Search Results

See How They Run September 19, 2022 By: Button Hunter Friesen “It’s a whodunnit. You’ve seen one, you’ve seen them all.” These are some of the last words used by victim Leo Kopernick (Adrien Brody) to describe Agatha Christie’s murder mystery, The Mousetrap . And after watching the film, See How They Run , I’d have to admit I share the same sentiment. Mine and Kopernick's feelings towards the genre seem to grow out of the common tiredness of it. Whether it be Rian Johnson’s riff on it with his Knives Out films (which I greatly enjoyed the newest edition at this year’s Toronto International Film Festival), or Kenneth Branagh’s classical revivals of Murder on the Orient Express and Death on the Nile (which I greatly despised), there seems to glut of whodunnits. And because I’ve seen one of them, I’ve essentially seen them all. And unfortunately for See How They Run , it has to take up the mantle as the runt of the litter, destined to be cast aside without anyone noticing, or caring. Before his demise (I’m not spoiling anything, they reveal his death ten seconds into the trailer), Kopernick was witness to the 100th performance of The Mousetrap , which is still playing today on London’s West End after nearly 28,000 performances. He’s been brought in to mount a film adaptation of the play. That is unless he can get along with his writer (David Oyelowo), who insists on “elevating” the material above its genre cliches, and his producer (Reece Shearsmith), who is more busy having an affair with his assistant than managing the talent. Once the deadly deed has been done, Scotland Yard’s own Inspector Stoppard (Sam Rockwell) is brought in to solve the case. He’s joined by the Constable Stalker (Saoirse Ronan), an eager rookie who’s a little too ready to nab her first killer. Writer Mark Chappell has assembled all the ingredients for a meta and wink-filled time as he stages a real murder mystery within a fictional version of a real murder mystery production. Anyone who’s seen their fill of community theater and Masterpiece productions will be able to pick on the jabs on well-worn genre tropes such as the butler playing a suspicious part and specific red herrings. And director Tom George, making his feature film debut after several years working on assorted series on the BBC, tries his best to keep things moving at a breezy pace with intricate cross-cutting and split screens. But even with all that's promised on the page and on the screen, there just always seems to be a disconnect that prevents it all from coming together. A joke may land with a thud, but it’s followed by a great cutaway. Or a joke may be a slam dunk, but then the scene plays a little too long and the air is sucked out of the room. There’s never really a moment where everything is flowing as harmoniously as it should. The one thing that consistently stays above water is the cast, even if they aren’t all served equally by Chappell (what’s Ruth Wilson doing in such a nothing role?). Rockwell makes a half-attempt at pulling off an Inspector Clouseau impersonation. It’s never fully explained why his character is so tired all the time, but Rockwell pulls it off well enough to just make it seem like it’s just part of his personality. And Saoirse Ronan is an absolute comedy delight in every moment she is given. Still, at only age 28, she could be in for an all-time career if she keeps up this pace. Although they share no living scenes together, a The Grand Budapest Hotel between her and Adrien Brody is a welcome one. While it may never be as funny or good as it wants to be, there are still a few glimmers of playful genius within See How They Run . It’s just a shame that Rian Johnson has fully harnessed that playfulness for his films, leaving not much room in the public’s collective memory for this so-so affair. 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 Power of the Dog November 29, 2021 By: Button Hunter Friesen Despite being the master of the gangster genre with such films as Taxi Driver, Raging Bull , and Goodfellas , Martin Scorsese cites The Age of Innocence as his most violent film. It’s a bizarre statement, considering the 1993 period piece features no sex, swearing, or physicality. Instead, the violence that the film harbors is purely emotional and under the surface, carrying far more damaging effects that linger longer than any external wound. Similarly, Jane Campion’s The Power of the Dog is one of the most violent films of the year - and of the Western genre - all without a gun, knife, or fistfight. The year is 1925. The Burbank brothers run one of the most successful ranches in Montana. Phil is handsome, calculating, and utterly brutal. He lives purely for the land, paying no mind to the feelings of those around him. George is pudgy and sensitive, and always on the receiving end of Phil’s torments. Together they represent Romulus and Remus, ruling over a vast empire that could topple at any moment. On one of their cattle drives, George becomes smitten by a widow, Rose. The couple swiftly marries and moves back to the mansion-sized ranch house. Disapproving of this union, Phil unleashes his cunning fury on Rose and her emasculated son, Peter. But there’s more to Peter than meets the eye, as his outward weakness may not be reflective of the inside. After some time, Phil begins to warm up to Peter and take him under his wing. Is this latest gesture a softening that leaves Phil exposed, or another one of his mind games that will delve further into menace? As a director, Campion has often been able to communicate the unsayable and unspeakable. Her films often resemble a poem more than a narrative. Based on her past features of The Piano and Sweetie , it can be said that she isn’t concerned with only opening one door, or telling her audience exactly how to feel. This ambiguity brings out the power of interpretation, leaving the viewer with the film in their mind long after the runtime has passed. The Power of the Dog doesn’t stray from that trademark as Campion tightly wounds this surprise psychosexual drama. There’s a cutting edge to each frame, epically lensed by Ari Wegner with the vast prairies of New Zealand standing in for Montana plains. A shot of a knotted rope, the castration of a bull, or the movement of a cigarette tell as much of the story as any piece of dialogue. Every act becomes a piece of symbolism, carrying an intentional ritualistic weight. With plucked strings, Radiohead frontman Jonny Greenwood (often a collaborating partner with Paul Thomas Anderson), squeezes those last drops of tension out of every scene. But when the dialogue takes precedent, Campion, adapting the words of Thomas Savage’s 1967 novel, makes sure it still stings. Phil uses his words to cut someone while they’re down, with a sharpness that cannot be matched. It doesn’t help that his cowhands, who worship his every move, sneer and snicker along. In the lead role of Phil, Cumberbatch reaches new heights in his career. The British thespian has built himself on playing the smartest man in the room, such as Sherlock Holmes on television, Alan Turing in The Imitation Game , and Doctor Strange in the ever-expanding Marvel Cinematic Universe. Here, that supreme intelligence brings its faults, such as emotional weakness and detachment. Branding Phil as carrying “toxic masculinity” would be too much of an oversimplification as Campion takes that weakness and spins it into something less one-dimensional. While Phil may hate himself on the inside, George is more outward with his self-loathing, which inevitably gets passed on to Rose, as she deals with despair by turning towards the bottle. The real-life couple of Jesse Plemons and Kirsten Dunst are great in their supporting roles, as they find solace in each other’s arms in the brief moments they have together. Acting as the yin to Phil’s yang (and also as the surprise actor showcase within the film) is Kodi Smit-McPhee as Rose’s son, Peter, whose external simplicity masks his internal strength and awareness. The battle between Phil and Peter is one of wits, with the outcome recontextualizing the film into something more than the sum of its parts. Jane Campion has made a grand return to feature films with The Power of the Dog . It’s an enigmatic modern take on the well-worn genre of the Western that leaves you with much more than you could ever bring in. Because of that, it’s one of the best films of the year, and should surely be checked out. 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

Juror #2 November 6, 2024 By: Button Tyler Banark To the people at Warner Bros. who thought it was a good idea to give Juror #2 only a limited release: You should be fired! We'll probably never know the full extent of why the decision was made to play this film in only 50 theaters nationwide, with no plans for any subsequent rollouts. I'm one of the lucky few who live relatively close to a theater blessed with the film's presence, although my attendance is almost for naught considering WB is declining to report any box office numbers. All of this is to say that Juror #2 is an excellent courtroom drama that should be seen by everybody, whenever that'll be (a streaming release date has not been announced as of this review's publishing date). At the age of 94, Clint Eastwood proves that he can still get the job done as a director, even if this final outing could be considered a little too safe. The story follows Justin Kemp (Nicholas Hoult), an everyday man, who, like all of us, is reluctantly called upon for jury duty. It's supposed to be an open-and-shut case: A girl is killed by her seemingly abusive boyfriend after they have a fight at a bar. However, the more that time goes on and facts are presented, the more Justin begins to realize he might have played a crucial role in the murder. An ethical dilemma is put before him, with the penalty for telling the truth being that he endangers his future with his soon-to-be-born son, and the penalty for lying being that an innocent person will be convicted. This internal wrestling match is handled with care and complexity, allowing the audience to immerse themselves fully in Justin's struggle. Eastwood skillfully uses the courtroom as a pressure cooker, creating suspense and a palpable sense of urgency. Things gradually escalate as the film cuts back and forth between the trial and the night of the murder, mixing in eyewitness testimonies and Justin's memories. The blurred lines keep him in silence during the courtroom proceedings, but Hoult’s face captures the torment, similar to what Cillian Murphy did in Oppenheimer last year. While the ultra-limited rollout dampens its breakout potential, this film is Hoult's show and another notch in his current hot streak that includes the upcoming features of The Order and Nosferatu . To be fair, it's not like he was in a slump, as his previous significant roles over the last decade in Warm Bodies , the X-Men prequels, Mad Max: Fury Road , and The Menu are nothing to sneeze at. But this trio marks a reinvigoration of his career, bringing out his capabilities as an actor that we haven't fully seen before. Justin has a lot on the line, all with the threat that any expression he displays could be a hint of his hidden truth. Hoult delivers an outstandingly subtle performance, his brain being a thunderstorm that must be contained before it hurricanes into the trial. Several scenes are slightly protracted, which keeps the pace steady, but the overall proceedings feel a little easy. There's an effective exploration of the physical and emotional stakes that surround Justin's situation, with Eastwood and screenwriter Jonathan Abrams toying with the ideas of ambiguity and guilt. Even though we as the audience know more than most of the characters, there is still a little bit of a guessing game to be played, and a lot of thrill in seeing everyone else trying to connect the dots to varying degrees of success. Eastwood has been working for nearly 70 years, with a majority of them being behind the camera. The admirably no-nonsense craft at the heart of Juror #2 is emblematic of his status as one of Hollywood's most enduring figures. To see his (supposedly) final film, one that will skillfully loom with me into the future, swept under the rug by the studio that he's called home for decades is an embarrassing shame. I hope this review serves as the wake-up call that cleans up the stain that WB has placed upon this film. The evidence is all here, and the jury should find this movie not guilty of the drawbacks that have been placed on it. 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

Smile 2 October 16, 2024 By: Button Hunter Friesen It’s crazy that Smile 2 so casually assumes that you haven’t seen Smile , the $200 million smash hit and global marketing sensation. How else could one explain the gumption that writer/director Parker Finn has to repeat all of the beats to his previous film, even down to the exact same twists and explanations for what is going on? There could be a slight excuse if this was released several years later and given a semicolon title like Smile: Rebirth or Smile: A New Chapter . But no, this is literally Smile 2 and it’s only been two years (or one day for someone like me who watched the first film in preparation), so we’re all left to experience déjà vu. Finn is a talented craftsman, engineering some decent setpieces through brilliant camerawork and sound design. His use of creeping camera pans is commendable, stirring up the tension as he allows our minds to create temporarily unseen terror. The opening sequence exemplifies all of this, taking place almost immediately after the ending of the first film. Joel (Kyle Gallner) is afflicted with the curse that besieged Rose, needing to rid himself of it through either murder or suicide. He attempts one of those options in an extended long take that traverses in and out of a drug house, capping with the other option. Time goes by and the location changes, but the circumstances remain the same. Skye Riley (Naomi Scott) is your average pop star attempting to make a comeback world tour after a falling out through drugs and alcohol. She still has a drug dealer, but only for Vicodin to help with her back pain caused by a car accident that killed her then-boyfriend. What begins as a suspected bad drug trip turns into something much more sinister once the dealer sports an eerie smile and bashes his face in with a barbell plate. The chain of haunting ensues, ranging from terrible visions to… well, pretty much just visions. If you were to list all of the terrible things that happened to Skye in this film, the large majority of them didn’t actually happen. The stakes get increasingly lowered each time something gets interrupted by Skye jolting awake only to realize it was all just a dream. It’s no different than the age-old complaint of the Marvel movies undercutting every emotional moment with a joke. But even in those dreams, the scares aren’t conveyed as effectively as they were the first time. For as much as Finn knows how to set something up, he opts for the balloon-popping jumpscare nearly every time. If you listen for the silencing audio cue, you can guess when it’s going to come without fail. It takes a lot of skill to scare people, and a whole lot less to startle them. Finn has what it takes to truly scare you, and there were several moments here where I could almost taste it. There are inklings of other themes outside of the well-worn topic of trauma that the first film embraced so enthusiastically. The pressures of fame compress Skye at every moment, with hundreds of people depending on her at every moment. She never smiles outside of performing, hoping that faking it will eventually lead her to making it. The increased production budget, most likely supplied through the blatant product placement of Voss Water, allows for some of those intricately choreographed stage shows to highlight the physical and mental demands placed on those just looking to entertain us. Of course, if you want to see the total unraveling of a popstar due to the metaphysical darkness that lurks behind every corner, you’re better off with Vox Lux , which should be all the rage now with the director’s new film, The Brutalist , making waves on the festival circuit. Smile 2 saves its best idea and single shot for the absolute end, presenting a unique idea for what could be in store for Smile 3 . If only Finn had decided to expedite that process and save us the two tedious hours to get there. 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

Magpie October 23, 2024 By: Button Hunter Friesen Magpie screened at the 2024 Twin Cities Film Fest. Shout! Studios will release it in theaters on October 25. Early on in Magpie , Annette (Daisy Ridley) feels trapped in her home in the English countryside. Her husband, Ben (Shazad Latif), is chaperoning their young actress daughter, Matilda, during a movie shoot. Playing Matilda’s on-screen mother is Alicia (Matilda Lutz), an actress who’s been involved in a number of tabloid sexcapades. Paparazzi snaps some photographs of her and Ben together on set, and Ben’s phone constantly buzzes from Alicia’s texts when he’s home. Annette stares at herself in the mirror, seeing nothing but a blank face. She presses her hands upon the glass, incrementally applying pressure until the whole thing shatters. The floor is a mess with shards, a few of them still stuck in her hands. But she doesn't seem to notice as the blood starts to drip. This scene is emblematic of director Sam Yates’ approach to the material. A veteran stage director, most notably for 2023’s Vanya starring Andrew Scott, Yates has dabbled a few times in film with some shorts and television. Magpie marks his feature directorial debut, and the results could be the start of a promising career. Nothing about his work is flashy (“flat” would be the derogatory term), but his approach to the material builds a tightly wound atmosphere. The gloominess of the setting, both literally and emotionally, is reflected in the cinematography. Distance and uncomfortable closeness are mixed for a revolving door of claustrophobia, with quite a few of those shots being reminiscent of the POV shots that Jonathan Demme made so famous in The Silence of the Lambs . It’s tough to distinguish between Clarice Starling and Hannibal Lecter in Annette and Ben’s relationship, an intentional blurring of the lines by screenwriter Tom Bateman. Similar to Yates, he’s making his feature screenwriting debut here, having previously appeared as an actor in Kenneth Branagh’s two initial Hercule Poirot films (he met Ridley on the set of Murder on the Orient Express ) and other British productions. The idea for this story came from Ridley herself, influenced by her experience as an on-screen mother in The Marsh King’s Daughter (at least something came out of that movie). Annette doesn’t want to jump to conclusions about Ben and Alicia’s relationship. And yet, it’s the only thing she can do as she sits at home looking after her newborn. There are hints of depression and manic behavior within her due to Ben’s past behavior. Bateman initially plants this as a potential conversation starter about the pressures of motherhood and burrowed trauma. That all gets morphed into something much more kitschy as time progresses, with late revelations making me laugh both with and at the movie. It wants to please you, even if that doesn’t please the movie as a whole. Ridley is fierce in the lead, maintaining a steely presence that keeps you on edge. There’s both sympathy and guilty pleasure you put upon her as she grapples with her domestic situation. Latif and Lutz display great confidence in their increasingly villainous roles. The whole thing feels like a throwback, while also having its cake and eating it too about so many modern topics. It’s a delectable cake, with just a bit too much sugar added. 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 Takes: 'The Polar Express' Should Be Live-Action December 14, 2024 By: Tyler Banark When The Polar Express debuted in 2004, it was hailed as a groundbreaking achievement in animation, employing motion capture technology to create a lifelike animated experience. However, despite all those technological advancements, the film faced criticism for its unusual visuals and lack of emotional resonance. While the animated approach was ambitious, a live-action version could have addressed the emotional disconnect of the animation, enhanced the film’s storytelling through authentic human performances, and created a more immersive holiday experience. Unfortunately, director Robert Zemeckis doubled down on this filmmaking tactic, employing it in his two following movies: 2007’s Beowulf and 2009’s A Christmas Carol . With this year marking the 20th anniversary of the movie’s release, here’s a look back on why a live-action version would’ve better suited it. One of the most significant criticisms of The Polar Express is its animation style. While innovative, the motion capture technology produced characters that many found unsettling due to the "uncanny valley" effect, the character’s lifelike movements juxtaposed with emotionless eyes and stiff expressions blurring the line between human resemblance and the emotional reaction to it. While many, including myself, find it disturbing to look at, it also confuses viewers. For the longest time, I couldn’t decide if this movie was live-action or wholly animated, with the eventual realization that it’s mostly animated with motion capture acting leaving me in a place of admiration for the accomplishment yet bewildered by the decision. The heartwarming story of The Polar Express —centered on belief, imagination, and the magic of Christmas—relies heavily on emotional engagement. In live action, real actors could convey the nuanced emotions of the characters more effectively. Because of the animation, it is hard to relate to Hero Boy’s (yes, that’s his credited name) arc if his physicality is barely emotive. The bond between the children on the train and the enigmatic conductor would be more poignant if portrayed by real actors. A live-action Tom Hanks playing the conductor could bring more charisma and gravitas to the role, making the character more engaging and memorable. Furthermore, the film’s climactic moments—such as the arrival at the North Pole and the protagonist’s realization of the magic of Christmas—would have felt more profound with live-action performances. The realism of live action allows for a greater suspension of disbelief because viewers can see tangible interactions between the characters and their environment. The fantastical settings of The Polar Express —from the mysterious train to the bustling North Pole—are undoubtedly imaginative. However, live-action with practical effects or seamless CGI could have achieved the same level of wonder without the drawbacks of the animation. Additionally, the North Pole’s grandeur could have been brought to life with detailed set designs and real-world textures, creating a sense of place that animation often struggles to achieve. Since 2004, Zemeckis has only gone back to animation twice and eventually found other technical filmmaking elements to tackle: 3D in 2015’s The Walk and stationary storytelling in this year’s Here . While The Polar Express remains a cherished holiday classic for many, its reliance on animation hindered its ability to fully capture its source material's emotional depth and immersive qualities. A live-action adaptation would have allowed the story’s themes to shine more brightly through authentic performances, relatable characters, and a realistic yet magical world. Coming from a director like Zemeckis, who has spent his career challenging the technicalities of filmmaking, The Polar Express is a misstep as he could’ve gone without diving into animation. 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

Discover a new dimension of storytelling as we delve into the world of cinema, sharing our perspectives and sparking conversations about the latest and greatest movies. Reviews Double click the dataset icon to add your own content. 1/1/2035 By: Author Name Double click the dataset icon to add your own content. 1/1/2035 By: Author Name Double click the dataset icon to add your own content. 1/1/2035 By: Author Name Double click the dataset icon to add your own content. 1/1/2035 By: Author Name Reviews by Hunter Friesen Reviews by Tyler Banark

Sentimental Value September 5, 2025 By: Button Hunter Friesen Sentimental Value had its North American Premiere at the 2025 Toronto International Film Festival. Neon will release it in theaters on November 07. Except for its horrendous opening scene conversation between whistleblower Matthew Maher and CEO Victor Garber (going uncredited for his brief cameo), Relay consistently punches way above its weight class. It's got an interesting premise, great talent both in front of and behind the camera, and an eagerness to entertain. Now all it needs is an audience to pick up what it's putting down, or else this will be just another case of a mid-budget film exemplifying the age-old adage of "If a tree falls in a forest..." While Maher's character may be a whistleblower in possession of incriminating documents, his meeting with Garber doesn't serve the purpose we would normally assume. This isn't about one final showdown before the bad guy gets their comeuppance. No, this is about doing the (depressingly) logical thing, which is to give the documents back and live to see another day. Being a hero costs a lot more than anyone is willing to pay, and the bad guys are getting more ruthless and efficient. his unofficial surrender doesn't come easy, which is where Tom (Riz Ahmed) comes in to work his magic. He's the unofficial agent for the whistleblower, handling every interaction between them and the company. Of course, this line of work can get quite dangerous. Tom protects his anonymity from everyone by communicating through the Telecommunications Relay Service (TRS), which enables people who are deaf to communicate with standard telephone users. Sarah (Lily James) is the newest client for Tom. She's stolen documents proving the cover-up of the fact that her company's newest lab product has cancerous side effects. Sam Worthington's team of ex-special forces operatives has surveilled and harassed her day and night on behalf of the company, and it's Tom's job to get her out of the mud. Ahmed may already be an Oscar nominee for his work in Sound of Metal , but Relay provides the most powerful example of his leading man capabilities. His first line of dialogue doesn't come until the film enters its second act, allowing Ahmed to flex his presence throughout the cat-and-mouse proceedings. He dons a few disguises, pulls some switcheroos that would make Ethan Hunt blush, and has a no-nonsense attitude about getting the job done with as little interference as possible. Movie logic dictates that the main character's strict moral and/or professional code must be broken on the next job they take, especially if said job is supposed to be their last. Screenwriter Justin Piasecki doesn't shy away from those clichés, wrapping them around strong characters to bolster the narrative. We follow the job from beginning to end, learning the complex directions (and misdirections) Tom must follow in order to keep himself one step ahead. It's incredibly physically and mentally draining work, with no affirming reward beyond the simple act of survival. Director David Mackenzie, returning to the silver screen after a seven-year hiatus that included a detour into television, makes sure that the struggle is incredibly satisfying to watch unfold. The kineticism is akin to an espionage thriller, with Tony Doogan's late-night score providing a smoky, cool atmosphere. The camera flows freely within the real-life settings, lending authenticity to this life-and-death story that goes unnoticed in plain sight. More Reviews Double click the dataset icon to add your own content. 1/1/2035 By: Author Name Double click the dataset icon to add your own content. 1/1/2035 By: Author Name Double click the dataset icon to add your own content. 1/1/2035 By: Author Name Double click the dataset icon to add your own content. 1/1/2035 By: Author Name Author Name

'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