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To Catch a Killer April 19, 2023 By: Button Hunter Friesen It’s New Year’s Eve in Baltimore, and the parties are raging late into the night. The champagne is flowing and the fireworks are blasting, both of which provide excellent cover for a sniper to exact his bloodlust. 29 bullets leave his rifle, hitting 29 targets, all seemingly chosen at random. One of the first responders is Eleanor Falco (Shailene Woodley), a low-level street cop who impresses the lead FBI Investigator (Ben Mendelsohn) with her intuition and critical thinking. This killer is not part of a terrorist cell or trying to send a message. He’s a lone wolf that “is just swatting flies” for momentary relief. Nobody knows when he’ll strike next, which frustrates politicians and the public, as the feeling of safety is quickly fleeting. Argentine writer/director/editor Damián Szifron landed on the international scene with a bang in 2014 with Wild Tales , which went on to be Oscar-nominated for Best International Feature. That satirical story opened a lot of doors for him, but he never seemed able to get through the frame. Projects came and went, including writing a script for a modern adaptation of Six Billion Dollar Man starring Mark Wahlberg. While I’m glad that project never got off the ground, it’s not like To Catch a Killer is all that original either. There are little hints that explain why an original voice like Szifron would want to tell this generic story, but none of them come to the surface in a compelling enough way. “Misanthrope” was the original title for the film, which tracks much closer to the themes within Szifron’s script, which he co-wrote with Jonathan Wakeham. The radio and television shows are filled with conspiracy theories and hot takes, spreading mass paranoia and fear-mongering. The politicians have their angle for why this killer needs to be caught, as an energy company is now having second thoughts over the safety of their proposed billion-dollar facility. The only thing that will get the job done is putting your head down and doing the dirty work, which Falco is more than willing to do. Her dark past helps her connect a little better with the killer. Woodley is capable in the role, but it never seems to be more than a lesser version of Clarice Starling from The Silence of the Lambs . The script also doesn’t do much to let you follow along with Falco’s investigation. You’re being pulled along instead of following, with a few twists and turns being unsubstantiated and pulled out of thin air. Nonetheless, Szifron instills gripping procedural energy. The camera maintains a neutral observational presence during the moments before mass carnage, almost as if it's been ripped from a surveillance feed. You know the mundanity is about to be interrupted by bloodshed, with the only left for you to do is wait. Carter Burwell’s score is as methodical as the killer himself, with the piano keys creating a haunted atmosphere. To Catch a Killer may be a good enough entry in this tried-and-true genre, but it never can reach its loftier ambitions. With this being the comeback vehicle for both Szifron and Woodley after multi-year absences, it’s a little disappointing to see that this was all they could come up with. More Reviews Wicked: For Good November 19, 2025 By: Hunter Friesen Rental Family September 7, 2025 By: Hunter Friesen Jay Kelly November 20, 2025 By: Hunter Friesen Train Dreams November 21, 2025 By: Hunter Friesen Hunter Friesen

Sing Sing April 23, 2024 By: Button Hunter Friesen Sing Sing screened at the 2024 Minneapolis–Saint Paul International Film Festival. A24 will release it in theaters on July 12. Blue streamers, a paper bird, a cardboard crown, stitched-together outfits, sheet cloth backgrounds, and a dim searchlight. These are the things that are used to turn reality into dreams within Sing Sing Correctional Facility, located just north of New York City. The actors up on that makeshift stage have been put there through Rehabilitation Through the Arts (RTA), a real-life prison program that aims to help incarcerated individuals channel their creativity in a way that helps them become better suited to their eventual life outside of the cement walls. “We are here to become human again,” is the mantra that the participants live by, with many of them having been a a part of the program for too many seasons to count. One of those veteran cast members is John 'Divine G' Whitfield, who has claimed Sing Sing as his home since he was wrongfully convicted of murders in the 1980s (the film takes place in 2005). He’s become somewhat of a minor celebrity across the prison system, with his plays and books, which he authors by clacking away on a typewriter within his tiny cell, reaching a wide audience of fellow inmates. He’s usually the brains of the operation, coming up with the ideas and scripts for the new productions, and starring in the lead roles. But while his next idea revolves around social satire, the others in the program would like to branch away from the “serious” material (their latest production was King Lear) and do something else. Somebody wants to do a Western, another wants something in Ancient Egypt, someone else wants to continue with Shakespeare, while another wants to play Freddie Krueger. Instead of choosing just one of those options, they decide to stitch them all together through time travel in their own original production. Adapting from the Esquire article “The Sing Sing Follies,” co-writer/director Greg Kwedar takes a naturalistic approach to the proceedings. After each of their performances, the actors are showered with applause from their inmate audience. They go backstage and congratulate each other on the great job that they’ve done. But instead of going out and celebrating, or receiving bouquets of flowers from adoring fans, they’re met with a wave of guards ready to sternly escort them back to their cells. The stark reality of this almost makes it more impressive that they persist season after season to put on a good show. None of this will advance their careers, nor will there be any sort of monetary reward at the end of this road. That non-professional aesthetic extends into the cast as well; with Kwedar only casting three professional actors in Colman Domingo as Divine G, Paul Raci as the group’s advisor, and Sean San Jose as G’s best friend. Much of the other roles are made up of former incarcerated members of the real-life troupe, which gives an unsanitized look at how the program has changed their lives. Talking at the post-screening Q&A, Kwedar mentioned the inspiration he took from One Flew Over the Cuckoo’s Nest in terms of casting, with Domingo’s Oscar-nominated presence making him stand out similarly to Jack Nicholson. The role of Nurse Ratched is played here by The New York State Board of Parole, who constantly serve as the roadblock to Divine G’s potential release. That feeling of persevering through hopelessness is at the heart of Kwedar and Clint Bentley’s script, but it never comes across in an elevated fashion. Much of the tin-eared lines come from Clarence “Divine Eye” Maclin (playing himself excellently), who makes several speeches about the streets being his home and that you shouldn’t put faith in the system. Bryce Dessner’s somber score soothes your ears between those moments, and Pat Scola’s quietly investigative camera roams the concrete jungle. Sing Sing is an important film when it's all put together, but that doesn’t mean it’s a lecture. There’s a lot of fun to be had in the production of the play, with the sheer creativity being incredibly infectious. Don’t be surprised to constantly hear about this film throughout the rest of the year. More Reviews Wicked: For Good November 19, 2025 By: Hunter Friesen Rental Family September 7, 2025 By: Hunter Friesen Jay Kelly November 20, 2025 By: Hunter Friesen Train Dreams November 21, 2025 By: Hunter Friesen Hunter Friesen

Titane July 15, 2021 By: Button Hunter Friesen Titane had its World Premiere at the 2021 Cannes Film Festival. Neon will release it in theaters on October 01. Containing some of the most disgusting and in-your-face grisliness that has ever graced the silver screen, Julia Ducournau’s Titane holds you like a vice grip from minute one, refusing to let you go no matter how much you squirm. The experience of watching the film can borderline on torture, as violent punishment is enacted in ways that can only be seen to believe. The screening of the film at the Cannes Film Festival resulted in several walkouts within the first fifteen minutes, of which I do not blame certain viewers who are squeamish. Those that can stomach the film will be rewarded with an exhilarating story about acceptance and companionship told by one of the most original emerging filmmakers. A newcomer to the film scene, the French auteur (a status she has achieved in my books) Julia Ducournau is the complete opposite of the stereotype of the woman director. She made her debut feature in 2016 with Raw , a story about womanhood and repression that just so happened to contain the element of cannibalism. Like David Lynch and David Cronenberg, Ducournau confidently confounded her audiences with her bold take on a story as old as cinema itself. Titane is proof that Raw was not a stroke of beginner’s luck and that she is the real deal. Translated from the French word for titanium, Titane follows the life of Alexia, who immediately causes a severe car crash within her first few minutes on screen. This leaves the girl with a metal plate implanted within her head (which is gruesomely illustrated) and a twisted attraction to the vehicle involved in the accident. Like the characters within Cronenberg’s Crash , Alexia can’t seem to help herself from being allured by vehicular and sexual violence. After physically recovering from her injuries over the years, Alexia (now played by the self-assured newcomer Agathe Rousselle) now works as an exotic dancer at a car show (very fitting). Through a nearly seven-minute long take, Ducournau traverses the show filled with neon lighting and an electric score. Cinematographer Ruben Impens, reteaming with Ducournau after Raw , shoots the film in harshly contrasting light, often blinding the viewer with lens flares. From this car show, Alexia quickly succumbs to her violent tendencies, forcing her to go on the run, but not without horrifically mangling her face so it would be harder to identify her. This brings her in contact with the local fire chief (a steroid-infused Vincent Lindon), who later turns out to be just as demented as she is, making them a match made in hell. Throughout several instances within Titane , audiences have to give themselves over to Ducournau’s vision and accept the logical fallacies, which nitpickers could have a field day with. To be fair, a literal Cadillac becomes sexually involved with a human in the first fifteen minutes, so the laws of reality (and anatomy) were thrown out the window from the get-go. Like Raw , Ducournau is able to relay a positive message that sticks with you just as much as the gore. Through their interactions, Alexia and the chief find a common emotional ground that brings them together through both lies and deceit. However, a problem that occasionally appears is what exactly Ducournau wants you to feel as too many elements come crashing together at odd times. The film wants you to focus on several different storylines at the same time, some of which don't amount to much and could be classified as red herrings. Still, once you cut through the clutter, there’s enough treasure to reward your patience. Titane requires a lot from the viewer, such as mental fortitude and an iron gut. It’s an uncompromising vision that bites off more than it can chew from time to time but still sticks the landing due to the duo performances from Rousselle and Lindon, and the boldness by Ducournau to go where no one would dare. Just make sure to watch it on an empty stomach. More Reviews Wicked: For Good November 19, 2025 By: Hunter Friesen Rental Family September 7, 2025 By: Hunter Friesen Jay Kelly November 20, 2025 By: Hunter Friesen Train Dreams November 21, 2025 By: Hunter Friesen Hunter Friesen

Cannes 2022: 50 Films That Could Premiere April 4, 2022 By: Hunter Friesen Just as the 2021 awards season concludes, it's time to get excited and speculate about another film festival. Often considered the most prestigious festival in the world, the Cannes Film Festival is where many renowned international auteurs show off their work. Last year's edition was the first one since the COVID-19 pandemic shuttered the 2020 edition, with Spike Lee's jury awarding the coveted first place Palme d'Or to Julia Ducournau's Titane , making the French director only the second woman to direct a Palme d'Or winning film (Jane Campion did it first in 1993 for The Piano ). Even though it often contains a small selection of American titles, Cannes still plays a sizable role in the Oscar race. Along with Titane , last year's festival saw the launches of players such as The Worst Person in the World and Drive My Car . In prior years, Parasite, Amour, The Tree of Life , and even Pulp Fiction began their awards season journeys on the Croisette. The 2022 edition is an extra special one for the festival, as it will mark the 75th edition in festival history and will be the first one overseen by newly elected president Iris Knobloch. Festival Director Thierry Frémaux will unveil his selection in ten days on April 14th, which could include more than the usual 20 titles in the main competition due to the festival's anniversary celebration and the overwhelming supply of filmmakers with exciting new products. Attention will be placed on Frémaux on how he responds to the criticism the festival has received in the past about gender parity. This year, there's plenty for him to choose from, with Kelly Reichardt, Rebecca Zlotowski, and Joanna Hogg each having films in the pipeline. Speculation also abounds that Frémaux is hunting for either Marion Cotillard or Penélope Cruz to serve as this year's jury president. One thing for certain is that Frémaux will not be selecting any Netflix films within his lineup, as the streamer and the French film industry still remain far apart from making a distribution deal that would satisfy both parties. Because of that, no Netflix titles will be included in this article. Certain other films that are already confirmed or heavily speculated not to appear at the festival include Alejandro G. Iñárritu's Bardo and Luca Guadagnino's Bones and All , which have their eyes set on a Venice premiere. Claire Denis' The Stars at Noon and Nuri Bilge Ceylan's On Barren Weeds will also not make an appearance as they remain deep in post-production. And festival veterans Abderrahmane Sissako with The Perfumed Hill and Jessica Hausner with Club Zero are also unlikely to turn up as their films are still grappling with production delays from the pandemic. So without further ado, I'll delve into 50 films that have the potential to premiere at Cannes. They are sorted into three categories based on their likelihood, which stems from a combination of factors that are explained in each summary. ALREADY CONFIRMED Elvis Australian Baz Luhrman has continually supplied a stylistic jolt to Cannes since his feature debut, Strictly Ballroom , won the 1992 Award of the Youth. Moulin Rouge! kicked off its Oscar run at Cannes in 2001, and The Great Gatsby opened the festival in 2013. After a nine-year break, Luhrman is back with his biopic about The King of Rock and Roll. Three Thousand Years of Longing Mad Max: Fury Road writer/director and president of the 2016 jury, George Miller, will be opening the festival with his Tilda Swinton and Idris Elba starring fantasy film. Three Thousand Years of Longing is said to be a high-budget arthouse piece as it tells the story of a scholar encountering a Djinn who offers her three wishes in exchange for his freedom. Top Gun: Maverick Leave it to Tom Cruise to provide the necessary glitz and glamor that thrives on the Croisette. Cruise and director Joseph Kosinski will be debuting their long-gestating and habitually delayed sequel to the 1986 smash hit. The premiere will line up nicely with the film's release across Europe. VERY LIKELY Armageddon Time After taking brief detours into Amazonia ( The Lost City of Z ) and space ( Ad Astra ), writer/director James Gray returns to the Big Apple for his semi-autobiography that will somehow feature Donald Trump and his late father. Cannes has long been an admirer of Gray's work, debuting four of his films (all of which featured Joaquin Phoenix). While Armageddon Time may not feature Phoenix, it does have a prominent cast of Anne Hathaway, Jeremy Strong, and Anthony Hopkins. Broker After making his English-language debut with The Truth , Japanese auteur Hirokazu Kore-eda will be making his Korean-language debut with Broker . The title comes from the act of people leaving their unwanted babies in boxes outside of anonymous homes. Thematically, it sounds similar to Kore-eda's previous films Nobody Knows and Like Father, Like Son , both of which debuted at Cannes, with the latter winning the Jury Prize. Kore-eda's last film to debut at Cannes, Shoplifters , won the Palme d'Or, so a return to the festival is nearly inevitable. Brother and Sister The native Arnaud Desplechin has competed for the Palme d'Or six times and has won the SACD Prize within the Director's Fortnight in 2015 for My Golden Days . The question of when he will finally be rewarded on the main stage may be starting to percolate. His drama stars Marion Cotillard and Melvil Poupaud as siblings reuniting after the death of their parents. The one wrinkle in the film's awards prospects depends on whether Cotillard takes up the jury presidency, which would force this film to play out of competition. No matter the capacity, Desplechin's film will surely make an appearance. Crimes of the Future Cannes has been the birthplace of five of David Cronenberg's films, with Crash wreaking havoc with vehicular-related sex 25 years before Titane . Cronenberg hasn't directed a feature since 2014's Maps to the Stars , which won Julianne Moore the festival award for Best Actress. Speaking to Now Toronto last October, Cronenberg clearly stated he wanted the film to premiere at Cannes, a feeling Fremeaux likely shares as Crimes of the Future also packs a talented cast of Viggo Mortensen, Kristen Stewart, and Léa Seydoux. Decision to Leave Park Chan-wook's newest film was 2021 Cannes destined but just wasn't ready in time. Chan-wook will always have a spot reserved for him at Cannes, as he won the Grand Prize of the Jury for Oldboy In 2003 and tied for the Jury Prize for Thirst in 2009. It's been six years since Chan-wook's last feature, The Handmaiden , and his next feature will take him into the detective genre with a story following an investigation of a man's mysterious death and his equally mystifying wife. R.M.N. Romanian Cristian Mungiu is one of the most revered filmmakers in the festival's history, having won the Palme d'Or, Best Screenplay, and Best Director prizes on separate occasions. His next film will be a "plea for tolerance" that revolves around a small village in Transylvania where xenophobia takes over when a bakery hires two foreigners. Tchaikovsky's Wife While the Cannes leadership has ruled that they will not welcome any members of the Russian delegation or those linked to the government, that rule does not apply to Russian auteur Kirill Serebrennikov, who has had his own problem with Putin's government. Serebrennikov recently left the country after a three-year travel ban, which forced him to miss the premiere of Petrov's Flu last year. His next film will look at the tempestuous relationship between Pyotr Tchaikovsky, the most famous Russian composer of all time, and his wife, Antonina. Word has been mum about the film's production status, but the festival will reserve a spot for Serebrennikov if he is ready. Tori and Lokita There isn't a safer bet out there than predicting that the Dardenne brothers of Jean-Pierre and Luc will debut their film at Cannes. The Belgian duo has debuted eight films at Cannes, with 1999's Rosetta and 2005's L'enfant both winning the Palme d'Or. They've also won the Best Screenplay ( Lorna's Silence ) and Best Director awards ( Young Ahmed ), as well as the Prize of the Ecumenical Jury on three separate occasions. Their newest feature will tell the story of a friendship between two young people after traveling from Africa and becoming exiled in Belgium. Production began last summer, giving the brothers plenty of time to prepare for another Palme d'Or run. Triangle of Sadness This was one of the more puzzling omissions from the 2021 lineup announcement, especially since Swedish superstar Ruben Östlund recently won the Palme d'Or with The Square in 2017 and the Un Certain Regard Jury Prize in 2014 for Force Majeure . Rumors swirled that Östlund's film might show up in Venice, but it turned out the film just wasn't ready. Östlund's been working on trimming the movie down from its current three-hour runtime and seems destined to bring his trademarked sense of social satire to Cannes. White People Robin Campillo will likely return to the festival that awarded 2017's BPM (Beats Per Minute) with the Grand Prize of the Jury along with the Queer Palm. He also has the Palme d'Or sitting on his trophy shelf for 2008's The Class . His newest film will also be set in recent history as it follows the upbringing of a young boy during the French colonial rule of Madagascar in the 1960s/1970s. LIKELY Children of Others Rebecca Zlotowski has been a staple of the sidebars, competing in Critics' Week, Un Certain Regard, and Directors' Fortnight. Will this be the time she finally graduates to the main competition? Benedetta star Virginie Efira will lead her next film as a childless woman who forms a deep bond with her boyfriend's young daughter. Chronicle of a Temporary Affair A recent triple nominee by the César Awards for writing, directing, and producing The Things We Say, the Things We Do , Emmanuel Mouret is ready to make an appearance at the festival he hasn't been to since 2006. His new film will be a romantic drama centered around a single mother and married man who have their purely physical relationship tested when their feelings towards each other begin to deepen. Close Belgian Lukas Dhont made quite the splash in 2018 with his feature directorial debut, Girl , which went on to win several prizes such as the Queer Palm and the Golden Camera for best debut feature. That acclaim should reserve him a spot in either the main competition or the sidebars for the premiere of his new film, which takes a similar look at adolescence and sexuality. Disappointment Blvd. Ari Aster has become a star of independent cinema since his debut at the 2018 Sundance Film Festival with Hereditary . He quickly turned around another feature of "elevated horror" with Midsommar just a year later. His next film, titled Disappointment Blvd. , is described as a "four-hour nightmare comedy." Whether that description turns out to be true is still a mystery, but what's not a mystery is that Joaquin Phoenix, a recent Cannes winner for Best Actor in 2017, will lead it. A Cannes birth would be a huge step up for Aster, considering his relative newcomer status. But that status may also keep him relegated to one of the sidebars, similar to how Robert Eggers debuted in Directors' Fortnight in 2019. Dodo Athens-born Panos Koutras' last feature film, Xenia , played at Cannes in 2014 as part of the Un Certain Regard. It's a decent possibility that he'll be invited back to the sidebar as his new film tells the story of a family who finds an extinct dodo bird living in their house, which spurs a series of events that push the boundaries between reason and madness. Don Juan Virgine Efira appears again, this time with director Serge Bozon for a musical rendition of the classic tale of a theater actor (played by Tahar Rahim) who can't get over his ex-fiancée (Efira). Bozon has been to Cannes twice before, with his most recent venture for Tip Top in 2013, netting him a Special Mention in the Director's Fortnight. Emily Frances O'Connor, who played the adopted mother to Haley Joel Osment's robot boy in A.I. Artificial Intelligence , makes her directorial debut with a biopic about famed British author Emily Bronte. Most recently seen in Death on the Nile , Emma Mackey will play the writer, who met her untimely demise at the age of 30. Enys Men Mark Jenkin is still a fresh face on the international film scene, with only one feature film to his name (2019's stylishly constructed Bait ). His sophomore feature will surely repeat the same dazzling sensibilities as it tells a sci-fi/horror story set in a small Cornish fishing village. A midnight screening or one of the sidebars would be a likely landing spot. Final Cut Michel Hazanavicius took Cannes by storm in 2011 with The Artist , which went on to win the Academy Award for Best Picture and Best Director. He's had two films at Cannes since, The Search and Godard Mon Amour , both of which disappointed. Now he's returning to his comedic roots with a French remake of the 2017 Japanese film, One Cut of the Dead . Bérénice Bejo will reteam with Hazanavicius, which follows a film crew who are attacked by zombies. It will be interesting to see if Hazanavicius can emulate the long-take mastery on display in the original. The film was initially planned to debut at Sundance earlier this year but was quietly pulled once the festival announced that it would be going virtual. Perhaps this film will get a closing night slot similar to how the festival closed last year with Jean Dujardin in OSS 117: From Africa with Love ? Untitled Hamlet Adaptation & Holy Spider Two things we know Cannes loves are Shakespeare and Noomi Rapace. So having both in one project would be a dream come true. Rapace will play the titular character in Border director Ali Abbasi's adaptation of the tragedy about the Danish prince, with Sjón, co-writer of the upcoming The Northman , writing the script. Filming began in the fall, so it's unknown if the film will be ready in time. But even if that project doesn't get to the finish line in time, Abbasi also has Holy Spider in post-production. The crime-thriller follows a man named Saeed, who murders several women in order to "cleanse" the holy Iranian city of Mashhad. God's Creatures Set in a rain-soaked village like the one in Ammonite , Emily Watson stars as a mother who lies to protect her son (Paul Mescal), which sets off a chain of unexpected repercussions. A24 has distribution rights, which begs the question of how many films they will bring to the festival. Last year they hit their high with four films ( After Yang , Lamb, Red Rocket , and The Souvenir Part II ), so there's precedent for the distributor to show off a handful of their products. L'immensità Emanuele Crialese hasn't been to Cannes since he competed in the Critics Week for Respiro in 2002. He may have a ticket back twenty years later as he brings international acting royalty (and recent Oscar nominee), Penélope Cruz, with him. Cruz stars as a mother looking after her children in the social turning point of 1970s Italian society. This film falls into the same situation as Marion Cotillard's film, as Cruz is also rumored to be in the running for the jury presidency. Lightyear It's a partnership that may seem a little strange on paper, but the collaborations between Pixar and Cannes have always borne fruit. Up opened the festival in 2009, and Inside Out was one of the most acclaimed titles of the 2015 edition. Soul was even given the honorable laurels for the 2020 edition. So, it wouldn't be a surprise if Pixar takes Lightyear overseas to generate buzz ahead of the film's worldwide release in June. Love Life Japanese director Koji Fukada was last seen in Cannes in 2016, winning the Un Certain Regard Jury Prize for Harmonium . His four-hour drama, The Real Thing , was bestowed the laurels as part of the 2020 pandemic festival. His new drama explores the themes of loss and loneliness as a mother must reconnect with her long-lost husband. Misanthrope Damián Szifron last made an appearance in 2014 with Wild Tales , which generated strong buzz and went on to get a BAFTA nomination for Best Foreign Language Film. He'll be making his English-language debut with a starry cast consisting of Shailene Woodley, Ben Mendelsohn, and Ralph Ineson. Woodley will star as a cop the FBI recruits to track down a murderer. Music No, it's not the maligned Golden Globe-nominated film by Sia. This Music comes from Angela Schanelec, who last played at Cannes in 2004 with Marseille . Since then, she's debuted chiefly her work at the Berlin Film Festival. The film was held out of this year's Berlin lineup, making way for speculation that she's ready to make a return to the Croisette. The plot summary by itself is all that is needed to spawn interest: "A boy grows up with his step-parents in Greece. At the age of 20, he unwittingly murders his father. While serving his sentence, he falls in love and has a child with a woman who works in the prison. They are both unaware of the fact that she is his biological mother. Twenty years later, he lives in London with his daughter and is beginning to lose his eyesight." No Return For his sophomore feature, 2016 Critics Week winner Davy Chou is telling an international story set in South Korea and France. An adopted young French woman returns to her native Korea to track down her biological parents, with surprising results. A sidebar selection is quite likely. One Fine Morning There's no way to stop Léa Seydoux now as she had four films at Cannes last year and looks poised to bring multiple films again this year. Along with Cronenberg's feature, Seydoux will also star in Mia Hansen-Løve's newest film as a woman trying to take care of her senile father. Seydoux caught COVID-19 during the film's production last year, which caused her to miss the premiere of the four films she starred in. With Bergman Island garnering acclaim last year, Hansen-Løve will likely be invited back. Revoir Paris Can Virginie Efira replicate what Nicole Kidman did in 2017 and Léa Seydoux did last year and bring at least three movies to the festival? She very well could, as she also stars in Cannes veteran Alice Winocour's thrilling story about a journalist who gets caught up in a terrorist attack in Paris. Winocour was last seen at the Toronto International Film Festival in 2019 for her Eva Green-led Proxima , so it may be time she returns home. Rheingold Fatih Akin was last seen at Cannes competing for the Palme d'Or in 2017 with In the Fade , which won star Diane Kruger, the Best Actress prize. He'll likely be back this year as he tells the true story of German hip-hop rapper Giwar Hajabi, who goes by the stage name Xatar. Scarlet Only appearing once at Cannes with the documentary Futura in 2011, Pietro Marcello has been a Venice Film Festival player throughout his career. He could be swayed back to the north as his newest film will mark his French-language debut and star Louis Garrel and Noémie Lvovsky. According to the logline, the story will be centered on the emancipation of a woman over twenty years, between 1919 and 1939, a time of great inventions and great dreams. Showing Up France has appreciated Kelly Reichardt's work more than her native America, as her most recent film, First Cow , was named the best film of 2021 by the prestigious magazine Cahiers du Cinéma . She typically debuts her films at either the Sundance or Telluride Film Festivals, but rumors abound that Fremeaux is pushing heavily for her to make the trek across the pond. Michelle Williams reunites with Reichardt as she takes on the lead role of an artist preparing for a career-defining exhibition of her work. The Eternal Daughter While Joanna Hogg was waiting for The Souvenir Part II to debut at Cannes last year, she went ahead and secretly shot her newest film in Wales, which tells the story of a middle-aged daughter and her elderly mother who confront long-buried secrets when they return to their former family home, now a nearly vacant hotel. A24 has worldwide rights to the film, and Tilda Swinton stars (her third consecutive collaboration with Hogg). The Souvenir Part II was one of the most acclaimed films of the 2021 festival, making it likely for Hogg to return with another arthouse delight. The Natural History of Destruction Controversial Ukrainian filmmaker Sergei Loznitsa has explored the Ukraine-Russia situation for years through his narrative and documentary features, with 2018's Donbas debuting at Cannes to wide acclaim. With the conflict between the two countries at the forefront of the world's attention, Loznitsa could make quite the statement with his newest documentary, which will look at the consequences of the allied bombings of German cities at the end of World War II. Cannes has never been shy of controversy, with Michael Moore's Fahrenheit 9/11 receiving a 20-minute standing ovation and the Palme d'Or in 2004, so it wouldn't be strange for Loznitsa to show up. UNLIKELY, BUT POSSIBLE Asteroid City If Asteroid City does go to the French Riviera, then Cannes would replace Berlin as the film festival to debut the most Anderson films. Moonrise Kingdom opened the festival in 2012, and The French Dispatch sat on a shelf throughout the pandemic to ensure it debuted at the 2021 edition. Cannes thrives on star power to fill its historic red carpet, and Anderson's films have plenty to spare. His newest cast will feature no less than Tom Hanks, Scarlett Johansson, Margot Robbie, Bryan Cranston, Bill Murray, Adrien Brody, Tilda Swinton, and Jeffrey Wright. However, considering the awards disappointment of The French Dispatch , it seems that Anderson might pivot towards either Venice or New York for better prospects. Eureka A part of the New Argentine Cinema movement, Lisandro Alonso and his films have moved at a deliberate pace. He's only directed six feature-length films since 2001, with nearly all of them playing at Cannes. His most recent film, Jauja won the FIPRESCI Prize as part of the 2014 Un Certain Regard selection. He'll be reteaming with Viggo Mortensen for a story about a man on the search for his daughter after she has been kidnapped. No word has been given on production status, so it remains a mystery if the film is ready. Jean-Luc Godard Projects No introduction can do justice to the enormous impact Jean-Luc Godard has had on the art of filmmaking. He hasn't stopped making movies since his feature debut of Breathless in 1960, with his previous films, the radical The Image Book (which won the first Special Palme d'Or) and Goodbye to Language , playing in competition. There are conflicting reports on whether Godard's next two films, Funny Wars and Scenario , will be his final ones. Still, they could unintentionally become that since the French auteur recently turned 91. There's also little word on the production status of the films, with the only known details being that they will share the same essay-like qualities of his past works. No matter when they're ready, Cannes will welcome them with open arms. Nope French audiences have embraced the work of Jordan Peele just as Americans have, as Get Out was named the fourth-best film of 2017 by Cahiers du Cinéma . That acclaim fuels speculation if the French festival would invite him over to premiere his newest film. Peele has only played Sundance and SXSW, so Cannes would be a huge step up for him. Similar to Top Gun: Maverick and Elvis , an out-of-competition slot may be possible to help boost awareness for the horror film ahead of its July release. Passages Similar to Kelly Reichardt, Ira Sachs is one of the most lauded American filmmakers in France. He was invited to Cannes in 2019 for Frankie , which starred acting queen Isabelle Huppert in the titular role. Unfortunately, Sachs' film didn't perform well under the bright lights, receiving the lowest reviews of his career. He's currently rushing to finish post-production work on his new film, which stars Ben Whishaw and Franz Rogowski as a gay couple whose relationship is tested when one of them has an affair with a woman (Adèle Exarchopoulos). Even if Sachs can finish the film in time, will he return to the festival that marked a low point in his career? Poor Things Coming off the blazing Oscar success of The Favourite , all eyes are on what Yorgos Lanthimos will do next. He's keeping his partnership with leading lady Emma Stone and screenwriter Tony McNamara for Poor Things , which will be set in Victorian England and about a mad scientist who brings a woman back to life. Willem Dafoe, Mark Ruffalo, and Margaret Qualley mix into the supporting cast. Lanthimos' unique arthouse sensibilities have matched well with Cannes in the past, with Dogtooth, The Lobster , and The Killing of a Sacred Deer , all winning various prizes. Now that Oscar buzz follows Lanthimos wherever he goes, Searchlight Pictures will have to decide to send the film to a festival with an already established fandom for Lanthimos or wait and debut it in the fall with the rest of the Oscar bunch. TÁR Writer/director Todd Field hasn't made a feature film since 2006's Little Children . He's remained a mystery ever since as fans wondered if he would ever make a return to filmmaking. Fortunately, prayers have been answered as Field recently finished production on TÁR , with Cate Blanchett playing the titular character as the first-ever female chief conductor of a major German orchestra. Blanchett is a Cannes favorite as she's been a part of numerous festival darlings ( Carol and Babel ) and also served as the jury president in 2018. Being that the film is scheduled to release stateside in October and Blanchett's perennial Oscar status, a premiere at one of the fall festivals seems more likely. The Son Florian Zeller didn't know he would become an Oscar winner when he debuted The Father at the pre-pandemic Sundance Film Festival in 2020. After that success, he's wasted no time adapting another one of his plays. He again partners with screenwriter Christopher Hampton on The Son , which stars Hugh Jackman, Vanessa Kirby, Laura Dern, and recent Best Actor winner Anthony Hopkins. With the universal acclaim he received for The Father , Zeller may want to make a splash at his native festival. But being that Zeller and the film look to be prime Oscar contenders this year, Sony Pictures Classics may hold it for a few months until the fall festivals are in full swing. The Way of the Wind There's no way to figure out when a Terrence Malick film will be released. All you can do is wait and pray. Malick premiered his last movie, A Hidden Life , at Cannes in 2019, and he also won the Palme d'Or for his magnum opus The Tree Of Life in 2011. He once again has saddled himself with another weighty topic, as The Way Of The Wind will tell several episodes of the life of Jesus Christ, led by a cast of Mark Rylance, Ben Kingsley, Joseph Fiennes, and Matthias Schoenaerts. Several of Malick's films have been delayed for years as he endlessly tinkers in the editing room, so there's no telling when this film will be seen. The Whale Darren Aronofsky has been missing since Mother! proved divisive back in 2017. Now he's ready to return with a film that seems even wackier. Brendan Fraser plays a 600 lb recluse who attempts to reconnect with his teenage daughter. Aronofsky hasn't been to Cannes since he debuted Requiem for a Dream in 2000. He's had a stable relationship with the Venice Film Festival ever since and could end up keeping with tradition and taking this film there. But after the tumultuous release of Mother! and the potential oddity of this story, maybe Aronofsky will return to the festival that launched one of his greatest hits. What Happens Things got scary for a moment back in September when it was reported that Andrey Zvyagintsev was put into a medically induced coma after sustaining heavy damage to his lungs due to a severe case of COVID-19. It was reported a month later that he was out of a coma and recovering in Germany. Zvyagintsev won Best Screenplay at Cannes in 2014 for Leviathan and the Jury Prize in 2017 for Loveless . The Russian master's newest film, which was shot in the United States and will be his English-language debut, will tackle the lofty topics of "life, nature, human relations, the modern man, and the fragility of human life." We'll have to wait and see if Zvyagintsev will be healthy enough to travel to the festival he has called home since 2007. Our thoughts and prayers are with him and his family, no matter the answer. Women Talking Due to an accident that gave her a series of concussions, acclaimed filmmaker Sarah Polley hasn't made a feature film in over a decade. Luckily, she's returning with a starry cast consisting of Jessie Buckley, Rooney Mara, Claire Foy, Frances McDormand, and Ben Whishaw. Polley will transport the cast to Bolivia, where they tell the story of a Mennonite religious colony being plagued by repeated sexual assaults by the men. Brad Pitt's Plan B and McDormand are attached as producers, so time will tell if they decide to hold the film until it's ready for an awards launch at the fall festivals. Zone of Interest Under the Skin was rated as one of the best movies of 2014 and one of the best of the 2010s by numerous critics groups. Despite the film's universal acclaim, writer/director Jonathan Glazer hasn't made a feature since. He's returning by partnering with A24 for an adaptation of Martin Amis' novel about a Nazi officer who becomes enamored with the wife of a concentration camp commander. Based on Glazer's filmography, it's safe to say that there's much more behind the curtain. Regular Paweł Pawlikowski DP Łukasz Żal will lens the film, who will surely find beauty within the harsh circumstances. 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'Immaculate' Review March 27, 2024 By: Tyler Banark In recent years, Hollywood has found a knack for releasing random religion-themed horror films that either get overlooked or flop altogether. This was evidenced when I saw Neon’s latest fright fest, Immaculate , and got a trailer for the upcoming 20th Century Studios horror film The First Omen . Director Michael Mohan and screenwriter Andrew Lobel craft a twist on the Rosemary’s Baby narrative with one of the hottest actresses working today, Sydney Sweeney. The movie looked like an intense, bloody horror show from the trailers. Ultimately, it’s a boring film that restrains itself from being the scariest thing to come out of 2024. After her parish shuts down in her hometown, American nun Cecilia (Sweeney) is assigned to a convent in rural Italy. As she settles in, she miraculously becomes pregnant and is proclaimed the next Virgin Mary. However, the more her pregnancy progresses, the more Cecilia learns of the convent’s darkest secrets. Although the synopsis seems too familiar, Immaculate initially appears to have the intention of breaking that formulaic mold through some solid cinematography and the casting of such a modern-day actress in Sweeney. But between Will Bates’ stock score and repetitious cycle of loud jumps scares and gotchas, this just feels like another entry in the already watered-down The Nun franchise. Sweeney is on a fascinating streak right now as Immaculate comes nearly one month after the disastrous Madame Web , which in turn came out a month and a half after the box office hit Anyone But You . Both of those polar opposites (as well as this project, which she produced) came after years of her presence on HBO with Sharp Objects , The White Lotus , and the controversial drama Euphoria . Her performance here might not break any new ground, but it does check off the box of being a solo leading lady who can sell a project on a concept and her acting abilities. She has a scream near the end where she’s caked in blood that echoes the signature outbursts from Janet Leigh in Psycho and Jenna Ortega in X . Aside from Sweeney, the cast isn’t very noteworthy, with everyone playing cookie-cutter horror characters. You’ve got the strict mother superior nun, the freaky priest who tries to defuse the situation but doesn’t help, the rebellious friend, and the one nun who thinks she’s better than everyone else. The only one that comes close to breaking out is Benedetta Porcaroli as Sister Gwen, the rebellious nun. When she and Cecilia are talking to each other and making humor out of whatever they’re doing, it’s cute, but it feels forced. If Immaculate is going to accomplish anything, it’s likely just that it’s a horror movie starring Sydney Sweeney and nothing else. There’s a moment where the nuns have a ceremony for Cecilia after the word of her pregnancy gets out. Cecilia is dressed in a lavish blue and yellow dress with a gold crown and see-through veil, metaphorically spotlighting her as the Virgin Mary. Everyone else is smiling and bowing their heads to her, reflecting how numerous viewers see Sweeney today. Then, in an instance, there’s a close-up of Cecilia shedding a tear, a callback to a certain shot of Sweeney in the second season of Euphoria . Are we as a society beginning to worship her as royalty this fast in her short career? Only time will tell, but I can guarantee people won’t look back at Immaculate as the primary reason for her ascendency. Must Read 'Immaculate' Review If this is going to accomplish anything, it’s likely just that it’s a horror movie starring Sydney Sweeney and nothing else SHOP 'Snack Shack' Review I hope to see Hollywood starting to see more of Nebraska than they’ve presumed, and Snack Shack was the first step in the right direction toward getting there. SHOP 'Road House' Review For as much as its faults are glaringly apparent, there’s nothing offensive about it. SHOP 'Robot Dreams' Review It speaks volumes, while never containing a single line of dialogue. SHOP 'Shirley' Review Good intentions canceled out by poor filmmaking and an overly basic approach SHOP

'Snack Shack' Review March 22, 2024 By: Tyler Banark My fellow Nebraskans and Midwesterners, we have a big-name movie set and shot entirely in Nebraska for the first time in years. If you’re reading this and don’t understand the significance, Nebraska is a state that NEVER gets the Hollywood spotlight. When it does, it usually showcases only farmland, cornfields, and the nature of the panhandle/western part of the state. The only times Nebraska has been seen in a light where that’s not the case is in Alexander Payne’s filmography ( Citizen Ruth , Election , About Schmidt , Nebraska ). With Snack Shack , director Adam Carter Rehmeier crafts a love letter to his hometown of Nebraska City, a small town with roughly 7200 people. It’s a delightful treat, as Snack Shack doesn’t focus on the cliches Hollywood created for the Cornhusker State. Instead, it’s a simple teen comedy with the small town as the backdrop and a great heart. It’s 1991, and we meet our two leads, AJ (newcomer Conor Sherry) and Moose (Gabriel Labelle, in his follow-up role to The Fabelmans ), who are skipping their school field trip to the Omaha Zoo to bet on dog racing. These ambitious fifteen-year-olds want nothing more than to make a buck without doing any hard work. AJ’s strict parents catch wind of their rendezvous, and he’s forced to find a real job for the summer. While the two seek a job, their much older friend Shane (Nick Robinson) suggests buying the pool’s snack shack from the city. The two do it, and the shack becomes a hit as kids of all ages pay them hand over fist to get whatever they desire. Meanwhile, they both vie over Brooke (Mika Abdalla), a new lifeguard at the pool that puts their friendship to the test Rehmeier penned the script and does so flawlessly, taking the tropes of the coming-of-age teen comedy and applying them to his own methods. AJ and Moose are ambitious boys who are similar to the likes of duos we’ve seen in the past from the genre (i.e., Evan and Seth from Superbad , Ferris and Cameron from Ferris Bueller’s Day Off ). They try to scheme something big despite being in their early teens and do everything from making/selling their own beer to painting house numbers on curbs. One, in this case, Moose, can be seen as a bad influence while the other is playing along despite his parent's disapproval. It helps that Sherry and Labelle’s chemistry is fun and quick-witted, with comedic timings balancing each other out. Sherry brings a welcoming introduction as he fits the role of AJ perfectly. He doesn’t go overboard or play it safe; instead, he interprets the character to his own persona. AJ’s a dorky kid, and whenever he talks to Brooke, he tries to play it cool simply to impress. Luckily, Brooke finds him cute, and they build something together. On the other hand, Labelle continues to prove why The Fabelmans wasn’t a one-and-done situation. I feared he may not have much of a career after the 2022 hit, but I was proven wrong. Moose is the brains of the duo, but he often gets carried away in their plans to the point where he bosses AJ around. He can often be unlikable, and Labelle ensures that audiences feel that way whenever he does wrong by AJ. His train looks to keep going at full speed as he’s got another big project on the horizon in Jason Reitman’s SNL 1975 , which has become my most anticipated movie ever since Barbenheimer. The rest of the ensemble is fun to see on screen with Sherry and Labelle. Nick Robinson’s Shane is the big brother figure to AJ, and he nails the role. There’s a scene where AJ and Shane eat runzas at a lake when Shane gives AJ the best advice on handling Brooke and Moose. David Costabile and Gillian Vigman play AJ’s parents and are surprisingly funny whenever they scold the boys. Mika Abdalla as Brooke is also a great turn as she casually jokes around with AJ before their relationship blossoms into something more. Some viewers may see her character as one-dimensional or kind of a bland love interest. Yet, Brooke comes off as a love interest who initially intends to build a friendship with AJ, and the sparks fly when they spend time together. Rehmeier paints Nebraska summers just like how I remember them as a teenager. The plot of Snack Shack could have taken place anywhere, but he chose Nebraska City, which was a solid choice. At no point does Snack Shack present what moviegoers expect to see in a movie set in Nebraska, and it’s so satisfying that filmmakers understand that there’s more to the state than rural areas. Although Nebraska City is nowhere near as big as Omaha, it’s a neighborly town where you won’t need cornfields and farms if you find the right places. It also helps that cinematographer Jean-Philippe Bernier captures little idiosyncrasies that encapsulate a Nebraska summer, most notably whenever there’s a shot of a street at dusk with the streetlights starting to turn on. Bernier showcases the humid atmosphere of hot summer nights and how one would want just to stand outside and take it in wherever they are. Whether our characters are at a party, having a cookout, or going for a swim, it’s a refreshing sight to see. Above all, it’s a comforting feeling that only natives would understand, and those unfamiliar need to experience it to understand. Bernier also has some long takes in certain scenes, which looked great, but it made me wish it was done more often. If Snack Shack falters in any other way, it tends to milk a joke too far. When AJ and Moose open the shack, they sell candy, soda, and hot dogs. However, AJ gets the idea to write an obscene word on the hot dogs and charge 75 extra cents. Once the joke is introduced, it recurs numerous times, and by the time the film is over, it’s not as funny. Despite the humor wearing off, Snack Shack is still a fun teen comedy posing as a love letter to the small-town Nebraska that’s never seen on screen. Thanks to Sherry and Labelle's leadership and a solid script, Rehmeier knew precisely what he was going for and accomplished it satisfactorily. There’s no denying Sherry and Labelle’s fun banter and quick reactions with each other and their costars. I can guarantee these two are set for a bright future in Hollywood, especially Labelle, who has nowhere to go but up. As for Rehmeier, he made a statement for himself and the state of Nebraska. In time, I hope to see Hollywood starting to see more of Nebraska than they’ve presumed, and Snack Shack was the first step in the right direction toward getting there. You can follow Tyler and hear more of his thoughts on Twitter , Instagram , and Letterboxd . Must Read 'Snack Shack' Review I hope to see Hollywood starting to see more of Nebraska than they’ve presumed, and Snack Shack was the first step in the right direction toward getting there. SHOP 'Road House' Review For as much as its faults are glaringly apparent, there’s nothing offensive about it. SHOP 'Robot Dreams' Review It speaks volumes, while never containing a single line of dialogue. SHOP 'Shirley' Review Good intentions canceled out by poor filmmaking and an overly basic approach SHOP 'Love Lies Bleeding' Review Every character is ready to pop at any moment, each outburst promising gory results that beg you to look away. SHOP

'Road House' Review March 20, 2024 By: Hunter Friesen Remaking Road House for modern times doesn't sound like a good idea on paper, with immediate expectations slotting it next to the other misplaced-in-time remakes of Ghost in the Shell and Baywatch . There wasn’t exactly a compelling story to the 1989 original, just Patrick Swayze delivering cans of whoop ass on greasy goons with his black belt in karate. And for a film that made less money than you would think, its cultural footprint has persevered throughout the decades thanks to the funny title, cheesy concept, and, for kids closer to my generation, the frequent Family Guy parodies . Even with the setting being transplanted to the modern day, Elwood Dalton (Jake Gyllenhaal) is still a man stuck in the past. He has no phone, a clunker of a car, and simply drifts from town to town scraping by through low-end cage fights. For him, it’s harder to fight the rage inside than any opponent. He’s calm and composed, but there’s always a twinge of insanity ready to let loose. “You don’t want to know me” and “I’m not afraid of him, I’m afraid of what I’ll do,” he says a few times, with brief snapshots of his UFC past (all shot at an actual UFC event) explaining how he fell so far. Like the idea of remaking the film itself, the casting of Gyllenhaal to take over from Swayze is an odd choice. He’s an actor not exactly known for being relaxed, as evidenced by his previous work in Okja , Nightcrawler , and Velvet Buzzsaw . It’s perhaps a case of the chicken or the egg, with Gyllenhaal being a great piece of casting for this newer take on the character, or his involvement changing the tone. Either way, it works out, with Gyllenhaal’s grounded approach never taking away from the fun. Plus, he’s already had fighting experience with Southpaw , so the producers probably saved a nice chunk of change on training costs. Dalton is hired by Frankie (Jessica Williams) to be the bouncer/enforcer of her family bar called The Road House, just one of several hit-or-miss attempts at some tongue-in-cheek humor by writers Anthony Bagarozzi and Chuck Mondry. It’s located on a beautiful beach in Florida, with the only problem being the infestation of bikers and roid ragers. It’s nothing Dalton can’t handle, with his laissez-faire attitude towards kicking the crap out of someone almost making it more disrespectful. None of these guys were worth his time, which leads him up the food chain toward the head of the richest crime family in the area, Ben Brandt (Billy Magnussen). He’s got some dastardly plan and needs the bar taken out of commission by any means necessary, including kidnapping, murder, and explosions. The further the plot progresses, the less fun Road House becomes. It’s a bit of a bummer that the first fight where Dalton dismantles five bikers singlehandedly is by far the film’s best-set piece. Even if they are cartoonishly punchable, there is plenty of guilty pleasure in seeing some hooligans get their comeuppance. However, you can’t exactly fill a two-hour movie with your hero facing no resistance, so former UFC champion Conor McGregor has to be introduced as a bruising wildcard. McGregor won’t find himself with a lucrative acting career like former fighters Dwayne Johnson and Dave Bautista, but he fills his wildcard role enough here to be entertaining. Helming this bare-knuckle brawler is director Doug Liman, who helped revolutionize the action genre in the 2000s with The Bourne Identity and gave Tom Cruise another action vehicle outside of his usual Mission: Impossible films with Edge of Tomorrow . All that prowess quickly goes out the window the longer the fight scenes drag on, with questionable visual effects and camera movements overselling the brutality and undercutting the choreography. Once gasoline explosions and boat jousting get involved, things quickly go all the way overboard. Still, for as much as its faults are glaringly apparent, there’s nothing offensive about Road House . I guess that’s what you get when you do a remake of a movie that wasn’t that good to begin with and have it released exclusively on Prime Video. Must Read 'Road House' Review For as much as its faults are glaringly apparent, there’s nothing offensive about it. SHOP 'Robot Dreams' Review It speaks volumes, while never containing a single line of dialogue. SHOP 'Shirley' Review Good intentions canceled out by poor filmmaking and an overly basic approach SHOP 'Love Lies Bleeding' Review Every character is ready to pop at any moment, each outburst promising gory results that beg you to look away. SHOP 'Kung Fu Panda 4' Review Audiences were wishing for more skadoosh, but they got more of a whimpering pow instead. SHOP

Omaha Film Festival 2024 - A Recap March 17, 2024 By: Tyler Banark Three weeks ago, I attended the 19th edition of the Omaha Film Festival. Smaller in scale compared to the likes of TIFF, Cannes, Venice, Sundance, and NYFF, Omaha focuses on telling Nebraska-based stories along with narratives from around the country and even the world. Although other somewhat big-named movies were part of the festival lineup, such as the documentaries Frida , Chasing Chasing Amy , and the Oscar-nominated short Red, White, and Blue , there were also various feature-length and short films. Here are my thoughts on some of the films I saw this year. Lousy Carter Lousy Carter is a comedy starring David Krumholtz as the titular character, a low-life college professor who finds out he has a terminal illness. He tries to sleep with a student of his graduate seminar on The Great Gatsby and sleeps with his best friend’s wife, all while trying to complete an animated film. Krumholtz turns in a dry but entertaining performance, making Lousy into a character that lets the audience decide whether or not he’s worth cheering for. The supporting cast of Martin Starr, Olivia Thirlby, and Jocelyn DeBoer do their parts well as the other people in his life. Although the movie didn’t offer much other than its dry, dark humor, it’s still a fun comedy thanks to Byington's script. Brave the Dark Following the true story of Pennsylvania teen Nathaniel Deen, Brave the Dark is about a troubled high school student who tries to turn his life around with the guidance of his English teacher (played by Jared Harris). Easily the best I saw at the festival this year, Brave the Dark also won Best Film and Audience Choice Feature Film prizes. The movie is fearlessly made to evoke a no-filter look into a troubled teen’s upbringing and how it transpired into his life. Nathan (played by Nicholas Hamilton, best known for playing Henry Bowers in 2017’s IT ) went through the wringer with his parents, who raised him as a little kid, leading him to the foster care system. Hamilton is great, but Jared Harris is the real MVP. He embodies the inspirational teacher trope we’ve seen (i.e., Robin Williams in Dead Poets Society , Sidney Poitier in To Sir, With Love ) and runs with it as he fights tooth and nail to ensure Nathan gets a second chance at life. The movie’s tone does feel a little melodramatic at specific points, but it still leaves a lasting impression on viewers as it’s a tearjerker that wins over their hearts. Guacamole Yesterdays A spin on Michel Gondry’s 2004 sci-fi romance drama Eternal Sunshine of the Spotless Mind , Guacamole Yesterdays follows a woman using a machine to manipulate memories of a relationship that ended in a painful separation. The two leads, Sophie Edwards and Randy Havens, showcase some excellent chemistry in not only the romantic side of their relationship but also in the darker moments. Hudson Phillips’ script benefits from this, and the movie acts as a meditation on grief and how people handle it differently depending on their situations. Guacamole Yesterdays does pull a plot twist in the vein of Shutter Island in the third act, preventing it from sticking to the landing. Overall, it’s a neat sci-fi drama that may be a bit on the nose regarding the movie it’s spinning off of, yet still gets the job done. Don't Get Eaten Don’t Get Eaten is a family comedy about YouTuber dad Noah, who takes his family on a weekend trip to a cabin in the woods. He hopes to unplug and reconnect with his wife, Rose, as their marriage is on the rocks due to his channel and her on-the-rise career as an entrepreneur. One night into the trip, he and his daughters are attacked by zombies and must hold them off before Rose finds out. This was hands down the worst movie I saw at the festival, as it was tailor-made for families to enjoy, with humor appealing mostly to the current generation of kids. Generational moments such as Noah using a GoPro or watching his videos on a live stream were some of the sight gags that don’t land. The other half of the movie’s head-shaking humor consists of dumb jokes viewers would expect to see from every other kid's movie ever (people getting severely injured from the smallest inconvenience, goofy noises, etc.). It’s a boring watch that families surely enjoyed at the screening, but for the typical viewer, it’s another headache-inducing mess. The Headliner Shot entirely in Omaha with a cast and crew entirely of Omaha natives, The Headliner is a comedy that follows a middle-aged comedian hoping to break out on the stand-up scene in Omaha. Director Tony Bonacci has been making several commercials and short films over the years, one of which is a short film version of this. He brings back Darrick Silkman to play the lead, Chad, a comedian who is out of touch with modern society and is estranged from his wife and daughter. Throughout the movie, audiences see various comedians doing their bits in the Omaha stand-up scene. Although it’s nothing compared to the likes of big cities such as Chicago, Los Angeles, and New York City, Bonacci uses this chance to give comedians at this scale a platform to be seen. The choice is neat and does its job, but the film’s narrative is lacking because of it. Chad gets offered a stand-up gig in Montreal, which coincides with his daughter’s wedding on the same day. Screenwriter Christine Burright tries to juggle these subplots with others (Chad having an intimate relationship with one of his daughter’s besties and learning how to use an iPhone), but the result is messy. Chad comes off as a one-note character, which is partially Silkman’s fault and potentially Burright’s. In the big picture, The Headliner is a movie that highlights Omaha positively but doesn’t bring a story to keep audiences invested. You can follow Tyler and hear more of his thoughts on Twitter , Instagram , and Letterboxd . Must Read 'Shirley' Review Good intentions canceled out by poor filmmaking and an overly basic approach SHOP 'Love Lies Bleeding' Review Every character is ready to pop at any moment, each outburst promising gory results that beg you to look away. SHOP 'Kung Fu Panda 4' Review Audiences were wishing for more skadoosh, but they got more of a whimpering pow instead. SHOP 'Ricky Stanicky' Review Seeing how far Cena is willing to go makes up for a lot of other rougher stretches. SHOP 'Spaceman' Review The simple sight of the comedian in a lower register isn’t enough to cover up an oversimplified love story with liberally borrowed plot points. SHOP

'Kung Fu Panda 4' Review March 10, 2024 By: 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. Must Read 'Kung Fu Panda 4' Review Audiences were wishing for more skadoosh, but they got more of a whimpering pow instead. SHOP 'Ricky Stanicky' Review Seeing how far Cena is willing to go makes up for a lot of other rougher stretches. SHOP 'Spaceman' Review The simple sight of the comedian in a lower register isn’t enough to cover up an oversimplified love story with liberally borrowed plot points. SHOP 'Drive-Away Dolls' Review The results here are a bit scatterbrained, sort of touching on a few too many Coen trademarks with only half the potency they used to have. SHOP 'Dune: Part Two' Review Just as he did with 'Blade Runner 2049,' Villeneuve has accomplished what has long been thought to be impossible. SHOP

'Argylle' Review January 31, 2024 By: Hunter Friesen Step right up, ladies and gentlemen, and behold one of the unexplained mysteries of the universe! What I present to you on the screen is a cat. But it’s also not a cat. It walks like a cat, talks like a cat, and has the overall presence of a cat. And yet, any time you look into its eyes, you are unable to detect any semblance of a soul. How can this be, you ask? The foremost scientists of our time have been unable to determine that answer, nor have they been able to ascertain an answer for why it exists. Did the producers of Argylle not think that cats already exist, and can be trained? Did they recently watch Tom Hooper’s Cats and think that they could go even further down the uncanny valley? Or are they modern Robin Hoods and decided to waste millions of dollars of Apple’s money on something so monumentally stupid? I leave all these questions up to you, ladies and gentlemen. But be warned, the journey to acquire the knowledge that you seek will not be as fun as the marketing would have you believe. A fully CGI cat is only one of several frustrating peculiarities within the freak show brought to us by the “twisted mind” of Matthew Vaughn. At this point, I’d suggest replacing “twisted” with “childish” or “immature.” “Edgy” would also be a good substitute, but only in the context of a twelve-year-old who thinks of themselves as edgy when they tell their first joke that involves swearing or sex. “Original,” however, is a word I would not use for Vaughn or Argylle , no matter how much they try (and let me tell you, they try A LOT ) to make you think they’re one step ahead. In an opening almost ripped straight from Austin Powers in Goldmember (we’re really stealing from the cream of the crop here); we see Henry Cavill sporting one of the most hideous hairstyles in modern cinema, right up there with Taylor Lautner’s flowing locks from Twilight and Nicolas Cage’s from Con Air . He’s on the trail of Lagrange (Dua Lipa), but his role gets flipped to prey once she catches him in a trap. With the help of his two sidekicks (John Cena, Ariana DeBose), Argylle escapes and gets one step closer to solving the ultimate conspiracy. But scratch all that, as Agent Argylle is only a story within a story. The topmost layer has Elly Conway (Bryce Dallas Howard) the author of Argylle’s adventures, a series in a long line of successful spy novels. For some reason, almost everything that Elly writes comes true, leading to her life being in danger once a rogue spy syndicate decides to silence her. The only source of help to keeping Elly safe and finding out the full truth is a good spy named Aidan (Sam Rockwell), who claims to know more than he lets on. It’s not that the plot of Argylle is confusing, it’s more that it never registers as interesting or sensical. There’s a lot of moving pieces, but the thread that connects them all together is embarrassingly thin. Before you have time to raise your hand and question why anything is happening, writer Jason Fuchs takes a hard pivot for another “out of this world” twist. The unpredictability of everything becomes tiringly predictable, and even more annoying. What’s also predictable is Vaughn’s staging of the action, which contains no fewer than five set pieces queued to clichéd 60s tunes. To give him credit, one of those scenes contains some nice visual flourishes and choreography. But the rest are bogged down by either horrendous CGI or excessive editing. I’m sure with $100+ million at his disposal, there wasn’t much from Vaughn’s imagination that couldn’t be filmed. But the real question was if he should, not if he could. And the vast majority of this shouldn't have left the brainstorming session. Must Read 'Argylle' Review It's time to find out who the REAL Agent Argylle is! SHOP 'Mean Girls' Review It’s harmless, fun, and will probably be forgotten within due time… kind of like a piece of plastic. SHOP 'The Beekeeper' Review It’s only the second week of January and 2024 already has its best bad movie of the year. SHOP 'The Book of Clarence' Review Samuel is more interested in making this into a good time than a good film SHOP 'Aquaman and the Lost Kingdom' Review It’s hard to care about something so uneventful and incohesive SHOP