Him September 18, 2025 By: Button Hunter Friesen At this point, should Jordan Peele bear some of the blame for the countless bad films he’s inspired in the years since Get Out ? Based on the recurring delay of his next film, it feels like even he’s starting to feel the pressure of comparison. Then again, should Quentin Tarantino have been blamed for all the Pulp Fiction rip-offs of the ‘90s and early 2000s? Should Steven Spielberg be blamed for every movie centered around sharks or dinosaurs? It’s the mark of a true master, someone who makes it look so effortless that it deludes people into thinking that they can just as easily pull it off. 99% of them try and fail, with that one special person perfectly threading the needle between homage and distinctiveness, restarting the cycle all over again. Much as it really wants to be in that 1% club, Him is most certainly an imitator, flaunting sights and sounds as if it were some deep and insightful piece of filmmaking. In actuality, it's just noise, an irritating string of moments that increasingly pushed me to pack up and go home. But instead of doing that, I stayed in my seat, recounting all the productive things I could have done with the ninety-six minutes I just burned. I could have read a few more chapters in that book I should have already finished, cherished these final few summer days by going on a walk, or just stared blankly at a wall. https://www.youtube.com/watch?v=hpEy0iOixb4 Those corny workout videos that football teams post on social media during the offseason have been brought to the silver screen, only this time with more explanatory narration and opportunities for athletes to repeatedly take off their shirts. Cameron Cade (Tyriq Withers) is one of those shirtless hunks, the next great football quarterback. Unfortunately, that path of success is derailed when he’s struck in the head by a random attacker, an event that’s never mentioned again until much later in the film. As an act of redemption, Cameron takes an offer to spend a week training at the compound of Isaiah White (Marlon Wayans), the recipient of eight championship rings and the undisputed status of The GOAT (Greatest Of All Time). You could say he’s the Daniel Day-Lewis of football, reaching his status through uncompromising dedication to his craft and a willingness to sacrifice everything. That even extends to the health and safety of his employees, all of them with a cult-like devotion to put their bodies on the line. There were several moments throughout that reminded me of Opus from earlier this year, which has been rightfully banished to the realm of obscurity. Both films try to expose our obsession with celebrity culture through a mixture of dark comedy and brutal horror. But the lameness of their ideas and ineffective scares make it a tedious snoozefest. The only benefit of the totally predictable jump scares is to jolt you back awake. But that’s only a startle, as it takes actual talent to scare someone. And just like Opus , Him ends with a baffling sequence of reveals that invite dozens of questions about the logic and ultimate goal of this whole operation. Why does every Julia Fox scene end with her having to leave? Why are there a bunch of rabid fans living on the outskirts of the compound as if it’s Area 51? Why does Isaiah drink alcohol and smoke cigars when it’s already been established that he follows an extremely regimented diet? Why does Cameron always preach about the importance of family, only for all those characters to be extremely annoying? The more I ask these questions, the less I actually want the answer. Him isn’t meant for fans of football, horror movies, or life in general. It’s meant to be used as a repellent, pushing people towards better movies. I’d like to consider this review as an act of public service, but I fear that the stench is going to stick with me for a while. Universal Pictures will release Him in theaters nationwide on September 19th. 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

Top 10 Films of 2019 January 23, 2020 By: Hunter Friesen Well, the year has passed and we can finally let out a sigh of relief. The only thing left to do now is to look ahead to fresh beginnings in the new year and decade. But before we do that, let’s take some time to appreciate all the good that happened to us this last year, specifically within the movie theatre. From the biggest of blockbusters to the smallest of indies, several cinematic offerings were made that deserve attention and praise. So in an effort to give credit where credit is due, here is a list of my favorite films of 2019. Honorable Mentions A Beautiful Day in the Neighborhood Ford v Ferrari The Farewell The Lego Movie 2: The Second Part The Lighthouse 10. 1917 In a move of pure boldness, director Sam Mendes decided to stage his World War I film as one continuous shot. Roger Deakins’ masterful cinematography never once faults as it fully immerses us into the action on a level not seen in war films before. Adding Thomas Newman’s score and two excellent lead performances on top of that give this blockbuster an unrivaled sense of grandiosity. 9. Uncut Gems Adam Sandler returns to form with his role as Howard Ratner in Uncut Gems . But it's not just The Sandman himself who takes the spotlight in this anxiety-inducing tale of one man trying to gamble himself a fortune within the New York diamond district. Supporting players Julia Fox, LaKeith Stanfield, and even basketball legend Kevin Garnett show off their talent as directors Josh and Benny Safdie take that screen presence and combine it with an intensely paced story to deliver one hell of a ride. 8. Marriage Story Written and directed by Noah Baumbach, this Netflix divorce drama made for the biggest emotional punch of any film in 2019. Adam Driver and Scarlett Johansson commandingly take the lead and deliver a film that has never been so pleasantly depressing and genuinely funny at the same time. You’ll laugh, you’ll cry, or you’ll do both at the same time. And by the time the credits start rolling, you’ll have been on a journey with not just these characters, but also with yourself. Full Review 7. Parasite South Korean director Bong Joon-ho returns home for his newest feature. Winner of the prestigious Palme d’Or at the Cannes Film Festival, the film follows the escapades of the poverty-stricken Kim family as they infiltrate the household and lives of the wealthy Parks. Genre-defying to the highest degree, Parasite is never what you think it is as it twists back and forth between comedy, horror, and drama within the blink of an eye. Fortunately, the one thing that stays constant throughout is the immense talent of all involved to make this wholly original and unforgettable film. 6. Ad Astra The 2010s have been a renaissance for space movies as several top directors and stars have lent their craft to tell stories beyond our planet. Joining that list are James Gray and Brad Pitt as they take the road less traveled with the unique Ad Astra . Almost a one-man show by Pitt, the film tells his character’s deeply humanistic story within the cosmic scale of its setting. It’s deeply moving and altogether something different than what has come before, which is why it deserves a place on this list. Full Review 5. Climax The most unsettling and stressful movie released this year, Gaspar Noé’s Climax is a hypnotic nightmare. Set in a remote French school, the film follows a group of dancers as they celebrate after a successful show. Unfortunately, someone spiked the punch with LSD and everyone is in for an agonizing trip. As expected the dance numbers are fantastic and the inventive long-take cinematography never lets you go no matter how many times you want to look away. Be sure to take some ibuprofen before embarking on this strange ride. 4. Once Upon a Time in... Hollywood Perfectly led by an all-star cast of Leonardo DiCaprio, Brad Pitt (what a year he’s having!), and Margot Robbie, Quentin Tarantino’s ninth feature turned out to be his most comedic and mature work. The esteemed writer/director’s tale of a fictional TV cowboy in the waning days of Hollywood’s golden age acts as both a time capsule for a bygone era and as an allegory for the state of filmmaking in modern times. But don’t let the laughs fool you into thinking Tarantino won’t indulge in his trademarked ultraviolence as he delivers what may be his most challenging and squirm-inducing finale. 3. The Irishman At 209 minutes, Martin Scorsese’s The Irishman is a true-crime epic. Telling the story of mob hitman Frank "The Irishman" Sheeran, the long-gestating project is packed with an all-star cast of Robert De Niro as the titular character as well as Joe Pesci and Al Pacino in career-defining roles. Instead of rehashing his usual gangster formula, Scorsese flips the script and fully exposes the audience to the doom and gloom that a life of crime brings to someone. Released on Netflix, there’s no excuse not to see this historic work. Full Review 2. The King Available on Netflix (are you starting to see a pattern?), The King is a period piece for the modern age. Director David Michôd elegantly crafts a sweeping drama centered on the early reign of King Henry V - brilliantly played by a brooding Timothée Chalamet - as he navigates through murky political waters. Technically immaculate through its cinematography and score, the drama also boasts a well-rounded supporting cast of characters looking to raise their rank through either loyalty or betrayal. All these factors and more (including Robert Pattinson’s bonkers accent) make for an incredibly engaging watch. All hail King Henry indeed. 1. Little Women With a modern twist on a timeless classic, Greta Gerwig’s Little Women is an absolute delight. From its non-linear narrative to its glowingly warm cinematography, everything on the screen does wonders as it forces tears that are then brushed away with a smile. That also includes performances from the ensemble that bring the March sisters to life in a way not seen before. Arriving on Christmas Day as a gift to all, there was no better way to cap off the year (and decade) than with this absolute masterpiece. 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

Pinocchio September 15, 2022 By: Button Tyler Banark Yes, Disney's live-action remakes may lack the heart and genuineness of their animated counterparts, but as long as they get the views, the execs at the mouse house couldn't care less about anything else. Pinocchio, being the latest victim of the conglomerate's cash-grabbing strategy, gives a keen reminder of where the jingle from the opening studio logo comes from. I have no personal connection to the original 1940 film, but I couldn't pass on it with Robert Zemeckis and Tom Hanks attached. Despite their good intentions, Pinocchio is another run-of-the-mill live-action remake of the Mouse House that still left no room for creativity. Hanks is the movie's main selling point as Geppetto, a lonely old clockmaker who wishes for nothing more than a real son in his life and not the titular wooden puppet he made. After making a wish, the wooden boy comes to life and wishes to pursue the dream of becoming a real human boy. Although similar to the source material, Zemeckis' Pinocchio had some new characters, such as Fabiana, her marionette Sabina, and Sofia the seagull. These new characters are nuanced and don't add much to the story, but they never feel unnecessary. None of the characters felt out of place, mainly because this is a remake, and if you know the story, you know what you're in for. https://www.youtube.com/watch?v=gV_0pYoCssc Aside from Hanks, the cast as a whole seemed a bit inconsistent, as Joseph Gordon-Levitt's Jiminy Cricket felt odd with him doing a weird voice, which, unrecognizable, creeped me out. Whenever he spoke, I wasn't sure if JGL was trying to do a caricature take on the role or if what he was doing was spot on with what the character was supposed to be. On the other hand, Keegan-Michael Key fit in as Honest John; he brought that energetic charisma from his Key and Peele days, which helped a lot, given that the role consists of him being a mischievous fox. Lastly, Luke Evans has a small role as the Pleasure Island coachman. He does a musical number, and that's it. However, after doing this and playing Gaston in the 2017 remake of Beauty and the Beast , I'm convinced that he enjoys doing these lifeless films. The movie's effects are worth mentioning, as this movie is a massive CGI fest. If I had a dollar for every shot in this film that I could tell was from a green screen, I'd have a fortune. Whether it was kids sliding down a mountain of candy or seeing fake water splash into Hank's face, the effects were distracting as they could easily take viewers out of the movie. The worst part about it was that anytime Pinocchio had a close-up, he looked like a cartoon character in the worst way possible. The good thing about the effects here is that they don't seem reminiscent of the motion capture from two Zemeckis films from the 2000s, resembling the uncanny valley: 2004's The Polar Express and 2009's A Christmas Carol . Finally, it's been occurring to me that Zemeckis seems like a director who's way beyond his prime and needs to call it quits. I think he's only made one movie since Cast Away that I'd consider solid, and that was 2015's The Walk . I know he didn't mean any poor intentions to Pinocchio , but when he's making a film such as this for a studio like Disney, one would think he'd be allowed to take some creative liberties. Unfortunately, this is not the case here, and it shows. The only time I felt this wasn't the case was during the finale, Gepetto gave a mini-monologue, and it hit hard enough to the point where it drove me to tears. To make matters worse, Disney has some unnecessary Easter eggs and callbacks to other films sprinkled throughout that are cringeworthy. Overall, Pinocchio is a remake not worth the time and energy to watch. Unless that is, if you're a fan of the original and want to watch it for nostalgia. It may be released only on Disney+, which is pretty deserving, given how much quality and substance this movie lacks. Walt Disney Studios Motion Pictures will release Pinocchio on Disney+ on September 08th. 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

Top 10 Films of 2023 December 31, 2023 By: Hunter Friesen If you could use one word to describe this list, it would be “predictable.” That word comes with both positive and negative connotations. On the bright side, it means that several of the films that had high places in my Most Anticipated of 2023 list from the beginning of the year were able to meet, or even exceed, my expectations. That also means there were fewer surprises, movies that were true hidden gems just waiting for me to discover them. I can’t see every movie in the year it is released, so I’m sure something will come out of nowhere down the road. And please don’t assume that I think 2023 was a bad year for movies, as that couldn’t be further from the truth. Anyone who says that a certain year was a bad year for movies clearly hasn’t seen enough. Some years are better than others, but none are ever bad if you dig deep. I’ll admit as a caveat this was a pretty bad year for the blockbusters that have come to dominate the multiplex this past decade, many of which took up several spots in my Worst of 2023 list. But if you ventured to the back of the multiplex, your local arthouse theater (assuming it’s still standing after the pandemic), or beyond the attention-grabbing titles on streaming, you’d be exposed to some truly great stuff. 2023 turned out to be the best year for movies since I started taking this site seriously, with a record number of 60 positive reviews (>=3.5 stars) being written. But I can’t (and don’t want to) talk about all 60 movies I thought were good, I want to talk about the 10 I thought were the best, plus 5 honorable mentions for good measure. Without further ado, join me as I recount the works of art (not content) that left the biggest impression on me as a cinephile. Honorable Mentions Enys Men Chevalier Past Lives Poor Things The Boys in the Boat 10. Monster Hirokazu Kore-eda makes his third consecutive appearance on this list following The Truth in 2020 and Broker in 2022. The Japanese writer/director has always found the most tender ways to navigate the moral quandaries that often surround us. Deferring his writing credit for the first time in decades, Kore-eda brings Rashomon into the modern age with Monster , a movie that is both more gentle and deadly than its title implies. The script comes from Yûji Sakamoto, with that separation of duty not turning out to be a bug as the pair craft an endearing story about differing perspectives and the misconceptions we surround ourselves with. Legendary composer Ryuichi Sakamoto, who tragically passed away earlier this year, delivers one of his best works through his fluttery piano. 9. The Taste of Things There’s little drama or stakes within The Taste of Things , which is one of its best features. There are plenty of movies ( Burnt ) and television shows ( The Bear ) that showcase the anxiety-inducing highwire act that cooking can be. There is great skill under pressure here, but writer/director Tran Anh Hung is more interested in the slowly drawn method and how it all comes together when you are comfortable in your element. Time seems to stand still, your body and mind totally connected as one. It’s like a conductor guiding a symphony, every note being hit perfectly with reassuring calmness. There continues to be a need for stories that reflect the increasing bleakness of this world. But that means there’s more room for projects that remind us of the beauty in the timeless things we all experience and often take for granted. The Taste of Things is one of those films as it illustrates both the simplicity and complexity of sustaining ourselves through food. Just make sure to plan your meals carefully before and after seeing it. You owe your stomach (and other senses) that much. Full Review 8. The Holdovers Between its retro production titles, popping sound, dissolved editing, and grainy cinematography, Alexander Payne’s The Holdovers is not just a film that is set in 1970, it looks and feels like it was made during that time. The Omaha-born writer/director (only directing in this outing) returns from a six-year hiatus after the disappointing Downsizing , delivering one of his best films through a great story and equally great characters. This is a Christmas classic for adults. It's a melancholic film, with Payne knowing that the holidays are not full of yuletide cheer for everyone. But there are still seasons greetings to be had, just enough to make you want to be a better person and stay close to those that matter most. What more could you ask for in times like these? Full Review 7. Asteroid City Asteroid City is Wes Anderson’s weirdest movie to date, always keeping your eyebrow in a raised position. While on their methodically placed tracks, each character veers off in different directions, exploring the fear of death, finding connections in a barren land, cutting through the messiness of life, and paying homage to those kitschy B-movies you grew up watching late at night on the public access channel. At this point in his filmography, you’ve probably made up your mind about Anderson. I’m somewhat of an apologist, with those instantly recognizable production qualities and whimsical tones being music to my ears (and eyes). Asteroid City is another healthy dose of what I’ve come to love, with the bonus of seeing an auteur continue to find new ways to channel what they do best. Full Review 6. Killers of the Flower Moon What is surprising about Killers of the Flower Moon is Scorsese’s ability to bring in the qualities of his lesser-known films, which is the capacity to take a step back and observe a culture. There’s a delicate balance between getting in the thick of the action and letting it wash over from a distance. For every street race and moment of shocking violence, there’s a chance to witness a piece of this land and its people. There are key moments where an Osage wedding or ceremonial tradition is recreated, shedding light on what’s ultimately at stake. Excess is the name of the game within Scorsese’s filmography, and Killers of the Flower Moon has that in spades. But it’s not the flashy kind of excess that we’re used to seeing, it’s an excess that overwhelms your soul just as much as your senses. As the debate over what is and isn’t cinema rages on (and I pray to God it ends soon), let this be a clear illustration of what it can be: something powerful enough to enrapture you in the present and pleasantly linger with you long into the future. Full Review 5. Napoleon With his vast historical drama background that includes the likes of The Duellists, Gladiator, Kingdom of Heaven , and The Last Duel , director Ridley Scott knows a thing or two about setting the stage for global conflicts. Even at the age of 85, he’s never taken a moment to slow down, crafting projects that seem to only get bigger the older he gets. It’s no surprise that both he and fellow octogenarian director Martin Scorsese ( Killers of the Flower Moon ) have found themselves at Apple with their latest historical dramas, the streaming giant plunking down $200 million for each project. While it may not have been the wisest financial decision, it was a fortuitous one for the art of epic filmmaking. The world still properly bemoans what could have been had Stanley Kubrick been allowed to make his Napoleon biopic. There are surely semblances of it in Scott’s film, which continues his string of blockbusters propelled by smart filmmaking and collaborative artistry. It’s timely and timeless in its craft and examination of history, ready to raise the bar just that much higher for later entries in the genre. Full Review 4. Maestro “A work of art does not answer questions, it provokes them; and its essential meaning is in the tension between the contradictory answers.” This quote by Leonard Bernstein flashes before Maestro commences. It’s a mission statement for writer/director/producer/star Bradley Cooper, who’s made it his life’s work to bring this story to the silver screen. It’s a warning to any Bernstein acolytes who come to this seeking untold answers about the famed conductor’s artistry. And it’s also a blessing to anyone bemoaning another musician biopic, the likes of which have haunted our multiplexes the past few years with their cookie-cutter rise-and-fall stories. For something that has and will continue to be labeled as “Oscar bait,” Maestro is, more than anything, a confidently unique entry in a well-worn genre. It makes A Star Is Born seem like only the appetizer, and this is the main course. It wouldn’t be far-fetched to label Cooper as this generation’s Warren Beatty: a movie star interested in grown-up stories whose oversized ambition is matched by their incredible skill both in front and behind the camera. If there’s anything modern cinema needs more of right now, it’s someone like that. Full Review 3. The Killer The Killer is a descent into bloody madness told by a director in complete control of their craft. Every frame is perfectly lit, every cut perfectly placed and executed, and every piece of sound is perfectly engineered to rattle your bones. It’s a pulpy uncomplicated story about revenge being a dish best served cold. For anyone who enjoys the Hitman video game series and laments the two laughably bad movie adaptations, this is the answer to all your prayers. This is Fincher at his most surface level, playfully cutting loose from ambition and delivering his best film to date (yeah, I said it). Don’t expect to learn any life lessons, or have your perspective changed on an issue. Just sit back and be entertained. There’s nothing more satisfying than seeing a straightforward process being executed with pinpoint precision, and both our protagonist and Fincher accomplish their mission to outstanding results. Full Review 2. The Zone of Interest There isn’t a single moment in The Zone of Interest that takes place within Auschwitz, but its presence is always felt. The family will be sunbathing in the garden when a faint gunshot goes off on the other side of the wall. Both you and the characters know what that sound means, but only you care about the implications of it. For the family, those gunshots are just as much a part of everyday life as the birds chirping in the trees above. They go about their daily lives without a hitch, leaving you stranded in the fear of your imagination. Sickening in the most calculated way possible, The Zone of Interest is Jonathan Glazer's ode to Stanley Kubrick. He answers the question of how evil can exist unchecked, holding all of your senses in a sterilized vice. Be sure to soak it all in during your first watch, because I doubt you'll ever want to view the world this way again. Full Review 1. Oppenheimer Christopher Nolan cited Oliver Stone’s 1991 masterpiece JFK as one of his main inspirations when adapting this material. He drops you into the middle of the action from frame one and keeps you there. Separate timelines begin to form, each folding into each other with increasing frequency. There’s the future besmirching of Oppenheimer’s legacy; the prideful past where we see his rise; and the roaring present where he must develop the atomic bomb before the Nazis. Similar to Dunkirk , Nolan, and cinematographer Hoyte van Hoytema define these periods through the imagery. Whether it’s in bright color or stark black-and-white, what you’re seeing is always a work of beauty. Never has IMAX been used to capture the small moments with as much gravitas as the climatic detonation. Oppenheimer is as entertaining as it is enlightening, emboldened by Nolan’s unparalleled vision and craftsmanship. It’s possibly his magnum opus, grabbing hold of history with fiery conviction, never letting you go until you’ve experienced all that cinema has to offer. Full Review 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

Blue Moon October 13, 2025 By: Button Hunter Friesen Despite being smack dab in the middle of World War II, March 31st, 1943, was a day for celebration, specifically on the streets of Broadway. The stage musical Oklahoma! premiered that night, the first of 2,212 total performances, not including multiple revivals, domestic and foreign tours, youth productions, and a feature film adaptation. The reviews were enthusiastic raves, a special Pulitzer Prize was awarded, and the partnership of composer Richard Rodgers and lyricist Oscar Hammerstein II was cemented in glory right from the start. Over the next few decades, the team would create some of the most important productions of the 20th century, including Carousel , South Pacific , The King and I , and The Sound of Music . But as one door opens, another closes. Before there was Rodgers and Hammerstein, there was Rodgers and [Lorenz] Hart. The latter pair was the most celebrated songwriting duo of the early decades of the century, raising the profile of the art form through their complex rhymes and wit. It’s a bit of a punchline for director Richard Linklater’s chamber piece about Hart to take its title after one of his most popular songs, one that he looks down on as a piece of shallow populism for the masses. Although, as played by Ethan Hawke and written by Robert Kaplow, it’s difficult to pinpoint what Hart liked and didn’t like. He bemoans some of the Hollywood-y writing in Casablanca , yet endlessly quotes it with his favorite bartender, Eddie (Bobby Cannavale). He spends the whole night tearing Oklahoma! to shreds, all while endlessly praising Rodgers as a musical genius. https://www.youtube.com/watch?v=qo7gRHip0lI That dichotomy is what defined Hart. Hammerstein said that he was “alert and dynamic and fun to be around,” while singer Mabel Mercer thought that “he was the saddest man I ever knew.” Both of those quotes come alive in their purest form as Hart sits down at his favorite bar, Sardi’s, after walking out midway through Oklahoma! . Is he jealous that the first show that Rodgers does without him is going to be one of the biggest hits in the history of Broadway? “Fuck yes!” He’s extremely vulgar throughout the rest of the night, steadily downing a bottle of whiskey, all while babbling about how he needs to stop drinking. It only takes a few minutes for us to understand why Rodgers might have needed a change of pace after more than two decades of being with Hart. This whole “performance” that Hart puts on would be much more grating if it weren’t filtered through Hawke’s incredible performance. It’s a full-body transformation, complete with a comb-over hairpiece and visual trickery to make the 5-foot-10 actor appear almost a foot shorter. It’s often a bit of a gimmick, with a couple of blurry full-body shots drawing too much attention below the waist rather than to what Hawke is doing with his eyes and mouth. The camera matches the actor’s nonstop energy, steadily gliding on a track, transfixed on every syllable he ingeniously twists in his favor. Linklater and his longtime editor, Sandra Adair, quickly cut back and forth between Hart, Eddie, and piano player Morty Rifkin (Jonah Lees) as they playfully banter about art and women. Hart fancies Elizabeth (Margaret Qualley), a beautiful college student whom he foolishly believes could fall in love with a short, balding, forty-seven-year-old man. Blue Moon comes out around the same time as Linklater’s other 2025 film, Nouvelle Vague , which chronicles the creation of the film Breathless . Be it a coincidence or not that both of these films focus on mercurial geniuses, Linklater explores the conflicting areas where art is born. But while Nouvelle Vague is (charmingly) preoccupied with answering “how?” through fanciful homage and recreation, Blue Moon finds itself more interested in “why?” Kaplow, whose only other credit is as the author of the book that Me and Orson Welles is based on, finds the reasons why such a depressed and profane man could write such cheery tunes. His failure to get backing for his challenging projects illustrates that he was born in the wrong era; his genius wordplay dulled by the wants and needs for everything to be served with a smile. Rodgers and Hammerstein knew that fact, leaving Hart to be a bit of an also-ran in the annals of Broadway history. Andrew Scott appears as Rodgers about halfway through the film, glowing from the reception of Oklahoma! . He and Hawke have a wonderful rapport, cracking jokes and making playful stabs while one is trying to cling to their relationship, while the other is getting ready to leave it. Linklater and Hawke feel like they occupy a similar comfortable space, with a major difference being that it doesn’t seem like their thirty-year relationship is any danger of ceasing. And if the fruits are going to be this sublime this many years in, I can only imagine how sweet they’ll be another thirty years from now. Sony Pictures Classics will release Blue Moon in select theaters on October 17th, followed by a nationwide expansion on October 24th. 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 Lost King March 21, 2023 By: Button Hunter Friesen 2013's Philomena was the stealth contender of that year's Oscar race as it slowly built up a head of steam from its Venice and Toronto International Film Festival screenings. Judi Dench seemed to be the only initial likely contender from the creative team who was ready to get out of her "slump" after receiving six acting nominations between 1997 and 2006. Lo and behold, the film overperformed with additional nods for Best Original Score (coming at a time when Alexandre Desplat couldn't be kept out of the Oscar mix), Best Adapted Screenplay, and Best Picture. The nominations were the victory, with the film expectedly going home empty-handed after that. Now ten years later (or nine if you saw the film at the Toronto International Film Festival, as I did, or live in the United Kingdom, where it was released back in October), the entire creative team of director Stephen Frears, co-writers Steve Coogan and Jeff Pope, and composer Desplat, has reunited for another history lesson centering around forgotten figures. But while Philomena shone a light on the recent past with a mother in search of her lost son, The Lost King aptly follows a woman on her quest to unearth the nearly 700-year-old remains of Richard III. Substituting for Judi Dench is Sally Hawkins, with Coogan continuing as the supportive co-star along the journey. https://www.youtube.com/watch?v=TXxRfhQFuV4 Little known to much of the non-literary world, including Philippa Langley (Hawkins), is that Shakespeare's titular play about King Richard III is one of the biggest hit pieces ever set on the stage. Unlike the bloodlust and madness that The Bard infused within his tragic tale, Richard's reign was filled with more modestly good occurrences, such as implementing the "innocent until proven guilty" legal system and the more widespread adoption of the printing press. These accomplishments don't merit his status as one of the best in the history of the monarchy, but it also makes his shameful legacy look extremely unfair compared to other rulers. As she digs deeper down the rabbit hole of conflicting theories about Richard's life, Philippa stumbles upon a fan club whose main goal is the uplifting of his name, which would be accomplished by the finding of his lost remains and a royal burial with a coat of arms. Frears has never had a distinct style as a director, which may be why the presenter at TIFF confused his filmography with that of fellow countryman Tom Hooper. But while Hooper's quirks may have won him Best Director and Best Picture for The King's Speech , they've also landed him in director's jail for Cats , where he still resides to this day. His lack of gimmicks has allowed him to be steady-as-she-goes for over thirty years now, never being constrained to a single genre or delivering a dud so monstrous that the ship runs off course. The Lost King , however, may have needed a little more personality from the person in the director's chair, as the "excitement" it tries to produce barely registers. Only out-and-proud history nuts (like me) will find much to walk away with, even if Desplat's overdone thriller-esque score is trying its best to lift the pace. Still, the quiet nature of Frears' work matches Hawkins, who does well to exude a confident nature in the face of many obstacles, which include chronic fatigue syndrome and the dismissal of her search by several people. The "villains" of this story come off a bit cartoonish, but they seem a bit more believable when compared to the moments when Philippa is greeted by the ghost of Richard III. The Lost King is a by-the-numbers semi-pleasant British piece, directed and acted with a slight amount of class and wit. It's by no means a must-see, but it's just charming enough to meet the standards of all those involved. This review was originally published from the world premiere at the 2022 Toronto International Film Festival. IFC Films will release The Lost King in select theaters on March 24th. 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

You Hurt My Feelings May 24, 2023 By: Button Hunter Friesen After brief stops in television (directing episodes for Mrs. Fletcher , Extrapolations , and Lucky Hank ) and the Middle Ages (penning the “The Truth according to Marguerite de Carrouges” portion of The Last Duel ), writer/director Nicole Holofcener returns to her New York roots for You Hurt My Feelings , now bowing in theaters after premiering at this past January’s Sundance Film Festival. The older we get, the more we come to realize that the childhood saying “honesty is the best policy” is not the unbreakable rule that we were led to believe. Sure, you should strive to be honest with people, especially those you care about the most. But the real world never invites simplicity, so we have to bend the truth a little to get by with as little damage as possible. What’s the worst that could happen anyway? The obviously clichéd answer to that question is that a lot of catastrophic events would happen, either physically or emotionally (see Dancer in the Dark or The Hunt ). But in all her deftness, Holofcener doesn’t reach for fire and brimstone. Instead, she puts a magnifying glass on a couple that has built a strong foundation, mining relevant truths out of their small-scale situation. https://www.youtube.com/watch?v=20GWk5cWPBs The specimens are Beth (Julia Louis-Dreyfus) and Don (Tobias Menzies). Beth is a semi-successful writer who is putting the finishing touches on her new mystery fiction novel, which acts as a slight departure from her usual non-fiction work. Don is a therapist who seems to have lost his edge. He looks and sounds so tired that even the endlessly squabbling couple that he regularly sees (real-life partners David Cross and Amber Tamblyn) takes pity on him. Beth has been using Don as a writing resource these past few months, and he’s had nothing but praise for her work. That is, until the nuclear bomb goes off (metaphorically, of course). Beth and her sister Sarah (Michaela Watkins) stumble upon Don and Sarah’s husband Mark at a specialized sock store (this is New York after all). They decide to sneak up on the men, but they end up getting more than they bargained for as they overhear Don telling Mark that he doesn’t think Beth’s new novel is good. He doesn’t have the heart to tell her, but he also feels the strain of letting her on with constant false encouragement. Don’s admittance puts in doubt everything else he’s said over the years, as well as Beth’s belief in her skills as an author. But it’s not like Beth is a total victim here, as the shoe is often on the other foot. She’s always saying how her son’s upcoming work will be great, and that cosmetic surgery is a good idea for Don. Holofcener could have taken the Green Book approach to her story, filling it with well-worn and clearly structured beats and ideas. But she’s smarter than that, as both she and we know this isn’t some problem that can ever really be solved. Most of us have to come to realize that a lot of our lives are comprised of filler words and feelings, with only a few times where we share our honest selves with others. And if that truth hurts, then sometimes it’s best to just keep the peace. Louis-Dreyfus and Menzies have great chemistry together. Their calmness with each other sells their long-standing marriage, as well as pushing past some of the overly simplified final few scenes. While clearly not alike in terms of style, You Hurt My Feelings reminded me of Yorgos Lanthimos’ The Lobster from 2016. Both movies take a stab at the long-standing battle between love and honesty without getting bogged down by solutions we’ve been fed all our lives. They also provide excellent counter-programming during the summer, acting as a refreshing cool down from the noise and explosions in the other rooms. A24 will release You Hurt My Feelings in select theaters on May 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

'Bonnie & Clyde' and New Sentimentality February 1, 2023 By: Hunter Friesen Immediately upon its release, film critic Roger Ebert claimed Bonnie and Clyde to be alandmark in American cinema. The film attracted a love/hate relationship with critics, with the love side eventually winning out in the long run. Ebert was right in that Bonnie and Clyde was a milestone for American cinema, as this was one of the earliest and most successful films that embraced the idea of “counterculture." Through the use of their idea of new sentimentality, screenwriters David Newman and Robert Benton took Hollywood by storm by defying the oldways in favor of charging down a new path. The idea of “new sentimentality” laid out by Newman and Benton tried to explain the cultural and generational differences that were taking place in America during the 1960s. The ways of Old Sentimentality, which preached about the good ol' days of American patriotism and love for others, were now fading away in favor of a more tough and self-empowering way of thinking. Bonnie and Clyde illustrated this new way of thinking in multiple ways. The main factor that created controversy around Bonnie and Clyde , and for why it is apiece of new sentimentality, is the unrivaled amount of violence inflicted by and onto the characters. Obviously, with a movie about bank robbers, there has to be a few shootouts thatwould get butts in seats. Bonnie and Clyde does deliver the shootouts that one would expect and pay to see at the time, but it does it in such a way that it sucks out all the guilty joy we get out of watching it. Instead of dropping dead instantly after one shot, characters bleed and writhe around in extreme agony. The old way of gun violence was quick and didn’t allow for us to think aboutthe ramifications. This new way forces us to see the effects violence has on every day people, the physical damage it does to the person hit and the emotional damage it does to the people watching it, for which we the audience must participate. This idea somewhat borrows from the French and Italian new-wave of thinking that placed importance on telling stories that reflected our reality that is filled with real people. The violence comes to an incredible climax at the very end when our titular characters are gunned down in a hail of never-ending bullets. All you can do during the scene is sit there incomplete shock as their bodies are riddled to shreds. It’s not fun to watch or heroic in any nature. The old sentimentality had gun-toting heroes like Humphrey Bogart and John Wayne who killed quick and clean. They symbolized a time when America was in a righteous war to protect theworld from the Nazis. Bonnie and Clyde is the new idea that violence is something that lingers inthe moment and for many moments after. America was in Vietnam at the time, a war that waspropelled by American self-interest. Apart from violence, another element that must be delivered to sell a movie is sex. Like violence, sex was shown in only its tamest forms in film. Hitchcock famously had to dance around the subject in Notorious by having his characters kiss and peck at each other over time. Bonnie and Clyde engages with sex on a much more open scale. Bonnie and Clyde have sex multiple times throughout the film and even discuss it with each other. It’s a part of their relationship as opposed to being kept under the rug like before. We even get a tiny storyline about Clyde being impotent and then finally overcoming this. The idea of impotence before that time wasn’t one to be discussed as it clashed with the idea of what a real man was. John Wayne would never be impotent! The idea of new sentimentality changed what it meant to be a man, filled with imperfections and perversions. Bonnie and Clyde marked the mainstream beginning of new sentimentality within cinema. Through its unflinching approach to violence and sex, the film sparked a debate that isstill being felt today. As Ebert said, the film was made in 1965 about people in 1934, but it will always be made for us here and now. 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

Ricky Stanicky March 6, 2024 By: Button Hunter Friesen After climbing the top of the mountain with the Best Picture-winning Green Book and disastrously trying to recapture that lightning in a bottle with The Greatest Beer Run Ever (while not good, also not as bad as the reviews would lead you to believe), writer/director Peter Farrelly has returned to what he knows best: the lowest of lowbrow comedy. Hey, the world has and will always need garbage collectors. It’s a respectable profession in the real world and can be one within cinema as long as you bring a certain kind of panache to it. Farrelly used to have that in his earlier days with his brother Bobby, an indescribable reverence for his characters through insanely grotesque and politically incorrect humor. You couldn’t pass through a junior high lunchroom without hearing someone quote Dumb and Dumber or There’s Something About Mary . But nowadays, the stenchy punchlines and childlike antics feel worn out. You’ve (hopefully) grown up, but these guys haven’t, and I’m not sure what new audience they think is out there to pick up the pieces. https://www.youtube.com/watch?v=WXpBN_31-Cw Ricky Stanicky feels like that last grasp for the fans of yesteryear, the ones that Farrelly thinks he left behind with his last two features. It’s the kind of movie whose first joke is a kid dressed as a dog with a boner for Halloween who is holding a giant bag of poop that’s about to be set on fire. Those first fifteen seconds are a good enough sample for you to decide just how far you’re going to crawl down this garbage chute. The good news is that the first act is by far the roughest stretch, with the rest becoming smooth sailing in comparison. That flaming poop prank ends up burning down half of a house instead of just a front step, leaving Dean (Zac Efron), JT (Andrew Santino), and Wes (Jermaine Fowler) in a world of trouble once someone finds out who did it. Some tampering with the evidence by Dean makes their friend Ricky Stanicky the main suspect. However, Ricky isn’t a real person; he’s just someone they made up to use as a get-out-of-jail-free card. And even twenty years later, they’re still cashing those checks. A coworker’s wedding, they don’t want to attend? Ricky is getting out of rehab, and they need to pick him up. JT’s baby shower? Ricky is about to have surgery, and they need to be by his side. And while everyone thinks they’re being good friends, the trio fulfills their childhood fantasies while avoiding any of the boring chores of adult life. Wait, skipping out on your own son’s baby shower? These guys must really be scumbags, right? Well, yes and no. Farrelly wants you to know that he thinks these guys are degenerates in principle. Of course, lying to your spouses repeatedly for years is bad. But what if, in some twisted way that really only worked in the '90s (and it was a bit of a stretch then, too), these guys learned some overly simplistic lesson about growing up and accepting responsibility? Still not good enough? Yeah, I didn’t think so either. Any platitudes that Farrelly and his five other credited screenwriters try to churn out of this are extremely underdeveloped, making the efforts to excuse this behavior almost laughable to the point of parody. But no one is going into this material for life lessons. It’s the “Warning: An R-rated Comedy” tagline that’s pulling in the tickets, or in this case, clicks, since this is a Prime Video exclusive. That’s where John Cena comes in, doing most of the heavy lifting as a “man who’s been addicted to steroids since the age of two.” He’s a scummy actor the trio hires to become Ricky for a day after their families start doubting his existence. But he takes it too far, going full method and becoming Ricky forever. Cena is a skilled comedic actor, and he takes full advantage of the less-than-savory tasks he’s required to do, one of which requires him to sing X-rated covers of famous ‘80s songs. Seeing how far he’s willing to go makes up for a lot of other rougher stretches. Amazon MGM Studios will release Ricky Stanicky on its streaming service on March 07th. 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 Pale Blue Eye December 22, 2022 By: Button Hunter Friesen There's no good way to say it, so I'd better avoid dancing around the subject and just come out with it: Christian Bale has not had a good year. Between the financial and critical disaster that was Amsterdam and the so-so quality of Thor: Love and Thunder , the payoffs have not matched the effort put in. To be fair, it’s not precisely Bale’s fault that those two movies did not meet expectations, as one actor can only do so much to affect the films they appear in. But I also can’t fully absolve him, or any other cast member within Amsterdam , of choosing to work with David O. Russell, considering all that’s been revealed about him. So, in comes The Pale Blue Eye during the waning days of 2022, hoping to salvage what remains of the year through its murder mystery story. But unlike the other Netflix murder mystery of Glass Onion: A Knives Out Mystery , this case doesn’t contain a single smile, least of all a laugh. https://www.youtube.com/watch?v=ddbL9jvg77w That is, unless you’re the kind of sadistic person who thinks that people being murdered and having their hearts carved out is some kind of sick joke. The commanders at the United States Military Academy certainly don’t believe it to be a laughing matter that their cadets are being picked off one by one. The country is still in its infancy at this moment in 1830, and appearances are vital to becoming a legitimate world power, so having your finest soldiers in perpetual fear of being horribly mutilated isn’t such a good scenario. Hired to solve this problem is Detective Augustus Landor (Bale), who’s been around the block more times than he can count. But the clues to this case don’t line up too well for an outsider like Landor, so he recruits a young cadet and future world-famous poet, Edgar Allan Poe (Harry Melling), to be his inside man. Writer/director Scott Cooper doesn’t waste any time plunging us into this cold and desolate environment. The opening shot of a hanged victim, with the thick fog shrouding him in mystery, is a primer for the savagery found within this time period and specific location. The sun never seems to shine during the winter months, with the only light being from the candles inside dingy taverns and cottages. The gothic exteriors of the military academy don’t present a very cozy feeling for its recruits, who are much more in line with posh gentlemen than stereotypical hardened marines. Poe seems to be the brightest of all his brothers, displaying genius-level intellect through his frequent writing and readings of poetry. Melling overindulges on the character’s eccentricities, speaking in an accent similar to Benoit Blanc’s and with such rapid pace. Landor is the John Watson to Poe’s Sherlock Holmes, only this time the power dynamic has been reversed. Bale, who might as well be reprising his character from Cooper’s Hostiles based on his appearance and demeanor, displays a weariness within his character brought by his haunted past. It is a bit of a shame that some of the other members of this all-star cast, specifically Robert Duvall and Charlotte Gainsbourg, are wasted in nothing roles. Ranging from music dramas to mob biopics to westerns, Cooper has always been a chameleon director, molding his style to whatever the story requires. While he’s never done exemplary work, he does bring adequate professionalism, with some flashes of brilliance. The Pale Blue Eye, unfortunately, doesn’t contain any out-of-this-world moments as Cooper keeps the thread that ties all the clues together close to his chest, not revealing much until the final moments. But by that point, the answers come across a bit like cheating, as everything seems to be connected because of convenience rather than reality. But even with the central mystery within The Pale Blue Eye not entirely living up to the pedigree of its cast or the quality of its gothic production qualities, there are still enough intriguing elements within this world of the macabre. Chances are you’ll be surrounded by snow and frigid temperatures when this drops on Netflix, so you might as well settle in for a slow-burn mystery because I doubt the rest of the cinematic offerings in January will be much better. Netflix will release The Pale Blue Eye in select theaters on December 23rd, followed by its streaming premiere on January 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

TIFF24 Dispatch #2 September 15, 2024 By: Button Tyler Banark All of the films were screened at the 2024 Toronto International Film Festival (TIFF). Click here for additional full reviews and dispatches. Select films below will receive separate full-length reviews at a later date, most likely in connection to their public releases. Bird Hot off his polarizing and career-best turn in last year’s Saltburn , Barry Keoghan gives another all-timer performance in Andrea Arnold’s Cannes hit Bird . A coming-of-age tale that takes a turn no viewer will see coming, Bird follows 12-year-old Bailey (newcomer Nykiya Adams), who lives in a rundown high-rise with her deadbeat dad (Keoghan), soon-to-be stepmother, and sister. Things change for her when she meets an awkward man who calls himself Bird (Franz Rogowski). Overall, Bird is a good outing for Arnold that sees her struggle with what the aesthetic of the film should be (i.e., ever-changing aspect ratios, use of Lofi music that feels thrown in at the last minute, etc.). These three strong performances by Keoghan, Adams, and Rogowski counter these missteps and make the movie worthwhile. Bird may fly (no pun intended) under the radar altogether, but it at least justifies its means to an extent. (3.5/5) Harbin A historical Korean spy thriller from acclaimed filmmaker Woo Min-ho, Harbin follows a group of Korean soldiers looking to assassinate Japanese leader Itō Hirobumi. Suspicions rise when one is deemed to be a double agent, resulting in everyone questioning who they can trust. Woo Min-ho makes it clear that he knows how to make a film of this scale as it’s well-planned, but the story does falter in its pacing and predictability. To make up for this, Harbin sprinkles in an intense sequence once every few minutes to rope audiences back in. Ranging from action to suspense, each sequence would get audiences on their toes only to put them back in the dust. When the assassination attempt scene does come around, the movie is full throttle until the end. The cast wasn’t anything too special, but Harbin would’ve been more worthwhile if there was at least one noteworthy performance. (3/5) The Assessment Fleur Fortune’s sci-fi drama is also a thriller about a couple going through a week-long test to see if they can be parents. The leading trio of Elizabeth Olsen, Himesh Patel, and Alicia Vikander stand out as the couple in question and the test assessor, respectively. Olsen and Patel capture the whirlwind their characters go through via Vikander’s assessor. The latter puts them through the wringer as she psychologically torments them through uncomfortable situations. She gives a very physical performance that should be discussed just as much as Emma Stone in last year’s Poor Things . Aside from the actors, nothing else within the film rises above being just average. By commenting on how chaotic parenting can be, The Assessment makes for a numbing display of this topic, even if it ties itself into knots to make it make sense to audiences. (3/5) The Order Gripping and shocking until the very end, Justin Kurzel’s The Order is an intense look at neo-nazism rampant in 1983 Pacific Northwest. Leading the cast is Jude Law, Tye Sheridan, and Nicholas Hoult in his darkest role yet as a leader of a neo-nazi group. He’s scary, manipulative, and flat-out the best aspect of this movie alongside the action sequences. Ranging from shootouts to bank robberies and car chases, Kurzel doesn’t waste a second crafting an action set piece that’ll keep viewers on their feet. It helps that Zach Baylin pens the script to adapt Kevin Flynn and Gary Gerhardt’s book The Silent Brotherhood , and makes everything just as straightforward. The Order is a film with an important message that’s story should be learned by viewers everywhere. (4.5/5) You can follow Tyler and hear more of his thoughts on Twitter , Instagram , and Letterboxd . 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

Cassavetes & Newman: Hollywood Stars, Art Cinema Auteurs March 11, 2023 By: Hunter Friesen As actors, John Cassavetes and Paul Newman worked within the Hollywood studio system. Cassavetes starred mostly in miliary movies, while Newman was one of the biggest stars in the world with hits such as Cool Hand Luke and Butch Cassidy and the Sundance Kid . While both of them were prevalent on the multiplex screens, they were much different behind the camera. As directors, they veered into unfamiliar territory, creating films more in line with the auteur theory that wasn't present in the movies they starred in. Through the films Faces and The Effect of Gamma Rays on Man-in-the-Moon Marigolds , both Cassavetes and Newman created films one would consider part of the arthouse crowd. In his essay “The Art Cinema as a Mode of Film Practice," David Bordwell writes that arthouse films are “a distinct mode of film practice, possessing a definite historical existence, a set of formal conventions, and implicit viewing procedures.” Hearing the word “convention” when describing arthouse cinema sounds like an oxymoron as everything within this specific industry is meant to be in contrast to the usual conventions within Hollywood. But every movement and genre has to have rules, whether written or unwritten. These rules can be seen in both Cassavettes’ and Newman’s films. Bordwell writes that the narratives within art cinema pride themselves on two things: realism and authorial expressivity. Life is to be shown as realistically as possible, with real locations and problems. In Faces , shot in grainy 16mm, Cassavetes makes it seem as if the viewer is a fly-on-the-wall as we watch a marriage decay. There is no gloss and the music doesn’t swell our emotions, instead, we are bombarded with closeups and technical inconsistencies. It’s the cinéma vérité style commonly found within Europe at the time. Cassavetes’ camera doesn’t glamorize American life, it shines a light on the reality of middle-class suburban life. Richard and Maria fight about their sexual desires and their discontent for one another. Instead of finding solace in each other, they find it in the bottle and strangers. It’s highly unconventional for the time and way ahead of anything that was coming shortly. Like Faces , Marigolds is filled with imperfect characters stuck in a realistically depressing situation. Beatrice has aspirations, but she doesn’t have the means to accomplish them. She’s also an embarrassment to her daughters and is an alcoholic. But the story isn’t about her, it’s actually about Matilda coming to terms with her downtrodden life. She and her mother are determined to push past their social convention offenses. Newman doesn’t treat the situation as misery porn, he simply follows the story. He’s connecting his audience, who most likely share the same circumstances, with the characters. Like Cassavetes, Newman’s visual style is pulled back, never reveling in the situation and the performances are also more reflective of the characters you would see on your street block. With both Faces and The Effect of Gamma Rays on Man-in-the-Moon Marigolds , John Cassavetes and Paul Newman pushed back against the Hollywood system they had inhabited for many years. Through technical and thematic intrusiveness, they were able to tell real stories for real people, something the big machine out in California simply didn’t want to do. 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