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Bob Marley: One Love February 13, 2024 By: Button Hunter Friesen So formulaic that it might as well be taught in math class, Bob Marley: One Love is just another entry in a long line of music biopics that merely exist to pump up the brand image of its icon. It’s what the haters of Maestro thought they were watching, all of them unable to perceive the amount of soul poured into that story by an artist working at the height of his powers. One Love takes away the brush and replaces it with the creaky gears of a machine whose only purpose is to deliver the most palatable retelling possible, as if coloring outside the lines would combust the film stock it was printed on. The conventional postscript text isn’t enough from a screenplay credited to four writers (Terence Winter, Frank E. Flower, Zach Baylin, and director Reinaldo Marcus Green), as a copious amount of prescript set the stage for the political landscape of 1970s Jamaica. The Caribbean island nation is in a state of turmoil, with the threat of violence forcing everyone to look over their shoulder. Bob Marley (Kingsley Ben-Adir) positions himself at the center of this conflict by staging a peace concert. Before he can sing a note, an assassination attempt results in him and his wife Rita (Lashana Lynch) being hit by a bullet. Despite his carefree attitude and unwillingness to accept defeat, Marley realizes this stroke of death is a sign that cannot be ignored. He jets off to England to record his next album, “Exodus,” which will become one of the most successful ever. Green has a “look but don't touch” attitude towards the events of this three-year framework. Almost everything of note is visited but never explored interestingly. No amount of ambiguity or complexity is created, with Marley being an almost mystical Christ-like figure floating through a world of pain. He says that “you can’t separate the message from the music,” but his message never seems to be more than just a simple blanket statement for peace. Characters only speak in plotlines, all of them entirely forgettable save for the two leads. In a commendable move, almost all of the dialogue is delivered through authentic Jamaican accents. It may put more strain on the viewer to grasp each word, but it lends the extra ounces of credibility this product sorely needed. Ben-Adir and Lynch disappear into their roles, extending their acting chops beyond just simple mimicry. Their performances are the hints of why Paramount was allegedly planning for an awards-qualifying release before punting into the doldrums of February. But those performances are all for naught once the music starts going. The concert scenes are obviously lip-synced, each one more rigid than the last. Cinematographer Robert Elswit struggles to create the illusion of thousands of screaming fans, nor do he and Green capture the uniqueness of reggae. A few flashbacks are splashed throughout to help explain Marley’s fascination with the music and Rastafarianism, but they end up being cheap crutches that only elongate the “feels one hour longer than it is” 104-minute runtime. You need to ask yourself two questions after you’ve watched a biopic. Could I have gotten the same information just by reading the Wikipedia page? A “no” is the ideal answer, but a “yes” isn’t cause for automatic failure. If this is just a Wikipedia entry, was the presentation of the information at least entertaining? One Love is a capital Y-E-S and N-O to those questions, respectively, which begs the question of what was the point of any of this. Millions of dollars and years of work amounted to less than what I could get for free in just a couple of minutes. More Reviews One Battle After Another September 24, 2025 By: Hunter Friesen A Christmas Party September 23, 2025 By: Tyler Banark Him September 18, 2025 By: Hunter Friesen Swiped September 19, 2025 By: Tyler Banark Hunter Friesen

The Invisible Man March 5, 2020 By: Button Hunter Friesen The Invisible Man opens on a secluded waterfront mansion. Inside it, Cecilia Kass is executing her plan to run away from her abusive boyfriend, Adrian. She successfully escapes, but not without Adrian running after her in a violent fury. A few weeks after her departure, Cecilia is notified that Adrian has committed suicide. Her relief at his demise doesn’t last long as a series of coincidences begin to take shape. Cecilia starts to hear noises and has the constant feeling she is being watched. After some time, she discovers that Adrian isn’t dead, but invisible. He’s gaslighting her into submission, playing vicious tricks around the house, and tormenting others connected to her. With no one believing her situation, Cecilia must work to defend herself and the people she loves from unseen harm. As the writer/director behind several horror franchises such as Saw and Insidious , Leigh Whannell once again proves his chops here. He commands the material with his expert use of the camera and lighting. A multitude of slow pans and still shots imbue each scene with a lingering sense of terror that never ceases to grab hold of you. The dark, shadowy lighting puts a magnifying glass on Cecilia’s isolation as she battles her internal and external demons. And because the assailant cannot be seen, Whannell also relies on some expert sound design that is similar to the style used in A Quiet Place . Silence is the most abundant and effective sound device as it fills the gaps between the creaks and rumbles. It becomes clear throughout that hearing nothing is much scarier than hearing something. But what Whannell can be respected for most is his refusal to stoop to jump scares, especially considering the story allows for that. Sure, a jump scare here or there would have jolted some energy into the often overly-slow pacing, but Whannell’s insistence on taking the high road makes for a more complete horror experience. Of course, the concept of someone turning themself invisible is a little silly. The movie doesn’t totally defend against that criticism either, only mustering a quick line about how Adrian was “a leader in the field of optics”. However, once you get past that barrier of disbelief, you’ll open yourself up to what this movie has to offer under the hood. The script for The Invisible Man , penned by Whannell himself, has more on its mind than just scares. The movie does a great job of conveying the torment and aftermath that an abusive relationship can have on someone. Cecilia as a character is given a full arc as we follow her journey of slow recovery from beginning to end. This added layer brings a deeper meaning that is both used to educate about a serious topic and make the horror material pack a bigger punch. Portraying our heroine is the commanding Elisabeth Moss. It’s another unhinged performance similar to her previous roles in Her Smell and The Handmaid’s Tale . Moss’s all-in attitude helps suspend our disbelief of the material and grounds her character in the real world. She’s utterly believable in even the most bewildering of situations and carries the emotional weight of the film. Commendable supporting performances come from both Aldis Hodge as a sympathetic detective and Michael Dorman as Adrian’s brother, Tom. Through inventive storytelling and craftsmanship, Leigh Whannell and Elisabeth Moss have quite possibly created the definitive version of this ludicrous premise. Released at a time of year infamous for forgettable horror movies, it’s a breath of fresh air to see quality original content have its time to shine. More Reviews One Battle After Another September 24, 2025 By: Hunter Friesen A Christmas Party September 23, 2025 By: Tyler Banark Him September 18, 2025 By: Hunter Friesen Swiped September 19, 2025 By: Tyler Banark Hunter Friesen

MSPIFF 2023 Recap April 29, 2023 By: Hunter Friesen The Minneapolis-St. Paul International Film Festival (MSPIFF, or “Ms. Piff” as it’s said here) is a much-awaited annual event for cinephiles in the Minneapolis-St. Paul area. Every year, the festival showcases a diverse selection of films from around the world, ranging from documentaries to independent films, and even cult classics. As a movie enthusiast, I had the opportunity to attend the festival this year and watch several films. In this article, I will be ranking the films I saw at the MSP Film Festival. From thought-provoking dramas to hilarious comedies, these films left a lasting impression on me, and I hope to provide you with an insight into the best of the festival. 9. Dreamin' Wild Writer/director Bill Pohlad’s sophomore feature may be a slightly inferior carbon copy of his debut outing Love & Mercy . Still, his love and appreciation for the Emerson musical duo is always evident, almost as if he made the movie more for them than the paying audiences. That emotional reverence is what I walked away from the movie feeling the most, which is more than I can say about the majority of biopics these days. Full Review 8. The Beasts The central themes within The Beasts are both specific to its setting and universal within every country on Earth. It’s what makes it both compelling to a worldwide audience, and also why it lacks depth below the surface. The back-and-forth arguing and vitriol pads out most of the runtime until the expected climactic moment, where writer/director Rodrigo Sorogoyen allows himself to flourish with a creative perspective shift. The production values and directorial skill are always abundant, with the actors relishing in the extended scenes and long takes. If only there was more meat on this skeleton of a story. 7. Showing Up In its low-key nature, Showing Up can be a comforting ode to small artists persevering to put their creations into the world. Unlike Lizzy’s clay creations that start as wet messes and end up as fully formed creations, Reichardt’s work stops just short of the kiln and ends up feeling more like a shallow puddle of good ideas. I’ve seen this movie twice now, and I wouldn’t be that opposed to another watch somewhere down the road. Full Review 6. Somewhere in Queens After so many years of being lost in the Ice Age films, comedian Ray Romano returns to his Italian-American roots with Somewhere in Queens. The idea of a parent molding their child into a reflection of themselves may not be the most unique theme, but Romano finds both the humor and heart within the situation. Laurie Metcalf plays the mother, bringing great comedic energy and some surprising pathos to a character that easily could have been a throwaway cutout. 5. Polite Society Polite Society is an impressive debut from all those involved (writer/director Nida Manzoor and star Priya Kansara), as it’s only slightly undone by minor problems that are symptoms of its ambitions. It’s both a takedown and love letter to the works of Jane Austen, making a delectable time out of having its cake and eating it too. Full Review 4. R.M.N. Featuring five different spoken languages (Romanian, Hungarian, German, French, and English) and characters from all different walks of life, Cristian Mungiu’s newest visual essay tells a universal story within one specific Transylvanian village. As is tradition for Mungiu, each scene is realized in unbroken takes, with the climactic town-hall meeting unfolding across 17 minutes and featuring dozens of characters. While there are no clichés, this is a story that has been told time and time again, unfortunately, led by the least interesting character of the ensemble. The naturalism is abruptly broken by the ambiguous final shot, leaving you with a disquieting outlook on this specific village, as well as the entire world. 3. Tori and Lokita The newest film from the Belgian brotherly duo of Jean-Pierre and Luc Dardenne finds them once again examining the miscarriages of social justice within their native country. Their handheld long takes and lack of score capture the harsh reality of society. There’s also a propulsive energy to the film, with the semi-criminal elements keeping the 85-minute feature (a staple length for the brothers) moving at a brisk pace. The realism of the situation and themes are slightly undone by the script, which paints everything in such mutually exclusive strokes. But there is power in those overbearing moments, as you’re left with another stark reminder of how the laws of the Western world provide little aid to those who need them the most. 2. BlackBerry Time has not been an ally for the BlackBerry phone, but I believe it will be for this movie. While the other movies in this growing subgenre built themselves largely around the iconography of the brand, Johnson always has his sights set on the people behind the machine, which is what makes this specific story that much more compelling and rewatchable. Full Review 1. Cairo Conspiracy Corruption runs rampant in the holiest of places within Cairo Conspiracy , as faith is used to broker further advances of power. Writer/director Tarik Saleh tells an overlapping story of politics and religion, molding his message within the old-fashioned espionage thriller genre to fantastic results. It’s both entertaining and enlightening, leaving you with something to ponder long after the credits roll. More Reviews One Battle After Another September 24, 2025 By: Hunter Friesen A Christmas Party September 23, 2025 By: Tyler Banark Him September 18, 2025 By: Hunter Friesen Swiped September 19, 2025 By: Tyler Banark Hunter Friesen

The Hunger Games: The Ballad of Songbirds and Snakes November 16, 2023 By: Button Hunter Friesen A lot of hot air has been exhumed over the past year about the exponential increase in movie runtimes. Avatar: The Way of Water (192 minutes), Babylon (189 minutes), The Batman (177 minutes), Killers of the Flower Moon (206 minutes), Oppenheimer (180 minutes), and Beau Is Afraid (179 minutes) are just a few of the martyrs that had to take a few lashes from audiences (some more than others) for testing the endurance of butts. With a title that takes just as long to say as it does to watch the movie, The Hunger Games: The Ballad of Songbirds and Snakes is the one behemoth where I find myself siding with audiences. 157 minutes isn’t that long compared to the previous examples, but it’s too damn long here. It suffers from a much more severe case that found itself attached to Peter Jackson’s The Return of the King where we reach the climax and expect a somewhat swift resolution, and yet the film just keeps going… and going… and going… and going. But that only becomes a problem once we reach the final act of this three-act plot, with the first two offering some of the best material this YA franchise has seen. Director Francis Lawrence is back at the helm after guiding the final three entries in the Jennifer Lawrence tetralogy. His presence maintains a sense of consistency with those earlier films. The tone is still grim, with this story being set 64 years in the past and centering on a young Coriolanus Snow (Tom Blythe) as he tries to pick up his family name immediately after the great District v Captial civil war. The annual Hunger Games are still in their infancy and the citizen’s interest in them is starting to wane. Favor is as good a currency as actual money, two things Snow is in desperate need of. He can receive favor from his superiors, Dr. Volumnia Gaul (Viola Davis) and Dean Casca Highbottom (Peter Dinklage), by providing ideas on how to improve the fledging games. It’s an almost eerily similar situation to modern sports, with Snow being thought of as a genius when he comes up with the idea of making the contest more narrative-driven and allowing spectators to bet on the outcome (hopefully The Capital is located in a state that allows that). Physical currency will come from being a good mentor to District 12 tribute Lucy Gray Baird (Rachel Zegler) as the winning tribute and mentor receive a substantial reward. Is money worth having if it’s been soaked in blood? Don’t forget, becoming the winning tribute most likely requires them to murder a few of their fellow competitors. Both Lucy Gray and Coriolanus aren’t exactly born killers. Even less of a killer is Coriolanus’ classmate Sejanus Plinth (Josh Andrés Rivera), who sees the games as cruel and unusual punishment against children too young to be alive during the war. It’s an interesting bit of politics to follow these teenagers navigate a world of power-mad adults. Coriolanus and Lucy Gray have a compelling relationship, neither of them being fully ready to embrace the role of being a hero or villain (or anti-hero). They’ve been brought up to hate each other because of their class differences (describing someone as “district” is equivalent to calling them poor), except now they must work hand-in-hand to gain a competitive advantage. Of course, we do already know the outcome of this battle on account of this being a prequel, but Blythe does a great job masking that through his complex performance. It’s too bad writers Michael Lesslie and Michael Arndt constantly make his job tougher as they haphazardly flip his characterization in the third act. Their treatment of Zegler is more consistent, with both them and her leaning hard into the several opportunities to unleash her immaculate singing voice. Viola Davis is clearly having the most fun, literally introducing herself while maniacally cackling and often found fondling deadly snakes. Even with it being unable to promptly say goodbye and bits of desperate fan service, The Ballad of Songbirds and Snakes is still a cut above the rest of the YA genre. It’s actually a shame that isn’t supposed to be the start of a whole series, as there’s more than enough here to sustain an even deeper dive into this enticing world. More Reviews One Battle After Another September 24, 2025 By: Hunter Friesen A Christmas Party September 23, 2025 By: Tyler Banark Him September 18, 2025 By: Hunter Friesen Swiped September 19, 2025 By: Tyler Banark Hunter Friesen

Causeway September 11, 2022 By: Button Hunter Friesen Causeway had its World Premiere at the 2022 Toronto International Film Festival. Apple TV+ will release the film in theaters on October 28, followed by its streaming premiere on November 04. Above almost anything, Causeway marks Jennifer Lawrence’s return to her independent roots. Through all the Hunger Games, X-Men, and David O. Russell films (in which she had the smarts to turn down an appearance in Amsterdam ), it can be easy to forget that this is the same actress who burst onto the scene, and received her first Oscar nomination, in the tiny Sundance film Winter’s Bone . Now a dozen years later, she’s back to being actress Jennifer Lawrence, and not movie star Jennifer Lawrence. Causeway centers itself on the story of Lynsey, a recently discharged Army corps engineer who must stay at a recovery home after she received a traumatic brain injury from an IED blast. At first, she’s not able to hold a glass or string together a sentence without exerting herself beyond her newfound limits. But after some practice and patience from her caregiver (a wonderful Jayne Houdyshell in a brief role), she’s back on her feet and heading to her real home in New Orleans. But being back home is not the end of the road for Lynsey, as she must face much tougher challenges including childhood trauma and reintegrating with a society she left behind. Not wanting to overcome that obstacle, she strives to be redeployed, much to the distress of her doctor (Stephen McKinley Henderson), who rightfully notices that Lynsey is not altogether. So, she takes a job cleaning pools, which leads her to cross paths with a local car mechanic named James (Brian Tyree Henry). Noticing their similarities on the inside, the two strike up an interesting connection that goes deeper than something purely platonic or romantic. Causeway has been plagued by trouble since its inception. It was shot in the middle of 2019, followed by a flurry of reshoots after poor test screenings. Red, White, and Water was its original title, later changed to Causeway this year (a more appropriate, yet bland, title within the context of the story). And after several release date shifts, Apple picked up the film for distribution, their second partnership with A24 after The Tragedy of Macbeth this past year. Even with all those bumps along the way, first-time director Lila Neugebauer sensitively delivers a personal story that avoids much of the PTSD/trauma clichés we’ve come to expect. It is still a predictable movie in its outcome, but the means to get there are not the ones you’d usually find. There are several surprising choices Neugebauer and the team of screenwriters makes to give this film a semi-fresh take on the genre. A cello-filled score by Alex Somers beautifully accents much of the low-key nature of the film, creating more of an ambiance for Lawrence and Henry to do some of their best work. Neugebauer’s Broadway sensibilities keep their chemistry warm and palpable, with words seemingly playing a secondary role in how they communicate. A look or body movement does most of the talking, as does a moment of silence. There’s nothing life-changing or revolutionary about Causeway , even if it does sharpen the mold it stems from. But it does provide showcase roles for its central leads and is a promising start to a potentially fruitful cinematic career for Neugebauer. More Reviews One Battle After Another September 24, 2025 By: Hunter Friesen A Christmas Party September 23, 2025 By: Tyler Banark Him September 18, 2025 By: Hunter Friesen Swiped September 19, 2025 By: Tyler Banark Hunter Friesen

TIFF23 Dispatch - Part 1 September 17, 2023 By: Button Hunter Friesen All of the films were screened at the 2023 Toronto International Film Festival (TIFF). Click here for additional full reviews and dispatches. Select films below will receive separate full-length reviews at a later date, most likely in connection to their public releases. Dream Scenario Nicolas Cage has never been funnier (at least in an unironic way) than he is in Kristoffer Borgli’s English-language debut. The famed madman actor plays a dorky professor who inexplicably appears in everyone’s dreams, making him the most famous person on the planet. The fame quickly gets to his head, but it also brings unintended consequences once the dreams start taking darker turns. Borgli's examination of cancel culture isn’t all that skillful, with most of the insights being surface-level. Cage is what sells this whole premise and covers any of the minor problems. While he’s still appearing in VOD garage more often than he should, there have been just enough auteur-driven projects to keep him an icon to the Letterboxd generation. Being that this specific film is an A24 production, be prepared for the ensuing meme frenzy come November. (3.5/5) The Critic While writer Patrick Marber and star Ian McKellen are having a delightfully catty time with The Critic , director Anand Tucker takes the material too seriously, making it uneven, yet still enjoyable. McKellen plays the internet's stereotypical version of a critic: mean, smearing, and always out to make himself the star of the show. Times are changing in London as the newspapers are merging, threatening McKellen’s job, and the fascists are becoming more radicalized. Marber’s script is a little too scattershot, never developing its numerous plotlines and characters outside of the central McKellen story. The glossy production values make this a decent package as a whole. A perfect piece of entertainment to get a spring theatrical release as counterprogramming to a superhero blockbuster. (3/5) Memory Two people with memory issues come together in writer/director Michel Franco’s newest film, which doesn’t wallow in mystery as his past filmography would suggest. Sylvia (Jessica Chastain) is a mother who can’t seem to forget her past drug and alcohol struggles, while Saul (Peter Sarsgaard) has dementia and can’t seem to remember much of his past life. These two troubled souls are attracted to each other, even if the forces of the world, notably their families, would like them to stay apart. The script places all its priorities on these two performances, both of which reach near perfection. There’s sadness and pain in their stories, but they unlock small linings of hope when they appear in each other’s lives. Franco doesn’t offer much in terms of answers, not that anyone should expect struggles of this magnitude to be so easily solved. (3.5/5) One Life No modern movie has had a more significant fourth-quarter comeback than One Life . The first 90 minutes of James Hawes’ feature directorial debut has the same dry cracker texture as many other British WWII period pieces you’ve seen over the years. An immediate 180° is made in the climactic scene (you'll know it when you see it), leaving me and the rest of the audience in tears. Anthony Hopkins stars as the older Nicholas Winton, with Johnny Flynn playing the younger version that made it his mission to rescue children out of the Holocaust ghettos of Eastern Europe. It’s Hopkins’ segments in the 1980s that give the film the spurts of life it needs. Recently minted Oscar-winner Volker Bertelmann provides a sweeping score, accenting the epic work done by this humble humanitarian. (3.5/5) Quiz Lady By far the broadest film TIFF programmed this year, Quiz Lady is your typical streamer comedy. The generic story follows Anne (Awkwafina) and her rowdy older sister Jenny (Sandra Oh) as they go on Anne’s favorite game show to win the $80,000 needed to pay off their mom’s gambling debts. Will Ferrell, Tony Hale, and Jason Schwartzman fill out the supporting cast. Director Jessica Yu has helmed episodes of prestige television as well as both feature and short documentaries (winning an Oscar for Breathing Lessons: The Life and Work of Mark O'Brien ), yet you’d never be able to tell based on what she delivers here. Everything is filmed with basic competence, with the actors filling much of the empty space with hit-or-miss jokes. It’s fun to see Oh cut loose, and Ferrell’s wholesome game show host turns out to be his best role in years. You can have some decent fun with this on a Friday night, forgetting all about it when you wake up the next morning. (3/5) More Reviews One Battle After Another September 24, 2025 By: Hunter Friesen A Christmas Party September 23, 2025 By: Tyler Banark Him September 18, 2025 By: Hunter Friesen Swiped September 19, 2025 By: Tyler Banark Hunter Friesen

Cannes 2023 Predictions - Part 3: The Festival Mainstays April 8, 2023 By: Hunter Friesen As one of the most prestigious film festivals in the world, the Cannes Film Festival always attracts the attention of cinephiles and industry professionals alike. Each year, the festival presents a diverse lineup of films that represent the best of international cinema, including both established and emerging filmmakers. With the 76th edition of the festival set to take place in May, film enthusiasts around the world are eagerly anticipating the announcement of the official selection on April 13th. While the festival organizers keep their cards close to their chest, there are already some strong players emerging as likely contenders for the coveted Cannes spotlights. In this four-part series, I’ll take a closer look at some of the films that are generating buzz and predict which ones are likely to make it to the Croisette this year. Each part will represent a category of films, which are: The Festival Masters Hollywood Makes a Splash The Festival Mainstays The Irregulars and Up-and-Comers The third part of my series reaches a little further down the pecking order. The filmmakers listed here may not have the pedigree of those from the first part, nor do their films command the headlines like the blockbusters. But many of them are in the process of being established as festival darlings and have projects that deserve attention on account of their immense potential. Which of these films are you most interested in? I'll be keeping you all posted on my adventures and sharing my thoughts on the films that I see. Stay tuned for more updates! Coup de Chance With a legendary career that now spans fifty works as a director, it would seem fitting to bid farewell to filmmaking in the country that has always adored him. Allen has brought several films to the festival, all of them playing out of competition. His latest work will be entirely in French with a local all-star cast. Of course, any mention of Allen brings along controversy, so Fremeaux will have a hard decision to make about what to do. La Chimera Alice Rohrwacher’s film made waves at last year’s festival when Neon picked up the project’s North American distribution rights. The company had a great run last with Triangle of Sadness taking the Palme d’Or, so it seems likely they’ll be gunning for a repeat. The film stars Josh O’Connor and Isabella Rossellini in a story about 1980s tomb robbers set in Italy. The Beast Bertrand Bonello has premiered nearly all of his films at the festival, so there’s no reason not to predict him to do the same this time around. Léa Seydoux and George MacKay lead the cast of this sci-fi romance revolving around a troubled young woman who decides to purify her DNA in a machine that will take her on a journey across a series of past lives. Jeanne du Barry Never one to shy away from controversy, writer/director Maïwenn has doubled down by casting Johnny Depp as King Louis XV in her palace drama. The casting itself will bring headlines, but not the kind the festival may want, especially with films by Woody Allen and Roman Polanski also in the mix. If selected, it’ll likely be placed in one of the sidebars. *UPDATE: CONFIRMED FOR OPENING SELECTION* Daaaaaali! Along with Gaspar Noe, surrealist filmmaker Quentin Dupieux often is the provider of the strange and wild, which he did last year with the wacky Smoking Causes Coughing . His new movie will certainly be a more fun story about Salvador Dalí than Mary Harron’s Dalíland at last year's TIFF. The logline is as follows: “A French journalist meets the iconic surrealist artist Salvador Dalí on several occasions for a documentary project that never came to be.” The Book of Solutions Michel Gondry has always kept himself incredibly busy between feature films, music videos, television shows, and short films. He’s done a tour of the festival sidecars throughout his career, so there’s little doubt he’ll be invited back if he decides to premiere his new film on the Croisette. The premise sounds Charlie Kaufman-esque as it follows a director who tries to vanquish his demons which are oppressing his creativity. Limonov 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 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 in 2021. His next film will continue the biopic streak from Tchaikovsky’s Wife , this time in the English language and focusing on the life of Soviet poet Eduard Limonov. Serebrennikov co-wrote the screenplay with Cold War director Pawel Pawlikowski and Ben Hopkins, and Ben Whishaw will play the titular character. Promised Land While he doesn’t make as many regular appearances as Ken Loach, fellow Englishman Michael Winterbottom did make a name for himself at the turn of the millennium with a slew of rough-around-the-edges peeks into British life. His new film sounds like it might fit that description quite well, as it follows two Brit police officers in their hunt for charismatic poet and Zionist freedom fighter Avraham Stern, who was plotting to evict British authorities. Last Summer French provocateur Catherine Breillat looks to be coming out of her self-imposed retirement with her first film in almost a decade. The sexually charged auteur's new film may be her most squirm-inducing yet, as it follows the consequences on a family when a woman gets attracted to her underage stepson. The first image was released in December just as production wrapped. Given her pedigree within the French film industry and that this may be her last film, it seems highly likely Breillat makes her way into the competition. More Reviews One Battle After Another September 24, 2025 By: Hunter Friesen A Christmas Party September 23, 2025 By: Tyler Banark Him September 18, 2025 By: Hunter Friesen Swiped September 19, 2025 By: Tyler Banark Hunter Friesen

The Trial of the Chicago 7 October 26, 2020 By: Button Hunter Friesen “The whole world is watching!” Those words have just as much relevance today as they did back in 1968 at the Democratic National Convention. It isn’t a coincidence that the problems we dealt with more than sixty years ago are still the same problems that we wrestle with today. It’s also not a coincidence that Aaron Sorkin and Netflix have released their new politically charged film, The Trial of the Chicago 7 , just weeks before one of the most important elections in our nation’s history. Based on a true story, The Trial of the Chicago 7 opens like a rocket with a rapid pace intercutting between all the major parties involved at the 1968 Democratic National Convention. The first of these parties is Tom Hayden and Rennie Davis as part of the Students for a Democratic Society. Next is the hippies of Abbie Hoffman and Jerry Rubin who lead the Youth International Party. There’s also David Dellinger, Lee Weiner, and John Froines. These seven make up the ragtag group of the Chicago 7. Also (unfairly) part of their trial is Black Panther co-founder Bobby Seale. These eight activists are on trial for their roles in the anti-Vietnam War protests in 1968 Chicago that led to a series of brawls between protestors and police. The bigwigs in the White House believe that the protestors were the ones that started the riots and want to make an example of the seven. The demonstrators (correctly) claim that it was the people dressed in blue that instigated the violence. From here the battle begins between two opposing sides with the potential nation-defining verdict hanging in the balance. Director Aaron Sorkin follows up his 2017 debut feature Molly’s Game with another director’s showcase. Mainly set within a single courtroom, the film is ripe with technical wizardry from all facets of the production. Cinematographer Phedon Papamichael incorporates a wide array of long takes and many angled shots that tell just as much of the story as the script does. Editor Alan Baumgarten doesn’t allow for a single dull moment as he keeps this train moving at full speed from beginning to end. This isn’t to say Sorkin is a perfect director, far from that actually. Sorkin still misses his mark in a few key areas, most notably in the final moments of the film where the attempt at a stirring finale comes off as cheesy and dated. A writer before taking over the director’s chair, Sorkin has delivered some of the greatest scripts of this millennium with his work on The Social Network (which won him an Oscar), Steve Jobs , and Moneyball . The Trial of the Chicago 7 delivers yet another Oscar-worthy script from Sorkin and the exact one you would want for a courtroom drama. Sorkin instills his trademarked rapid back-and-forth dialogue during the trial proceedings as witnesses testify and lawyers verbally spar. Several lines throughout elicit a strong provocative reaction that connects the film to today's cultural climate. Like all Sorkin scripts, everything does feel a bit too clean and artificial. Every character speaks on a near-genius level as they always say the exact right thing at the exact right moments. This style of perfect dialogue is more in line with characters such as Mark Zuckerberg and Steve Jobs instead of the ones found within this film. But, when the dialogue is this good all the time, that problem doesn’t matter all that much. Sorkin has also assembled an all-star cast to relish in his whip-smart script. There isn’t a single weak link among them as they will crowd Oscar ballots with their powerhouse performances. Veteran stage and screen actor Mark Rylance, here on the opposite side of the law than his performance in Bridge of Spies , leads the pack with his spectacular turn as the defense lawyer for the Chicago 7. Also a stage and screen veteran is the great Frank Langella who plays the dangerously maniacal judge who oversees the case. Langella’s grumpy performance parallels closely to a certain political figure who currently occupies the Oval Office. Jeremy Strong is almost unrecognizable from his uptight role in Succession as he expertly plays the relaxed Jerry Rubin. Sacha Baron Cohen is more in line with his previous roles as the clownish Abbie Hoffman. Yahya Abdul Mateen II is great in his both intentional and unintentional small role as George Seale. His role incites the most sympathy and relates to our current situation of race and policing. Aaron Sorkin’s The Trial of the Chicago 7 is a nostalgic old-school courtroom drama bolstered by strong modern filmmaking and terrific performances from its cast. The timeliness and importance of its message make it a must-see as the whole world will be watching during this tumultuous election season. More Reviews One Battle After Another September 24, 2025 By: Hunter Friesen A Christmas Party September 23, 2025 By: Tyler Banark Him September 18, 2025 By: Hunter Friesen Swiped September 19, 2025 By: Tyler Banark Hunter Friesen

Tyler's Favorite Musicals November 21, 2024 By: Tyler Banark When done right, musicals have a beauty to them that can't be beat. This niche interest was a pillar of my upbringing, as I was a theater kid heavily involved in choir before I was a cinephile. Luckily, these two passions often collided. With Wicked and The End singing their way into theater very soon, I figured now would be a great time to sit down and reflect on the movie musicals that have hit the best notes. 10. Willy Wonka and the Chocolate Factory (1971) As the original film adaptation of Roald Dahl's classic book, Willy Wonka and the Chocolate Factory , sees the enigmatic Gene Wilder step into the shoes (and hat) of the titular chocolatier. Although his signature introduction immediately established his remarkability, what sealed the deal was his profound performance of "Pure Imagination." Other numbers, such as "The Candy Man," "Cheer Up Charlie," "I’ve Got a Golden Ticket," and the Oompa Loompa songs stand out. Visually, the film captures the fantastical essence of Roald Dahl’s original story with vibrant set designs, imaginative visuals, and various candy-themed wonders that make the factory come alive. 9. All That Jazz (1979) All That Jazz masterfully mixes autobiographical storytelling, intense choreography, and dark themes into a mesmerizingly raw visual style. Director Bob Fosse's exploration of his own life dives into the highs and lows of a driven artist struggling with obsession, addiction, and mortality. Roy Scheider is charismatic and haunting, precisely capturing the character's relentless ambition and self-destructive tendencies. The thrilling and sophisticated musical numbers embody Fosse’s signature style: sharp, sensual, and complex. 8. The Umbrellas of Cherbourg (1964) With entirely sung dialogue, a radiant color palette, and emotionally resonant storytelling, The Umbrellas of Cherbourg marked a redefinition of the movie musical. Directed by Jacques Demy, the film tells the bittersweet love story of Geneviève and Guy, two young lovers whose romance is tested by separation and circumstance. The perpetual singing creates an operatic feel that intensifies the characters' emotions. The film’s vibrant visuals—featuring bold, pastel-colored sets and costumes—heighten the dreamlike quality of the story, making each frame feel like a painting. And Michel Legrand’s beautiful, sad score, especially the recurring theme "I Will Wait for You," perfectly captures the yearning and heartbreak at the story's core. 7. Hamilton (2020) I know, I know. If animated films didn't qualify for this list, then why did a Broadway recording find a spot? Until we get a proper film version, I believe this Disney+ special was a perfect way to bring Lin-Manuel Miranda’s groundbreaking musical to the masses. It simply can't be ignored, with the original cast (Leslie Odom Jr, Phillipa Soo, Daveed Diggs, Renee Elise Goldsberry, etc.) bringing a charm that translates Miranda'a material to life. As for the music, many of Miranda’s numbers strike a chord, but none do as well as "Wait For It", "Burn," "You’ll Be Back", and "The Room Where It Happens." Once the movie begins, the adrenaline Hamilton brings is non-stop. 6. Sing Street (2016) The best rendition of John Carney's musically-infused oeuvre remains 2016's Sing Street , a coming-of-age drama about a group of prep school boys that start a rebellious band in 1985 Dublin. It’s a soulful movie capitalizing on themes of teen angst, defying expectations, and finding love in the unlikeliest places seen through the leads, played tremendously by Ferdia Walsh-Peelo and Lucy Boynton. Many 80s pop-rock tunes run amuck, with standouts including numbers like "The Riddle of the Model," "Brown Shoes," and the movie’s most famous song: "Drive It Like You Stole It." None of Carney's other works have me wanting to go back and listen to the film’s music. When a movie does that, that’s how you know it’s unique. 5. Hairspray (2007) The 2007 film adaptation of Hairspray is a delightful musical that combines infectious energy, memorable songs, and a heartfelt message about acceptance and social change. The vibrant choreography and bold costumes perfectly capture the era's spirit while underscoring the film’s themes of individuality and equality. The cast, including Nikki Blonsky, John Travolta, Queen Latifah, and Zac Efron, bring a contagious enthusiasm to their roles, balancing humor with the film’s more profound messages (did anyone know this movie got a SAG nod for Best Ensemble?). 4. Tick, Tick... Boom! (2021) Tick, Tick... Boom! is a heartfelt movie musical that captures the raw intensity and vulnerability of an artist on the brink. Andrew Garfield’s career-best performance as Jonathan Larson is electric, bringing depth, passion, and relatability to a character driven by his creative ambition and haunted by the fear of time running out. Lin-Manuel Miranda’s direction, paired with Larson’s poignant music, brings the world of aspiring artists vividly to life, blending humor, warmth, and emotional gravity. The musical numbers are creatively staged, merging realistic and surreal elements to illustrate Jon’s inner turmoil and artistic vision, with "30/90" and "Therapy" being the standouts. 3. West Side Story (1961 & 2021) Both versions of West Side Story care cinematic triumphs in their own right, bringing a unique interpretation to a timeless story. The 1961 film, directed by Robert Wise and Jerome Robbins, set a high standard for musical adaptations with its electrifying choreography, striking visuals, and unforgettable score by Leonard Bernstein and Stephen Sondheim. Natalie Wood and Richard Beymer bring passion to Maria and Tony, while Rita Moreno’s portrayal of Anita earned her an Oscar for her passionate, layered performance. Steven Spielberg's 2021 reimagining of the original stage show infused greater cultural authenticity and modern sensibilities. Newcomer Rachel Zegler brought a fresh vulnerability as Maria, while David Alvarez’s Bernardo and Mike Faist’s Riff stole the show. Tony Kushner’s adapted script offered deeper character development and context, making the stakes feel higher and the tragic romance even more compelling. 2. Singin' in the Rain (1952) Singin’ in the Rain is a quintessential movie musical that remains a timeless masterpiece thanks to its infectious charm, dazzling performances, and brilliant fusion of humor, music, and dance. Co-director and star Gene Kelly delivers an iconic performance as Don Lockwood, combining charisma and extraordinary dance skills, most notably in the legendary title number, where his joyful routine in the rain captures the pure magic of the musical genre. Debbie Reynolds shines as the plucky Kathy Selden, while Donald O’Connor steals scenes with his hilarious physical comedy. The vibrant technicolor cinematography and timeless songs like "Good Morning" and the "Broadway Melody" sequence ensure that every frame is a visual and auditory delight. Beyond its entertainment value, Singin’ in the Rain is also a love letter to the Golden Age of Hollywood, blending satire and celebration in a way that continues to resonate with audiences across generations. 1. La La Land (2016) La La Land is the greatest movie musical because it redefines the genre with a perfect blend of nostalgia, innovation, and emotional depth. Writer/director Damien Chazelle masterfully weaves a contemporary narrative with golden-age Hollywood aesthetics, creating a cinematic experience that feels both timeless and fresh. Justin Hurwitz’s Oscar-winning score and the heartfelt lyrics by Benj Pasek and Justin Paul infuse every scene with a sense of wonder and yearning. Emma Stone and Ryan Gosling deliver career-defining performances, bringing authenticity and charm to their roles while navigating the bittersweet tension between love and ambition. But above all else, what sets La La Land apart is its willingness to embrace the imperfect and bittersweet nature of dreams and relationships. The bold, bittersweet ending—a “what if” montage of the life Mia and Sebastian might have had—cements the film’s status as a poignant exploration of sacrifice and the pursuit of art. La La Land resonates universally by celebrating the joy and pain of following one’s dreams, ensuring its place as a standout in the musical genre and a cinematic achievement for the ages. You can follow Tyler and hear more of his thoughts on Twitter , Instagram , and Letterboxd . More Reviews One Battle After Another September 24, 2025 By: Hunter Friesen A Christmas Party September 23, 2025 By: Tyler Banark Him September 18, 2025 By: Hunter Friesen Swiped September 19, 2025 By: Tyler Banark Hunter Friesen

Carry-On December 13, 2024 By: Button Hunter Friesen Armed with enough competence to make it sufficiently entertaining and entirely forgettable, Carry-On joins the ranks of Don’t Look Up, Bird Box , and Rebel Moon - Part One: A Child of Fire as Netflix’s yearly holiday offering to bide your time for the few hours between opening presents and eating Christmas dinner. Glass Onion: A Knives Out Mystery still reigns supreme in this hyper-specific genre, one that’s seen its fair share of big-name actors climb the yearly viewing charts. Taron Egerton, Jason Bateman, Sofia Carson, and Danielle Deadwyler are the quartet up to bat this time in a story that almost all of us can relate to: Airport travel during the holidays absolutely sucks. But the suckage that this cast goes through pales in comparison to the average person like me and you. For starters, Ethan Kopek (Egerton) hates Christmas. I know, boo him! It’s a yearly reminder he’s not doing enough, like being a lowly TSA officer when he originally applied to the police academy. There’s also the surprise that his girlfriend Nora (Carson) gave him the gift of a positive pregnancy test. Oh, and a mysterious terrorist (Bateman) is threatening to kill Nora and everyone in the airport if Ethan doesn’t let a bomb slip through security. They say holiday-related stress can kill you, but I didn’t think it would be this aggressive. With a setup such as this - a law enforcement protagonist unluckily taken out of his element during the holidays by a calm and collected terrorist, one that will kill everyone he loves if they don't get their way - it doesn't take much media literacy to see the parallels between this story and Die Hard. Similarly to that action classic, our hero and villain don't speak face-to-face for a prolonged period of time. A Bluetooth earpiece acts as their mode of communication, the terrorist walking Ethan through every step as he sits at his security terminal. Lyle Vincent's camera keeps a shallow focus throughout these proceedings, pushing in on Egerton as he processes his limited options. Bateman's voice acts as sinister ASMR, although there's some playfulness in his casual demeanor about the whole thing. He's technically not a terrorist, just a "facilitator" performing a job for a high-paying client. It’s fun to see (and hear) the actor possess a character with callousness, with years of playing the straight man in whacky comedies prepping him for this descent. I also say that with full awareness not having seen Ozark has totally skewed my perception of him. Egerton is a capable lead, although his stressed and straighter-laced demeanor takes away a lot of his charm and makes him the least fun character in this cast. He’s at least served well by director Jaume Collet-Serra, who made a name for himself as the continuer of the post- Taken Liam Neeson action renaissance that saw him kick ass on planes ( Non-Stop ), trains ( The Commuter ), and automobiles ( Unknown ). There are no less than a handful of shots of Egerton sprinting throughout the airport terminal, dodging the scope of a sniper rifle and the suspicions of his coworkers as he tries to piece together this ticking bomb of a puzzle. Less catered is Danielle Deadwyler, the LAPD cop, in an overly stretched subplot, where she’s also on the hunt for this facilitator. A horrendously CGI car crash set piece is her one moment of physicality, a far cry from the more inspired chases within the chutes and ladders within the baggage claim machinery. More moments of visual eyesores such as that, and some heavy-handed Christmas needle drops make Carry-On too cheap, predictable, and anonymous to buddy up to the holiday action films it so desperately wants to impress. More Reviews One Battle After Another September 24, 2025 By: Hunter Friesen A Christmas Party September 23, 2025 By: Tyler Banark Him September 18, 2025 By: Hunter Friesen Swiped September 19, 2025 By: Tyler Banark Hunter Friesen

Twin Cities Film Fest 2023 Recap November 5, 2023 By: Hunter Friesen With nearly 100 films screening across several different series, the Twin Cities Film Fest had more than enough to offer to cinephiles in its fourteenth year of existence. The festival prides itself on its mixture of established studio contenders and up-and-coming independent projects, and this year was no exception. Unfortunately, my schedule wasn't as forgiving as I would have liked, preventing me from seeing a few anticipated titles such as The Teacher's Lounge (Germany's submission for the Best International Feature Oscar) and Downtown Owl (partly filmed in Minnesota). There were other titles such as The Holdovers and Fingernails that I was able to see at TIFF . Even with that obstacle, I was still able to see five films, which ran the gamut of being some of the best and worst I've seen all year. Take a look at how I ranked them below, with almost all of them having a full review attached for your pleasure. 5. Foe Saoirse Ronan and Paul Mescal do everything they can to keep things interesting, a job they can do with ease. They run the entire emotional gamut with their performances, but none of it registers due to director Garth Davis’ detachment from the material. Each of them is forced to overact once the third-act twists come into play. Everything feels so forced by then that it’s almost comical. But it’s not a total trainwreck, so it’s just rather tediously bad. Son of Saul cinematographer Mátyás Erdély captures the landscape beautifully, showcasing the mystifying wonder that keeps people like Hen and Junior tethered to this patch of dirt. If only Davis could have done the same with his direction and script, as most of his decisions steer away from that intrigue and end up being as interesting as dirt itself. Full Review 4. All Dirt Roads Taste of Salt Writer/director Raven Jackson makes sure her voice is heard with her debut feature, one that is more Malickian than Malick himself. It loops around in nonlinear circles, telling the story of a life with poetic beauty. Its vagueness is both its biggest asset and liability, challenging your patience with its methodical pacing. It's one of the main reasons this demands to be seen in a theater, as a home viewing would rob you of the focus and attention to detail needed to fully appreciate it. 3. American Fiction American Fiction may be a victim of expectations as winning the People’s Choice Award at TIFF certainly raised the bar. Whether that’s fair or not is a different story. All I know is that I can only write about what I felt, which was slight disappointment mixed with great optimism about what Jefferson will do next. 2. All of Us Strangers All of Us Strangers is a ghost story that invites the viewer to project themselves onto the story just as much as it tells its own. There’s nothing easy about letting go of the past, and there’s nothing easy about what comes after. It’s not an uplifting message, but it’s an endearing one that we’ve all come to find truth in. Full Review 1. The Taste of Things There continues to be a need for stories that reflect the increasing bleakness of this world. But that means there’s more room for projects that remind us of the beauty in the timeless things we all experience and often take for granted. The Taste of Things is one of those films as it illustrates both the simplicity and complexity of sustaining ourselves through food. Just make sure to plan your meals carefully before and after seeing it. You owe your stomach (and other senses) that much. Full Review More Reviews One Battle After Another September 24, 2025 By: Hunter Friesen A Christmas Party September 23, 2025 By: Tyler Banark Him September 18, 2025 By: Hunter Friesen Swiped September 19, 2025 By: Tyler Banark Hunter Friesen

MSPIFF 2023 Preview April 10, 2023 By: Hunter Friesen I'm excited to announce that I'll be covering the Minneapolis St. Paul Film Festival for the first time this year! As a cinephile, I'm always on the lookout for new and exciting films. Whether it takes me around the world, or right to my own backyard, I look forward to discovering some hidden gems, meeting other film lovers, and celebrating the art of cinema. Follow me for updates on my festival experience, and let me know if you'll be there too! In this article I've previewed most of the film I'll be seeing, with a few more listed here: The Beasts, L'immensità, Somewhere In Queens, Revoir Paris, Walk Up. *All film descriptions and pictures have been supplied by the festival program* BlackBerry An irreverent look at the incredible rise and stunning fall of the world’s first smartphone. Writer/director Matt Johnson is joined on screen by Jay Baruchel ( This Is the End ) and Glenn Howerton ( It’s Always Sunny in Philadelphia ) in outstanding seriocomic turns that have us rooting for the doomed misfits behind this incredible true story. Cairo Conspiracy From Tarik Saleh, the director of the award-winning The Nile Hilton Incident , comes a bold, nuanced thriller set in a complex world Westerners rarely see. It centers on a gifted student from a small village who is offered a scholarship to Cairo’s Al-Azhar University, the power epicenter of Sunni Islam. Dreamin' Wild What if a childhood dream came true–-but thirty years later? Singer Donnie Emerson’s dream of success suddenly came true as he approached 50 years old. While it brought hopes of second chances, it also brought ghosts of the past and long-buried emotions to the whole family. Flamin' Hot Flamin’ Hot is the inspiring true story of Richard Montañez, the Frito Lay janitor who channeled his Mexican American heritage and upbringing to turn the iconic Flamin’ Hot Cheetos into a snack that disrupted the food industry and became a global pop culture phenomenon. Other People's Children When dedicated high school teacher Rachel (Virginie Efira) falls in love with Ali (Roschdy Zem), it’s not long before she also falls for his 4-year-old daughter Leila. Rachel must decide whether to embrace the inherent entanglements of her current situation, including the looming presence of Ali’s ex-wife Alice (Chiara Mastroanni) or strike out again on her own. Polite Society A merry mash-up of sisterly affection, parental disappointment and bold action, Polite Society follows martial artist-in-training Ria Khan who believes she must save her older sister Lena from her impending marriage. After enlisting the help of her friends, Ria attempts to pull off the most ambitious of all wedding heists in the name of independence and sisterhood. R.M.N. From writer/director Cristian Mungiu ( 4 Months, 3 Weeks and 2 Days ), this gripping drama set in rural Transylvania looks at the ethnic conflicts, economic resentments and personal turmoil roiling a Romania still in thrall to some dangerous traditions and beliefs. The arrival of Sri Lankan migrants adds fuel to the fire. Showing Up A sculptor preparing to open a new show must balance her creative life with the daily dramas of family and friends, in Kelly Reichardt's vibrant and captivatingly funny portrait of art and craft. Tori and Lokita Eleven-year-old Tori and 16-year-old Lokita are vulnerable African migrants, trying to make their way In contemporary Belgium, but their already precarious circumstances grow more complicated when the government refuses to give Lokita residence papers. More Reviews One Battle After Another September 24, 2025 By: Hunter Friesen A Christmas Party September 23, 2025 By: Tyler Banark Him September 18, 2025 By: Hunter Friesen Swiped September 19, 2025 By: Tyler Banark Hunter Friesen