Discover how we protect your personal data and uphold your privacy on our site. We ensure your information is secure while you enjoy the latest film reviews, news, and entertainment updates. Privacy Policy Last updated January 01, 2025 This privacy notice for The Cinema Dispatch ("we," "us," or "our"), describes how and why we might collect, store, use, and/or share ("process") your information when you use our services ("Services"), such as when you: Visit our website at https://www.cinemadispatch.com , or any website of ours that links to this privacy notice Engage with us in other related ways, including any sales, marketing, or events Questions or concerns? Reading this privacy notice will help you understand your privacy rights and choices. If you do not agree with our policies and practices, please do not use our Services. If you still have any questions or concerns, please contact us at hunter@cinemadispatch.com . SUMMARY OF KEY POINTS This summary provides key points from our privacy notice, but you can find out more details about any of these topics by clicking the link following each key point or by using our table of contents below to find the section you are looking for. What personal information do we process? When you visit, use, or navigate our Services, we may process personal information depending on how you interact with us and the Services, the choices you make, and the products and features you use. Learn more about the personal information you disclose to us . Do we process any sensitive personal information? We do not process sensitive personal information. Do we receive any information from third parties? We do not receive any information from third parties. How do we process your information? We process your information to provide, improve, and administer our Services, communicate with you, for security and fraud prevention, and to comply with law. We may also process your information for other purposes with your consent. We process your information only when we have a valid legal reason to do so. Learn more about how we process your information . In what situations and with which types of parties do we share personal information? We may share information in specific situations and with specific categories of third parties. Learn more about when and with whom we share your personal information . How do we keep your information safe? We have organizational and technical processes and procedures in place to protect your personal information. However, no electronic transmission over the internet or information storage technology can be guaranteed to be 100% secure, so we cannot promise or guarantee that hackers, cybercriminals, or other unauthorized third parties will not be able to defeat our security and improperly collect, access, steal, or modify your information. Learn more about how we keep your information safe . What are your rights? Depending on where you are located geographically, the applicable privacy law may mean you have certain rights regarding your personal information. Learn more about your privacy rights . How do you exercise your rights? The easiest way to exercise your rights is by submitting a data subject access request , or by contacting us. We will consider and act upon any request by applicable data protection laws. Want to learn more about what we do with any information we collect? Review the privacy notice in full . TABLE OF CONTENTS 1. WHAT INFORMATION DO WE COLLECT? 2. HOW DO WE PROCESS YOUR INFORMATION? 3. WHEN AND WITH WHOM DO WE SHARE YOUR PERSONAL INFORMATION? 4. DO WE USE COOKIES AND OTHER TRACKING TECHNOLOGIES? 5. HOW LONG DO WE KEEP YOUR INFORMATION? 6. HOW DO WE KEEP YOUR INFORMATION SAFE? 7. DO WE COLLECT INFORMATION FROM MINORS? 8. WHAT ARE YOUR PRIVACY RIGHTS? 9. CONTROLS FOR DO-NOT-TRACK FEATURES 10. DO UNITED STATES RESIDENTS HAVE SPECIFIC PRIVACY RIGHTS? 11. DO WE MAKE UPDATES TO THIS NOTICE? 12. HOW CAN YOU CONTACT US ABOUT THIS NOTICE? 13. HOW CAN YOU REVIEW, UPDATE, OR DELETE THE DATA WE COLLECT FROM YOU? 1. WHAT INFORMATION DO WE COLLECT? The personal information you disclose to us In Short: We collect personal information that you provide to us. We collect personal information that you voluntarily provide to us when you express an interest in obtaining information about us or our products and Services when you participate in activities on the Services, or otherwise when you contact us. Personal Information Provided by You. The personal information that we collect depends on the context of your interactions with us and the Services, the choices you make, and the products and features you use. The personal information we collect may include the following: email addresses Sensitive Information. We do not process sensitive information. All personal information that you provide to us must be true, complete, and accurate, and you must notify us of any changes to such personal information. Information automatically collected In Short: Some information — such as your Internet Protocol (IP) address and/or browser and device characteristics — is collected automatically when you visit our Services. We automatically collect certain information when you visit, use, or navigate the Services. This information does not reveal your specific identity (like your name or contact information) but may include device and usage information, such as your IP address, browser and device characteristics, operating system, language preferences, referring URLs, device name, country, location, information about how and when you use our Services, and other technical information. This information is primarily needed to maintain the security and operation of our Services and for our internal analytics and reporting purposes. Like many businesses, we also collect information through cookies and similar technologies. The information we collect includes: Log and Usage Data. Log and usage data is service-related, diagnostic, usage, and performance information our servers automatically collect when you access or use our Services and which we record in log files. Depending on how you interact with us, this log data may include your IP address, device information, browser type, and settings and information about your activity in the Services (such as the date/time stamps associated with your usage, pages, and files viewed, searches, and other actions you take such as which features you use), device event information (such as system activity, error reports (sometimes called "crash dumps"), and hardware settings). Device Data. We collect device data such as information about your computer, phone, tablet, or other device you use to access the Services. Depending on the device used, this device data may include information such as your IP address (or proxy server), device and application identification numbers, location, browser type, hardware model, Internet service provider and/or mobile carrier, operating system, and system configuration information. Location Data. We collect location data such as information about your device's location, which can be either precise or imprecise. How much information we collect depends on the type and settings of the device you use to access the Services. For example, we may use GPS and other technologies to collect geolocation data that tells us your current location (based on your IP address). You can opt out of allowing us to collect this information either by refusing access to the information or by disabling your Location setting on your device. However, if you choose to opt-out, you may not be able to use certain aspects of the Services 2. HOW DO WE PROCESS YOUR INFORMATION? In Short: We process your information to provide, improve, and administer our Services, communicate with you, for security and fraud prevention, and to comply with law. We may also process your information for other purposes with your consent. We process your personal information for a variety of reasons, depending on how you interact with our Services, including: To evaluate and improve our Services, products, marketing, and your experience. We may process your information when we believe it is necessary to identify usage trends, determine the effectiveness of our promotional campaigns, and evaluate and improve our Services, products, marketing, and your experience. To identify usage trends. We may process information about how you use our Services to better understand how they are being used so we can improve them. 3. WHEN AND WITH WHOM DO WE SHARE YOUR PERSONAL INFORMATION? In Short: We may share information in specific situations described in this section and/or with the following categories of third parties. Vendors, Consultants, and Other Third-Party Service Providers. We may share your data with third-party vendors, service providers, contractors, or agents ("third parties") who perform services for us or on our behalf and require access to such information to do that work. The categories of third parties we may share personal information with are as follows: Ad Networks Website Hosting Service Providers We also may need to share your personal information in the following situations: Business Transfers. We may share or transfer your information in connection with or during negotiations of, any merger, sale of company assets, financing, or acquisition of all or a portion of our business to another company. 4. DO WE USE COOKIES AND OTHER TRACKING TECHNOLOGIES? In Short: We may use cookies and other tracking technologies to collect and store your information. We may use cookies and similar tracking technologies (like web beacons and pixels) to access or store information. Specific information about how we use such technologies and how you can refuse certain cookies is set out in our Cookie Notice. 5. HOW LONG DO WE KEEP YOUR INFORMATION? In Short: We keep your information for as long as necessary to fulfill the purposes outlined in this privacy notice unless otherwise required by law. We will only keep your personal information for as long as it is necessary for the purposes set out in this privacy notice unless a longer retention period is required or permitted by law (such as tax, accounting, or other legal requirements). When we have no ongoing legitimate business need to process your personal information, we will either delete or anonymize such information, or, if this is not possible (for example, because your personal information has been stored in backup archives), then we will securely store your personal information and isolate it from any further processing until deletion is possible. 6. HOW DO WE KEEP YOUR INFORMATION SAFE? In Short: We aim to protect your personal information through a system of organizational and technical security measures. We have implemented appropriate and reasonable technical and organizational security measures designed to protect the security of any personal information we process. However, despite our safeguards and efforts to secure your information, no electronic transmission over the Internet or information storage technology can be guaranteed to be 100% secure, so we cannot promise or guarantee that hackers, cybercriminals, or other unauthorized third parties will not be able to defeat our security and improperly collect, access, steal, or modify your information. Although we will do our best to protect your personal information, the transmission of personal information to and from our Services is at your own risk. You should only access the Services within a secure environment. 7. DO WE COLLECT INFORMATION FROM MINORS? In Short: We do not knowingly collect data from or market to children under 18 years of age. We do not knowingly solicit data from or market to children under 18 years of age. By using the Services, you represent that you are at least 18 or that you are the parent or guardian of such a minor and consent to such minor dependent’s use of the Services. If we learn that personal information from users less than 18 years of age has been collected, we will deactivate the account and take reasonable measures to promptly delete such data from our records. If you become aware of any data we may have collected from children under the age of 18, please contact us at hunter@cinemadispatch.com . 8. WHAT ARE YOUR PRIVACY RIGHTS? In Short: You may review, change, or terminate your account at any time. If you are located in the EEA or UK and you believe we are unlawfully processing your personal information, you also have the right to complain to your Member State data protection authority or UK data protection authority . If you are located in Switzerland, you may contact the Federal Data Protection and Information Commissioner . Withdrawing your consent: If we are relying on your consent to process your personal information, which may be express and/or implied consent depending on the applicable law, you have the right to withdraw your consent at any time. You can withdraw your consent at any time by contacting us using the contact details provided in the section "HOW CAN YOU CONTACT US ABOUT THIS NOTICE? " below. However, please note that this will not affect the lawfulness of the processing before its withdrawal nor when applicable law allows, will it affect the processing of your personal information conducted in reliance on lawful processing grounds other than consent. Cookies and similar technologies: Most Web browsers are set to accept cookies by default. If you prefer, you can usually choose to set your browser to remove cookies and teject cookies. If you choose to remove cookies or reject cookies, this could affect certain features or services of our Services. You may also opt out of interest-based advertising by advertisers on our Services. If you have questions or comments about your privacy rights, you may email us at hunter@cinemadispatch.com . 9. CONTROLS FOR DO-NOT-TRACK FEATURES Most web browsers and some mobile operating systems and mobile applications include a Do-Not-Track ("DNT") feature or setting you can activate to signal your privacy preference and not to have data about your online browsing activities monitored and collected. At this stage, no uniform technology standard for recognizin g and implementing DNT signals has been finalized. As such, we do not currently respond to DNT browser signals or any other mechanism that automatically communicates your choice not to be tracked online. If a standard for online tracking is adopted that we must follow in the future, we will inform you about that practice in a revised version of this privacy notice. 10. DO UNITED STATES RESIDENTS HAVE SPECIFIC PRIVACY RIGHTS? In Short: If you are a resident of California, you are granted specific rights regarding access to your personal information. What categories of personal information do we collect? We have collected the following categories of personal information in the past twelve (12) months: A. Identifiers: Contact details, such as real name, alias, postal address, telephone or mobile contact number, unique personal identifier, online identifier, Internet Protocol address, email address, and account name B. Protected classification characteristics under state or federal law: Gender and date of birth C. Commercial information: Transaction information, purchase history, financial details, and payment information D. Biometric information: F ingerprints and voiceprints E. Internet or other similar network activity: Browsing history, search history, online behavior, interest data, and interactions with our and other websites, applications, systems, and advertisements F. 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Sensitive personal information We may also collect other personal information outside of these categories through instances where you interact with us in person, online, or by phone or mail in the context of: Receiving help through our customer support channels; Participation in customer surveys or contests; and Facilitation the delivery of our Services and responding to your inquiries. How do we use and share your personal information? Learn about how we use your personal information in the section, "HOW DO WE PROCESS YOUR INFORMATION? " More information about our data collection and sharing practices can be found in this privacy notice. Will your information be shared with anyone else? We may disclose your personal information with our service providers under a written contract between us and each service provider. Learn more about whom we disclose personal information to in the section, "WHEN AND WITH WHOM DO WE SHARE YOUR PERSONAL INFORMATION? " We may use your personal information for our business purposes, such as for undertaking internal research for technological development and demonstration. This is not considered to be the "selling" of your personal information. California Residents California Civil Code Section 1798.83, also known as the "Shine The Light" law, permits our users who are California residents to request and obtain from us, once a year and free of charge, information about categories of personal information (if any) we disclosed to third parties for direct marketing purposes and the names and addresses of all third parties with which we shared personal information in the immediately preceding calendar year. If you are a California resident and would like to make such a request, please submit your request in writing to us using the contact information provided below. 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If we make material changes to this privacy notice, we may notify you either by prominently posting a notice of such changes or by directly sending you a notification. We encourage you to review this privacy notice frequently to be informed of how we are protecting your information. 12. HOW CAN YOU CONTACT US ABOUT THIS NOTICE? If you have questions or comments about this notice, you may email us at hunter@cinemadispatch.com . 13. HOW CAN YOU REVIEW, UPDATE, OR DELETE THE DATA WE COLLECT FROM YOU? You have the right to request access to the personal information we collect from you, change that information, or delete it. To request to review, update, or delete your personal information, please fill out and submit a data subject access request .

Chevalier April 18, 2023 By: Button Hunter Friesen Stuffy, overly serious, slow, and pretentious are all words most often used to describe period pieces. Even for someone like me who thinks The Age of Innocence and Barry Lyndon are the best works by Martin Scorsese and Stanley Kubrick, respectively, those harsh adjectives are not entirely false for most of the entries within this long-lived genre. And yet, none of those words can be applied to Stephen Williams' Chevalier , which is finally being unveiled in theaters by Searchlight Pictures after storming onto the scene as the biggest surprise for me out of the Toronto International Film Festival last September (when it greatly benefitted from being sandwiched between my screenings for Causeway and The Eternal Daughter ). Anyone sitting down ready for a PBS-style docudrama will surely be surprised by the 8 Mile -infused violin battle between our titular character Joseph Bologne (Kelvin Harrison Jr.) and a little-known composer who went by the name of Wolfgang Amadeus Mozart. Bologne shows off his otherworldly musical talent and upstages Mozart's concert, which is filled with everyone from the high societies of Paris. But Joseph's skills don't stop at the strings. They also extend to the tip of his fencing sword, which often finds itself buried within the chest of his opponents. His gifts give him an audience with King Louis XVI and Queen Marie Antoinette (when their heads were still connected to the rest of their body), who bestowed upon him the title of Chevalier de Saint-Georges. But while his lofty title might grant him acclaim and access to powerful inner circles on paper, it doesn't mean much in practice due to the overwhelming racism of the time. https://www.youtube.com/watch?v=-LtCIImfSCk Making her feature film debut after penning several scripts for hit FX shows such as Fargo , What We Do in the Shadows , and Atlanta , Stefani Robinson does great work unearthing details about Bologne's life, with some dramatization used to fill in the gaps lost in time, such as his ever-changing personal relationship with Antoinette. There are both simple and complex reasons why Bologne's name doesn't live on today, while Mozart, Beethoven, and Bach are taught as early as elementary school. Joseph's racial differences are not entirely external as well, as he struggles internally with his mixed-race heritage on account of an illegitimate relationship between his French father and his Senegalese mother. The more he tries to enter European society, the more he also abandons the culture he was born into, essentially making him an outcast everywhere he walks. Harrison Jr. has emerged as one of our finest working actors, with lead performances in 2019's Luce and Waves acting as a one-two punch illustration of his charm and magnetism. Williams and Robinson tap into that same vein here, relying upon Harrison to convey why Bologne was so undeniable as a performer, with audiences unable to take their eyes off him. There is a supreme amount of confidence on the outside of Bologne, with the inner self being vulnerably conflicted. But there is nothing vulnerable about Williams' camera, however, as it boldly snakes its way through Karen Murphy’s lavish sets. That electric pace from the opening moment is captured within a bottle, harnessed throughout the entire runtime until it is released with gusto in the final scene set during the kindling of the French Revolution. Chevalier still would have been one of the best movies of 2022 had Searchlight chosen to release it within the bloodbath that is Oscar season. Thankfully, they're smarter than I am and waited until 2023, where it now sits firmly on the throne above the mostly average products we've been presented so far. This review was originally published from the world premiere at the 2022 Toronto International Film Festival. Searchlight Pictures will release Chevalier in theaters nationwide on April 21st. More Reviews Primetime September 22, 2026 By: Hunter Friesen Unabomber September 24, 2026 By: Hunter Friesen Look Back September 16, 2026 By: Hunter Friesen Elsinore September 14, 2026 By: Hunter Friesen Hunter Friesen

Chappaquiddick April 26, 2018 By: Button Hunter Friesen The date is July 18, 1969. Senator Edward “Ted” Kennedy is speeding down the moonlit road on Chappaquiddick Island. In the passenger seat is 28-year-old Mary Jo Kopechne, who was a presidential campaign secretary for Robert Kennedy. After a few missed turns, the car eventually meets the infamous narrow bridge that connects the chain of islands. Ted doesn't react in time, and the car skids over the bridge and flips over into the water. A few minutes go by and Ted is back on land, but Mary Jo is still trapped underwater. She would eventually drown, screaming Ted’s name for help, all while he stood from afar, muttering the line “I’m not going to be president.” This is the real-life incident that is explored in the new film Chappaquiddick . In addition to showing the incident, the story tells of the immediate actions taken by Ted and his aides to cover up and save his political career. https://www.youtube.com/watch?v=tLOhpsYwjuQ The film is directed by John Curran, whose most notable previous work is The Painted Veil way back in 2006. Curran doesn’t dance around with the material and instead decides to give the facts straightforwardly. We frantically go from one event to another, watching and listening to every piece of information as it is given to us in a workmanlike routine. Curran does well at positioning the camera to create a film that is more focused on characters than events. He uses a mixture of close-up and tracking shots to keep us focused on the leading players. A specific highlight comes when he expertly cuts between close-up shots of Mary Jo drowning and Ted lying in bed later that night. It’s a haunting sequence to watch as the different outcomes of the two characters are compared simultaneously. Unfortunately, Curran’s matter-of-fact storytelling style also weighs the film down and limits its potential. Having the narrative move quickly never really gives the characters enough time to open up and develop. It also never gives the audience enough time to reflect on what has just happened. Just like the directing, the script also helps and hurts the film's overall quality. Coming from first-time writers Taylor Allen and Andrew Logan, the screenplay is very focused on delivering the facts in the most efficient and simplified way possible. This helps the audience connect every dot as we always know what is going on and who is involved. The writing also shows every character as their true self, and not as glorified pieces of history. For instance, instead of portraying Ted as a tragic figure, the writing shows him as the man everyone knew him as, someone who will do anything to protect his name and career. The part where the script fails to deliver is the pacing and overall emotional weight. Allen and Logan’s need to deliver every possible fact quickly proves tiring and overloads the already cramped 106-minute runtime. There is also never an engaging hook or overall emotional theme, just a fact-based story being told in a flat tone. By the end, the film feels very average as everything is wrapped up in an unoriginal fashion. The performances in this film are the main attraction, which seems fitting considering both the directing and script put a large amount of emphasis on the characters. Jason Clarke does a great job as Ted Kennedy. Clarke perfects both the Kennedy voice and physical mannerisms. He also brings a large amount of insecurity as his character hopelessly tries to live up to the legends of his three deceased older brothers. Ed Helms, in a role completely different from his type, was pleasantly surprising as Ted’s assistant and cousin Joe Gargan, who was also involved in the incident. Helms acts as a vessel for the audience as he reacts to Ted’s actions with bewilderment. Bruce Dern is probably the most memorable part of the film, even though he speaks fewer than ten words. He plays John Kennedy Sr., who is confined to a wheelchair and unable to speak because of a stroke. Dern’s veteran skill allows him to overcome his character's physical limitations and deliver a performance that is chilling to watch as he bullies Ted into following his every order. Finally, Kate Mara does well as Mary Jo Kopechne. While she doesn’t get enough time to stand out, Mara brings a strong amount of emotional depth to her doomed character. While the actors all give admirable performances, the so-so directing and middling script restrict this film from reaching its true potential. Overall, this is a very conventional drama that is serviceable enough for those who are interested in what happened that fatal day in 1969. Entertainment Studios Motion Pictures will release Chappaquiddick in theaters nationwide on April 06th. More Reviews Primetime September 22, 2026 By: Hunter Friesen Unabomber September 24, 2026 By: Hunter Friesen Look Back September 16, 2026 By: Hunter Friesen Elsinore September 14, 2026 By: Hunter Friesen Hunter Friesen

Beau Is Afraid April 23, 2023 By: Button Hunter Friesen Beau Is Afraid is hilarious. It’s also cruel. It’s hilariously cruel and cruelly hilarious. It’s a movie that can’t be boxed into any one genre. It’s bound to puzzle anyone who happens to get in its way, which has already happened to theater owners, as the trailers for Insidious: The Red Door and Wes Anderson’s Asteroid City preceded the screening. Mashing up genres isn’t something new for writer/director Ari Aster, who, along with Robert Eggers and Jordan Peele, has become the poster child for new-age horror. For all its dismemberment and devil worship, the core of 2018’s Hereditary centers on a family working their way through tragedy. And Midsommar , which quelled the doubts of a sophomore slump, was essentially a relationship drama that also happened to have hallucinogenic drugs and pagan burning rituals. Aster is cashing in all the checks he generated from those two previous films for Beau Is Afraid . The beast inside of him has been fully unleashed, resulting in a clusterfuck of a film that defies conventional wisdom and lobs never-ending subversive curveballs on the audience it preys upon. https://www.youtube.com/watch?v=PuiWDn976Ek Bleak would be the world's biggest understatement for how Aster paints the American inner city. People record and post others jumping from tall buildings to commit suicide, assault rifles are sold at kiosks like phone cases, and homicidal maniacs freely roam the streets. The only person who seems to have a decent bone in their body is Beau Wasserman (Joaquin Phoenix), a middle-aged balding man with more neuroses and diagnosable mental problems than he has fingers. His biggest loves and fears come from his mother (Zoe Lister-Jones and Patty LuPone), who never ceases to weaponize her affection into the world’s worst guilt trip. Despite several calamities coming together to prevent Beau from visiting his mother this weekend (one being a wild brown spider that has already killed a person in his apartment complex), the hearing of the stinging words “it’s fine” from her is enough for him to make the Odyssean trek. Of course, the temperature for this hellish Earth only gets hotter from there, as Beau’s journey only seems to get worse as time goes on. At a reported cost of $35 million, Beau Is Afraid marks A24’s most expensive production to date. While you question the logic of any executive who greenlit this monstrosity, you also have to give respect for handing a demented filmmaker like Aster this big of a check. Elaborate set pieces create this nightmare world, which Pawel Pogorzelski (continuing his deep relationship with Aster) captures vividly with his camera. It’s a visual mashup of both Hereditary and Midsommar , as the dark and the light come together as a sort of lucid dream. And with 179 minutes at his disposal, Aster has all the time in the world to transfer his acid-laced rationale over to you. Eventually, the batshit lunacy and twists begin to make perfect sense. But just because they make sense at the moment, it doesn’t mean that they all work together. For all the things that happen to Beau, and for how much Phoenix dives headfirst into the role, he really isn’t that interesting of a character. He’s more of a listless guide taking us through the upside-down amusement park, reacting with bewilderment at every turn. It’s a bit of a guessing game for what it all means and if it comes together as satisfying as it should. Thankfully, the side characters that interrupt this ride are pitch-perfect, including an eerily helpful Nathan Lane and scene-stealing LuPone. The cult of A24 may be growing to worrying levels, as people now begin to clap at the sight of the signature logo that bookends each of their features. It’s also not the most artistically pure idea to have merchandising and memes made out of experimental indie films from interesting filmmakers. But if all those Hot Dog Finger Gloves and Pet Rocks in the Everything Everywhere All at Once store supplied the quickly-burnt cash needed to make Beau Is Afraid at this scale, then I guess this trend can go on for a little longer. A24 will release Beau Is Afraid in theaters nationwide on April 21st. More Reviews Primetime September 22, 2026 By: Hunter Friesen Unabomber September 24, 2026 By: Hunter Friesen Look Back September 16, 2026 By: Hunter Friesen Elsinore September 14, 2026 By: Hunter Friesen Hunter Friesen

William Tell September 5, 2024 By: Button Hunter Friesen William Tell, not the historical figure, but the character within writer/director Nick Hamm’s newest film, is a protagonist we’ve seen several times before. He’s a veteran who’s been scarred by battle, with PTSD flashbacks of his younger and more violent days ravaging him each time he lays eyes on a weapon. But he’s made peace with his past, settling in the serene Swiss mountains and tending to his farm and livestock with his wife and son. However, trouble comes knocking one day in the form of the Austrian tax collectors, servants of the ruthless Habsburg king. One thing leads to another, and Tell is forced to choose to pick up arms again to fight against tyranny, or leave that part of his life good and buried. Of course, history and the laws of cinema would tell you that our reluctant hero will do what is right and join his brothers, even if it means going against his creed of reformation. Hamm makes damn sure that we, as the audience, agree with Tell’s stance on the possibility of a Swiss revolt against their Austrian oppressors, opting for a litany of analogies centering on fire, streams, and bee stings, all of which boil down to the old saying about an eye for an eye. The rest of the dialogue gets even clunkier, with characters always entering by coyly stating their purpose and motivations, and most conversations repeating themselves until their theses have been hammered home. https://www.youtube.com/watch?v=eDpX8RIJbm0 Even with several attempts across the 133-minute runtime, Hamm never strikes oil, with his insistence on violence being soulless never being properly communicated through the action. There’s always a modicum level of enjoyment to be had in the set pieces, with Hamm speaking out of both sides of his mouth as he declares that war is hell, but that we should still have some fun while pondering its ramifications. And if Tell is Batman, then Viceroy Gessler is his Joker, a bloodthirsty lieutenant of the king who’s hellbent on quelling the hope that Tell incites within the Swiss masses. His cruelty knows no bounds, with his devious acts being the spark that ignites this initially small movement into a declaration of war. The comparisons to Braveheart and The Outlaw King are too hard to ignore at this point, something that also extends to the film’s strengths and weaknesses. Hamm’s first foray into screenwriting might not be successful enough for him to continue down that path, but his prowess in the director’s chair is still something to behold. There’s an old-school sweep to this story, with a rousing score by Steven Price and, except for a few establishing shots furnished with gaudy digital backdrops, some handsome cinematography by Jamie Ramsay. Despite not hailing from a big studio, a chunk of change has been invested and efficiently used for this production, something that fans of historical epics will certainly find enjoyment in. Claes Bang maintains his physique from The Northman as the titular character, this time trading a spear for a crossbow. His particular set of skills aids him in downing several enemies in short order on the battlefield, and his stoic sense of honor rallies those to his cause from all over the land. He does have a well-rounded supporting cast to support him, with Ben Kingsley harnessing his star power as the Habsburg king and Ellie Bamber shining as his niece, who longs for the two lands to be reunited through anything but bloodshed. The big screen is where William Tell will thrive best, as the saving grace that is its cinematic qualities will lay waste to even the biggest television. At the moment, when and how that will happen is a mystery, but Hamm and his production have made enough of a case for it to be sooner rather than later. Now all we need to do is wait and come up with a way for the “William Tell Overture” to be incorporated into the marketing. This review was originally published from the world premiere at the 2024 Toronto International Film Festival. Samuel Goldwyn Films will release William Tell in select theaters on April 04th. More Reviews Primetime September 22, 2026 By: Hunter Friesen Unabomber September 24, 2026 By: Hunter Friesen Look Back September 16, 2026 By: Hunter Friesen Elsinore September 14, 2026 By: Hunter Friesen Hunter Friesen

The Good Nurse September 11, 2022 By: Button Hunter Friesen In this age of the true crime boom, it’s refreshing to watch something that doesn’t contain the usual fetishization of the criminal in an attempt to “get inside their head and understand them.” Or there’s the worse route, which is to make the show/movie capture the cultural zeitgeist by pandering to the TikTok crowd (I’m looking at you Dahmer , which has spawned the horrible “Jeffrey Dahmer Challenge”). Instead of doing any of those things, Tobias Lindholm’s The Good Nurse wisely steers away from the crimes themselves and centers on the damaging causes and effects. The titular good nurse is Amy Loughren (Jessica Chastain), a single mom who constantly struggles to balance the financial, physical, and emotional needs of herself and her two daughters. Despite having a heart condition that could easily kill her if she stresses herself too much, Amy works the graveyard shift at a New Jersey hospital, caring for the sick all throughout the night. After her shift, she goes home to see her daughters off to school and hopefully get a few hours of sleep before starting the cycle over again. https://www.youtube.com/watch?v=e0DQevX-GZs One day, an angel appears in the form of Charlie Cullen (Eddie Redmayne), a soft-spoken and caring new nurse who offers to help Amy. He lightens her workload, helps her take her meds, and is able to look after the kids at a moment's notice. For Amy, this almost seems too good to be true. As it turned out, it was. Cullen would be convicted of killing 29 patients across the dozens of hospitals he worked at, with almost all of the victims coming in with minor injuries and leaving for the morgue under mysterious circumstances. The Good Nurse never seems interested in answering the question “why did this monster kill all those people?” Rather, it takes the more interesting and socially relevant route of answering “how was this allowed to happen for so long?” Centering much of that discussion are two weary detectives (Noah Emmerich and Nnamdi Asomugha) brought in to investigate after the first questionable death at Amy’s hospital. Slowly, they begin pulling on threads, uncovering an extensive history of medical cover-ups prioritizing dollars over lives. There is nothing uplifting in its message, but it is constantly enlightening. But that enlightenment doesn’t come easy, with director Tobias Lindholm ( The Hunt ) bringing much of his Mindhunter skills into play. The tension is razor sharp, terrifyingly crescendoing across the deliberately paced material. DP Jody Lee Lipes shoots everything in drab gray wide shots, keeping the action unfrayed from excessive style. It’s the simplicity of the filmmaking that makes it all the more unsettling as you're reminded this happened for years in plain sight without anyone noticing, or caring. As Cullen, Redmayne finally gets the villain role we’ve all been waiting for (let's pretend Jupiter Ascending never happened). His charming awkwardness is used to great effect to mask the darkness underneath, making it easily believable why so many would doubt his culpability. To be fair, the wheels do come off the wagon once he’s erroneously pushed toward more dramatic moments, such as a semi-cringe outburst near the end. On the other hand, Chastain can do the heavy lifting. She gives Amy an empathetic intensity, making even the most mundane moments feel important. The Good Nurse is a tension-filled and infuriating true-crime examination of a broken system and the twisted individual who saw the opportunity it gave him. It’s an elevation of the genre that has repeatedly found itself wallowing in exploitation, with two Oscar-caliber performances leading the charge. This review was originally published from the world premiere at the 2022 Toronto International Film Festival. Netflix will release The Good Nurse in select theaters on October 19th, followed by its streaming premiere on October 26th. More Reviews Primetime September 22, 2026 By: Hunter Friesen Unabomber September 24, 2026 By: Hunter Friesen Look Back September 16, 2026 By: Hunter Friesen Elsinore September 14, 2026 By: Hunter Friesen Hunter Friesen

Enola Holmes October 1, 2020 By: Button Hunter Friesen Over the years, we’ve heard a lot of stories about the famed detective Sherlock Holmes. In fact, Sir Arthur Conan Doyle’s deerstalker-wearing sleuth holds the record for the most portrayals of a literary character at 254. While Sherlock has dominated the mystery genre for over a century, a new part of the Holmes family is finally getting its due. The newest Netflix movie (there seems to be a new one every day) follows the adventures of the younger sister of Sherlock and Mycroft, named Enola Holmes. Enola was born years after her famous brothers and never quite got to know them or her prematurely deceased father. She spent her entire childhood with only her mother for company. Together, they read books, played indoor sports, conducted science experiments, and acted out plays. Despite her name being “alone” spelled backward, Enola always had her mother by her side to show her the wonders of the world. On her sixteenth birthday, Enola wakes up to the unpleasant surprise of her mother suddenly disappearing without a word. She calls in her brothers to help solve the mystery. They arrive with dismay about how Enola has been raised and cast her aside, thinking she won’t be of much aid. Needing to prove to her brothers that she’s a capable young woman, Enola sets out to find her mother and beat them at their own game. https://www.youtube.com/watch?v=1d0Zf9sXlHk Like the locomotive train that contains one of the movie’s great set pieces, Enola Holmes is a well-oiled machine that runs at a rapid pace. The film carries an infectiously rambunctious energy to it, much of which comes from its star. Already a two-time Emmy nominee for her role as Eleven in Stranger Things , Millie Bobby Brown is perfectly cast as our titular character. She never misses a beat with her comedic timing and carries the film almost solely on her shoulders. She also brings great skill to emotional moments. Director Harry Bradbeer also contributes to the gleeful tone by doing what he does best. Similar to his work in the critically acclaimed Fleabag , Bradbeer has his heroine break the fourth wall and talk directly into the camera. It’s a fun tactic that never wears its welcome and allows Brown to showcase her amazing talent. Things take a surprisingly dark turn once Enola arrives in London as she gets tangled with hitmen and a radical plot to bomb the House of Lords. For a supposed kids' film, there is quite a bit of violence toward our younger characters. The home of Big Ben looks more drab and crowded than ever as cinematographer Giles Nuttgens beautifully contrasts the cramped and intimidating metropolis with the lush and vibrant countryside. What brings down Enola Holmes from time to time is its predictable central mystery. If you’re a veteran of Sherlock Holmes or the mystery genre, it won’t be too hard to figure out what will happen next. The film also tries to weave in bits of social commentary about gender and class throughout. Unfortunately, the messaging is half-baked and creates jarring breaks from the whimsical tone. Even though Brown is clearly the star, the well-rounded supporting cast also shines in their roles. Superman himself, Henry Cavill, plays the iconic detective. Still with his Man of Steel physique, Cavill plays Sherlock closer to James Bond as his suave charisma brings a welcome departure from his dour performances in the DC films. Sam Claflin, most famous for playing Finnick in The Hunger Games films, is downright dastardly as the uptight Mycroft Holmes. Complete with a twirling mustache and tophat, Claflin offers a harsh counterbalance to Brown’s exuberance. Finally, Helena Bonham Carter is inspirational as the eccentric mother of the Holmes trio. She brings the same out-of-the-box energy one would expect from her and hits the emotional depths required. With a star-making performance from its leading lady and a healthy dose of energy, Enola Holmes is a charming mystery for (nearly) all ages. Based on the way it ends, a sequel could be on its way in the near future, one that would be well deserved. Netflix will release Enola Holmes on its streaming service on September 23rd. More Reviews Primetime September 22, 2026 By: Hunter Friesen Unabomber September 24, 2026 By: Hunter Friesen Look Back September 16, 2026 By: Hunter Friesen Elsinore September 14, 2026 By: Hunter Friesen Hunter Friesen

Ballad of a Small Player September 14, 2025 By: Button Hunter Friesen Contrary to its title, there is nothing small about Ballad of a Small Player . The locations are grand, with the skyscrapers and luxurious casinos of Macau providing the backdrop. The stakes are high as Colin Farrell’s Lord Doyle has to pay his debts within three days or face dire consequences. And the method of acquiring the cash is all flash, the swing of hundreds of thousands of dollars dependent on the value of the two cards sitting next to their player. Director Edward Berger knows a thing or two about grand storytelling. He’s been on a hot streak as of late with the one-two punch of All Quiet on the Western Front and Conclave . Five Oscars are shared between the pair, although Berger was unfairly snubbed for a nomination in the Best Director category on each occasion. He has a masterful control of his craft, applying an intelligent touch to large-scale commercial filmmaking. There are tinges of Spielberg and Alan Pakula in his sensibilities, with drama wrung out of a simple conversation just as effectively as one filled with bullets and bombs. https://www.youtube.com/watch?v=z1B5W55TFyo Unfortunately, Ballad of a Small Player cannot be perceived as anything but a failure, a minor pothole on this road to success. All those qualities I just mentioned are wrong here, a fundamental flaw in the film’s DNA that stems from a miscasting of its creatives. Lawrence Osborne’s story and Rowan Joffe’s screenplay are all about depravity and addiction, how low Doyle would sink into the gutter in the hopes of a windfall. It doesn’t matter that he loses a dozen card games in a row, emptying his pockets as if the cash has an expiration date. What matters to him is that there’s a chance that he could win it all back, and then some. It’s a grubby, self-destructive way to go about life, dodging creditors and delaying responsibilities until the last possible moment. Berger can’t get down into the mud, which is why everything is as forced as a clean-mouthed conservative saying their first curse word. The sound design is cranked aggressively loud, the frames swirl and crash, and the garish colors of Doyle’s green and orange suit insult every neon sign in the city. Volker Bertelmann’s score may be his best one yet, a high bar considering his recent work with Berger. It’s thunderously operatic, the strings and horns blasting as if they’ve been tasked with breaking down the walls to Jericho. But, again, it’s all wrong, a mismatch of tone that will make it much easier to appreciate on Spotify rather than within the film itself. And yet, I much preferred the unnecessary bombast to the quieter scenes. It’s one thing to have style over substance; it’s another to have neither. Doyle falls into the grace of the kindly casino employee Dao Ming (Fala Chen), who interrupts his debauchery with introductions to the parts of Macau not intended for tourists. The problem is that their relationship is both unbelievable and unsatisfying, a tedious distraction that keeps the film’s heart on ice. There’s also Tilda Swinton as detective Cynthia Blithe, who’s been on Doyle’s tail ever since he “miraculously” came into all this money. It’s another one of her performances where she dons a gaudy wig and costume, an antithesis to the usual shady demeanor required in this line of work. Farrell is committed to the bit, chowing down on the scenery just as much as he does on a lobster later in the film. Somebody like Nicolas Cage or John Travolta would have turned this all into a complete farce, but Farrell maintains a sense that he’s a lost soul stuck on this cycle. Comparisons to Adam Sandler’s turn as Howard Ratner in Uncut Gems are appropriate, although he at least had the benefit of being better served by his director. Baccarat is a game of pure chance, relying on nothing from the player but just the ability to flip the cards that have been dealt. It’s a hard action to instill with tension, much as Berger tries. You either have the right cards, or you don’t. Ballad of a Small Player doesn’t have the cards, and all the bright lights and noise it shoves in your face to convince you that it does just makes the whole thing even more unappealing. This review was originally published from the Canadian premiere at the 2025 Toronto International Film Festival. Netflix will release Ballad of Small Player in select theaters on October 15th, followed by its streaming premiere on October 29th. More Reviews Primetime September 22, 2026 By: Hunter Friesen Unabomber September 24, 2026 By: Hunter Friesen Look Back September 16, 2026 By: Hunter Friesen Elsinore September 14, 2026 By: Hunter Friesen Hunter Friesen

Nitram July 16, 2021 By: Button Hunter Friesen The career of Australian director Justin Kurzel, still very much in an early phase, has been one filled with drastic ups and downs. Kurzel broke onto the scene in 2011 with his feature debut, The Snowtown Murders , which played as part of the Cannes Critics Week. That film’s success immediately gave him the confidence to helm a much more violent and haunted adaptation of Shakespeare's Macbeth , with Michael Fassbender and Marion Cotillard in the lead roles. He was also given the promotion to compete in the main competition of Cannes. After that film’s critical success, Hollywood came knocking as he was offered, and accepted, to direct the big-screen adaptation of the popular video game franchise Assassin’s Creed , which allowed him to reteam with Fassbender and Cotillard. However, Kurzel wasn’t able to leap into studio filmmaking, as the film was a critical and commercial bomb. He tried to recompose himself a few years later by going back to his roots with the Australian true-crime thriller The True History of the Kelly Gang . The relative success of that film didn’t prompt Kurzel to return to the big studios; instead, he has doubled down on his newfound career path with Nitram , which premiered in competition at the Cannes Film Festival. https://www.youtube.com/watch?v=YvgLczgOk9w The film tells the life story of Tasmanian native Martin Bryant, who eventually was responsible for the largest massacre by a single person in Australian history after he killed 36 people at Port Arthur in 1996. From the very start, Bryant was beset with mental problems that made him act aggressively towards others and hold little concern for human safety. After he was sentenced to life in prison (where he remains to this day), Bryant was diagnosed with Asperger’s Syndrome and deemed to have an IQ of 66, roughly the same as an eleven-year-old. The title of the film (which is Martin spelled backward) comes from the nickname Bryant was given by childhood bullies, further hindering him from forming any human connections. American Caleb Landry Jones plays the titular character with brilliance, showcasing how far someone can go down the rabbit hole. Jones has made a small name for himself by playing supporting parts as sleazy weirdos in films such as Three Billboards Outside Ebbing, Missouri and Get Out . In his first major leading role, he has knocked it out of the park. He produces the fear one gets from a horror movie villain while still bringing enough authenticity to fit the film’s grounded tone. His win for Best Actor at Cannes was well deserved, and some Oscar buzz should be in order. Also within the cast is frequent Kurzel collaborator Effie Davis, who plays Bryant’s much older companion Helen, who lives alone in a rundown mansion with fourteen dogs and several dozen cats. Bryant and Helen formed a connection based on their status as social outcasts, which Jones and Davis are able to explore. Their interactions together are awkward and fractured, and never answer the question of exactly what kind of relationship they share. Anthony LaPaglia and Judy Davis, both of whom are superb, portray Bryant’s parents, who have differing perspectives on how they should keep their son safe. LaPaglia prefers to give Bryant a bit of freedom in hopes that he will figure out the world for himself, while Davis feels that he is incapable of doing such a thing and must be kept on a short leash. Making a biopic about a country’s worst human offender brings with it a lot of trap doors, such as vindicating the perpetrator or glorifying the harm that they caused. Thankfully, Kurzel avoids those errors as he approaches the film with a matter-of-fact style that only wants to illustrate how this event was allowed to happen. Abandoning the flashy style he is known for, Kurzel lets the actors and simple camerawork tell the story. I was reminded of Gus Van Sant’s Elephant while watching the film at its world premiere. There is not one singular grand answer as to why this happened and how it could have been stopped, simply because there isn’t a one-size-fits-all response. All we can do is look back on what happened and see what can be done for the future, which Kurzel doesn’t seem to have much hope for, as his postscript explains how the gun laws enacted as a result of Bryant’s actions have not been properly enforced, opening the possibility of this happening again. Justin Kurzel’s Nitram was one of the best films of the Cannes Film Festival, as it explores a real-life tragedy with both grace and severity. While my body hated the experience of watching the film because of the stiff muscles I was left with due to the intensity, my mind was left with a better understanding of this dark chapter in human history. This review was originally published from the world premiere at the 2021 Cannes Film Festival. IFC Films will release Nitram in select theaters on March 30th. More Reviews Primetime September 22, 2026 By: Hunter Friesen Unabomber September 24, 2026 By: Hunter Friesen Look Back September 16, 2026 By: Hunter Friesen Elsinore September 14, 2026 By: Hunter Friesen Hunter Friesen

Till October 22, 2022 By: Button Hunter Friesen One of the most prominent things that creeps through the first act of Till is the sense of impending doom. We open on Mamie and Emmett Till shopping in a department store in 1955 Chicago. They’re buying the necessary things so that Emmett can visit his distant family down in Mississippi. He’s pleading with his mom to buy him a nice wallet to show off to his cousins, who’ve never had much contact with the big city, something that Emmett exemplifies with his effortless charm and nice clothes. At face value, these scenes are full of the usual joy and innocence that would come with any scene where a parent lets their child spread their wings and fly out into the world. But co-writer/director Chinonye Chukwu knows that context is key, as history tells us that Emmett would be kidnapped and lynched by two white men only one week into his visit to Mississippi. So while everything is light and joyful on the surface, there’s a biting feeling deep inside preparing you for what’s to come. https://www.youtube.com/watch?v=rkQi6GBwmSA Emmett’s murder would become one of the most publicized and important moments of the American civil rights movement. Knowing that his tale would be swept under the rug just like any other story of white-on-black violence, Mamie had her son’s beaten and bloated body put on display so that millions could not forget what had been done. It was a controversial move, but one that has kept Emmett’s legacy alive decades later, and shone a brighter light on the issue of lynchings in the American South. Even if she doesn’t fully illustrate the viciousness inflicted upon Emmett (a long shot of the scene of the crime with distant screams is all we get), Chukwu doesn’t shy away from the aftermath. The body is put on display to both the characters and the viewers, with the first sight of it sending shivers down the spine. But the appearance of the body creates a divide, as it seems to come from a much rougher film than what this ultimately becomes. As time goes by, the glossy biopic trappings begin to set in, most annoyingly present when Abel Korzeniowski’s mismatched score barges its way in. Things are played by the book, stretched across a 130-minute runtime filled with the usual rage-inducing courtroom scenes and a few odd winks to other moments within the movement. Fortunately, with Danielle Deadwyler front and center, many of those negative thoughts drift away. Given a lead role after years in much smaller ones ( The Harder They Fall , HBO’s Watchmen ), Deadwyler delivers a performance that is both heartbreaking and uplifting. With several long takes gifted by Chukwu, she displays powerful courage in the face of danger. She’ll deservedly be a force to be reckoned with come this Oscar season. If only she were served in a better film that followed through on its early promises of nuance. But even with its late-act shortcomings, Till remains an important retelling of history that is, sadly, just as relevant in the present as it was in the past. This review was originally published from a screening at the 2022 Twin Cities Film Fest. United Artists Releasing will release Till in select theaters on October 14th, followed by a nationwide expansion on October 28th. More Reviews Primetime September 22, 2026 By: Hunter Friesen Unabomber September 24, 2026 By: Hunter Friesen Look Back September 16, 2026 By: Hunter Friesen Elsinore September 14, 2026 By: Hunter Friesen Hunter Friesen

The Current War October 31, 2019 By: Button Hunter Friesen In the late nineteenth century, Thomas Edison and George Westinghouse were the two titans of American innovation. With the country modernizing at a rapid pace, both of them figured that there needed to be a better way to power society than just candles and gas. After some years of development, they both discovered different ways to transmit electric current. Edison stood behind his Direct Current (DC), and Westinghouse championed his Alternating Current (AC). They were similar designs, each with its unique benefits and costs. But the country wasn’t big enough for both of them, and only one method could prevail. Out of this situation sprang a fierce competition between the two men, a rivalry that was labeled as “the war of the currents”. This war lasted years as they battled endlessly to see whose technology would be the one to forever power and illuminate America. https://www.youtube.com/watch?v=mEJuG1hKQMk After having a tumultuous time getting to theaters (that’s a whole other story to look up), The Current War finally arrives two years after its intended release. Directed by Alfonso Gomez-Rejon, the film moves like electricity, zipping from scene to scene. The use of sharp camera work and montages oozes kinetic energy that keeps everything moving at a frantic pace, never ceasing to slow down or end. You’re gripped within the race and linked to the main characters as they tirelessly persist to be the one on top. If you’re not a natural history lover, this technique will keep you endlessly entertained without boring you with historical details. If you are a fan of history, this technique will still entertain you, but leave you disappointed, as moving the film at the speed of light (or current for that matter) doesn’t allow for deeper learning about the events or people attached to them. Anything that is learned is only surface level as there just isn’t enough time to develop any factual depth. It also doesn’t help that these shallow details become increasingly hard to keep straight, especially as the years go by in minutes and characters are split up into several intertwining storylines. While a miniseries would be the better way to tell this story, The Current War is an exciting way to convey history on the screen. Just like Gomez-Rejon’s use of rapid pacing, writer Michael Mitnick’s screenplay is expeditious and Sorkin-like. The rivalry between our two main giants is fierce as they snap at each other in the labs and the press. And just like the outcome of the directing, the writing here is entertaining but very hard to follow. Mitnick tries to do too much in too little time as he crams the script to the brim with historical facts. As more information is heaped on, it becomes information overload, and it becomes increasingly impossible to keep things straight. By the end, you’ll feel like you’ve read a Wikipedia page and will only be able to remember fragments here and there Also, Nikola Tesla shows up in the story and participates in the race. While Tesla does deserve to stand with Edison and Westinghouse in the history books, he doesn’t belong in this already overly stuffed movie. Starring as the brash Thomas Edison is Benedict Cumberbatch, whose American accent isn’t as convincing as one would think. Like most of Cumberbatch’s performances, you can see the genius of the character within his speech and mannerisms. Thankfully, the genius he plays here isn’t as cold as Sherlock Holmes or Alan Turing. There’s some warmth under Edison’s surface that you can sense through Cumberbatch’s performance. Michael Shannon plays the opposite of Cumberbatch as he is calmer and calculated in his performance of George Westinghouse. He’s the more businessman-like of the two as he carries himself more professionally. Nicholas Hoult plays Nikola Tesla. Just like Cumbertach, Hoult’s Eastern European accent isn’t on point, but it’s fine enough to pass. Hoult does well at making you see the frustration within Tesla, as his brilliant ideas are never allowed to flourish. Lastly, Tom Holland does supporting work as Edison’s secretary. As it was filmed before his star power ballooned from Spider-Man, Holland’s role is minor and doesn’t give him much to work with. The Current War is the most entertaining and needlessly confusing movie of the year. All the talent involved makes a great effort, but their good intentions just come up short of making a great movie. But it’s still quite good and deserves to be seen, even if you’d be hard-pressed to absorb and remember most of what it’s trying to teach you. 101 Studios will release The Current War in theaters nationwide on October 25th. More Reviews Primetime September 22, 2026 By: Hunter Friesen Unabomber September 24, 2026 By: Hunter Friesen Look Back September 16, 2026 By: Hunter Friesen Elsinore September 14, 2026 By: Hunter Friesen Hunter Friesen

Chaos Walking March 11, 2021 By: Button Hunter Friesen Like The Hunger Games, Harry Potter , and Percy Jackson , Chaos Walking is the newest attempt to establish a lucrative franchise based on a series of popular teenage-audience books. But unlike those successful series, this Lionsgate release is more likely to fall in line with the other failures, such as The Golden Compass and The Mortal Instruments . Haven’t heard of this movie? Well, I wouldn’t blame you since Lionsgate has attempted to bury this money pit in the middle of the pandemic to save itself from further embarrassment. Filmed in 2017 and originally to be released in early 2019, the film underwent extensive (and expensive) reshoots after the first cut was deemed unwatchable. It was shelved for nearly two years until it crawled its way back from the grave into newly reopened theatres. So, is this movie as terrible as its reputation precedes it? No, but that’s not to say it isn’t bad. Similar to all YA novels, Chaos Walking takes place in a dystopian space colony in 2257. This planet is like Earth, except that there is something in the atmosphere called The Noise. An introvert's worst nightmare, The Noise makes it so that the thoughts of men are heard aloud, and is something our hero, orphaned Todd (Tom Holland), still has yet to control. Everything he thinks is broadcast to anyone within earshot, restricting any sense of privacy. No one knows why this is happening, and why women are not affected. https://www.youtube.com/watch?v=nRf4ZgzHoVw The colony Todd lives in also has no women there, as he is told the Spackle - the native inhabitants of the planet - killed off. Obviously, what you’re told isn’t always what actually happened. Everything changes when a scout, Viola (Daisy Ridley), crashes on the planet. The leader of the colony decides to use her as bait to attract her command ship so he can ambush it and leave this godforsaken land. Naturally, Todd develops a crush on Viola, agreeing to help her escape to a deserted colony fitted with a communicator that she can use to warn her rescuers. If you wanted to know what Tom Holland was thinking all the time, this will be a supreme disappointment to you. The character is very bland, and so are his thoughts, which consist solely of him saying his name to calm himself down and suppressing his budding feelings for his newfound partner. Holland tries to use his Peter Parker charm to make the character at least bearable, but the script makes his efforts a waste. The word bland is the best way to describe everything about this movie. It might be a weird movie, but that doesn’t mean it’s interesting. There’s a lot of semi-world-building here as we are introduced to all sorts of details about the planet and its backstory. I say semi because the movie never gives away too much information, as they want you to pay more for that in the sequels, which are never going to happen. It’s also done at a rapid pace, moving from one location to another like we’re just skimming through the pages. Adapting his book, writer Patrick Ness seems more interested in setting up sequels than establishing an interesting base. Take, for instance, the Spackle, who look like all-black Martians and rightfully fought back against the colonizing humans. In this movie, we see them for one three-minute action scene. After that, they disappear completely and are never mentioned again. I was told by a friend that the Spackle are reintroduced in the third book, a fact that I audibly groaned at. I want to learn about these natives now, not these boring humans! Even for a $100 million (+ reshoots) blockbuster, Chaos Walking is sparsely light on meaningful action. Director Doug Liman had the potential to mash the sci-fi and western genres into something off the beaten path, but he instead stays in the same lane as his contemporaries. Like Star Wars , the guns shoot plasma, so the wounds are bloodless, and any serious violence is cut away. The one unique feature is the movie’s questionable hatred towards animals, as a horse is violently put down and a dog is drowned in the frame. I’m glad no one in the cinema could hear my thoughts while watching this movie because my head was full of a lot of questions and negative comments. By next month, Chaos Walking will feel like a distant memory, a fact that we should all rejoice in. It was nice to be back in the cinema after a long while, I just wish it wasn’t for this. Lionsgate will release Chaos Walking in theaters nationwide on March 05th. More Reviews Primetime September 22, 2026 By: Hunter Friesen Unabomber September 24, 2026 By: Hunter Friesen Look Back September 16, 2026 By: Hunter Friesen Elsinore September 14, 2026 By: Hunter Friesen Hunter Friesen