the terms “trade war” and “tariffs” have become shorthand for an outdated and backward way of conducting business, here’s a story that preaches the value of being simultaneously kind and successful. Del Toro is quite excellent, making Zsa-zsa a thornily interesting character. There are a lot of laughs to be had from his line deliveries, and his command of the scenery Anderson places him in. Except for cinematographer Robert D. Yeoman, who’s been discreetly replaced by the equally fantastic Bruno Delbonnel, all the usual craftspeople align the credits. Anderson continues to prove that he has total dominion over a world that only he can create and perfect. So many have tried and failed to replicate, but there can only be one. Anderson is a lot like the Marvel Cinematic Universe. At this point, you’re either in or you’re out. I’m so deep in the bag that it might as well be the one from Mary Poppins . I’ve seen a lot of films, and the majority of them all follow the same pattern. Anderson’s films certainly aren’t an exception, but there is always something magical about their sameness. And like Nicole Kidman always says: We come to this place [the cinema] for magic . Focus Features will release The Phoenician Scheme in limited theaters on May 30th, followed by a nationwide expansion on June 6th. More Reviews Primetime September 22, 2026 By: Hunter Friesen Unabomber September 24, 2026 By: Hunter Friesen Look Back September 16, 2026 By: Hunter Friesen Elsinore September 14, 2026 By: Hunter Friesen Hunter Friesen

Hostiles February 21, 2018 By: Button Hunter Friesen Christian Bale is one of the best actors working today. He can do so much with so little, raising the bar each time he takes on a new character. But Bale is only a mortal man. He alone cannot carry a film, which is exactly the task that is set upon him in Hostiles . Bale does an excellent job, but he doesn’t get much support, and his performance becomes almost wasted in a film that is middle-of-the-road at best. The story takes place in 1892, a time when Native and American tensions were at their highest. Revered army captain Joseph Blocker (Christian Bale) is close to retiring with a kill count well over one hundred. For his last mission, to his dismay, he must escort a dying native chief (Wes Studi) and his family so he may be buried in his homeland. Blocker and his section must saddle up to make the treacherous journey, which takes them from New Mexico to Montana. They quickly meet up with Rosalie (Rosamund Pike), a country woman who recently lost her family to a native raid, leaving her in an elongated state of mental shock. Along with battling elements and the discontent within themselves, the troops must also fend off warring tribes that are out for blood. https://www.youtube.com/watch?v=1M5cj4UmscE The film is a conventional western through and through, boasting gorgeous shots of the landscape and plenty of shootouts. It tries to call back to the times of John Wayne. While this film tries to harken back to the golden era of Westerns, it fails to incorporate one vital component: simplicity. Old Westerns were straightforward and to the point; this one isn’t. The film is slow and meandering, often taking breaks from the main plot in an effort to build up the epic scale. So much has happened by the end that it becomes impossible to connect at all to the characters or story. Also to the detriment of connectivity is the high body count. Tons of characters are either introduced or half-developed, and then killed off to try to force you into caring about them. What director Scott Cooper doesn’t understand is that if you don’t care about a character when they are living, then you are not going to care about them when they’re dead. Now with a couple of successful films under his belt, Cooper tries here to illustrate the brutality of Western life. He emphasizes the blood, sweat, and tears of each character and how they deal with their seemingly miserable lives. Unfortunately, Cooper overplays his hand as he constantly watches 134 minutes of emotional suffering, which quickly begins to bore. Characters incomprehensibly mutter nonstop about how sad they are and how they wish they could just end it all. The cinematography is beautifully done by Masanobu Takayanagi, marking his third collaboration with Cooper. Takayanagi keeps the camera motionless most of the time and allows the characters to move within the frame. This technique gives the Western world a sense of stillness, almost like the people are the only thing inhabiting the cruel setting. But people are not the only physical inhabitants. Takayanagi has an eye for the surrounding scenery that makes the characters almost feel insignificant compared to the vastness of the land and wildlife. The film touts some great actors in both leading and supporting roles. Some meet and exceed the lofty demands, while others struggle to make a difference. Christian Bale is definitely the best part of the film as he carries most of the emotional weight. He has so much in his acting arsenal and is able to switch from gruff killer to stoic hero in the blink of an eye. Rosamund Pike does well with her conflicted character, who is forced into a new, harder life after the butchering of her family. Finally, Wes Studi and Jesse Plemons do respectable jobs with the limited time they get. For the most part, the actors who struggle to make an impact are the ones whose characters are underdeveloped. Ben Foster cameos as a soldier accused of murder, which is part of a side plot that serves no real purpose. Foster doesn’t do anything new as he plays the character who gives the same old “we’re not so different” speech a couple of times. Timothée Chalamet surprisingly turns up here, trying to add to his already fabulous 2017. His silly French accent and his four total lines of dialogue make him laughably bad. Fortunately for him, most people won’t bring this film up when talking to him. While it is ambitious, Hostiles can be slow and rambling as it hopelessly tries to keep your full engagement. No fingers or blame can be pointed, only wishes that there could have been something more. It’s not good, it’s not bad, it’s just alright. Entertainment Studios Motion Pictures will release Hostiles in select theaters on December 22nd, followed by a nationwide expansion on January 26th. More Reviews Primetime September 22, 2026 By: Hunter Friesen Unabomber September 24, 2026 By: Hunter Friesen Look Back September 16, 2026 By: Hunter Friesen Elsinore September 14, 2026 By: Hunter Friesen Hunter Friesen

Wonka December 13, 2023 By: Button Hunter Friesen Have you ever wanted to know the origin story of Willy Wonka? No? Well, too bad! The good chaps on the Warner Bros. executive board needed a four-quadrant product to help boost the Q4 2023 earnings report, and good ol’ Willy was the character on the board that the dart landed on. It was either him or Will Ferrell’s Buddy the Elf. But don’t worry too much, as you might actually enjoy this piece of commerce, as writer/director Paul King of the Paddington films brings enough whimsical charm to make it all go down as smoothly as the titular character’s chocolate. Debts, ledgers, profits, margins, fine print, cartels, bribes, and monopolies. These are the words you would be familiar with finding in a film about The Great Recession or about drug trafficking, not a film about Willy Wonka. But the candy on the island where Willy (Timothée Chalamet) sets his sights on making his fortune might as well be drugs, as it rules over the economy and everyday life of its citizens. The decadent Galeries Gourmet is where you go to sell your chocolate. But you need a shop to legally sell it, and the three main chocolatiers/tycoons - Slugworth, Prodnose, and Fickelgruber - have an iron-clad grip on the trade through police influence and price fixing. “The greedy beat the needy” is the motto of the town’s poor, whom Willy joins when he’s swindled into indentured servitude by the mean laundry woman Mrs. Scrubbit (Olivia Colman). https://www.youtube.com/watch?v=otNh9bTjXWg This all sounds a bit depressing, doesn’t it? There’s a clear Dickensian feel to everything, with King and co-writer Simon Farnaby never shying away from the darkness that often appears in Roald Dahl’s stories. Willy is an orphan just like Noodle (Calah Lane), a young girl Mrs. Scrubbit took in as a baby and forced to be her eternal personal servant. The one thing Willy has that sets him apart is his optimism, which he often lets out through some jovial songs. The marketing department at WB may not have wanted you to know that this was a musical, but King and Chalamet are more than ready to knock your socks off through the power of showmanship. The songs are not all hits as Chalamet acts like a kid on a high school stage, speaking out to the crowd with glee. His version of Willy veers a little closer to Johnny Depp than Gene Wilder, packing enough mystery into his abilities that you sometimes wonder if he’s even human. Paddington alums Sally Hawkins and Hugh Grant followed King over here, with the former playing Wonka’s deceased mother and the latter an Oompa Loompa. It’s hard to look away from Grant as the four-foot-tall green-haired creature on account of his inherent charm and the awkwardness of his face being superimposed on a CG creation. It’s only about two steps better than what Corey Stoll got as MODOK in Ant-Man and the Wasp: Quantumania back in February. There’s also a bevy of likable supporting players like Keegan-Michael Key, Jim Carter, and Rowan Atkinson as Father Julius, the leader of a group of corrupt monks who guard the stolen chocolate for the cartel. Paul King’s Wonka is possibly the best version of such a depressingly deep-rooted concept. It’s harmless, regularly fun, and offers a little something for both kids and adults. It doesn’t have the rewatchability of the 1971 original, but it’s got a lot more than Tim Burton’s crazed (and sometimes underappreciated) 2005 remake. Warner Bros. Pictures will release Wonka in theaters nationwide on December 15th. More Reviews Primetime September 22, 2026 By: Hunter Friesen Unabomber September 24, 2026 By: Hunter Friesen Look Back September 16, 2026 By: Hunter Friesen Elsinore September 14, 2026 By: Hunter Friesen Hunter Friesen

Lisa Frankenstein February 7, 2024 By: Button Hunter Friesen Lisa Swallows (Kathryn Newton) isn’t your typical 1980s teenager. Instead of being fascinated with “football or basketball bodies,” she’s fallen head over heels for a guy whose body is six feet under. The subject of her admiration was a Victorian-era musician who, unfortunately, met his demise when lightning struck a tree branch above him. Lisa tends to his tomb nearly every day, sharing her deepest secrets and longings to no longer be a part of the living world. It wouldn't be far-fetched to envision her as a distant cousin to Wednesday Addams. But what lightning takes away, it also gives back. A major storm occurs one night right above the old cemetery, with a peculiar amount of ball lightning sending bolts down into the grave of Lisa’s undead lover. Just as the title implies, she is now Dr. Frankenstein, and he is her monster. And together, they will rebuild his body by whatever means necessary. https://www.youtube.com/watch?v=POOeA3zCuUY Writer Diablo Cody has long had a fascination with the lives of teenagers ( Juno, Jennifer’s Body ), and the lives of people who can’t let go of their teenage selves ( Young Adult ). She likes to exploit her genres as metaphors for adolescent angst and female sexuality. But unlike Juno - which netted her an Oscar - and Jennifer’s Body - later reappraised as a cult classic after initially being met with harsh criticism - Lisa Frankenstein whiffs considerably on whatever message it was going for, so much so that it feels impossible for anyone to discover some secret genius that was too ahead of its time. When I said “by whatever means necessary” earlier, I meant killing people for their body parts, which can then be sewn on the creature and fused by Lisa’s defective tanning bed. Lisa half-heartedly justifies the victims as people who deserved their punishment, mostly by wronging her in some sort of teenage way. But it’s all laid out too logically, as if killing people for their hands and ears was a no-brainer next step for a moody teenager. There’s no sense of ethical edginess, no sense of danger in Lisa getting caught, and no sense of thrills in seeing cosmic revenge. That lack of energy falls just as much on the feet of first-time director Zelda Williams. There is a prevalent feeling of passion for this project during its creation, but none of it permeates off the screen. Giddy uses of Tim Burton-esque animation and classic horror movie references land flat, with any needle drop of an 1980s crowd-pleaser feeling too obvious. Newton is a capable leading actress for this sort of thing, with her performance here being one of the few bright spots. Sprouse doesn’t get much of anything to do besides let out some grunts and some comedic mugging. He’s not an altogether talented physical comedian, but it’s hard to blame him when there just isn’t anything interesting beyond the basic premise of his character. By trying to be a lot of things, Lisa Frankenstein can never manage to be good at anything. There are moments of competence splashed throughout, but the overall sum of these tiny moments is far less than what the promising trailer sold. Focus Features will release Lisa Frankenstein in theaters nationwide on February 09th. More Reviews Primetime September 22, 2026 By: Hunter Friesen Unabomber September 24, 2026 By: Hunter Friesen Look Back September 16, 2026 By: Hunter Friesen Elsinore September 14, 2026 By: Hunter Friesen Hunter Friesen

Ranking the Films of Michael Haneke March 23, 2024 By: Hunter Friesen In contemporary cinema, few directors wield the same level of unyielding intellect and unapologetic exploration of the human condition as Michael Haneke. With a career spanning over four decades, Haneke has carved out a niche for himself as a master of discomfort, challenging audiences to confront the unsettling truths that lurk beneath the surface of seemingly ordinary lives. His stories are parables; critiquing topics such as violence, sex, authority, guilt, and death. Since making his debut in 1989, the Austrian filmmaker has become one of the most decorated filmmakers in modern cinema. He’s premiered nearly all his feature films at the Cannes Film Festival; raking in two Palme d’Ors, the Grand Prix, and the award for Best Director. His penultimate film, Amour , went on to win the Academy Award for Best Foreign Language Feature, with Haneke himself being nominated for his direction and screenplay. While this is a ranking of his filmography, it would be dishonest to consider it a review of his “worst to best” films, as he has no bad films (well, except for one). For transparency, I have not seen his Glaciation trilogy consisting of The Seventh Continent (1989), Benny's Video (1992), and 71 Fragments of a Chronology of Chance (1994). Once I see those, then his filmography will be completed. But let’s not focus on what’s absent, instead let’s dive into this ranking of cinema’s most enigmatic auteur. 8. Time of the Wolf (2003) I can't believe someone this talented wrote and directed this piece of trash. Despite being near the height of his powers, Haneke veered his sights on the lowest hanging fruit there is for a lesson on human cruelty: the apocalypse. In all of his other films, Haneke spins his message into an intricate web that obscures truth, leaving the viewer to look at themselves to fill in the rest. Here, he angrily draws the picture for you while repeatedly shouting "Do you get it now!?" 7. Happy End (2017) Happy End is an amalgamation of Haneke's classic tropes: unrelenting bleakness, slow-paced long takes, unresolved narratives, and, of course, suicide. But the one usually dependable ingredient Haneke forgot to add was a reason why we should take an interest in these people. Apart from Jean-Louis Trintignant's character, every personal narrative fails to rise above the surface. They're all (partially) connected, but need help to play off each other well, and by themselves. 6. The Piano Teacher (2001) While many may argue that its material is purely for shock value, Haneke lets his sadism tell a compelling of desire and repression. Complicated characters such as these, both wonderfully played by Isabelle Huppert and Benoît Magimel, don’t have to be fully explained. Haneke refuses to sensationalize anything, challenging viewers to confront their notions of intimacy and power dynamics. 5. Amour (2012) As a great companion piece to The Father , Haneke’s second Palme d’Or-winning film is poignant in its exploration of love at the end of life’s road. Autonomy and dignity are stripped away from Anne as her body deteriorates, with the only role her husband able to play is a witness. But even if the ending isn’t pretty, Haneke and the actors perpetually allude to a life worth living with the person you love. 4. Caché (2005) A pleasant (or should I say unpleasant because this movie is - as always with Haneke - very depressing) rebound for Haneke following the abomination that is Time of the Wolf , Caché (Hidden) is a thriller stripped of the usual cinematic tricks. It becomes the ultimate "What would you do?" scenario. Would you go down the rabbit hole, or leave it alone and hope nothing else happens? Haneke assures us that no choice will leave us with a happy ending. 3. The White Ribbon (2009) Leave it to Haneke to create a mystery film that gives absolutely no answers to any of your burning questions. It's deeply troubling to only be on the reactionary side of events, without explaining why any of this is happening. He observes the simple roots of authoritarianism, which eventually led to the rise of the Nazi party. As people's sense of safety begins to crumble, so does their guard against tyranny. Opportunities are seized by those in power, and we are worse off because of it. And in a cruelly hilarious way, it's probably his most uplifting message to date. 2. Funny Games (1997) “Anyone who leaves the cinema doesn't need the film, and anybody who stays does." To give a movie a glowing rating would indicate that I really liked it. In the case of Funny Games , the opposite is true. I hated this movie. I hated every interaction. I hated every character. I hated every line of dialogue. I hated every little thing that happened. And in all that hatred, I surrendered myself to Haneke's sadistic lesson. He's the anti-Quentin Tarantino, delivering violence in the most unsatisfying and grisly way possible. It's unbearable to watch as Haneke twists the knife even more with his cinematic tricks. 1. Code Unknown (2000) An interconnected mystery film that offers no answers (are you sensing a pattern?), Code Unknown frustratingly fits into Michael Haneke's twisted filmography. Told in a series of vignettes that both are and aren't connected (but all of which are told in unbroken long takes), Haneke presents a puzzle with only half the pieces available. While the chronology is tossed off without remorse, Haneke's contempt for humanity is pinpointed. Racism, domestic abuse, and abandonment are touched on through third parties, with Haneke casting doubt upon his bystanders. More Reviews Primetime September 22, 2026 By: Hunter Friesen Unabomber September 24, 2026 By: Hunter Friesen Look Back September 16, 2026 By: Hunter Friesen Elsinore September 14, 2026 By: Hunter Friesen Hunter Friesen

The Invisible Man March 5, 2020 By: Button Hunter Friesen The Invisible Man opens in a secluded waterfront mansion. Inside it, Cecilia Kass is executing her plan to run away from her abusive boyfriend, Adrian. She successfully escapes, but not without Adrian running after her in a violent fury. A few weeks after her departure, Cecilia is notified that Adrian has committed suicide. Her relief at his demise doesn’t last long as a series of coincidences begins to take shape. Cecilia starts to hear noises and has the constant feeling she is being watched. After some time, she discovers that Adrian isn’t dead, but invisible. He’s gaslighting her into submission, playing vicious tricks around the house, and tormenting others connected to her. With no one believing her situation, Cecilia must work to defend herself and the people she loves from unseen harm. https://www.youtube.com/watch?v=dSBsNeYqh-k As the writer/director behind several horror franchises such as Saw and Insidious , Leigh Whannell once again proves his chops here. He commands the material with his expert use of the camera and lighting. A multitude of slow pans and still shots imbue each scene with a lingering sense of terror that never ceases to grab hold of you. The dark, shadowy lighting puts a magnifying glass on Cecilia’s isolation as she battles her internal and external demons. And because the assailant cannot be seen, Whannell also relies on some expert sound design that is similar to the style used in A Quiet Place . Silence is the most abundant and effective sound device as it fills the gaps between the creaks and rumbles. It becomes clear throughout that hearing nothing is much scarier than hearing something. But what Whannell can be respected for most is his refusal to stoop to jump scares, especially considering the story allows for that. Sure, a jump scare here or there would have jolted some energy into the often overly slow pacing, but Whannell’s insistence on taking the high road makes for a more complete horror experience. Of course, the concept of someone turning themself invisible is a little silly. The movie doesn’t totally defend against that criticism either, only mustering a quick line about how Adrian was “a leader in the field of optics”. However, once you get past that barrier of disbelief, you’ll open yourself up to what this movie has to offer under the hood. The script for The Invisible Man , penned by Whannell himself, has more on its mind than just scares. The movie does a great job of conveying the torment and aftermath that an abusive relationship can have on someone. Cecilia, as a character, is given a full arc as we follow her journey of slow recovery from beginning to end. This added layer brings a deeper meaning that is both used to educate about a serious topic and to make the horror material pack a bigger punch. Portraying our heroine is the commanding Elisabeth Moss. It’s another unhinged performance similar to her previous roles in Her Smell and The Handmaid’s Tale . Moss’s all-in attitude helps suspend our disbelief of the material and grounds her character in the real world. She’s utterly believable in even the most bewildering of situations and carries the emotional weight of the film. Commendable supporting performances come from both Aldis Hodge as a sympathetic detective and Michael Dorman as Adrian’s brother, Tom. Through inventive storytelling and craftsmanship, Leigh Whannell and Elisabeth Moss have quite possibly created the definitive version of this ludicrous premise. Released at a time of year infamous for forgettable horror movies, it’s a breath of fresh air to see quality original content have its time to shine. Universal Pictures will release The Invisible Man in theaters nationwide on February 28th. More Reviews Primetime September 22, 2026 By: Hunter Friesen Unabomber September 24, 2026 By: Hunter Friesen Look Back September 16, 2026 By: Hunter Friesen Elsinore September 14, 2026 By: Hunter Friesen Hunter Friesen

The Super Mario Bros. Movie April 4, 2023 By: Button Hunter Friesen While every genre has its share of highlights and lowlights, video game movies have always seemed to have a lot more low-quality content compared to everyone else. It doesn’t take a genius to see that year after year of films from the Mortal Kombat, Resident Evil, Hitman , and Street Fighter series really poisoned everyone’s appetite for stories that spawned a controller. Japanese gaming company Nintendo (probably the only gaming company every mother knows) at least had the smarts to quit when they were behind, shutting almost all film adaptations of their properties after the disaster that was 1993’s Super Mario Bros . Now exactly thirty years later, and with the help of Universal and Illumination, the studios behind the Despicable Me and Secret Life of Pets films, Nintendo is bringing Mario back to the silver screen in animated form for The Super Mario Bros. Movie . https://www.youtube.com/watch?v=TnGl01FkMMo The Mushroom Kingdom is under attack by the evil Bowser, with Princess Peach and Mario being the only heroes capable of stopping him. Both Peach and Mario have dedicated their lives to helping others, whether it’s the entire population of Toads within the Mushroom Kingdom, or Mario’s more timid brother Luigi, who’s been captured by Bower. Their journey takes them to other worlds, which will delight longtime players of the Mario franchise. Whether it’s in the form of karts, platforms, or brawling arenas, there are plenty of callbacks, almost as if you’re wielding a controller and guiding Mario on his heroic journey. And while that exact statement has ruined so many video game movies in the past (who wants to watch a game rather than play it?), the filmmaking on display here turns that liability into an asset. The camera moves with Mario, with lots of tracking shots as our characters traverse through the levels in both 2D and 3D sequences, with the sound effects all ripped straight from the games. Brian Tyler’s fun score features many of the iconic motifs, with the added bonus of quite a few needle drops, none of which are all that imaginative or above ultra-literal, but they get the job more than done in the moment. The voice cast is above the punching bag they were made out to be when they were initially announced. Chris Pratt is still as likable as ever, and at least doesn’t commit too hard to the Italian accent for it to be embarrassing. Anya Taylor-Joy and Charlie Day are commendable as Peach and Luigi, respectively. Jack Black is probably the most inspired choice with Bowser, being both menacing as a villain and entertaining as a character with some laughs (and songs) along the way. It may not exactly be as super as its title states, but The Super Mario Bros. Movie is a vastly superior version compared to the last time the plumber brothers were in theaters. It doesn’t matter if you lean towards either the classic or the modern games, there’s something for all fans, with the added bonus of future occasions to level up. Universal Pictures will release The Super Mario Bros. Movie in theaters nationwide on April 05th. More Reviews Primetime September 22, 2026 By: Hunter Friesen Unabomber September 24, 2026 By: Hunter Friesen Look Back September 16, 2026 By: Hunter Friesen Elsinore September 14, 2026 By: Hunter Friesen Hunter Friesen

Extraction 2 June 9, 2023 By: Button Hunter Friesen Between Tom Cruise, the John Wick franchise, and the newly minted Extraction franchise, a constant battle of one-upmanship is going on within the stunt industry (at least in the Western hemisphere, as Asia has already established itself as a master of the art form). The jumps are getting higher, the setpieces are getting longer and more complicated, and the violence is being doled out through more creative avenues. It’s a buyer’s market, with all of us being happy customers. The continuous rejection by AMPAS to include a stunt category within the Oscars may be a blessing in disguise, as someone (we all know it’s Cruise) may go a bit overboard in pursuit of that gold trophy. “Going overboard” is the name of the game when it comes to Extraction 2 , at least within the elaborate set pieces. Tyler Rake (Chris Hemsworth) proves that good viewership (and having a distributor hellbent on burning as much cash as humanely possible) is the best medicine. He’s miraculously survived the mortal wounds he suffered at the end of the first entry, with his handler, Nik (Golshifteh Farahani), putting him into forced retirement. Of course, no action hero can stay out of the game for long. A mysterious messenger arrives at Tyler’s doorstep with a mission: extract his ex-wife’s sister and her two children from an infamous Georgian prison. After a few minutes of soul-searching and one Rocky training montage, Tyler is back in fighting shape, ready to bulldoze an unquantifiable amount of bad guys in his path. https://www.youtube.com/watch?v=Y274jZs5s7s Extraction established itself in the summer of 2020 with its focus on the brutality of close-quarters combat through methodical long takes and gruesome violence. Stuntman-turned-director Sam Hargrave mixed the smoothness of John Wick with the gruffness of Jason Bourne , delivering semi-mindless carnage at a time we all needed a bit of escapism. This sequel doesn't lose sight of that identity, with the opening set piece unfolding across an eye-watering 21-minute-long take, beginning from a jail cell and ending with a train derailment. Of course, just like Sam Mendes’ 1917 , the single take here is digitally stitched together from various smaller takes spread across various locations. Nonetheless, it’s a sight to behold as it lunges from a stealth mission to a prison yard brawl to a car chase to a train heist without ever losing an ounce of energy. The athleticism of the actors is tested, with Hemsworth reaching peak physical performance just as about anyone else would on the ground, gasping for air. Hargrave may have broken Hemsworth free of the shackles of Marvel fight choreography and editing, but the script by frequent MCU director Joe Russo goes through a speed run of every action movie cliché in the book. We’ve got a badass hero with a tragic past that he revisits by watching old footage from a family vacation at a beach; a stereotypical Eastern European villain that waxes poetically about the value of family; “one last job” that gets the hero out of retirement; and the sacrifice of a comrade (no spoilers, of course). You’ve seen this all before, both in better and worse movies. But neither you nor I is watching Extraction 2 for the plot, so it’s best not to dwell on its shortcomings. The action is here in all its bombastic glory, and you don’t even need to leave the couch to enjoy it. What more could you want on a Friday night? Netflix will release Extraction 2 on its streaming service on June 16th. More Reviews Primetime September 22, 2026 By: Hunter Friesen Unabomber September 24, 2026 By: Hunter Friesen Look Back September 16, 2026 By: Hunter Friesen Elsinore September 14, 2026 By: Hunter Friesen Hunter Friesen

In a Violent Nature May 28, 2024 By: Button Tyler Banark For the second time this year, Shudder has unleashed a horror film that is making waves and igniting discussions among moviegoers. Two months ago, it was Late Night with the Devil , a film that injected a fresh twist into the found footage subgenre. Now they’re bringing In a Violent Nature , a horror film not for the faint-hearted. It's a thrilling ride, uniquely told from the killer's perspective. Meditative is a word I would not normally use to describe a horror movie, but In a Violent Nature has a meditative quality. Director Chris Nash penned a script that reflects this method, instilling a tragic backstory to a killer who knows nothing but death. Supposedly named Johnny, he fell victim to a terrible accident, leaving him stranded beneath the ground with only a makeshift breathing tube to sustain him. When a locket is stolen from the tower he’s buried under, Johnny emerges from the ground and goes on a rampage to get it back. https://www.youtube.com/watch?v=WyXuRmXbS7U As the plot unfolds, the movie gets to the gritty kills as Nash and DP Pierce Derks heavily use long tracking shots to set up the scene. They usually consist of Johnny slowly creeping up to his next victim(s) as they talk about his urban legend in some form or another. It’s a decent way to build suspense and have audiences guessing where’s Johnny (no pun intended). Many of the faces of the victims remain obscured, an initially odd choice that over time illustrates itself as a way to communicate Johnny’s dehumanization of these people. The kills make this into one of the bloodiest splatter fests I have seen in a while, almost to the point where some viewers may regret having an appetite during or after watching. Outside of the cinematography, In a Violent Nature ’s methodical aura is also felt in its pacing, which is no surprise. Although the movie clocks in at 94 minutes, it’s in no rush to have the plot go from point A to point B. In one instance, we see a group of campers sharing stories around a campfire. As one of them shares a story correlating to Johnny, it’s all told in an uninterrupted take with a circling shot of the group sitting around the fire. While it’s an auteurist approach (Nash says Terrence Malick is an influence), the film does get carried away in the act and intermittently tests patience. In a Violent Nature is brutal in its scares and pacing, both of which prove to be its best and worst elements. Time will tell if this is able to break out into the culture or remain an underground feature for the horror-centric service. Hopefully, there will be further conversation and attempts at brutal stories told from the perspective of evil. How will that all pan out, you may ask? Who knows, but heads may roll nevertheless. IFC Films will release In a Violent Nature in theaters nationwide on May 31st. More Reviews Primetime September 22, 2026 By: Hunter Friesen Unabomber September 24, 2026 By: Hunter Friesen Look Back September 16, 2026 By: Hunter Friesen Elsinore September 14, 2026 By: Hunter Friesen Hunter Friesen

After the Hunt October 7, 2025 By: Button Hunter Friesen Luca Guadagnino's After the Hunt opens with the sounds of a ticking clock. With each tick, a routine is established for Alma Imhoff (Julia Roberts). She's woken up in the morning by a kiss from her husband Frederik (Michael Stuhlbarg), takes two pills as she shuffles through their classy apartment, and then struts across the Yale campus to teach her philosophy course. Days go by like the seconds on that looming clock, almost as if you could blink and fast-forward through weeks of monotony. And then, one day, that clock stops, jolting your eyes wide open as you scratch and claw to hang onto all that you have. That occurs the day after Alma and Frederik host a party for the students and faculty. Hank (Andrew Garfield) is the department's resident bad boy, poking and prodding at the generational divide between the guests. He and Alma are good friends, and both are up for the same tenured position. Hank especially likes to mischievously pick on Maggie (Ayo Edebiri), Alma's favorite student, who just submitted her PhD dissertation. Barbs are shared, wine is copiously consumed, and everyone goes home having flexed their favorite philosophical jargon. https://www.youtube.com/watch?v=A8R6DMlDtxk Maggie appears on Alma's doorstep the next day. She explains that Hank came up to her apartment after walking her home. A few more drinks were shared, and then he "crossed the line." Hank denies the whole thing, spinning a yarn about confronting Maggie for plagiarizing her dissertation, and this being her way of covering it up. Between what she should believe and what she chooses to believe, Alma becomes the third point in this triangle, which opens up old wounds from her conflicted past. Guadagnino and first-time screenwriter Nora Garrett don't allow a single door to be kept open, always half or fully closed. Sightlines are blocked and voices are muffled, leaving assumptions to fill in the gaps. “I’m in the business of optics rather than substance,” says the school dean, a poignant summarization of how these issues are handled. A young male student tells Alma that she will get tenure because higher education now favors women in the post-#MeToo climate. Maggie is a black, queer student in a largely white population, and she comes from rich parents who have made a handful of sizable donations to the university. These things initially carry as much weight as the facts of the case, eventually growing to bury the truth of the matter underneath layers of excuses and conjecture. But the truth by itself is just as slippery. Guadagnino takes after David Fincher, specifically his idea that “language was invented so people could lie to one another.” Everyone goes into a conversation with an agenda, twisting and turning every syllable beyond its face value. What they can’t control is their body language, which Guadagnino and cinematographer Malik Hassan Sayeed capture under a microscope. Hands fold at the end of a sentence, and eyes dart once a question is asked. Jonathan Demme’s famous close-ups take a new life here, with the 180-degree rule being broken as characters talk directly towards the camera. In those moments, you can no longer hide from what’s been bubbling over, almost as if you’ve been slapped back awake after spacing out. Roberts is fantastic, presumably taking a lot of inspiration from Cate Blanchett’s performance in Tár . There’s even a similar scene where she scolds a student who dares to question her teachings. Her conviction is supported by her sharp outfits and blonde hair, with every confrontation being a battle she has every intention of winning. But she also carries a loose thread, one that completely unravels her once someone starts to pull on it. Garfield is slimily charming, so full of himself that you’re confident that he is capable of doing bad. And Edebiri finds the gap between naivety and confidence, knowing that she hasn’t been fully stripped of power in this situation. As evidenced by the Woody Allen-inspired credits, Guadagnino isn’t interested in making things comfortable or easy for us. That doesn’t come as much of a surprise, considering the tangledness of previous works like Suspiria and Queer . Any answer will have to be formulated on your own and subjected to assumptions and doubts. Even the ending betrays what we were left to speculate, fittingly illustrating that a maze can never be solved by going in a straight line. Amazon MGM Studios will release After the Hunt in select theaters on October 10th, followed by a nationwide expansion on October 17th. More Reviews Primetime September 22, 2026 By: Hunter Friesen Unabomber September 24, 2026 By: Hunter Friesen Look Back September 16, 2026 By: Hunter Friesen Elsinore September 14, 2026 By: Hunter Friesen Hunter Friesen

F1: The Movie June 17, 2025 By: Button Hunter Friesen Sonny Hayes (Brad Pitt) is the kind of driver they don’t make anymore. He races on instinct and adrenaline, pushing aside the fancy gadgets and gizmos. He doesn’t care about fame or money; just the thrill of the ride and where it will take him next. He’s also crashed every kind of car there is, doesn’t play well with authority, and is just a general pain in the ass. He’s a has-been, or, depending on who you’re asking… a never-was. That combination of salt and pepper makes him the perfect Hail Mary pass for the fledgling Apex Grand Prix team, owned by his friend and former racing buddy Ruben (Javier Bardem). He’s got a raw talent in Joshua Pearce (Damson Idris), who needs a bit of mentoring before he can start thinking about being the best of the best. The familiarity of that plot doesn’t just stem from its similarities to several other films in the sports subgenre, but also from that of Top Gun: Maverick , also directed by Joseph Kosinski. Sonny is Maverick, Joshua is Rooster, the race team is the other pilots, and the F1 season is the battlefield. It’s as simple as that. One could claim that Kosinski is just playing the same notes, almost becoming a cover version of himself. Others will say that he knows his strengths and what his audience wants. Both sentiments are true on a spectrum, with me leaning closer to the former. https://www.youtube.com/watch?v=CT2_P2DZBR0 There’s plenty of spectacle to go around, all bought and paid for through the combined war chests of producer Jerry Bruckheimer, studios Apple and Warner Bros. Pictures, and the International Automobile Federation. The reported $250-300 million budget is lavishly presented in every crisp image and roaring piece of sound. If Top Gun: Maverick was a not-so-subtle commercial for U.S. Navy aviation, then this is an unabashed love fest for F1 racing. Characters make speeches about growing up with dreams of being here, and real-life famous drivers like Max Verstappen and Lewis Hamilton (also a producer) make appearances. Just as they did in Top Gun: Maverick , Kosinski and cinematographer Claudio Miranda combine practical driving with convincing visual effects. They avoid the clichéd mantra of “just drive faster,” opting to really dig into the nuts and bolts of racing strategy. When are you going to make a pit stop? What tires are you going to use? When are you going to switch them out? What positioning are you hoping to grab on this next turn? These are the decisions that the drivers have to make in a split second, all while strapped to a glorified 200 mph rocket. It’s thrilling, even if it all follows a pretty similar pattern as we travel across the globe, as the team competes just to stay afloat. All that spectacular showing is what makes the telling especially grating. Kosinski and co-writer Ehren Kruger can’t be faulted for wanting to hold the hands of audience members unfamiliar with this world. But having the announcers commentate on every single move was several steps too far. I’m either being told what’s about to happen or what just happened, neither of which I wanted or needed. What’s the point of building suspense through the intricate visual language when you’re just going to tell me everything right before the big reveal? This might sound like just a nitpick, but it’s one of those game-breaking bugs that would infinitely enhance the experience with its removal. There’s also not as much humility to grapple onto either. Those supposedly thorny but lovable characters are just a bit annoying, never fully earning our respect and admiration. Every character talks about how they just want to hear it straight, which just means they want to hear whatever the plot needs them to. Pitt is still at his most assured coolness, the movie star magic never fading even as he’s fully immersing into the “I’m gettin’ too old for this shit” phase of his career (see last year’s Wolfs ). Kerry Condon gets the blockbuster she deserves after The Banshees of Inisherin , although her interesting individuality gets sidelined for a traditional only-in-the-movies romance with Pitt. Without a thoroughly compelling story and racing scenes that needlessly keep themselves on cruise control, F1: The Movie can only be met with a polite shrug. It’s good enough to be summer escapism, and will likely have you driving home with a bit more lead in your foot. Let’s just hope that doesn’t cause as many crashes as there were in the film. Apple Original Films will release F1: The Movie in theaters nationwide on June 27th. More Reviews Primetime September 22, 2026 By: Hunter Friesen Unabomber September 24, 2026 By: Hunter Friesen Look Back September 16, 2026 By: Hunter Friesen Elsinore September 14, 2026 By: Hunter Friesen Hunter Friesen

Talk to Me July 26, 2023 By: Button Hunter Friesen The horror genre has been experiencing a small renaissance as of late, with more than a handful of fresh-faced directors announcing themselves to the world through the art of the scare. Robert Eggers ( The Witch ), Jordan Peele ( Get Out ), Ari Aster ( Hereditary ), Jennifer Kent ( The Babadook ), and Julia Ducournau ( Raw ) are just a few who have risen to the top of the game in the last few years. To use a term that has become a meme at this point: They elevated a genre that has historically been disrespected. Now, with the pandemic forever shifting the theatrical landscape, it seems that horror movies are the only things that are guaranteed to put butts in seats. Add in the rise of technology, and it’s never been easier to enter the business. Australian YouTube sensations Danny and Michael Philippou, a.k.a RackaRacka , have done just that with Talk to Me , an exceedingly well-crafted, albeit slightly shallow, debut feature. https://www.youtube.com/watch?v=aLAKJu9aJys A drug is storming through the streets of Australia, hooking in teens with unprecedented potency. It’s not heroin, cocaine, or even some other narcotic you’ve ever heard of. It’s actually a sick game where the contestant holds onto a ceramic scrawled with illegible writing. Uttering the words “talk to me” conjures up a dead spirit that can only be seen by the person touching the hand. An even greater high can be achieved by saying “I let you in,” which allows the spirit to take control of the person’s body. But be warned: Holding the hand for more than ninety seconds will allow the spirit to remain in the host forever, essentially rendering them a puppet of the undead. Mia (Sophie Wilde) is a teenager riddled with guilt and trauma from the semi-recent, unexplained suicide of her mother. She’s become the sad sack of her class, a status she would like to turn around. The best way to do that is to get in with the cool kids, who are all about the hand. Mia quickly becomes addicted to the feeling of dissociating from this mortal world. “I don’t feel alone anymore” is her foolproof excuse to her protective friend Jade (Alexandra Jensen), who feels like this thing is snowballing into dangerous territory. Jade is absolutely right, as with any regular drug, the good times eventually fade out, and the darkness begins to take over, only this time in the form of unholy entities wreaking havoc on your body and soul. There’s a social undercurrent relating to young people’s unquenchable thirst to become viral sensations throughout much of the horror. An exciting opening tracking shot sees one of the victims of the hand executing the wishes of the damned, with a crowd of teens recording the whole thing. Earning tens of millions of views through their YouTube channel, the Philippou brothers are adept at commenting on seeking online attention. They’re not as adept at handling the topics of grief and loss, however, as Mia’s relationship with her deceased mother and distraught single father never feels more than anything we haven’t seen in several other “smart” horror movies. And while it is a little refreshing to have a movie with a simple premise and rules, there is a desire for more information to be supplied regarding the perpetrators. The craftsmanship on display is quite remarkable. When people talk about the theatrical experience, they mostly mention the size of the screen and how it adds unparalleled scale to already mammoth productions like Oppenheimer and Avatar: The Way of Water . But the thing that theaters do best is suppress your senses, keeping you locked to the moment, and focusing only on what’s in front of you. Talk to Me will surely not play as well at home, where the bone-crunching sound design and crisp cinematography by Aaron McLisky won’t be able to take over ears and eyes to its full effect. The reaction from you and the audience during the wince-inducing moments is what keeps Talk to Me alive, pushing it to be a cut above the rest of the pack. The Philippous seem to be fast learners when it comes to filmmaking, and I’m excited to see what the future holds in store for them. A24 will release Talk to Me in theaters nationwide on July 28th. More Reviews Primetime September 22, 2026 By: Hunter Friesen Unabomber September 24, 2026 By: Hunter Friesen Look Back September 16, 2026 By: Hunter Friesen Elsinore September 14, 2026 By: Hunter Friesen Hunter Friesen