TIFF24 Dispatch #1 September 14, 2024 By: Button Hunter Friesen All of the films were screened at the 2024 Toronto International Film Festival (TIFF). Click here for additional full reviews and dispatches. Select films below will receive separate full-length reviews at a later date, most likely in connection to their public releases. Better Man If you squint hard enough into this picture, you can identity the gimmick that director Michael Gracey and Robbie Williams were going for with a biopic on the pop star’s life. And if you can’t make it out, I’ll just spoil it for you (don’t worry, there’s no way Paramount will be able to avoid this revelation once they start marketing it): Williams is played by a CGI monkey using the same technology as the modern Planet of the Apes films. It’s a motif that never distracts from the proceeding action, yet never gets above its surface-level message (He feels different! Do you get it?!?). It’s also the only differentiating factor the film has from every other musical biopic. Gracey recaptures the physical magic of the set pieces from The Greatest Showman , inserting a peppy step into this 131-minute checklist. (3/5) Hard Truths Hard Truths may be Mike Leigh’s return to his trademarked genre of kitchen sink drama, but doesn’t mark his return to the levels that he was regularly clearing. There’s an honesty to this story of a London family dealing with pent-up anger and resentment, with Marianne Jean-Baptiste (reuniting with Leigh for the first time since Secrets & Lies) delivering a powerhouse performance filled with creatively side-splitting insults and pathos. But its message is also a double-edged sword, as it’s also overly familiar to audiences since the conclusion of the pandemic. Even in well-worn genres, such as period pieces and domestic dramas, Leigh has always found a way to provide his own stamp. The only time he starts to unlock a new angle for this story is right as it’s about to end, which is too little, too late. (3/5) I'm Still Here Not to be confused with the Casey Affleck-directed “documentary” on Joaquin Phoenix, Walter Salles examines his crumbling native Brazil, both on the macroeconomic level and within the microcosm of a family. Fernanda Torres, daughter of Fernanda Montenegro, who reunites here with Salles with a small supporting role after 1998’s Central Station , delivers an award-worthy performance as the matriarch of a family caught in the vice that is Brazil’s brutalist regime circa 1971. Salles finds the heart and soul of this family and their house, with love found in every nook and cranny. True heartbreak is felt once everything begins to decay, with the family being left to pick up the pieces and slowly glue them back together in the years to come. (4/5) The Return Director Uberto Pasolini delivers an extremely classical piece of filmmaking, which is both a blessing and a curse. The old-school feel of the production provides an inherent sense of sweep, while the chintzy technicals keep everything outside of believability. Of course, myths aren’t supposed to be real, but this retelling of Odysseus lacks the stamina needed to be special. The two leads, Ralph Fiennes as the title character and Juliette Binoche as Queen Penelope, are unexpectedly fantastic, retaining that romantic touch they shared decades ago in The English Patient . They are stranded, both literally and metaphorically, on an island as the supporting cast ranges from mediocre to embarrassing. Pasolini stated that very few filmmakers have attempted to adapt Homer’s works because it would be impossible to surpass a story with thousands of years of importance placed upon it. It was brave of him to take the leap, but he would have been better off hedging heeding his own warning. (3/5) 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

Glass Onion: A Knives Out Mystery September 10, 2022 By: Button Hunter Friesen The Last Jedi haters are rolling in their graves, as Rian Johnson has pulled off another incomprehensible feat with Glass Onion: A Knives Out Mystery . A sequel to 2019’s Knives Out , a great igniter to the revitalization of the whodunit genre, was always going to be a tricky obstacle to overcome. In stepped Netflix, which gave Johnson the necessary blank check to indulge in his wildest fantasies. And because of that, he has crafted a whodunnit that is grander, funnier, stranger, and perhaps better than the original. The Thrombey family has been dealt with, and a whole new cast of characters has been assembled within Glass Onion . None of these people is bound by blood. Instead, they are all old friends who go by the “Disruptors.” The leader of the group is Miles Bron (Edward Norton), whose billion-dollar fortune allows him to live on a private Greek island. Lionel (Leslie Odom Jr.) is the lead scientist at Bron’s company. There’s also Senate candidate and family woman Claire (Kathryn Hahn), airheaded fashion model Birdie (Kate Hudson), gun-toting Duke (Dave Bautista), and his much younger girlfriend Whiskey (Madelyn Cline). The black sheep of the group is Andi (Janelle Monáe), who was excommunicated after she lost a lengthy lawsuit against all of them for stealing her business idea. https://www.youtube.com/watch?v=gj5ibYSz8C0 Every year, the group (minus Andi) receives a puzzle box invitation for a weekend getaway on Miles’ island. This year, however, invitations have also been sent to Andi and to Mr. Benoit Blanc (Daniel Craig), whose mind is turning into mush as the COVID-19 pandemic has him shut inside without a case to crack. As you expect, the fireworks begin to go off once all these characters are assembled in one location. Long-held secrets are spilled, violence is enacted, and everyone is a suspect. As is the location and budget, the mystery here is much larger than in the original film. Double crosses become triple crosses, which then become quadruple crosses. As another testament to his dominance over his genre contemporaries, Johnson’s ability to control the material as both a writer and director is unparalleled. Through slick editing and a tactical sense of pacing, he’s created another murder mystery where the placing of the puzzle pieces is just as satisfying as seeing the whole picture. Monáe takes over the Ana de Armas role from the first Knives Out . She’s Blanc’s intelligence, laying out the details of each of these theory characters, and what motives they may have to harm another. Talking specifically about how she effortlessly overcomes the challenge of her role would require going into spoilers, so you’re just going to have to take me at my word that she’s incredible. The rest of the cast doesn’t have as much pressure on their shoulders, but they still shine when they need to. Norton is his signature smarmy self, complete with a flashback scene of him donning Frank Mackey’s outfit from Magnolia (a decision I can only imagine was explicitly targeted toward me). Hudson gets many of the laugh-out-loud moments, and Hahn chews the scenery as usual. Of course, Craig leads the pack, whose enthusiasm for the role is immediately infectious. Watching an actor known for playing the most serious iteration of James Bond don a pinstripe swimsuit and spew information with a comically overdone Southern accent is such a sight to behold. Luckily, Craig’s relationship with this character is much more positive than Bond's, so the future is bright for further travels around the world. Glass Onion skillfully embraces and overcomes the usual dangers of doing the same thing as the original, just on a bigger scale. As the first of two planned sequels by Netflix, I can only imagine what Johnson is going to serve up next. This review was originally published from the world premiere at the 2022 Toronto International Film Festival. Netflix will release Glass Onion: A Knives Out Mystery in theaters nationwide on November 23rd, followed by its streaming premiere on December 23rd. 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

Here October 29, 2024 By: Button Hunter Friesen The right concept meets the right creative person in Here , the film that finally breaks Robert Zemeckis from the hellish CGI hole he dug himself with his previous three features of Welcome to Marwen , The Witches , and the Disney+ Pinocchio . I shouldn’t get too ahead of myself, though, as that wish has come true in monkey paw fashion, with Zemeckis veering his sights on the next step in the technological evolutionary cycle: artificial intelligence. It only makes sense that the two words that have invaded every aspect of our lives in such a short time find their way onto the silver screen. And, most surprisingly, it’s only one of a handful of notable gimmicks that run amok in this intergenerational story that will surely be a sweeper at this year’s AARP Movies for Grownups Awards. The rabbit hole concept of place and time is at the heart of this story, itself adapted from the graphic novel of the same name by Richard McGuire. What would you see if you could turn back time on one single spot? Did dinosaurs roam proudly? Did Native Americans hunt and gather on this land? Did the first colonial settlers lay claim to it? All that and more happened in the living room of Richard (Tom Hanks) and Margaret (Robin Wright), a baby boomer couple who serve as the anchor throughout the millennia. Small windows into the past are interspersed throughout: Benjamin Franklin’s son planting his estate on the land, an aviation enthusiast who buys the property at the turn of the twentieth century, the couple who invent the La-Z-Boy recliner in the living room, and a present-day African-American couple dealing with the pandemic and raising a son in politically charged times. https://www.youtube.com/watch?v=I_id-SkGU2k All of this freely flows nonlinearly, the dots of each timeframe being connected by literal rectangular frames that similarly overlap each other to the source material. The camera is fixed in an observational position within one corner of the room, never moving for a moment. It’s a way for Zemeckis and his Forrest Gump writer Eric Roth to zoom out from all the commotion of details and take a big-picture look at how we’re part of the circle of life. It’s a bold concept tangentially akin to Richard Linklater’s Boyhood , although Zemeckis opts for the shortcut of visual effects here. Hanks and Wright first appear in the frame as their characters at seventeen years old, their faces de-aged by artificial intelligence and their bodies slightly animated to hide away all the mileage. It’s certainly a showcase for how far the technology has come over the years, more convincing than what Martin Scorsese tried to do with The Irishman and Ang Lee with Gemini Man , mostly due to Hanks and Wright still carrying a youthful energy. But it’s still an uncanny valley, and at no point can you fully buy famous actors in their sixties playing characters under the legal drinking age. With the implication of imagery and traditional editing stripped away, the actors are forced to pick up the slack. They perform their parts as if they are in a black box theatre production, a scenario that might not have been foreign to them, as the sets often look shoddily digitally created through green screens. Details about their lives and circumstances are announced with such cornily dramatic effect that’d be impossible to forget, which would have probably been a real threat considering such little time is spent with certain characters. How else can Michelle Dockery illustrate an entire chapter in the adult life of her character, the wife of the aviator, in just a few short minutes without overacting? The drubbing of the message doesn’t take away from its effectiveness, especially as Alan Silvestri’s heart-tugging score works overtime. Richard allows his dreams to fall by the wayside due to words like downsizing, taxes, and mortgages. As time flies by, those things seem less and less important, with only the people closest to him and the memories he shared being what’s left behind. Even though we say “Yeah, yeah, I got it,” to every person older than us, insisting that we cherish the time that we have, we never really seem to properly do that. For some people, this might be the wake-up call they’ve always needed. For others, it’s just another hokey life lesson from people that the world has passed by. Even if you think you might fall in line with the latter camp, the concept and potential to be touched by its message is simply too great to nonchalantly pass up. Sony Pictures Releasing will release Here in theaters nationwide on November 01st. 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

Master Gardener May 17, 2023 By: Button Hunter Friesen Master Gardener , the latest continuation of Paul Schrader’s “tormented souls with a past” series, opens as predictably as one would expect. A black-clothed man sits at his lamp-lit desk, writing down his daily thoughts in a journal while downing a glass of whiskey. The man talks about gardening as “the belief in the future, that the plans you make and execute will come through.” The man, in this case, is Narvel Roth (Joel Edgerton, taking over from Ethan Hawke and Oscar Isaac as Schrader’s lonely, jaded protagonist). He’s the head gardener for Gracewood Gardens, a renowned botanical heaven run by the estate of Norma Haverhill (Sigourney Weaver). Despite being located within the heart of New Orleans, Gracewood feels like it’s cut off from the rest of the world. There’s a stillness in the air as the ritualistic gardening processes are performed year in and year out. https://www.youtube.com/watch?v=wzuJ9tv1eM0 But that sense of serenity begins to waver with the arrival of Norma’s grandniece Maya (Quintessa Swindell, last seen in front of umpteen greenscreens for Black Adam ). Life has not been kind to Maya, nor has she made the right decisions as of late. Norma assigns her as Narvel’s appreciative, in the hopes that the diligence of the master will rub off onto the student. If First Reformed was Schrader’s take on the climate crisis, and The Card Counter was about unregulated military cruelty, then Master Gardener is about the rise of the Alt-Right. Except for Norma, no one knows about Narvel’s past, which can all but be explained with one look at the litany of crosses, iron eagles, and swastikas tattooed all over his body. Narvel may be a completely different person now, but like his tattoos, the sins of his former self will always be with him. Similar to what he did for Oscar Isaac’s character in The Card Counter , Schrader offers glimpses of those bad days with brief flashbacks. But unlike The Card Counter , which delivered those windows through uncanny and inventive filmmaking, Master Gardener spells it all out without much fanfare. There’s an alarming lack of nuance in both the specific beats of the plot and the way Schrader delivers them, always keeping us at an arm's length distance and with a raised eyebrow. The world and its characters feel much shallower this time around, with the “climax” being completely unsubstantiated and unceremonious. Edgerton is more than capable of picking up this slack, especially in the first half as his narration and stoicism command the screen. His interactions with Weaver, who is as enchanting and domineering as the red dress she often dons, are hypnotically enticing. Even the occasional overly flowery (pun intended) line of dialogue (of which there are many) is sold with at least a little bit of authenticity. Just as MCU films can only really be recommended to already-established MCU fans at this point, Master Gardener is a film that I can only recommend to those who have an understanding and appreciation for Schrader’s previous works. And even then, I wouldn’t get my hopes up for much. Magnolia Pictures will release Master Gardener in select theaters on May 19th. 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 Worst Cannes Premieres Ever June 30, 2023 By: Hunter Friesen What do Michelangelo Antonioni, Federico Fellini, Martin Scorsese, and Terrence Malick all have in common? Well, along with all being considered some of the greatest filmmakers of all time, they’ve each had one of their movies on the receiving end of some nasty booing at the Cannes Film Festival. The audiences (and critics) on the French Riviera are famous for being extremely vocal about their adoration or hatred of a movie, with some being showered with physically taxing standing ovations ( Pan’s Labyrinth holds the record at 22 minutes), or a deafening amount of boos and whistling. But not every movie that gets booed is created equal. In the case of Martin Scorsese, his 1976 masterpiece Taxi Driver was the victim of a large contingent of vocal detractors. That didn’t stop the jury from awarding the film the Palme d’Or, nor Scorsese from returning to the festival years later (he’ll be back again this year with Killers of the Flower Moon ). This article isn’t going to be an inspiring story about the movies that overcame the negativity. No, the nine movies listed here all received their death sentence within the Grand Théâtre Lumière, either because of the weight of expectations or being of poor quality, or both. The Brown Bunny (2003) Credited as the writer/director/producer/star/cinematographer/editor (as well as about every other craft position), Vincent Gallo solely faced all the backlash in 2003 when he unveiled his much-anticipated follow-up to the indie sensation Buffalo ‘66 . The highly-experimental film caught flack for its glacial pacing and pretentiousness, with particular ire aimed at the unsimulated blowjob scene between Gallo and Chloë Sevigny. Audiences booed and ironically cheered each time Gallo’s name appeared on screen, with Roger Ebert calling it “the worst movie in the history of the Cannes Film Festival.” Gallo didn’t take kindly to Ebert’s words, calling the critic a “fat pig with the physique of a slave trader.” Ebert responded by saying “It is true that I am fat, but one day I will be thin, and he will still be the director of The Brown Bunny .” Surprisingly, the two sides would reconcile, with an edited-down version of the film screening at that year’s Toronto International Film Festival, which Ebert reviewed positively. Southland Tales (2006) Donnie Darko writer/director Richard Kelly thought he was entering the lottery when he submitted a rough cut of his sophomore feature, Southland Tales , for the 2006 festival. To his (and pretty much everyone else's) surprise, the selection committee liked it and invited him into the Official Competition. Kelly leaped at the opportunity, even if it meant he had to rush through the post-production process. That decision backfired badly, as critics lambasted the 160-minute film for being too broad and unfinished. The boos and whistles rattled throughout the Lumière Theater, with Roger Ebert calling the screening “The most disastrous since, yes, The Brown Bunny ." Kelly shared the same sentiments: "It was painful. I just thought, 'Please let it be over.” He went back to the editing room, getting more money from Sony to fix the visual effects in exchange for a reduced runtime. The film wasn’t seen again for another sixteen months, when it got an extremely limited theatrical release, grossing a little over $275,000 (the film was budgeted nearly $25 million). Burnt by the Sun 2 (2010) As the most expensive film in Russian history with a budget of $55 million, Nikita Mikhalkov's long-delayed sequel to his Oscar-winning film had enormous expectations. Cannes even circumvented their “world premieres only” rule by allowing the film into the Official Competition after it was first screened at the Kremlin. But by the time it reached the Lumière Theatre, the World War II film had already been panned by critics from both Russia, who claimed it was inaccurate and revisionist, and the West, who saw it as poorly-made Soviet propaganda. Mikhalkov's supportive stance of Vladimir Putin didn’t make things any better, with the film becoming one of the biggest bombs in the country’s history. Only God Forgives (2013) Between his films and overall demeanor, everything about Nicolas Winding Refn is divisive. So it’s not surprising that 2011’s Drive received one of the lengthiest standing ovations in festival history at 15 minutes, while also receiving a small handful of booing. That same dichotomy happened when Refn returned two years later with Only God Forgives , only this time the roles were reversed, with the boos overwhelming any positivity. Many critics described it as a beautiful painting without any substance, with Refn reaching even further into his pretentiousness. Rumors began to spread that the film was originally supposed to be screened as part of the Midnight Madness sidebar, where it would have potentially benefited from the lessened expectations. But the producers wanted to repeat the success of Drive and demanded a slot in the Official Competition. The negative outcome from that decision crushed any audience anticipation for the film, as it grossed a paltry sum when released a few months later. The Captive (2014) Several eyebrows were raised when it was announced that Ryan Reynolds would be starring in Atom Egoyan’s newest film. But Egoyan’s films ( Exotica, The Sweet Hereafter ) had always been praised for their offbeat nature, so there was still some optimism. But the pairing of one of Canada’s biggest stars and filmmakers went south quickly, as critics panned their film for its confusing nonlinear narrative and exploitative subject matter. American distributor A24, still in their early stages before they would become the festival darlings they are today, released the film on DirecTV’s VOD platform that winter to no fanfare. Even in Canada, where the film was given a theatrical release, the film was quickly buried and forgotten. The Search (2014) While Michel Hazanavicius didn’t become a household name after winning Best Director and Best Picture with The Artist in 2011, you’d still be surprised to know that his follow-up to that movie has still never been released within the United States. Much of the reasoning behind the film’s disappearance comes from its abysmal premiere at Cannes, which had launched The Artist after it was promoted to the competition at the last minute. But now that the lights were brighter, Hazanavicius crumbled, with his preachy and ultra-dreary retelling of the 1999 Chechnya civil war being perceived as exploitative. Hazanavicius has been back to the festival since, but he’s been demoted to just a regular player instead of the star that he seemed destined to become. Grace of Monaco (2014) Cannes has never had much luck when it comes to selecting its opening night film, with 2014’s Grace of Monaco being the biggest of all the offenders. Even by January 2013, Grace Kelly’s family disowned the film and claimed it was inaccurate. Harvey Weinstein, known for his frequent battles with directors among various other unspeakable things, had issues with director Olivier Dahan’s cut of the movie. The movie was pushed from the Fall of 2013 to the next spring so Weinstein could recut it. It was delayed again for a premiere at Cannes in May, where critics claimed it was of lower quality than a Lifetime Original Movie. Both Weinstein and the film’s writer Arash Amel were absent at the press conference after the disastrous screening. Coincidentally, the film bypassed a theatrical release in favor of a television debut on Lifetime a year later. Despite all the overwhelmingly negative reactions, star Nicole Kidman controversially received a SAG nomination, and the film received an Emmy nomination for Outstanding Television Movie. The Last Face (2016) Audiences tend to wait until a movie is over before they give out their signature applause and/or boos. But the critics seeing Sean Penn’s refugee drama needed only one minute before letting out the hoots and hollers. The “call to action” love story starring Charlize Theron and Javier Bardem was savaged pretty much the whole way through, with the awful dialogue and white savior narrative being perceived as an insult to those that watched it. Many critics dubbed it as the worst film they’d ever seen at the festival. To make matters worse, the press screening took place in the morning, with the public premiere that night, meaning all those scathing reviews and tweets were out into the world before the cast had even walked the red carpet. The embarrassment from that situation caused the festival to implement embargoes in future years, holding all press reactions until after the evening gala screenings had finished. Mektoub, My Love: Intermezzo Fresh after winning the Palme d’Or for Blue is the Warmest Color , writer/director Abdellatif Kechiche premiered Canto Uno , the supposed first part in his new Mektoub, My Love trilogy, at the Venice Film Festival in 2017. The film received mixed reviews, with most critics complaining about the egregious 180-minute runtime and over-sexualization of the lead actors. Instead of listening to the detractors, Kechiche went in the opposite direction with the sequel, extending the runtime by almost an hour and featuring lengthy unsimulated sex scenes. The large majority of the audience walked out before the film finished, with one person claiming that “if the shots of butts were taken out, I think the film lasts 20 minutes.” Many of the actors claimed that Kechiche got them intoxicated so they would be less resistant to filming the sexually explicit scenes and that he wouldn’t screen the film for them before the premiere. The film has never been seen since that night, with Kechiche having to sell his Palme d’Or to raise funds for post-production after the financiers backed out. As further insult to injury, the final movie in the trilogy, Canto Due , was filmed before Intermezzo premiered, but no editing work has been done due to a lack of funds. Considering the allegations against Kechiche and the vitriolic response to the second part, it’s unlikely either of the final two parts will see the light of day. 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 New Mutants August 31, 2020 By: Button Hunter Friesen Filmed way back in the bygone time of 2017, The New Mutants - the newest entry into the now-scrapped X-Men Cinematic Universe - has had its fair share of trouble getting to theaters. Originally set for release in April 2018, the movie has had a record of seven date changes, making it a running joke that it would never see the light of day. Defying the naysayers, The New Mutants has finally hit theaters right in the middle of a pandemic. Set in a remote research facility, The New Mutants follows five teenagers as they discover their newfound powers. The stern Dr. Reyes looks after the young mutants and tries to help them control their raw powers. We follow the newest member of the group, Danielle Moonstar, who was placed there after a mysterious natural disaster wiped out her entire reservation. After some time, the five realize that there’s more behind this facility than meets the eye. To save themselves and right the wrongs of the past, the group must work together to harness their powers and become something bigger than themselves. https://www.youtube.com/watch?v=W_vJhUAOFpI The New Mutants is directed by Josh Boone, who last made a critical and commercial splash with his adaptation of The Fault in Our Stars . Billed as an action/horror/drama, The New Mutants fails on all three of those genre levels. Thanks to Boone’s inability to grasp onto his material, the various tones of the movie go together like oil & water rather than peanut butter & jelly. The action is sparse throughout the first 80 minutes, only showing us glimpses of each person’s unique power. The final 15 minutes end on an action set piece that unleashes all that the movie has been building up, which isn’t much. The intentionally dark and snowy setting acts as a smokescreen to cover up the poor digital effects and blocking. Fairing even worse than the action is the horror element. It’s been reported that the studio demanded reshoots to add more horror after the mega-success of IT . Neutered by a PG-13 rating, the scares in this movie are comparable to the ones found in a January dumpster movie aimed solely at young teenagers. For nearly the entire runtime, we’re subjected to a rinse-repeat cycle of jump scares and sound blasts that only mildly startle us but never come close to scaring us. Even the main villains - gangly creatures dressed in tuxedos that look almost too similar to Slenderman - come across as more laughable than creepy. But even the failings in the action and horror departments don’t come close to the movie’s biggest crime, which is how boring it is. For being set in a superhero universe, very little of this movie is connected to the larger world. Except for a few namedrops and the fact that our main characters are called mutants, this could have been set in any other YA universe and it wouldn’t have made a difference. The uninteresting plot offers a few biting questions to chew on. If you have even an inkling of knowledge about the X-Men Universe, then these questions will be a breeze to answer. But, immediately knowing these answers is a double-edged sword as you now have to impatiently wait an hour for the movie to reveal them in the dullest way possible. Maybe the only person who can come out of this mess with some credibility is Blu Hunt and her performance as our lead character, Danielle. Hunt does fall into the teenage actor trap of overdoing it, but overall she does a commendable job of being the audience’s viewpoint into this story. Three of our five main characters have accents and each of them vies for the award of least convincing. The winner of that goes to American-born Anya Taylor-Joy in her attempt at portraying a Russian. Charlie Heaton’s Kentucky drawl comes in at a close second place, while the British Maisie Williams of Game of Thrones fame does alright with her Scottish accent. As an action movie, The New Mutants is a failure. As a horror movie, it’s a failure. Even as a piece of entertainment, it’s a failure. This is nothing more than a cheap cash grab whose only purpose is to make a quick buck off brand recognition alone. The only time I’ll ever think about this movie again is when I have to decide where to place it on my worst-of-the-year list. 20th Century Studios will release The New Mutants in theaters nationwide on August 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 Caine Mutiny Court-Martial October 6, 2023 By: Button Hunter Friesen William Friedkin’s new adaptation of The Caine Mutiny Court-Martial comes at an interesting moment. The first, and most unfortunately obvious, fact is that Friedkin passed away at the age of 87 in August, just a few weeks before this film premiered at the Venice International Film Festival. There’s also the coincidence that the film begins streaming on Paramount+ with Showtime and then airs on Showtime the same weekend as The Exorcist: Believer , Blumhouse’s reboot of the horror franchise that Friedkin originated with the 1973 original masterpiece. We can thank Taylor Swift for aligning the stars to allow Friedkin, never one to mince words with his opinions, to get the last laugh, at least in terms of quality. Believer will just have to settle for the boatloads of money it’s about to make. The Caine Mutiny originated in 1952 as a novel by Herman Wouk. The work of fiction grew out of the author’s personal experiences aboard destroyers during WWII. After its enormous success, Wouk adapted the material for the stage, a relatively easy task considering the novel’s one-room setting and small cast of characters. A movie adaptation was produced in 1954 starring Humphrey Bogart, José Ferrer, Fred MacMurray, and E.G. Marshall. https://www.youtube.com/watch?v=iUpMsZrZjrc Along with directing, Friedkin also wrote the screenplay for this new take on the material, moving the setting from the Pacific Theater during World War II to the current-day Persian Gulf. The titular mutinous act performed aboard the USS Caine takes place during a torrential cyclone. Lieutenant Maryk (Jake Lacy) has lost all faith in the commanding officer Lieutenant Commander Queeg’s (Kiefer Sutherland) ability to guide them safely out of the storm. Maryk cited that Queeg was mentally unfit due to the stress of the situation, a common occurrence during his tenure. The insubordinate officer is being court-martialed for his actions, with Lieutenant Greenwald (Jason Clarke) reluctantly assigned to defend him in front of the military tribunal. Many will bemoan seeing a director as legendary as Friedkin having his final film reduced to premiering on a streaming service. While it’s an admirable sentiment, it avoids the fact that this material is ripe for the smaller-scale television landscape, an area Friedkin excelled at in the past with his 1997 adaptation of 12 Angry Men for Showtime. Friedkin may abandon the original material’s setting, but he has no qualms about embracing its inherently stage-like feel. A basic military courtroom serves as the sole setting throughout the 108-minute runtime. The action is repetitious, with a string of witnesses (Lewis Pullman, Tom Riley, Elizabeth Anweis, Jay Duplass) called upon to testify to Queeg’s time as commander and the specifics of what happened that fateful day. They’re each staged and edited in their specific way, which keeps things fresh and flavorful. It’s a less theatrical version of A Few Good Men , with that restraint used to build nuance around this ethically dense topic. Despite only appearing in two scenes, Sutherland delivers his best performance in years as Queeg. To continue the A Few Good Men comparisons, he would be this film’s Col. Jessep, finely played by Jack Nicholson. Sutherland isn’t as hammy, although his character does sport a peculiar set of quirks, such as speaking out of the side of his mouth and twiddling his thumbs to distract from the trembling of his hands. Between this film and Oppenheimer , Jason Clarke has shown his skill in playing contestable lawyers. And there’s also another figure who was taken from this world too soon, in Lance Reddick, who’s never been a bad addition to a cast. Sure, this won’t be remembered as Friedkin’s finest work. It’s not at the same level as The French Connection, The Exorcist , or To Live and Die in L.A. But not every Alfred Hitchcock film is as good as Psycho , nor is every Billy Wilder film as good as Sunset Blvd . Friedkin is at that level where even some of his great movies won’t be remembered as strongly as his masterpieces. Make no mistake, this is a great movie, a fitting farewell to a filmmaker who could take any material and mold it into something uniquely entertaining and personal. Republic Pictures will release The Caine Mutiny Court-Martial on Paramount+ on October 06th. 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

Twin Cities Film Fest 2024 Preview October 11, 2024 By: Hunter Friesen With the conclusion of the fall festival trio of the Venice Film Festival, Telluride Film Festival, and Toronto International Film Festival, it’s time for the regional festivals to step up to the plate. Throughout the next four to six weeks, festivals all over the country will bring together a collection of the best that world cinema has to offer this year. Many of these festivals are nearly as famous and prestigious as the ones that birth those films, with two examples being the New York Film Festival and AFI Fest Now celebrating its 15th year, the Twin Cities Film Fest (TCFF) provides that central space of celebration for cinephiles within the state of Minnesota. The festival recently announced its full lineup , which featured its usual mixture of awards season contenders from large studios, smaller films that have made a name for themselves throughout the festival circuit, and productions that shine a spotlight on local artists. Opening the festival is Conclave , Focus Features’ papal thriller from Edward Berger, director of the recent Netflix adaptation of All Quiet on the Western Front . Ralph Fiennes leads an all-star cast comprised of Stanley Tucci, John Lithgow, and Isabella Rossellini. I was able to see the film at TIFF and greatly admired it, so I hope that my positivity spreads to the Minnesota crowd. Searchlight Pictures will be pulling double duty at the festival with Nightbitch and A Real Pain . The former premiered at TIFF, while the latter debuted at Sundance all the way back in January. Amazon MGM studios won’t be outdone as they also bring two notable titles from their catalog. Premiering on the first weekend is Unstoppable , the true underdog story of one-legged wrestler Anthony Robles starring Jharrel Jerome, Jennifer Lopez, and Don Cheadle. RaMell Ross’s avant-garde adaptation of Colson Whitehead’s novel Nickel Boys will be seen on the final day of the festival. Screening immediately after that and rounding out the big studio features will be Steve McQueen’s World War II film Blitz , which premieres at the BFI London Film Festival in a few days. Stopping here as part of its regional tour since its premiere at the Berlin Film Festival is La Cocina , which tells the story of the lives of the employees working at a New York restaurant. Winner of the Best Director prize in the Un Certain Regard section at this year’s Cannes Film Festival is On Becoming a Guinea Fowl , which A24 will show midway through the festival ahead of its December release. The Centerpiece film of this year’s edition will be Magpie , a thriller about a married couple whose relationship begins to fracture when a glamorous movie star enters their lives. Writer Tom Bateman and star Daisy Ridley will be in attendance to introduce the film and receive the TCFF Indie Vision Awards. Also awarded will be Josh Duhamel, who will receive the NorthStar Award and headline an “In Conversation” event. The top prize at the festival is the Best Feature Film Award. Previous winners over the years have been Marriage Story , Women Talking , American Fiction , Green Book , and Moonlight . Officially closing the festival will be a sneak preview of the Minnesota-connected feature Days When the Rain Came . Writer and actress Marisa Coughlan will be present for a post-film discussion alongside actors Beau Bridges and Eliza Coupe. A new prize this year is the Minnesota Film Critics Association (MNFCA) Critics Prize, of which I will be heading the selection process. Myself and a few other critics from the organization will glean through the lineup and award a standout film with the special prize. Films that will be a part of this process are: Boundary Waters, Schiroka: In Lies We Trust, We Strangers, Luther: Never Too Much, On Becoming a Guinea Fowl, Bob Trevino Likes It, All We Carry, Camp Ricstar, Band on the Run , and Queen of the Ring . It’s an eclectic mix of films, including several from local filmmakers. I look forward to seeing what all these works have in store, and giving a boost to one that stood out from the crowd. More than 140 films will be screened during the ten-day event, with almost half of them simultaneously streaming via the TCFF Streams platform. Details for the lineup and other events can be found at the festival website ( twincitiesfilmfest.org ). Expect full reviews for several of the studio titles listed above, and a recap article at the conclusion of the festival. 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

Top 10 Films of 2023 (So-Far) July 1, 2023 By: Hunter Friesen Half of 2023 has come and gone in the blink of an eye. Before I knew it, I had seen 67 new releases in six months. I can’t say that there’s been a bountiful amount of great work to bask in, but there’s always a small amount of stuff that deserves to be cherished. So, to give credit where it’s due, here’s my list of the ten best films I’ve seen in 2023 (so far). *Because some of the films I’ve seen so far were at film festivals, I will only be ranking the films that have received a general release in theaters or on streaming* 10. R.M.N. Featuring five different spoken languages (Romanian, Hungarian, German, French, and English) and characters from all different walks of life, Cristian Mungiu’s newest visual essay tells a universal story within one specific Transylvanian village. As is tradition for Mungiu, each scene is realized in unbroken takes, with the climactic town-hall meeting unfolding across 17 minutes and featuring dozens of characters. The naturalism is abruptly broken by the ambiguous final shot, leaving you with a disquieting outlook on this specific village, as well as the entire world. 9. Tori and Lokita The newest film from the Belgian brotherly duo of Jean-Pierre and Luc Dardenne finds them once again examining the miscarriages of social justice within their native country. Their handheld long takes and lack of score capture the harsh reality of society. There’s also a propulsive energy to the film, with the semi-criminal elements keeping the 85-minute feature (a staple length for the brothers) moving at a brisk pace. 8. Air Air is the cinematic equivalent of the final moments of an NBA game. Not every play goes as perfectly as it was drawn up, and there are a lot of mistakes that could have been ironed out in practice. But the sheer athleticism of the players/actors is something to marvel at. And when they take their shots, they make them count. Because both they and we know that when the ball goes through the hoop, and those feelings of victory come striding to the surface, everything that came before that ceases to matter. Full Review 7. BlackBerry Time has not been an ally for the BlackBerry phone, but I believe it will be for this movie. While the other movies in this growing subgenre built themselves largely around the iconography of the brand, Johnson always has his sights set on the people behind the machine, which is what makes this specific story that much more compelling and rewatchable. Full Review 6. Cairo Conspiracy Corruption runs rampant in the holiest of places within Cairo Conspiracy , as faith is used to broker further advances of power. Writer/director Tarik Saleh tells an overlapping story of politics and religion, molding his message within the old-fashioned espionage thriller genre to fantastic results. It’s both entertaining and enlightening, leaving you with something to ponder long after the credits roll. 5. John Wick: Chapter 4 Although I said the character of John Wick has drastically changed over time, the John Wick series has maintained that underdog energy since its initial entry, even though the budgets have increased nearly sixfold. Each sequel tries its hardest to outdo the previous one, offering an improvement on what’s already been done and creating something entirely new. I know it will be done, but I don't know how they’re going to top this in John Wick: Chapter 5 . Full Review 4. Enys Men Mark Jenkin’s Enys Men is the kind of film you stumble upon late at night as a kid where you have no idea what you’re watching and if it was any good, but you couldn’t help but be endlessly transfixed by it. Just as Ari Aster and Robert Eggers have amassed cult followings for their new-wave style of horror, Jenkin deserves the same for his now-signature trips down the psychological rabbit hole. The beckoning of Hollywood doesn’t seem to be having much effect on him, promising more distinctly singular work from this up-and-coming artist. Full Review 3. Chevalier Stuffy, overly serious, slow, and pretentious are all words most often used to describe period pieces. And yet, none of those words can be applied to Stephen Williams' Chevalier , which would have been one of the best movies of 2022 had Searchlight chosen to release it within the bloodbath that is Oscar season. Thankfully, they're smarter than me and waited until 2023, where it now sits firmly on this list among the greats. Full Review 2. Past Lives Perspective and perception are the keys to writer/director Celine Song’s screenplay, which uses a vast amount of space and time to tell an epically intimate story. Nora (Greta Lee) explains in-yun to Arthur (John Magaro) midway through the film. It’s the Korean concept of fate, suggesting that people are destined to meet if their past lives overlapped. Nora shrugs off the idea by saying it’s just “something Korean people say to seduce someone.” While Nora may not take that concept to heart, Song’s use of it within her film had me seduced in the moment, and will likely have me for the rest of time. Full Review 1. Asteroid City At this point in his filmography, you’ve probably made up your mind about Wes Anderson. I’m somewhat of an apologist, with those instantly recognizable production qualities and whimsical tones being music to my ears (and eyes). Asteroid City is another healthy dose of what I’m come to love, with the bonus of seeing an auteur continue to find new ways to channel what they do best. Full Review 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

Boy Kills World April 25, 2024 By: Button Tyler Banark Something is going on in Hollywood right now that should be discussed more, which is the rise of stuntpeople being promoted to the role of director. It’s been stunning in the John Wick films, Netflix’s Extraction series, and the films of David Leitch ( Bullet Train and the fittingly titled upcoming The Fall Guy ). There’s a gritty essence to each of these films, with action choreography that always goes above and beyond what’s been done before. While Boy Kills World director Moritz Mohr didn’t have the same upbringing as Leitch or Chad Stahelski, he lets his previous dabbling in special effects and editing allow him to pose in an adjacent camp. Having witnessed the murder of his family and stripped of his ability to talk at a young age, Boy (physically played by Bill Skarsgård, voiced by H. Jon Benjamin) is found and raised by a mysterious shaman who trains him to be a lethal killing machine. Boy only has one goal in mind: kill the powerful Van Der Koy family, who prey on the weak and are responsible for his family’s death. Once a year, the family puts on a Hunger Games-esque show called The Culling, where they hunt down twelve unlucky contestants. https://www.youtube.com/watch?v=z6NibtjmjOk “Graphic” would be an understated word to use to describe the nature of Boy Kills World . Mohr brings a chaotic absurdity akin to the Terrifier series, with blood and guts spraying out in a silly, sadistic manner. Call it stolen, call it made better, but there’s no denying that the action here delivers on its promise without tipping into overkill. The vicious fight choreography is a sight to behold, with its influences from the John Wick films and various forms of martial arts unlocking an arsenal for Boy to play with. Whether it’s a necklace or a cheese grater, the impromptu use of such regular everyday items as weapons in hand-to-hand combat effectively adds to the film’s overall intensity. There is a sense of having been there, done that, such as the use of the cheese grater in last year’s Evil Dead Rise . But if it ain’t broke, don’t fix it. Skarsgård is the centerpiece as Boy, cementing himself as an action star without uttering a single word. He does the (literal) heavy lifting, while Benjamin expresses his inner monologue in a mostly humorous fashion. We’ll have a full sample of Skarsgård’s action chops once this year’s reboot of The Crow comes out. The rest of the cast is fairly underutilized, something not wholly unexpected considering the marquee positioning of Boy as our protagonist. But much of the satisfaction in the revenge against the Van Der Koys has to come from the characters, who just don’t meet the grade. Brett Gelman is in his usual showmanship mood as the weird member of the family, Michelle Dockery’s girl boss of a sister is a knockoff of Shiv Roy, and Famke Janssen kind of phones it in as the tyrannical matriarch, Hilda. There’s also June 27 (yes, that’s the character’s actual name), played by Jessica Rothe, who acts as both the family enforcer and voice of reason. There are attempts to have her bridge the gap between Boy and the family, but the script, co-written by Tyler Burton Smith and Arend Remmers (with a story credit to Mohr), can’t make the connection. The tasteless (in a good way) action set pieces are at the forefront of Boy Kills World , but that lack of a coherent substantive drive doesn’t make it the cult classic it so desperately wants to be (as evidenced by the film’s world premiere as part of the Midnight Madness section at last year’s Toronto International Film Festival). But even if this doesn’t get etched into history, there’s still a lot of fun to be had in the present with it. Lionsgate and Roadside Attractions will release Boy Kills World in theaters nationwide on April 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

The Monkey February 17, 2025 By: Button Hunter Friesen The tagline for The Monkey , the new film by writer/director Oz Perkins, says that "everybody dies, and that's fucked up." You know what else is fucked up? Watching a filmmaker you've admired over the years torch all that goodwill with the same hellbent rage that Adam Scott has for the titular toy monkey during the film's cold open. This is not Longlegs , both in terms of the tone and overall quality. How and why Scott came to hate this monkey is a bit of a mystery. Even he's not exactly sure what it does, only that bad things happen whenever you turn the key on its back and let it bang its drum. And the definition of "bad" here isn't just a stubbed toe or missing the bus. It's the kind of bad that results in an extremely gruesome death in a series of events that would even make Rube Goldberg blush. https://www.youtube.com/watch?v=husMGbXEIho The simplicity and inevitability of the threat that this primate possesses is where Perkins - adapting from the 1980 short story of the same name by Stephen King - finds his kernel of truth about the balance between life and death. Any of us could die at any time by any combination of causes. "It's like life," reads the box that the monkey comes nicely wrapped in, a sentiment echoed by the mother (Tatiana Maslany) of twin brothers Hal and Bill (played by Christian Convery as kids, and Theo James as adults). The boys learn firsthand on several instances the cruel power that life has to give and take away from you at any moment. Like me, just being aware of the concept of the Final Destination and Dumb Ways to Die franchises gives you more than enough familiarity with this concept. Perkins doesn't offer much of anything beyond the surface-level observations, opting for the comedy-horror tonal balance to do much of the heavy lifting. But between several horribly unfunny and/or funnily unscary sequences, the only facial expression you'll be making is one of annoyance. That weightless unpleasantness also applies to the deaths that litter the runtime. While everything that is happening to the people around the boys is horrifying, Perkins always dons a dastardly smile. A falling shotgun here, a slippery kitchen knife there, it's all supposed to make you simultaneously wince and howl with laughter. The suspense of the unknown in Longlegs has been replaced with the suspense of the inevitable. Granted, that is the point. It just makes everything feel so tedious, with a filmmaker taking us on several extra laps around a track that wasn't that good the first time. What is good is James' dual performance. Most of his time is spent as Hal, the smaller of the twins, who constantly gets bullied and belittled. His ruggedly good looks and tall frame are submerged under glasses and a sheepish demeanor. Between him, the physical monkey doll, and the frames concocted by Nico Aguilar, The Monkey does at least have some visual splendors to enjoy. But the occasional treats for my eyes do not make up for the wretched experience that the rest of my body and soul were put through. Neon will release The Monkey in theaters nationwide on Feb. 21st. 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

Eileen December 7, 2023 By: Button Tyler Banark More than any year in recent memory, 2023 has been a time for the great debate of when a long movie becomes too long. With three-hour feats like Oppenheimer , Killers of the Flower Moon , and Beau is Afraid taking up the big screen, runtimes and pacing have been common topics for dissection and discussion. On paper, Eileen should have nothing to do with those already mentioned on account of its 100-minute runtime and tiny cast. And yet, it feels even longer than those, seemingly a three-hour movie stuck in the body of a ninety-minute one. Based on the 2015 crime novel of the same name, Eileen follows the titular character (Thomasin McKenzie) as she works at a juvenile detention center in 1960s Boston. She’s a quiet young woman who isn’t in love with her job (or much of anything for that matter), but it does provide an escape from her miserable home life, where she takes care of her widowed, deadbeat alcoholic father (Shea Whigham). Her life becomes anything but quiet when she meets a new co-worker at the prison, Rebecca (Anne Hathaway), the free-spirited doctor who takes Eileen under her wing. Things are good at first, flirty even. But the more time they spend together, the more Eileen becomes roped into something that Rebecca is hiding under the surface. https://www.youtube.com/watch?v=otDHCJcdN34 Again, on paper, that’s a simple synopsis I can enjoy rather quickly. The result ends up being the exact opposite, as everything that unfolds either feels out of place or is an attempt at a mind-blowing plot twist. Take a scene where Eileen and Rebecca are approached by a couple of men while at a bar. Rebecca turns to Eileen and asks her if she wants to dance, calling Eileen by her name instead as an act of seeming playfulness. It’s a moment that doesn’t get brought up afterward, nor does the movie care to explain why this happened. Pacing is another one of the biggest reasons Eileen doesn’t work. Scenes are rushed or cut down right as things are about to go somewhere, while others test patience. The first half hour features a moment when Eileen fantasizes about an encounter with a young correctional officer. But right as the temperature starts to climb, it cuts to the next scene. Fast forward to the last half hour, and you’ve got Eileen and Rebecca getting involved in a lethargically paced dark situation. Although McKenzie and Hathaway are the prominent stars, their performances feel shallow. McKenzie, in particular, has left me confused these past few years. She’s previously given standout performances, most notably in 2019’s Jojo Rabbit and 2021’s Last Night in Soho . At the same time, there’s stuff like M. Night Shyamalan’s Old, where she’s out of place with her American accent and line deliveries that seem to come off a cue card. Eileen falls similarly to Old , leaving her unable to adapt to the environment while donning an unconvincing Boston accent. Hathaway isn’t unlocking anything new or exciting, with Rebecca feeling somewhat familiar to her previous showy roles. It’s a shame that she and McKenzie do have chemistry and play it up, yet it’s never satisfyingly explored beyond the titillating surface. The same treatment goes to Whigham, whose character’s inherent complexity from alcoholism and dejection is reduced to just a string of drunken mumbles. Adding insult to injury for these dull characters are dull visuals. Ari Wegner’s cinematography displays poor lighting and uninspired camera work, with the kaleidoscopic shots prominently sold in the trailer left either underutilized to the point of total absence. Also featured is a weighted score by Richard Reed Parry, most notably known as a core member of Arcade Fire. There’s a tonal imbalance between gritty noir and modern thriller, something reflected in director William Oldroyd’s handling of the material. With its bothersome pacing and unfulfilling performances from its talented cast, Eileen is undoubtedly one of the worst of the year. I don’t think McKenzie or Hathaway have been in a movie as bad as this, one that has its sights set on undermining their talent at every turn until they have nothing left. That’s all Eileen really is: a whole lot of nothing. Neon will release Eileen in select theaters on December 01st. 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