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Learn about our guidelines for content consumption, community engagement, and more. Terms and Conditions Last updated January 01, 2025 AGREEMENT TO OUR LEGAL TERMS We are The Cinema Dispatch ("Company," "we," "us," "our"). We operate the website https://www.cinemadispatch.com/ (the "Site"), as well as any other related products and services that refer or link to these legal terms (the "Legal Terms") (collectively, the "Services"). You can contact us by email at hunter@cinemadispatch.com. These Legal Terms constitute a legally binding agreement made between you, whether personally or on behalf of an entity ("you"), and The Cinema Dispatch, concerning your access to and use of the Services. You agree that by accessing the Services, you have read, understood, and agreed to be bound by all of these Legal Terms. IF YOU DO NOT AGREE WITH ALL OF THESE LEGAL TERMS, THEN YOU ARE EXPRESSLY PROHIBITED FROM USING THE SERVICES AND YOU MUST DISCONTINUE USE IMMEDIATELY. Supplemental terms and conditions or documents that may be posted on the Services from time to time are hereby expressly incorporated herein by reference. We reserve the right, in our sole discretion, to make changes or modifications to these Legal Terms at any time and for any reason. We will alert you about any changes by updating the "Last updated" date of these Legal Terms, and you waive any right to receive specific notice of each such change. It is your responsibility to periodically review these Legal Terms to stay informed of updates. You will be subject to, and will be deemed to have been made aware of and to have accepted, the changes in any revised Legal Terms by your continued use of the Services after the date such revised Legal Terms are posted. The Services are intended for users who are at least 18 years old. Persons under the age of 18 are not permitted to use or register for the Services. We recommend that you print a copy of these Legal Terms for your records. TABLE OF CONTENTS 1. OUR SERVICES 2. INTELLECTUAL PROPERTY RIGHTS 3. USER REPRESENTATIONS 4. PROHIBITED ACTIVITIES 5. USER-GENERATED CONTRIBUTIONS 6. CONTRIBUTION LICENSE 7. THIRD-PARTY WEBSITES AND CONTENT 8. SERVICES MANAGEMENT 9. TERM AND TERMINATION 10. MODIFICATIONS AND INTERRUPTIONS 11. GOVERNING LAW 12. DISPUTE RESOLUTION 13. CORRECTIONS 14. DISCLAIMER 15. LIMITATIONS OF LIABILITY 16. INDEMNIFICATION 17. USER DATA 18. ELECTRONIC COMMUNICATIONS, TRANSACTIONS, AND SIGNATURES 19. CALIFORNIA USERS AND RESIDENTS 20. MISCELLANEOUS 21. CONTACT US 1. OUR SERVICES The information provided when using the Services is not intended for distribution to or use by any person or entity in any jurisdiction or country where such distribution or use would be contrary to law or regulation or which would subject us to any registration requirement within such jurisdiction or country. Accordingly, those persons who choose to access the Services from other locations do so on their initiative and are solely responsible for compliance with local laws, if and to the extent local laws are applicable. The Services are not tailored to comply with industry-specific regulations (Health Insurance Portability and Accountability Act (HIPAA), Federal Information Security Management Act (FISMA), etc.), so if your interactions would be subjected to such laws, you may not use the Services. You may not use the Services in a way that would violate the Gramm-Leach-Bliley Act (GLBA). 2. INTELLECTUAL PROPERTY RIGHTS Our intellectual property We are the owner or the licensee of all intellectual property rights in our Services, including all source code, databases, functionality, software, website designs, audio, video, text, photographs, and graphics in the Services (collectively, the "Content"), as well as the trademarks, service marks, and logos contained therein (the "Marks"). Our Content and Marks are protected by copyright and trademark laws (and various other intellectual property rights and unfair competition laws) and treaties in the United States and around the world. The Content and Marks are provided in or through the Services "AS IS" for your personal, non-commercial use or internal business purpose only. Your use of our Services Subject to your compliance with these Legal Terms, including the "PROHIBITED ACTIVITIES" section below, we grant you a non-exclusive, non-transferable, revocable license to: access the Services; and download or print a copy of any portion of the Content to which you have properly gained access solely for your personal, non-commercial use or internal business purpose. Except as set out in this section or elsewhere in our Legal Terms, no part of the Services and no Content or Marks may be copied, reproduced, aggregated, republished, uploaded, posted, publicly displayed, encoded, translated, transmitted, distributed, sold, licensed, or otherwise exploited for any commercial purpose whatsoever, without our express prior written permission. If you wish to make any use of the Services, Content, or Marks other than as set out in this section or elsewhere in our Legal Terms, please address your request to: hunter@cinemadispatch.com. If we ever grant you permission to post, reproduce, or publicly display any part of our Services or Content, you must identify us as the owners or licensors of the Services, Content, or Marks and ensure that any copyright or proprietary notice appears or is visible on posting, reproducing, or displaying our Content. We reserve all rights not expressly granted to you in and to the Services, Content, and Marks. Any breach of these Intellectual Property Rights will constitute a material breach of our Legal Terms and your right to use our Services will terminate immediately. Your submissions Please review this section and the "PROHIBITED ACTIVITIES" section carefully before using our Services to understand the (a) rights you give us and (b) obligations you have when you post or upload any content through the Services. Submissions: By directly sending us any question, comment, suggestion, idea, feedback, or other information about the Services ("Submissions"), you agree to assign to us all intellectual property rights in such Submission. You agree that we shall own this Submission and be entitled to its unrestricted use and dissemination for any lawful purpose, commercial or otherwise, without acknowledgment or compensation to you. You are responsible for what you post or upload: By sending us Submissions through any part of the Services you: confirm that you have read and agree with our "PROHIBITED ACTIVITIES" and will not post, send, publish, upload, or transmit through the Services any Submission that is illegal, harassing, hateful, harmful, defamatory, obscene, bullying, abusive, discriminatory, threatening to any person or group, sexually explicit, false, inaccurate, deceitful, or misleading; to the extent permissible by applicable law, waive any moral rights to any such Submission; warrant that any such Submission is original to you or that you have the necessary rights and licenses to submit such Submissions and that you have full authority to grant us the above-mentioned rights about your Submissions; and warrant and represent that your Submissions do not constitute confidential information. You are solely responsible for your Submissions and you expressly agree to reimburse us for any losses that we may suffer because you breach (a) this section, (b) any third party’s intellectual property rights, or (c) applicable law. 3. USER REPRESENTATIONS By using the Services, you represent and warrant that: (1) you have the legal capacity and you agree to comply with these Legal Terms; (2) you are not a minor in the jurisdiction in which you reside; (3) you will not access the Services through automated or non-human means, whether through a bot, script or otherwise; (4) you will not use the Services for any illegal or unauthorized purpose; and (5) your use of the Services will not violate any applicable law or regulation. If you provide any information that is untrue, inaccurate, not current, or incomplete, we have the right to suspend or terminate your account and refuse any current or future use of the Services (or any portion thereof). 4. PROHIBITED ACTIVITI ES You may not access or use the Services for any purpose other than that for which we make the Services available. The Services may not be used in connection with any commercial endeavors except those that are specifically endorsed or approved by us. As a user of the Services, you agree not to: * Systematically retrieve data or other content from the Services to create or compile, directly or indirectly, a collection, compilation, database, or directory without written permission from us. * Trick, defraud, or mislead us and other users, especially in any attempt to learn sensitive account information such as user passwords. * Circumvent, disable, or otherwise interfere with security-related features of the Services, including features that prevent or restrict the use or copying of any Content or enforce limitations on the use of the Services and/or the Content contained therein. * Disparage, tarnish, or otherwise harm, in our opinion, us and/or the Services. * Use any information obtained from the Services to harass, abuse, or harm another person. * Make improper use of our support services or submit false reports of abuse or misconduct. * Use the Services in a manner inconsistent with any applicable laws or regulations. * Engage in unauthorized framing of or linking to the Services. * Upload or transmit (or attempt to upload or to transmit) viruses, Trojan horses, or other material, including excessive use of capital letters and spamming (continuous posting of repetitive text), that interferes with any party’s uninterrupted use and enjoyment of the Services or modifies, impairs, disrupts, alters, or interferes with the use, features, functions, operation, or maintenance of the Services. * Engage in any automated use of the system, such as using scripts to send comments or messages, or using any data mining, robots, or similar data gathering and extraction tools. * Delete the copyright or other proprietary rights notice from any Content. * Attempt to impersonate another user or person or use the username of another user. * Upload or transmit (or attempt to upload or to transmit) any material that acts as a passive or active information collection or transmission mechanism, including without limitation, clear graphics interchange formats ("gifs"), 1×1 pixels, web bugs, cookies, or other similar devices (sometimes referred to as "spyware" or "passive collection mechanisms" or "PCM"). * Interfere with, disrupt, or create an undue burden on the Services or the networks or services connected to the Services. * Harass, annoy, intimidate, or threaten any of our employees or agents engaged in providing any portion of the Services to you. * Attempt to bypass any measures of the Services designed to prevent or restrict access to the Services, or any portion of the Services. * Copy or adapt the Services' software, including but not limited to Flash, PHP, HTML, JavaScript, or other code. * Except as permitted by applicable law, decipher, decompile, disassemble, or reverse engineer any of the software comprising or in any way making up a part of the Services. * Except as may be the result of a standard search engine or Internet browser usage, use, launch, develop, or distribute any automated system, including without limitation, any spider, robot, cheat utility, scraper, or offline reader that accesses the Services, or use or launch any unauthorized script or other software. * Use a buying agent or purchasing agent to make purchases of the Services. * Make any unauthorized use of the Services, including collecting usernames and/or email addresses of users by electronic or other means to send unsolicited emails, or create user accounts by automated means or under pretenses. * Use the Services as part of any effort to compete with us or otherwise use the Services and/or the Content for any revenue-generating endeavor or commercial enterprise. * Sell or otherwise transfer your profile. * Use the Services to advertise or offer to sell goods and services. 5. USER-GENERATED CONTRIBUTIONS The Services does not offer users to submit or post content. We may provide you with the opportunity to create, submit, post, display, transmit, perform, publish, distribute, or broadcast content and materials to us or on the Services, including but not limited to text, writings, video, audio, photographs, graphics, comments, suggestions, or personal information or other material (collectively, "Contributions"). Contributions may be viewable by other users of the Services and through third-party websites. When you create or make available any Contributions, you thereby represent and warrant that: * The creation, distribution, transmission, public display, or performance, and the accessing, downloading, or copying of your Contributions do not and will not infringe the proprietary rights, including but not limited to the copyright, patent, trademark, trade secret, or moral rights of any third party. * You are the creator and owner of or have the necessary licenses, rights, consents, releases, and permissions to use and to authorize us, the Services, and other users of the Services to use your Contributions in any manner contemplated by the Services and these Legal Terms. * You have the written consent, release, and/or permission of every identifiable person in your Contributions to use the name or likeness of every such identifiable person to enable inclusion and use of your Contributions in any manner contemplated by the Services and these Legal Terms. * Your Contributions are not false, inaccurate, or misleading. * Your Contributions are not unsolicited or unauthorized advertising, promotional materials, pyramid schemes, chain letters, spam, mass mailings, or other forms of solicitation. * Your Contributions are not obscene, lewd, lascivious, filthy, violent, harassing, libelous, slanderous, or otherwise objectionable (as determined by us). * Your Contributions do not ridicule, mock, disparage, intimidate, or abuse anyone. * Your Contributions are not used to harass or threaten (in the legal sense of those terms) any other person or to promote violence against a specific person or class of people. * Your Contributions do not violate any applicable law, regulation, or rule. * Your Contributions do not violate the privacy or publicity rights of any third party. * Your Contributions do not violate any applicable law concerning child pornography, or otherwise intended to protect the health or well-being of minors. * Your Contributions do not include any offensive comments that are connected to race, national origin, gender, sexual preference, or physical handicap. * Your Contributions do not otherwise violate, or link to material that violates any provision of these Legal Terms, or any applicable law or regulation. * Any use of the Services in violation of the foregoing violates these Legal Terms and may result in, among other things, termination or suspension of your rights to use the Services. 6. CONTRIBUTION LICENSE You and Services agree that we may access, store, process, and use any information and personal data that you provide and your choices (including settings). By submitting suggestions or other feedback regarding the Services, you agree that we can use and share such feedback for any purpose without compensation to you. We do not assert any ownership over your Contributions. You retain full ownership of all of your Contributions and any intellectual property rights or other proprietary rights associated with your Contributions. We are not liable for any statements or representations in your Contributions provided by you in any area of the Services. You are solely responsible for your Contributions to the Services and you expressly agree to exonerate us from any responsibility and to refrain from any legal action against us regarding your Contributions. 7. THIRD-PARTY WEBSITES AND CONTENT The Services may contain (or you may be sent via the Site) links to other websites ("Third-Party Websites") as well as articles, photographs, text, graphics, pictures, designs, music, sound, video, information, applications, software, and other content or items belonging to or originating from third parties ("Third-Party Content"). Such Third-Party Websites and Third-Party Content are not investigated, monitored, or checked for accuracy, appropriateness, or completeness by us, and we are not responsible for any Third-Party Websites accessed through the Services or any Third-Party Content posted on, available through, or installed from the Services, including the content, accuracy, offensiveness, opinions, reliability, privacy practices, or other policies of or contained in the Third-Party Websites or the Third-Party Content. Inclusion of, linking to, or permitting the use or installation of any Third-Party Websites or any Third-Party Content does not imply approval or endorsement thereof by us. If you decide to leave the Services and access the Third-Party Websites or to use or install any Third-Party Content, you do so at your own risk, and you should be aware these Legal Terms no longer govern. You should review the applicable terms and policies, including privacy and data gathering practices, of any website to which you navigate from the Services or relate to any applications you use or install from the Services. Any purchases you make through Third-Party Websites will be through other websites and from other companies, and we take no responsibility whatsoever about such purchases which are exclusively between you and the applicable third party. You agree and acknowledge that we do not endorse the products or services offered on Third-Party Websites and you shall hold us blameless from any harm caused by your purchase of such products or services. Additionally, you shall hold us blameless from any losses sustained by you or harm caused to you relating to or resulting in any way from any Third-Party Content or any contact with Third-Party Websites. 8. SERVICE S MANAGEMENT We reserve the right, but not the obligation, to (1) monitor the Services for violations of these Legal Terms; (2) take appropriate legal action against anyone who, in our sole discretion, violates the law or these Legal Terms, including without limitation, reporting such user to law enforcement authorities; (3) in our sole discretion and without limitation, refuse, restrict access to, limit the availability of, or disable (to the extent technologically feasible) any of your Contributions or any portion thereof; (4) in our sole discretion and without limitation, notice, or liability, to remove from the Services or otherwise disable all files and content that are excessive in size or are in any way burdensome to our systems, and (5) otherwise manage the Services in a manner designed to protect our rights and property and to facilitate the proper functioning of the Services. 9. TERM AND TERMINATION These Legal Terms shall remain in full force and effect while you use the Services. WITHOUT LIMITING ANY OTHER PROVISION OF THESE LEGAL TERMS, WE RESERVE THE RIGHT TO, IN OUR SOLE DISCRETION AND WITHOUT NOTICE OR LIABILITY, DENY ACCESS TO AND USE OF THE SERVICES (INCLUDING BLOCKING CERTAIN IP ADDRESSES), TO ANY PERSON FOR ANY REASON OR NO REASON, INCLUDING WITHOUT LIMITATION FOR BREACH OF ANY REPRESENTATION, WARRANTY, OR COVENANT CONTAINED IN THESE LEGAL TERMS OR OF ANY APPLICABLE LAW OR REGULATION. WE MAY TERMINATE YOUR USE OR PARTICIPATION IN THE SERVICES OR DELETE ANY CONTENT OR INFORMATION THAT YOU POSTED AT ANY TIME, WITHOUT WARNING, AT OUR SOLE DISCRETION. If we terminate or suspend your account for any reason, you are prohibited from registering and creating a new account under your name, a fake or borrowed name, or the name of any third party, even if you may be acting on behalf of the third party. In addition to terminating or suspending your accoun t, we reserve the right to take appropriate legal action, including without limitation pursuing civil, criminal, and injunctive redress. 10. MODIFICATIONS AND INTERRUPTIONS We reserve the right to change, modify, or remove the contents of the Services at any time or for any reason at our sole discretion without notice. However, we have no obligation to update any information on our Services. We will not be liable to you or any third party for any modification, price change, suspension, or discontinuance of the Services. We cannot guarantee the Services will be available at all times. We may experience hardware, software, or other problems or need to perform maintenance related to the Services, resulting in interruptions, delays, or errors. We reserve the right to change, revise, update, suspend, discontinue, or otherwise modify the Services at any time or for any reason without notice to you. You agree that we have no liability whatsoever for any loss, damage, or inconvenience caused by your inability to access or use the Services during any downtime or discontinuance of the Services. Nothing in these Legal Terms will be construed to obligate us to maintain and support the Services or to supply any corrections, updates, or releases in connection therewith. 11. GOVERNING LAW These Legal Terms and your use of the Services are governed by and construed by the laws of the State of Minnesota applicable to agreements made and to be entirely performed within the State of Minnesota, without regard to its conflict of law principles. 12. DISPUTE RESOLUTION Informal Negotiations To expedite resolution and control the cost of any dispute, controversy, or claim related to these Legal Terms (each a "Dispute" and collectively, the "Disputes") brought by either you or us (individually, a "Party" and collectively, the "Parties"), the Parties agree to first attempt to negotiate any Dispute (except those Disputes expressly provided below) informally for at least thirty (30) days before initiating the arbitration. Such informal negotiations commence upon written notice from one Party to the other Party. Binding Arbitration If the Parties are unable to resolve a Dispute through informal negotiations, the Dispute (except those Disputes expressly excluded below) will be finally and exclusively resolved by binding arbitration. YOU UNDERSTAND THAT WITHOUT THIS PROVISION, YOU WOULD HAVE THE RIGHT TO SUE IN COURT AND HAVE A JURY TRIAL. The arbitration shall be commenced and conducted under the Commercial Arbitration Rules of the American Arbitration Association ("AAA") and, where appropriate, the AAA’s Supplementary Procedures for Consumer Related Disputes ("AAA Consumer Rules"), both of which are available at the American Arbitration Association (AAA) website. Your arbitration fees and your share of arbitrator compensation shall be governed by the AAA Consumer Rules and, where appropriate, limited by the AAA Consumer Rules. The arbitration may be conducted in person, through the submission of documents, by phone, or online. The arbitrator will decide in writing but need not provide a statement of reasons unless requested by either Party. The arbitrator must follow applicable law, and any award may be challenged if the arbitrator fails to do so. Except where otherwise required by the applicable AAA rules or applicable law, the arbitration will take place in Scott, Minnesota. Except as otherwise provided herein, the Parties may litigate in court to compel arbitration, stay proceedings pending arbitration, or confirm, modify, vacate, or enter judgment on the award entered by the arbitrator. If for any reason, a Dispute proceeds in court rather than arbitration, the Dispute shall be commenced or prosecuted in the state and federal courts located in Scott, Minnesota, and the Parties hereby consent to, and waive all defenses of lack of personal jurisdiction, and forum non conveniens concerning venue and jurisdiction in such state and federal courts. Application of the United Nations Convention on Contracts for the International Sale of Goods and the Uniform Computer Information Transaction Act (UCITA) are excluded from these Legal Terms. In no event shall any Dispute brought by either Party related in any way to the Services be commenced more than one (1) year after the cause of action arose. If this provision is found to be illegal or unenforceable, then neither Party will elect to arbitrate any Dispute falling within that portion of this provision found to be illegal or unenforceable and such Dispute shall be decided by a court of competent jurisdiction within the courts listed for jurisdiction above, and the Parties agree to submit to the personal jurisdiction of that court. Restrictions The Parties agree that any arbitration shall be limited to the Dispute between the Parties individually. To the full extent permitted by law, (a) no arbitration shall be joined with any other proceeding; (b) there is no right or authority for any Dispute to be arbitrated on a class-action basis or to utilize class-action procedures; and (c) there is no right or authority for any Dispute to be brought in a purported representative capacity on behalf of the general public or any other persons. Exceptions to Informal Negotiations and Arbitration The Parties agree that the following Disputes are not subject to the above provisions concerning informal negotiations binding arbitration: (a) any Disputes seeking to enforce or protect, or concerning the validity of, any of the intellectual property rights of a Party; (b) any Dispute related to, or arising from, allegations of theft, piracy, invasion of privacy, or unauthorized use; and (c) any claim for injunctive relief. If this provision is found to be illegal or unenforceable, then neither Party will elect to arbitrate any Dispute falling within that portion of this provision found to be illegal or unenforceable and such Dispute shall be decided by a court of competent jurisdiction within the courts listed for jurisdiction above, and the Parties agree to submit to the personal jurisdiction of that court. 13. CORRECTIONS There may be information on the Services that contains typographical errors, inaccuracies, or omissions, including descriptions, pricing, availability, and various other information. We reserve the right to correct any errors, inaccuracies, or omissions and to change or update the information on the Services at any time, without prior notice. 14. DISCLAIMER THE SERVICES ARE PROVIDED ON AN AS-IS AND AS-AVAILABLE BASIS. YOU AGREE THAT YOUR USE OF THE SERVICES WILL BE AT YOUR SOLE RISK. TO THE FULLEST EXTENT PERMITTED BY LAW, WE DISCLAIM ALL WARRANTIES, EXPRESS OR IMPLIED, IN CONNECTION WITH THE SERVICES AND YOUR USE THEREOF, INCLUDING, WITHOUT LIMITATION, THE IMPLIED WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, AND NON-INFRINGEMENT. WE MAKE NO WARRANTIES OR REPRESENTATIONS ABOUT THE ACCURACY OR COMPLETENESS OF THE SERVICES' CONTENT OR THE CONTENT OF ANY WEBSITES OR MOBILE APPLICATIONS LINKED TO THE SERVICES AND WE WILL ASSUME NO LIABILITY OR RESPONSIBILITY FOR ANY (1) ERRORS, MISTAKES, OR INACCURACIES OF CONTENT AND MATERIALS, (2) PERSONAL INJURY OR PROPERTY DAMAGE, OF ANY NATURE WHATSOEVER, RESULTING FROM YOUR ACCESS TO AND USE OF THE SERVICES, (3) ANY UNAUTHORIZED ACCESS TO OR USE OF OUR SECURE SERVERS AND/OR ANY AND ALL PERSONAL INFORMATION AND/OR FINANCIAL INFORMATION STORED THEREIN, (4) ANY INTERRUPTION OR CESSATION OF TRANSMISSION TO OR FROM THE SERVICES, (5) ANY BUGS, VIRUSES, TROJAN HORSES, OR THE LIKE WHICH MAY BE TRANSMITTED TO OR THROUGH THE SERVICES BY ANY THIRD PARTY, AND/OR (6) ANY ERRORS OR OMISSIONS IN ANY CONTENT AND MATERIALS OR FOR ANY LOSS OR DAMAGE OF ANY KIND INCURRED AS A RESULT OF THE USE OF ANY CONTENT POSTED, TRANSMITTED, OR OTHERWISE MADE AVAILABLE VIA THE SERVICES. WE DO NOT WARRANT, ENDORSE, GUARANTEE, OR ASSUME RESPONSIBILITY FOR ANY PRODUCT OR SERVICE ADVERTISED OR OFFERED BY A THIRD PARTY THROUGH THE SERVICES, ANY HYPERLINKED WEBSITE, OR ANY WEBSITE OR MOBILE APPLICATION FEATURED IN ANY BANNER OR OTHER ADVERTISING, AND WE WILL NOT BE A PARTY TO OR IN ANY WAY BE RESPONSIBLE FOR MONITORING ANY TRANSACTION BETWEEN YOU AND ANY THIRD-PARTY PROVIDERS OF PRODUCTS OR SERVICES. AS WITH THE PURCHASE OF A PRODUCT OR SERVICE THROUGH ANY MEDIUM OR IN ANY ENVIRONMENT, YOU SHOULD USE YOUR BEST JUDGMENT AND EXERCISE CAUTION WHERE APPROPRIATE. 15. LIMITATIONS OF LIABILITY IN NO EVENT WILL WE OR OUR DIRECTORS, EMPLOYEES, OR AGENTS BE LIABLE TO YOU OR ANY THIRD PARTY FOR ANY DIRECT, INDIRECT, CONSEQUENTIAL, EXEMPLARY, INCIDENTAL, SPECIAL, OR PUNITIVE DAMAGES, INCLUDING LOST PROFIT, LOST REVENUE, LOSS OF DATA, OR OTHER DAMAGES ARISING FROM YOUR USE OF THE SERVICES, EVEN IF WE HAVE BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES. 16. INDEMNIFICATION You agree to defend, indemnify, and hold us harmless, including our subsidiaries, affiliates, and all of our respective officers, agents, partners, and employees, from and against any loss, damage, liability, claim, or demand, including reasonable attorneys’ fees and expenses, made by any third party due to or arising out of (1) use of the Services; (2) breach of these Legal Terms; (3) any breach of your representations and warranties outlined in these Legal Terms; (4) your violation of the rights of a third party, including but not limited to intellectual property rights; or (5) any overt harmful act toward any other user of the Services with whom you connected via the Services. Notwithstanding the foregoing, we reserve the right, at your expense, to assume the exclusive defense and control of any matter for which you are required to indemnify us, and you agree to cooperate, at your expense, with our defense of such claims. We will use reasonable efforts to notify you of any such claim, action, or proceeding which is subject to this indemnification upon becoming aware of it. 17 . USER DATA We will maintain certain data that you transmit to the Services to manage the performance of the Services, as well as data relating to your use of the Services. Although we perform routine backups of data, you are solely responsible for all data that you transmit or that relates to any activity you have undertaken using the Services. You agree that we shall have no liability to you for any loss or corruption of any such data, and you hereby waive any right of action against us arising from any such loss or corruption of such data. 18. ELECTRONIC COMMUNICATIONS, TRANSACTIONS, AND SIGNATURES Visiting the Services, sending us emails, and completing online forms constitute electronic communications. You consent to receive electronic communications, and you agree that all agreements, notices, disclosures, and other communications we provide to you electronically, via email, and on the Services, satisfy any legal requirement that such communication be in writing. YOU HEREBY AGREE TO THE USE OF ELECTRONIC SIGNATURES, CONTRACTS, ORDERS, AND OTHER RECORDS, AND ELECTRONIC DELIVERY OF NOTICES, POLICIES, AND RECORDS OF TRANSACTIONS INITIATED OR COMPLETED BY US OR VIA THE SERVICES. You hereby waive any rights or requirements under any statutes, regulations, rules, ordinances, or other laws in any jurisdiction which require an original signature or delivery or retention of non-electronic records, or to payments or the granting of credits by any means other than electronic means. 19. CALIFORNIA USERS AND RESIDENTS If any complaint with us is not satisfactorily resolved, you can contact the Complaint Assistance Unit of the Division of Consumer Services of the California Department of Consumer Affairs in writing at 1625 North Market Blvd., Suite N 112, Sacramento, California 95834 or by telephone at (800) 952-5210 or (916) 445-1254. 20. MISCELLANEOUS These Legal Terms and any policies or operating rules posted by us on the Services or with respect to the Services constitute the entire agreement and understanding between you and us. Our failure to exercise or enforce any right or provision of these Legal Terms shall not operate as a waiver of such right or provision. These Legal Terms operate to the fullest extent permissible by law. We may assign any or all of our rights and obligations to others at any time. We shall not be responsible or liable for any loss, damage, delay, or failure to act caused by any cause beyond our reasonable control. If any provision or part of a provision of these Legal Terms is determined to be unlawful, void, or unenforceable, that provision or part of the provision is deemed severable from these Legal Terms and does not affect the validity and enforceability of any remaining provisions. There is no joint venture, partnership, employment, or agency relationship created between you and us as a result of these Legal Terms or use of the Services. You agree that these Legal Terms will not be construed against us by having drafted them. You hereby waive any defenses you may have based on the electronic form of these Legal Terms and the lack of signing by the parties hereto to execute these Legal Terms. 21. CONTACT US To resolve a complaint regarding the Services or to receive further information regarding the use of the Services, please contact us at: hunter@cinemadispatch.com

It Chapter Two September 12, 2019 By: Button Hunter Friesen In 1913, Henry Ford introduced the assembly line to the Ford Motor Company. He made a ton of money and was hailed as a leading innovator. Now just a hundred years later, director Andy Musciehtti brings that same assembly line principle to IT Chapter Two as he serves up his scary products in the exact fashion as the one before. This sequel to the highest-grossing horror movie of all time (unadjusted) takes place 27 years later in the same town of Derry, Maine. The rambunctious kids are all adults now and have gone on their separate paths to some form of success. Unfortunately, the good fortune for each is put to an end by the return of Pennywise, who seeks more victims for his twisted games. Being the only ones that have stopped the evil force, the adults must come together again to put an end to this bloody mess. Director Andy Muschietti returns behind the camera after the record-breaking success he earned from 2017’s It. For the second time around, Muschietti goes even bigger and bolder than before, both in terms of the horror set pieces and the length. When it comes to giving audiences what they came to see, Muschietti delivers by adding even more blood, gore, and creepiness. Pennywise’s indescribable powers get even more creative as his prey are stalked and slaughtered with unnerving brutality. The biggest fault that plagued the previous film was its recycling of cheap jump scares that were meant to artificially hold your attention. That same problem is even more glaring in the sequel as any scary moments are just startling moments where something pops out at the screen. The more they happen, the more predictable and boring they are to watch. A runtime is never indicative of quality by itself, every movie should earn its length through skill and craftsmanship. And at 170 minutes, IT Chapter Two falls way short of earning its record-breaking runtime. Instead of the horror being a slow burn, it's more of a slow churn as the recycled jump scares quickly lose their minuscule luster and make this already long film feel even longer. Screenwriter Gary Dauberman takes up the impossible task of adapting Stephen King, a challenge that has killed the careers of countless adapters before him. He tries his best to break away from the ridiculousness within King’s novel, but his efforts end up backfiring on him and make the film even more awkward as some elements are left in and some left out. The story wants you to take it pretty seriously, but keeping in the weird elements makes that almost an impossible task. Muschietti didn’t do much to justify the excessive length, but Dauberman should shoulder more of the blame for his uneven pacing. The film starts great with the together and playing off each other with a fun and brisk pace. Then, against all logic, Dauberman has them split up for ninety minutes, severely slowing things to a crawl and forcing the jump scares to keep you awake. The highest regard should go to casting director Rich Delia as he has brilliantly put together a group of adult actors that uncannily look like their younger counterparts. Unfortunately, good looks are the only quality some actors possess here. James McAvoy does fine as Bill. The most evident acting trait he shows off is his struggle to hide his Scottish accent with a less -than- convincing New England one. Having a rocky 2019, to say the least, Jessica Chastain follows up the bomb that was Dark Phoenix with another subpar performance. She doesn’t shine as brightly as Sophia Lillis’ younger Beverly despite being the more acclaimed actress with a lot more screen time. The standout performances come from the two Bills in the cast, Hader and Skarsgård. Hader plays adult Richie and fairs the best in the cast at toeing the line between drama and comedy. Skarsgård as Pennywise is a sight to see but unfortunately doesn’t get seen for long stretches. Between him and Heath Ledger’s Joker, future performances for clowns now have an insanely high bar to reach. With over five hours of material between the two films, the It series has come to a less than satisfying close with IT Chapter Two . There are some things to admire Muschietti and co. for doing or trying to do. But for every great Bill Skarsgård moment (which is all of them), there were just as many moments of wasted potential due to unoriginal filmmaking. Overall, between its highs and lows, IT Chapter Two makes for a semi-enjoyable time. Just make sure to bring a seat cushion. More Reviews 28 Years Later: The Bone Temple January 13, 2026 By: Hunter Friesen The Rip January 16, 2026 By: Hunter Friesen Dead Man's Wire January 14, 2026 By: Hunter Friesen The Chronology of Water January 9, 2026 By: Hunter Friesen Hunter Friesen

Greta March 7, 2019 By: Button Hunter Friesen Frances McCullen is a recent graduate trying to make ends meet in New York City. She shares an apartment with her best friend Erica and works as a waitress at an upscale restaurant. One day while riding the subway, Frances spots a handbag that had been mistakenly left behind. Knowing it would be the right thing to do, Frances returns it to the owner, Greta Hideg, a lonely elderly French woman. The two quickly hit it off and a mutual friendship sparks between them. However, after some time goes by, the relationship begins to get strange. Frances discovers an unsettling secret about Greta and decides to cut ties with her. Greta doesn’t take the news well and becomes deranged, stalking Frances day and night. Stuck in a hard place with little help from the authorities, Frances must take her life into her own hands as she becomes prey to a ferocious predator. Directed by Neil Jordan, Greta is a film that suffers from the condition of not knowing what it is. The loudest thought that was going through my head while watching was what exactly Jordan was going for. The film feels like a cheap B-movie that somewhat pays homage to the stalker genre made popular in the 80s and 90s. But that nostalgic factor doesn’t feel intentional. Many of the storytelling elements are haphazardly put together, making the film fall apart quickly and stumble all the way to the finish. If the feeling I got was intentional by Jordan, then he did a below-average job at making a cheesy thriller to kill some time. If it wasn’t intentional and this was supposed to be a straight story, he failed quite miserably. Either way, it doesn’t turn out good. Jordan does employ a combination of camera tricks and loud string music to build and release tension, mainly through the medium of jump scares. The techniques are a small grade above what you would usually see in a typical horror film, but it’s also nothing worthy of merit. Jordan partnered with Ray Wright to pen the script, which can best be described as “dumb horror characters make really dumb decisions.” Many times I found myself in disbelief over the actions a character had just taken. A prime example of this would be *spoilers* near the end of the film when a character is being held hostage in a house and an opportunity arises for them to escape. Instead of breaking down the front door and running away, they end up going down into the basement and are immediately trapped again. Just like the tonally amateur feel, these dumb decisions come from Jordan’s unknown and seemingly nonexistent sense of direction. Are these dumb choices supposed to mock the horror genre and be laughed at, or are the characters just ridiculously stupid? I could never find a clear answer, and something tells me neither did Jordan. If the character choices don’t evoke enough groans, the insufferably fake dialogue will more than makeup for it. Teenage characters talk like what an elderly person thinks they talk like, and elderly characters sound like their lines were written by a teenager in high school English class. Maybe the only real reason to watch this film is for Isabelle Huppert as she thanklessly dives into the titular role. I feel that she must have realized how poorly this film would turn out and decided to have some fun with it. It’s still not a great performance, but it’s nice to watch someone having the time of their life. After maturing with roles in The Miseducation of Cameron Post and Suspiria , Chloë Grace Moretz falls back into the old shtick of playing the innocent cute girl. Similar to Huppert, Moretz seems to know that she’s above this kind of low-level work. But unlike Huppert, she deals with this fact by just not caring and mentally checking out, which makes her character look half awake most of the time. Maika Monroe shows up in a supporting role as Erica, the usual voice of reason that mainly acts as a vessel for the audience. Monroe is fine throughout but tends to overplay the stereotype of the party girl caught in a horror film. The world may never know what Neil Jordan was going for with Greta , but either way, the final product turned out pretty bad. More likely to put you to sleep than bring you out of your seat, this so-called thriller lacks the essential quality that even the most outright terrible movies have, a sense that someone actually cared. More Reviews 28 Years Later: The Bone Temple January 13, 2026 By: Hunter Friesen The Rip January 16, 2026 By: Hunter Friesen Dead Man's Wire January 14, 2026 By: Hunter Friesen The Chronology of Water January 9, 2026 By: Hunter Friesen Hunter Friesen

Conclave September 9, 2024 By: Button Hunter Friesen Conclave had its International Premiere at the 2024 Toronto International Film Festival. Focus Features will release it in theaters on October 25. Saints and sinners live among us, even in the holiest of places. As the old saying goes, it can be impossible to discern between a sheep and a wolf. And as a cardinal puts it within Conclave , no sane man would desire the papacy, and no man that seeks it should deserve it. Now that the pope is unexpectedly dead, several candidates are vying for the most powerful position in the world, one that will wield the lives of billions and thousands of years of precedent. Cardinal Bellini asks if he can keep the pope’s chessboard as a memento, a bold signifier of the game that’s about to be played. The term that the film gets its title from is what the process of electing a new pope is referred to. Over one hundred cardinals from all over the world converge in the holy home of the Catholic church, each with their own agenda of how the church should be steered. For Cardinal Tedesco (Sergio Castellitto), the church needs to bring back the conservative views of the past. Cardinal Bellini (Stanley Tucci), while reluctant to even be considered for the position, sees an opportunity for a more progressive church that fits with the time. Somewhere along that ideological spectrum sits Cardinal Tremblay (John Lithgow) and Cardinal Adeyemi (Lucian Msamati), both of whom have gathered enough support to be viable candidates. Appointed to oversee this transitional period is Cardinal Lawrence (Ralph Fiennes), who must balance egos, ambitions, and media scrutiny just as much as his faith that the man most fit to serve God will prevail. He’s practically the producer for an awards show, scurrying around marble corridors as his assistants feed him every bit of news and each cardinal tries to get a peek behind the curtain. Much of the cast and crew behind this production will likely find themselves attending awards shows through the winter. Director Edward Berger, wildly hot off the success of his adaptation of All Quiet on the Western Front , once again shows a great command of the literary material he inherited. He and editor Nick Emerson keep a slow-burning, yet propulsive energy to the proceedings. Sequences of backdoor politics and revelations of long-buried secrets cumulate into the multiple rounds of official voting. The tension is wound tight enough to cut through steel, with the score from Volker Bertelmann, aka Hauschka, providing the booming layer of intrigue. Peter Straughan, previously Oscar-nominated for Tinker Tailor Soldier Spy (its director, Tomas Alfredson, serves as a producer on this project), keeps the balance between thrills and social critique just as pristine as it was in Robert Harris’ novel. It doesn’t take a politically inundated American such as myself to see the real-world parallels between parties filled with brash conservatives and reluctant progressives. There are also hints of humor within this deadly serious debate, such as a Cardinal being accused of misconduct denying all wrongdoing while struggling to operate a Keurig machine. Longstanding acting royalty fill the cast, with the highest laurels going to Fiennes. He maintains a quiet dignity as a web of lies and deceit begins to unspool right in front of him. His faith in the church as an organization is also shaken, largely because of what the eyes and ears of Sister Agnes (Isabella Rossellini) pick up as she remains hidden in plain sight. A little more time devoted to her and Tucci would have been much appreciated, mostly because they make such a meal out of the small portions doled upon them. For someone who seemed to appear out of nowhere with All Quiet on the Western Front , Berger has quickly strung together two of the finer films of the past few years. Conclave is a soap opera with as much page-turning substance as it has a prestige-like style, perfect for both the faithful and skeptics alike. More Reviews 28 Years Later: The Bone Temple January 13, 2026 By: Hunter Friesen The Rip January 16, 2026 By: Hunter Friesen Dead Man's Wire January 14, 2026 By: Hunter Friesen The Chronology of Water January 9, 2026 By: Hunter Friesen Hunter Friesen

Every Spider-Man Movie Ranked June 2, 2023 By: Tyler Banark With Spider-Man: Across the Spider-Verse swinging into theaters this weekend, now is a perfect time to revisit and recap every movie from our friendly neighborhood superhero. Since the character’s big screen inception in 2002, Spider-Man has had many faces, friends, foes, and bosses thanks to a civil feud between Sony and Marvel. Between the Spider-Man actors - Tobey Maguire, Andrew Garfield, Tom Holland, and Shameik Moore - many generations of fans have debated over who is the best Spider-Man. However, that thorny question will be left for another day. Instead, we’ll embark on the equally difficult and exciting task of ranking all nine Spider-Man movies (Raimi trilogy, Amazing Spider-Man franchise, MCU trilogy, Into the Spider-Verse ) from worst to best. 9. Spider-Man: Homecoming (2017) Yes, I admit that having Homecoming at the bottom of this list is an unpopular opinion. Tom Holland debuted as the MCU’s Spider-Man in Captain America: Civil War one year prior, with Homecoming being his first solo trip around the block. Homecoming is borderline okay, often pushing good. Indecisive on whether or not it wants to be a superhero movie or a John Hughes-inspired coming-of-age flick (i.e., The Breakfast Club, Sixteen Candles ), Homecoming struggles with its story and leaves audiences underwhelmed. Performance-wise, Holland and the supporting actors are finding their footing with mixed results. It does help that Robert Downey Jr. brings his usual veteran charm in his seventh outing Tony Stark. The other standout in the movie’s strongest suit is Michael Keaton’s Vulture, who packs both a threatening presence and justifiable motives. His turning out to be Liz’s dad was a surprise and one of the most shocking plot twists in the MCU. Thankfully, the fact that Homecoming isn’t as strong as the other Spider-Man movies isn’t a total hindrance, as its direct MCU sequels build upon it and eventually make Holland’s run better by progression. 8. The Amazing Spider-Man 2 (2014) Before a recent rewatch, I always had a soft spot for The Amazing Spider-Man 2 . Although it wasn’t the best Spider-Man movie, I still found a lot to enjoy. However, the nostalgia has worn off, with the flaws being glaringly obvious. These big problems stem from the overcrowded writer’s room, with three new pens joining the only returning writer James Vanderbilt. The plot is overstuffed and the handling of the villains could’ve been better. The tone has also been drastically changed, although that change works out in the movie’s favor. Dane DeHaan could’ve been a solid Harry Osborn/Green Goblin, but he comes off as one-dimensional and his subplot is rushed. The same can be said for Jamie Foxx’s Electro, as it seems like he had to battle with the filmmakers/producers on how to pursue the character. These notes aside, TASM 2 still had some strong aspects to it. Andrew Garfield and Emma Stone have stellar chemistry, the ever-impressive Hans Zimmer delivers an excellent score, and the action sequences are incredibly staged, with the Times Square battle being the coolest moment in Garfield’s brief saga. 7. Spider-Man 3 (2007) If Garfield’s Spider-Man movies took any lessons from Raimi’s trilogy, it’s the unfortunate ability to mishandle a trio of villains. Harry’s long-gestating transformation into Goblin doesn’t bear the expected fruit as his final form only appears in two scenes, one of which is the final battle where he’s fighting Venom and Sandman alongside Spider-Man. Venom is introduced too late, with Topher Grace (poorly) replicating his hit character of Eric Forman from That 70s Show . Sandman is the only villain ingrained with a meaningful backstory and motives, both aided by Thomas Haden Church’s performance. I know it’s an unpopular opinion considering the memes that it spawned, but one of the best aspects of Spider-Man 3 is how it gives Peter an edgy side. Whether ironically or unironically, I think those misunderstood elements will become more appreciated as time goes on. Tobey Maguire still holds up as a more adult Peter/Spider-Man, with James Franco and Kirsten Dunst complimenting him as Harry Osborn and M.J., respectively. 6. Spider-Man 2 (2004) For the longest time, I thought Spider-Man 2 was the most overrated superhero movie ever. Don’t let your immediate anger cloud your judgment, as being overrated does not mean it’s bad. There’s a lot to love: Maguire and Dunst bring back their excellent chemistry, Alfred Molina’s menacing Doc Ock, Danny Elfman’s energetic score, and the Oscar-winning special effects. Raimi is also allowed to bring out his darker side by raising the stakes for Peter. He even creates one of the most horrifying scenes in a superhero movie, with the hospital scene still sending a tingle down my spine today. And then there’s the train sequence, which still holds up as one of the best cinematic Spider-Man set pieces. So why do I think this movie is overrated? Well, it’s because this sequel often feels like it’s trying too hard to replicate exactly what made its predecessor a huge success. If you think about it, Doc Ock has the same internal struggle as Willem Dafoe’s Green Goblin. And when Peter returns to being Spider-Man, he simply does it because MJ got kidnapped. There’s also the underdeveloped subplot of Aunt May's financial struggles and Peter’s academic decline. But for all my gripes, Spider-Man 2 is still a genuinely fun time. 5. The Amazing Spider-Man (2012) Andrew Garfield’s first outing might be a little too familiar to Maguire’s, but it still has enough unique identifiers, such as the exploration of Peter’s parents and the handling of Peter as more of an outcast instead of a nerd, to justify its existence. This reboot still had its struggles with an inconsistent tone that goes from lighthearted fun to ominous at the flip of a switch. And it often becomes distracting as Garfield tries to replicate Maguire's humor while trying to be his version of the character. However, he does showcase great chemistry with Emma Stone’s Gwen Stacy, almost giving Maguire and Dunst a run for their money. Denis Leary stands out as Captain Stacy and Rhys Ifans’ Dr. Curt Connors/Lizard is an intimidating villain, even if he’s nowhere near the level of Dafoe's Goblin or Molina’s Doc Ock. His desire to create a world without weakness makes sense based on his situation, but his ends don’t justify the means. 4. Spider-Man: Far From Home (2019) Far From Home feels like your typical Spider-Man movie, which makes it serve as the perfect epilogue to the Earth-shattering events of Avengers: Endgame . Peter faces a great threat in Quentin Beck/Mysterio, with Jake Gyllenhaal being fantastic in the role as he finds room to make the character simultaneously understandable and egotistical. The chemistry between Holland and Zendaya continues to grow, with Jacob Batalon supplying the comic relief. It also never hurts to have Samuel L. Jackson appear as Nick Fury. FFH also has heaviness throughout as Peter still grieves over Tony’s death while struggling to live up to the status he expects of himself. The scene where Mysterio messes with Peter’s head through illusions is the perfect illustration of the character at his most frightening. Not once does it feel cheesy; it’s unnerving as we see a figure Peter trusted unleash his true colors. Had Peter’s story ended here, it would’ve been neat, but it ultimately sets the stage for a third chapter that will go down as the most iconic for Holland’s run thus far (hint, hint). 3. Spider-Man: No Way Home (2021) No Way Home is the pinnacle testament to Spider-Man as it honors the cinematic legacy that was created back in 2002. We find Holland’s Spider-Man still processing the weight of Tony’s death and developing an understanding of what it means to be a superhero. Fortunately, he finds two excellent teachers in those that have come before him as Maguire and Garfield return, along with their familiar foes. Their chemistry with Holland is undeniable, and it’s so satisfying to see the three of them interacting with each other. Bringing the first two Spider-Men back felt like a wave of nostalgia for lifelong fans of the character. But it’s not a simple cash grab as it works well with the grand scope of the narrative. Seeing Dafoe’s Goblin and Molina’s Doc Ock return is bittersweet as they act like not a day has passed since they last played their parts. Foxx’s Electro is given room to be the formidable opponent he wanted to be in TASM 2 . NWH would easily be in the top two, but the only thing holding it back is the heavy reliance on fan service, which doesn’t translate as well outside of the theater. Otherwise, it’s a perfect Spider-Man movie that encapsulates everything it means to be the character. 2. Spider-Man (2002) Spider-Man is a classic superhero movie with the right amount of stakes for the character both internally and externally. It laid the groundwork of what a Spider-Man movie could be so effortlessly, something that almost every other entry has been chasing. Maguire fits the bill as a nerdy Peter Parker grappling with his newly given powers to become the hero we know and love. Of course, I may be biased toward this movie since it is the original. But upon revisiting it recently, it’s still as flawless as when I first watched it. Sam Raimi always stood for changing the game just as he did for the horror genre with the Evil Dead trilogy, so there’s no surprise that he reapplies his methods to the still burgeoning superhero genre. Willem Dafoe is incredible as Norman Osborn/Green Goblin, nailing the two-face aspect of the character. James Franco and Kirsten Dunst deliver excellent turns as Peter’s friend Harry and love interest M.J., respectively, as does Rosemary Harris as Aunt May and J.K. Simmons as the wisecracking J. Jonah Jameson. The finale is also one of the best moments of any superhero movie, as we see Spidey flawlessly save M.J. and the Roosevelt Island tram. 1. Spider-Man: Into the Spider-Verse (2018) Into the Spider-Verse is not only one of the best superhero movies ever made, but it’s also one of the best-animated movies of the 21st Century. Here, we are introduced to Miles Morales, a middle schooler who is dealt the same fate as Peter and learns to become a hero. Only this time, he gets some help from other variations of the character spread across countless dimensions. Shameik Moore voices the role of Miles well, while Hailee Steinfeld and Jake Johnson counter him as Spider-Gwen and Peter B. Parker/Spider-Man. Daniel Pemberton’s score and the soundtrack bring their unique flare, matching well with the out-of-this-world animation. The utilization of different animation styles left no doubt as to why this won the Oscar for Best Animated Feature, or why it will continue to be the model for animation excellence for years to come. Whichever Spider-Man movie audiences prefer, there is no denying that all nine of them offer something different. No matter if they work or not, the movies made a statement about the character and illustrated where the superhero genre was at a moment in time. Tobey Maguire laid the groundwork; Andrew Garfield proved that you should never stand down even if the cards aren’t in your favor; Tom Holland captured the youthfulness and understood the duties of Spider-Man; and Shameik Moore proved that no one fights alone and anyone can wear the mask. But what do all four of these Spider-Men have in common? They have the understanding that with great power comes great responsibility. You can follow Tyler and read more of his thoughts on movies here . More Reviews 28 Years Later: The Bone Temple January 13, 2026 By: Hunter Friesen The Rip January 16, 2026 By: Hunter Friesen Dead Man's Wire January 14, 2026 By: Hunter Friesen The Chronology of Water January 9, 2026 By: Hunter Friesen Hunter Friesen

The Wonder November 4, 2022 By: Button Hunter Friesen One could be forgiven for believing that they are watching the wrong film based on the first image within Sebastián Lelio’s The Wonder . “We are nothing without stories, so we invite you to believe in this one,” narrates a mysterious whispery voice as we open with a shot of a modern soundstage, a far cry from the mid-19th century Irish countryside where the film takes place. But just as you're about to reach for your remote and back out to the main menu of Netflix, the camera pans to the right, revealing Florence Pugh’s character of widowed English nurse Elizabeth Wright as she’s making her voyage on a boat. And with that simple trick, Lelio has placed us within the shoes (or more accurately, muddy boots) of his main character, as we are reminded that movies, while made through proven science and craftsmanship, are most alluring when they make us suspend our disbelief. Wright’s journey takes her to a small village in Ireland, a place where religion and science often occupy the same spaces. She’s been summoned by a committee of the town’s highest-ranking elders, including a priest and a doctor (Ciarán Hinds and Toby Jones, respectively), to investigate an unexplainable phenomenon. 11-year-old Anna O’Donnell has gone without food for the past four months, surviving purely on “manna from heaven.” The child has been labeled a miracle by the townsfolk and receives visitors and press coverage from all over the land. Of course, this prolonged fast defies the laws of human anatomy, which is why the committee has summoned Wright and a nun, so that they may watch her all day and night and determine if the child truly is a blessing from above. Wright fills the role of the skeptic, never once believing (there’s that word again) that Anna and her family are telling the truth. She’s experienced enough despair in her life - including losing her child and husband, and serving during the bloodiest parts of the Crimean War - to doubt the existence, let alone the goodwill, of God. She observes Anna as she goes through her daily routine, one of constant prayer and giving and receiving love within her family, waiting for someone to crack under the pressure and reveal the whole thing as a sham. But Elizabeth’s beliefs begin to waver as the days drudge on and Anna continues to thrive without food, creating a constant battle between the known and the unknown. Centering his filmography around the themes of personal identity ( Disobedience, Oscar-winning A Fantastic Woman) , Lelio has often found silence to be the best judge of character. Adapting the novel by Emma Donoghue ( Room ), many of the pivotal scenes are pushed further based on observational glances. Pugh returns (not that she was gone that long) from her movie star escapades in Black Widow and Don’t Worry Darling to deliver a shimmeringly haunting performance. She may look and dress the part of Amy March in Greta Gerwig’s Little Women , but her demeanor couldn't be any more different as she brings a steely no-nonsense energy. Matthew Herbert’s off-kilter score, with its liberal use of percussion and non-period instruments, keeps you entranced toward the mystery, even if the material itself may not always be that consistently interesting. Things pick up steam near the end when the building blocks begin to tumble and desperate choices are made. The means to get there may not have been the most well-executed, but the outcome does provide a nice return on the initial investment. Through fine work from every facet of its production, The Wonder accomplishes what it sets out to do, telling a story I wholeheartedly believed. Much of what you take away from the film will be under the surface, possibly testing your ideals about the unexplainable within your own life. More Reviews 28 Years Later: The Bone Temple January 13, 2026 By: Hunter Friesen The Rip January 16, 2026 By: Hunter Friesen Dead Man's Wire January 14, 2026 By: Hunter Friesen The Chronology of Water January 9, 2026 By: Hunter Friesen Hunter Friesen

Zombieland: Double Tap October 28, 2019 By: Button Hunter Friesen When the first Zombieland came out in 2009, it was a pleasant surprise. The zombie genre was in its initial rebirth stage and self-referential humor hadn’t reached its peak just yet. It became the talk of every middle and high school around the country, creating a rabid fanbase that launched the careers of several of its stars and creators. Now ten years later, the gang is back, still making their way through the undead infestation within America. But slaughtering zombies proves to create human relationship problems, ones that the survivors all thought they left behind. Also, there’s a new breed of zombie on the loose, tougher and smarter than ever before. With the physical and emotional danger ramping up by the day, the bond holding the misfit family together will soon be tested. Directed by Ruben Fleischer, helmer of the first film and Tom Hardy’s Venom , Zombieland: Double Tap is a breezy 99-minute comedy. The atmosphere is light and joyous as the characters always keep their sarcastic attitudes even in the most perilous of times. But that carefree attitude is also a symptom of the lack of depth and purpose to the story. Fleischer frames the narrative as a road movie, but without a meaningful destination or compelling journey to bring it all together. The comedy set-pieces here are more separate entities rather than part of a whole piece. Fortunately, some of those disjointed scenes contain some great action as Fleischer embellishes the gory fun of killing (or re-killing) the undead. Slow-motion and excessive blood and guts soak the screen and make for an amusing watch. And even though guns are the primary weapon of choice, there is one top-notch tracking shot sequence that deserves credit for its creative methods for killing. Written by the original duo of the first movie plus the addition of Dave Callaham, “Zombieland: Double Tap” still contains the same amount of self-referential humor as the first. This time though, the meta-jokes aren’t as fresh and are served through overly-expository narration. Just like the carefree atmosphere, this fault is part of a larger problem: staleness. Ten years ago, this story and these characters were original. But now with “The Walking Dead” and umpteen amount of video games, the zombie genre has run itself into the ground. The writers don’t try to solve this problem and merely just try to joke about it. That’s not to say that the jokes are bad, some of them are quite good. And the chemistry between the cast is just as good or even better than the original. It’s just a shame that all that talent is buried under a little-to-nothing plot that only serves the purpose of shuffling them between set pieces. It’s fine and all to watch the same great characters do funny stuff, but there also needs to be a story to tell. The lack of a story here showcases the prime reason this film was nothing more than an unnecessary cash grab. Ten years older and all Academy Award-nominated, the cast all return to do more of the same. Jesse Eisenberg is his usual fidgety and neurotic self as he spatters out his rules of survival. Woody Harrelson takes the top spot among the group and seems to be enjoying himself the most. It’s almost unfair to the others that he gets the best lines, but he makes the most out of them and is the main reason most of the jokes land. Emma Stone, away from serious roles for a little bit, also seems to be reveling in the zombie carnage. It’s nice to see her let loose, especially since she does have a knack for snarky comedy. Lastly, Abigail Breslin gets the short end of the stick as she doesn’t get anything to do or say that’s funny, even if she’s pretty good in her seldom moments to shine. Zombieland: Double Tap has some good moments, but they’re not enough to make it a good movie. But its inoffensiveness delivers just enough laughs to service those who have fond memories of the first one. Just like how Ghostbusters II isn’t remembered to this day, I feel this sequel will come and go without leaving the same lasting mark that the superior original was able to make all those years ago. More Reviews 28 Years Later: The Bone Temple January 13, 2026 By: Hunter Friesen The Rip January 16, 2026 By: Hunter Friesen Dead Man's Wire January 14, 2026 By: Hunter Friesen The Chronology of Water January 9, 2026 By: Hunter Friesen Hunter Friesen

MSPIFF43 - Dispatch #1 April 22, 2024 By: Button Hunter Friesen The 43rd Minneapolis-St. Paul International Film Festival (MSPIFF) is currently going on from April 11-25, with over 200 films screened. Here are some quick-bite reviews of a few of the films I have watched, with more to come soon. Green Border Agnieszka Holland’s Green Border is nothing short of ambitious, as it sees the revered Polish writer/director putting her native government through the wringer in the hopes of shining a light on the atrocities taking place on its eastern border. Split into several chapters, the majority of the film’s focus is on a Syrian migrant family as they start their journey to Sweden to start a new life with one of their distant relatives. Like thousands of other families, they are lured into Belarus under the government’s false advertisement of safe travel into the European Union. They are then harassed and extorted by border guards until being forcibly flung into Poland as part of a geopolitical war to destabilize the EU. Any hope of sympathy from the Polish forces quickly vanishes; replaced with more xenophobia, abuse, and forcible deportation back to Belarus. Holland captures the brutality of this inhumane game of tug-and-war in stark black-and-white, the endless forest along the border being perpetually shrouded in darkness. There’s always a “one step forward, two steps back” attitude towards the plight of the family, with Holland never crossing over the line of torturing her characters for the sake of a message. The themes of inhumanity extend further into the other chapters, which eventually becomes a bit of a Pulp Fiction -esque story of intersecting storylines. One of those storylines features a young group of Polish activists who circumvent the law to aid the battered migrants, although their work never seems to be more than putting a metaphorical band-aid on a gunshot wound. Although the feeling of hope rarely shines through in Holland’s material, a bit of it can be felt based on the anger it incites. It’s no surprise that for all the prizes (including the Special Jury Prize in Venice) and acclaim the film has received from Western audiences, it was heavily condemned and censored by the Polish government. Even if the film has been prevented from having its full impact at home, it at least still carries quite the universal punch abroad. (3.5/5) Inside the Yellow Cocoon Shell You need to have serious guts (and a really trustworthy producer) to have your debut feature film run over three hours and feature little to none of the usual trappings audiences expect to keep them occupied in their seats. Vietnamese writer/director Phan Thien An has created a film of extraordinary uniqueness, aligning closely with the extreme slow cinema works of Apichatpong Weerasethakul and Béla Tarr. The plot is simple: A man’s sister-in-law dies in a motorcycle accident and he must escort his young nephew across the country to his estranged father. But the literal plot is something that An is least concerned with, instead focusing much of his attention on the spiritual ambiguity underlining every moment of our lives. Every scene is comprised of a single take, all of them extraordinary feats of production on account of their length and complexity. Time is often at a standstill, with no one ever seeming to be in a rush or wanting to have a direct conversation. Your attitude towards this style will be determined quickly, most likely in your ability to stay awake. But even those who drift off from time to time will have their dreams permeated by images from the film. It’s part of the experience, a little piece of the film that sticks with you, something the large majority of other works fail to do. Pham received the Camera d’Or prize for best first feature film at the Cannes Film Festival last year, where he premiered as part of the Directors’ Fortnight section. I have no doubt that it will be the first of many prizes he will receive at that festival, as their relationship seems to be a match made in heaven. (4/5) Shoshana Michael Winterbottom’s story of British Mandatory Palestine (specifically Tel Aviv) circa the 1930/1940s never knows exactly what side it wants to be on. It’s a film that wants to examine the British/Arab/Jewish conflict from all angles but always feels too scared to probe a little deeper for fear of angering viewers, which becomes most noticeable when the postscript reveals sentiments that the events of the film hardly supported. Winterbottom has usually been a filmmaker who plays fast and loose (see 24 Hour Party People and Wonderland ). Here he trades that all away for a polished procedural style, complete with bland archival footage and a tacky score by the usually reliable David Holmes. At the heart of this conflict are the star-crossed lovers of British police officer Tom Wilkin (Douglas Booth) and Zionist Shoshana (Irina Starshenbaum). They try to stay neutral with their feelings, but the increasing violence and tension ultimately force them to choose a side. Both of the leads are quite capable in their roles, it’s just that they end up being swallowed by the uninteresting forces around them. (2.5/5) Janet Planet Playwright Annie Baker’s feature directorial debut is a work of quiet observation, both literally and metaphorically. The nature of rural Massachusetts is the film’s soundtrack: crickets, swaying trees, and the distant verve of a car passing by on the dirt road. Inside one of the secluded houses live Janet (Julianne Nicholson) and her 11-year-old daughter Lacy (Zoe Ziegler). Throughout the summer of 1991, three people enter their lives: the reserved Wayne, former friend Regina, and pseudo-intellectual Avi. Baker captures the textures of an endless summer with ease, using a certain kind of slow cinema that’s mostly been found in cinema outside the Western hemisphere. While the argument behind the need for the theatrical experience has mostly been reserved for huge tentpoles filled with bombastic sound and visuals, Janet Planet makes just as much of a case to be seen in a dark room while barely registering over a whisper. The quiet rhythms and cinematography will surely not play as well at home, or in any multiplex with sound bleed. It’s one of those films I wished I could see alone in a screening room, just letting the vibes wash over me. Zeigler is tremendous in her first-ever performance. She and Nicholson share great chemistry, always at the heart of the film even as sometimes spins its wheels. Baker’s film could be the little indie sensation of the summer if A24 gives it the proper push it deserves. (3.5/5) More Reviews 28 Years Later: The Bone Temple January 13, 2026 By: Hunter Friesen The Rip January 16, 2026 By: Hunter Friesen Dead Man's Wire January 14, 2026 By: Hunter Friesen The Chronology of Water January 9, 2026 By: Hunter Friesen Hunter Friesen

Air April 3, 2023 By: Button Hunter Friesen Just a few weeks ago I introduced my review for Tetris by stating how 2023 is the year for corporate origin stories. There’s a cynical feeling I get about seeing multi-billion dollar conglomerates getting the underdog inspirational treatment, especially after several decades of them seeping into the art of filmmaking through merchandising, promotions, and anything else that makes money. In full transparency, I am also part of this problem as I buy something from Criterion every time there’s a sale and am typing this specific review in a room with walls covered in movie posters. But I digress. Air is the reason I had that exact cynical feeling, as it’s essentially the most expensive commercial for Nike and Michael Jordan. I wouldn’t be shocked if it's already playing on a loop in one of their corporate waiting rooms, or used by their endorsement teams when recruiting new athletes. This is also a movie where the already known outcome is that these people make billions of dollars, all while slightly admitting that the shoes that rake in the dough come from Asian sweatshops. And yet, in one of the truest examples of how filmmaking is never a rigid formula, the movie really works as both a historical retelling and as entertainment. Lest we forget, Ben Affleck is a damn good director, much better than the anonymous bomb that his most recent movie Live By Night would make him out to be. Air is just another reminder of how it was downright criminal for him not to be nominated for Best Director for Argo (he won the Golden Globe, Critics Choice, BAFTA, and DGA awards for Christ's sake!), even though it most likely paved the way for inspired nominations like Benh Zeitlin ( Beasts of the Southern Wild ) and Michael Haneke ( Amour ). This is the first Affleck film to not be a crime thriller, but that doesn’t stop him from trying to imbue those sensibilities here. Characters race against the clock, with the camera often following right behind them, revolving in circles as they make a brief stop, only for things to continue in motion. The script comes from first-time writer Alex Convery, which makes sense as much of it has that same amount of unrefined energy you would find in an NBA rookie like Jordan. Names are dropped left and right (John Stockton! Charles Barkley! Clyde Drexler!), and all-too-brief snippets of pop hits play between scenes as if doing those two things is enough to settle us into this 1980s setting. A lot of moments are overemphasized or a bit corny, as if each one of them was made to be packaged into the trailer. But the incredible cast is more than ready to make gold out of what’s given to them. With this following Ford v Ferrari and The Last Duel , Matt Damon finds himself on a hot streak. He absolutely nails a monologue near the end about the rise and fall of deified athletes. Viola Davis is Oscar-worthy as Jordan’s mother Deloris, whom the athlete credits for making him into the champion he is today. She commands respect in every scene, with her belief in her son being almost more potent than actually seeing him play. The fun doesn’t stop there! You’ve also got Chris Tucker (Howard White, Player Relations), Jason Bateman (Rob Strasser, Marketing), (Affleck (Phil Knight, CEO), and Chris Messina (David Falk, Jordan’s agent) bringing their A-game. 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. More Reviews 28 Years Later: The Bone Temple January 13, 2026 By: Hunter Friesen The Rip January 16, 2026 By: Hunter Friesen Dead Man's Wire January 14, 2026 By: Hunter Friesen The Chronology of Water January 9, 2026 By: Hunter Friesen Hunter Friesen

Decoding the Fall Festival Lineups July 26, 2024 By: Hunter Friesen With both the Toronto International Film Festival (TIFF) and Venice International Film Festival announcing their slates this week, the fall festival rush has officially begun. And with the premiere status designations supplied by TIFF, we’ve got a pretty good idea of the films that will be bowing in the mountains of Telluride right between the two other festivals. The puzzle still isn't fully clear when it comes to the overall Oscar race, but we’re a lot closer to realizing which pieces the studios are prioritizing. Similarly to last year (although that could be chalked up to the dual SAG-WGA strike), it looks like no film will be making the trip to all three festivals. Telluride famously doesn’t reveal their lineup until the day before their festival begins on August 29, but Venice director Alberto Barbera hinted that Pedro Almodóvar’s The Room Next Door and Luca Guadagnino’s Queer will be making their world premieres on the Lido during the back half of the festival, meaning they won’t be eligible for Telluride. Other Venice titles such as Walter Salles’ I’m Still Here , Justin Kurzel’s The Order , and Athina Rachel Tsangari’s Harvest were all announced as North American premieres in TIFF’s Gala/Special Presentation announcement, so Pablo Larraín’s Maria might be the only Oscar-buzzed Venice title to pop up at Telluride. But fear not Telluride attendees, as the mountain-based festival will also have its crop of world premieres as hinted by the TIFF announcement; including Better Man , Conclave , The Friend , The End , The Piano Lesson , and Piece By Piece . Netflix’s total absence from Venice comes as quite a surprise considering their relative dominance over the past decade, but the presence of The Piano Lesson at both Telluride and TIFF shows that they won’t be out of the awards race altogether. They’ll also be reintroducing Emilia Perez after it won the Jury Prize and Best Actress prize (for its ensemble) at this year’s Cannes Film Festival. Other Cannes titles that are confirmed to be playing at both Telluride and Toronto include the Palme d’Or winning Anora , Grand Prize winning All We Imagine as Light , and Andrea Arnold’s Bird . TIFF won’t be announcing its Centerpiece program until August, which usually contains a few more films that had their premieres at the spring and summer festivals (Sundance, Berlin, Cannes). TIFF will also host world premieres for films from several high-profile directors such as Ron Howard ( Eden ), Mike Leigh ( Hard Truths ), and Marielle Heller ( Nightbitch ). Leigh has been overdue for an Oscar for decades now. However, the combination of the rumor that his film was rejected by both Cannes and Venice and the delayed release to mid-January by Bleecker Street does give pause to those aspirations. Ironically, the TIFF title with the highest Oscar potential at the moment is Sing Sing , which debuted at the festival last year and is currently in theaters. Skipping the fall festival trifecta altogether is Steve McQueen’s Blitz , which will be opening the London Film Festival on October 9th, and then closing the New York Film Festival the following day. Both festivals haven’t been the best breeding ground for Oscar success over the years, but the decision to start there makes sense considering the London setting for the film and McQueen’s unwavering loyalty to NYFF throughout his career. It’s a high-risk, high-reward strategy by Apple as they could avoid the usual fall festival glut and have space all to themselves, or come out too late and fail to find space in the race. Searchlight Pictures will likely be in the same position with their Bob Dylan biopic A Complete Unknown . The last-second nature of the announcement for its unspecified December release could be interpreted as a small act of surrender for Nightbitch and A Real Pain, both of which never seemed poised to repeat the same level of success that the distributor is known for. Depending on how the premiere of Nightbitch goes at TIFF, look for them to accelerate a Gala premiere for James Mangold's film at AFI Fest in late October. More Reviews 28 Years Later: The Bone Temple January 13, 2026 By: Hunter Friesen The Rip January 16, 2026 By: Hunter Friesen Dead Man's Wire January 14, 2026 By: Hunter Friesen The Chronology of Water January 9, 2026 By: Hunter Friesen

Kung Fu Panda 4 March 10, 2024 By: Button Tyler Banark As time has proved, it’s a risky choice for a franchise to leap beyond a trilogy and into a fourth entry. For every John Wick: Chapter 4 , Mission: Impossible - Ghost Protocol , and Harry Potter and the Goblet of Fire ; there is Indiana Jones and the Kingdom of the Cyrstal Skull, The Bourne Ultimatum , and Pirates of the Caribbean: On Stranger Tides . DreamWorks’ Kung Fu Panda 4 falls more into the latter bucket by providing the expected stunning visuals, yet also displaying an overfamiliar story that signals a franchise running out of steam and bound to implode. Kung Fu Panda 4 ’s biggest flaw is its script; penned by recurring writers Jonathan Aibel, Glenn Berger, and newcomer Darren Lemke. While the three previous entries mixed plenty of laughs and memorable moments, there wasn’t a single laugh-out-loud moment here, not even for the younger members of the audience. It didn’t help that most of these attempted jokes are featured in a senseless plot. Po has taken the next step in his journey by fulfilling the position of spiritual leader for the Valley of Peace. Because of this, he must step down as The Dragon Warrior and look to find a successor. As he does this, yet another power-hungry villain in The Chameleon (Viola Davis) threatens China by harnessing the powers of all of Po’s past villains. Tai Lung, Lord Shen, and General Kai all return, with Tai Lung being the only one in the spotlight since Ian McShane was the only original voice actor of the trio to come back. Also missing are Furious Five, with their absence being attributed to “other duties.” Of course, Jack Black returns as Po, a character he never seems to take for granted. He’s up to his usual antics, which is enough since seeing Black do his thing is enough of an enjoyable time. Viola Davis’ inclusion in the franchise is great on paper, but it’s not as great in execution considering her character’s copied and pasted motivations. Although he’s not given much screentime, Dustin Hoffman still phones it in as Shifu, which also marks his first appearance in a studio film since 2017’s The Meyerowitz Stories (New and Selected) . Zimmer returns to the maestro’s corner, collaborating again with Steve Mazzaro. Although there are no outstanding pieces, the duo does provide an interestingly Eastern-sounding rendition of “Crazy Train” during a chase sequence. And that’s not the only cover song to be prominently featured, with Black and his band, Tenacious D, covering Britney Spears’ “Baby One More Time” during the end credits. It’s a better use of Black’s musical talent than “Peaches” from The Super Mario Bros Movie . Kung Fu Panda 4 feels like a dishonor to the franchise, with almost every aspect being inferior to the previous entries. Even the DreamWorks opening credit logo lacked the personality it once had. From a franchise that has always been willing to take risks, this fourth outing is safe and forgettable. Audiences were wishing for more skadoosh, but they got more of a whimpering pow instead. More Reviews 28 Years Later: The Bone Temple January 13, 2026 By: Hunter Friesen The Rip January 16, 2026 By: Hunter Friesen Dead Man's Wire January 14, 2026 By: Hunter Friesen The Chronology of Water January 9, 2026 By: Hunter Friesen Hunter Friesen

Lee September 26, 2023 By: Button Hunter Friesen Lee had its World Premiere at the 2023 Toronto International Film Festival. Roadside Attractions will release it in theaters on September 27, 2024. There are a lot of famous actors in Lee - Kate Winslet, Alexander Skarsgård, Marion Cotillard, Noémie Merlant, Andrea Riseborough, Andy Samberg, Josh O’Connor are just a few - but only one of them is playing a character. Everyone but Winslet, who also spearheaded the project and serves as producer, seems to be playing WWII dress-up. The same can also be said for screenwriters Liz Hannah, Marion Hume, and John Collee, and director Ellen Kuras, the latter being the most disappointing considering her impressive career as a cinematographer, aiding the creations from visionary auteurs such as Martin Scorsese, Spike Lee, Jonathan Demme, and Michel Gondry. Things open in 1977 as a young journalist (Josh O’Connor) interviews Elizabeth ‘Lee’ Miller (Winslet in dodgy old age makeup, also a hindrance for Andrea Riseborough) about her life. Lee never fakes putting on a friendly persona, believing that all interviews are investigations and that no one can understand the whole truth. But she goes on, recounting her younger days. By 1940, she was at a crossroads in her life, too old to remain the pinup supermodel she was in her 20s, and not taken seriously as a photographer and journalist because she didn’t have a Y chromosome. When World War II breaks out across Europe, Lee finds herself a job at Vogue , although she’s forced to stay and photograph the home front instead of being on the frontlines like she wants. But that opportunity comes soon enough, putting her down a charging path around wartorn cities and landscapes with LIFE photographer David Scherman (Andy Samberg). As the only woman in a sea of dead and dying men, Lee offers a different perspective on the carnage, taking pictures of the civilian women who are just as beaten and battered, as well as the normalities of past lives that have become extinct. Kuras mentioned during the TIFF introduction that Winslet started pushing for the project in 2015 during the afterparty for The Dressmaker (also premiering at TIFF). The eight years of grueling work to get to this moment are evident on the screen, with Winslet delivering a movie star performance full of glamor and depth. She carries the entire emotional weight of the film, doggedly wearing it as she trudges deeper into hell. The culmination comes as she and Scherman are some of the first Americans to witness the atrocities of Buchenwald and Dachau. Kuras treats these moments with sensitivity and poise, reigning in Alexandre Desplat’s score, allowing the silence to do the talking. But apart from that moment, much of Lee is as flat and uneventful as a North Dakota landscape (trust me, I’ve driven through my fair share of those). Kuras or the script offer Winslet any aid in giving an inside look at Miller, instead opting to follow the conventional Wikipedia model for a biopic. We get the who, what, when, and where of Miller’s life, but rarely do we get a satisfactory answer to why. Lee Miller lived a life worthy of a Kate Winslet performance, but she also deserved a movie that captured her story with the same level of interest. It’s neither good nor bad, just plainly forgettable. And with a subject like this, that’s probably the biggest sin to commit. More Reviews 28 Years Later: The Bone Temple January 13, 2026 By: Hunter Friesen The Rip January 16, 2026 By: Hunter Friesen Dead Man's Wire January 14, 2026 By: Hunter Friesen The Chronology of Water January 9, 2026 By: Hunter Friesen Hunter Friesen