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Reviews October 9, 2024 'A Different Man' Review It’s a haunting and unsettling piece of cinema that, despite its flaws, leaves a lasting impression. October 4, 2024 'The Outrun' Review Repetitive and labored are the traits most commonly found on the road to sobriety, although the authentic notion of translating them to the screen doesn’t favor the viewer. October 1, 2024 'Joker: Folie à Deux' Review A movie filled with so much contempt for its fans that you wonder why it even bothered to please them in the first place. September 26, 2024 'Wolfs' Review It’s fun in the present and harnesses the power of movie stars in a time when that magic has steadily faded. September 25, 2024 'The Wild Robot' Review The film will captivate younger viewers and leave older ones reflecting on the delicate balance between the human (and mechanical) and natural worlds. September 17, 2024 TIFF24 Dispatch #4 Anora, Megalopolis, Oh, Canada, The Substance September 16, 2024 TIFF24 Dispatch #3 April, On Swift Horses, Relay, The Fire Inside September 15, 2024 TIFF24 Dispatch #2 Bird, Harbin, The Assessment, The Order September 15, 2024 'The Piano Lesson' Review It’s a gratifying film for anyone interested in the interplay of history, art, and identity September 14, 2024 TIFF24 Dispatch #1 Better Man, Hard Truths, I'm Still Here, The Return Prev Page 1 2 3 4 5 1 ... 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 ... 35 Next Page

Review October 9, 2024 'A Different Man' Review It’s a haunting and unsettling piece of cinema that, despite its flaws, leaves a lasting impression. Read More List October 11, 2024 TCFF24 Preview Now celebrating its 15th year, the Twin Cities Film Fest provides that central space of celebration for cinephiles within the state of Minnesota Read More Essay September 30, 2024 Tyler's Takes: 'When Harry Met Sally' is the Perfect Rom-Com For over 30 years, it has been hailed as perfect and, in my opinion, considered the quintessential romantic comedy. Read More 2024 Oscar Predictions 1 Blitz 2 Anora 3 Emilia Pérez 4 The Brutalist 5 Conclave 6 Dune: Part Two 7 Sing Sing 8 A Complete Unknown 9 Nickel Boys 10 Gladiator II Best Picture movie review website film review website movie news coverage movie blog movie website Reviews 'A Different Man' Review It’s a haunting and unsettling piece of cinema that, despite its flaws, leaves a lasting impression. SHOP 'The Outrun' Review Repetitive and labored are the traits most commonly found on the road to sobriety, although the authentic notion of translating them to the screen doesn’t favor the viewer. SHOP 'Joker: Folie à Deux' Review A movie filled with so much contempt for its fans that you wonder why it even bothered to please them in the first place. SHOP 'Wolfs' Review It’s fun in the present and harnesses the power of movie stars in a time when that magic has steadily faded. SHOP 'The Wild Robot' Review The film will captivate younger viewers and leave older ones reflecting on the delicate balance between the human (and mechanical) and natural worlds. SHOP Lists TCFF24 Preview Now celebrating its 15th year, the Twin Cities Film Fest provides that central space of celebration for cinephiles within the state of Minnesota SHOP TIFF24: Tyler's Time at the Festival If good things lasted forever, they wouldn’t be as precious. SHOP TIFF24 Recap There’s nothing like having a cinematic buffet such as this, and the experience of gorging is unbeatable. SHOP TIFF24 Preview This year's lineup might the be the best one yet SHOP Ranking the Films of James Cameron As he turns 70 years old today, it’s time to look back at the audacious filmography of Big Jim. SHOP Essays & Awards Tyler's Takes: 'When Harry Met Sally' is the Perfect Rom-Com For over 30 years, it has been hailed as perfect and, in my opinion, considered the quintessential romantic comedy. SHOP Awards Update: Fall Festival Winners & Losers Reactions pour in, standing ovations are timed, and prizes are bestowed upon a select few. SHOP Tyler's Takes: How 'Coraline' Possessed 2009 Its legacy continues to influence the world of animation, making it a true masterpiece in stop-motion SHOP Awards Update: Final Pre-Festival Predictions The runners have taken their positions on the starting block. SHOP Decoding the Fall Festival Lineups We’re a lot closer to realizing which pieces the studios are prioritizing. SHOP

'A Different Man' Review October 9, 2024 By: Tyler Banark A24’s latest black comedy, A Different Man, is an intriguing psychological drama that takes viewers on a thought-provoking journey through themes of identity, transformation, and obsession, with Sebastian Stan, Renate Reinsve, and Adam Pearson leading the way. Directed by Aaron Schimberg, the film follows the story of Edward (Stan), a man grappling with his appearance and sense of self after undergoing facial reconstructive surgery. He then becomes fixated on an actor (Pearson) portraying him in a stage play based on his life, setting the stage for a tense exploration of how outward changes can impact one’s internal world. At its heart, A Different Man is about the fragility of identity and the fact that everyone should know any one thing doesn’t define their worth. Edward’s surgery is intended to offer him a fresh start, a way to shed the physical features that have made him feel ostracized and alienated. However, instead of finding peace or comfort in his new appearance, he spirals into a dangerous obsession. This core premise taps into something universally human—the desire to be seen and accepted and how external perceptions shape our sense of who we are. Yet, the film twists that premise into something unsettling, as Edward’s fixation on the actor blurs the lines between admiration, envy, and self-loathing. Stan delivers a layered performance by portraying a character who undergoes not just a physical transformation but an emotional and psychological unraveling. His ability to convey Edward's internal turmoil without falling into melodramatic traps is commendable. Much of Stan’s performance relies on subtle facial expressions and body language, especially given the fact that Edward, post-surgery, is someone who is literally and figuratively hiding behind a new face. His restraint in portraying Edward’s growing obsession feels measured and controlled, making it all the more unsettling to watch his character descend into a darker state of mind. Supporting Stan are Reinsve and Pearson. While the former is minor to the plot, her role adds a layer of emotional complexity to the film. Much like her breakout role in 2021’s The Worst Person in the World , Reinsve’s character is drawn into Edward’s world, and her interactions with him reflect his internal struggles. There’s an awkwardness and tension in their exchanges as she, too, becomes entangled in the surreal situation. The chemistry between the actors is notable, though the film is less interested in romantic entanglements and more focused on the psychological dynamics at play. Then there’s Pearson, who has neurofibromatosis, playing both Oswald and a version of Edward’s former self in the play. This duality is fascinating, as it forces Edward to confront his physical past and the psychological baggage that comes with it. Pearson’s performance is captivating in its own right—he adds a rawness and authenticity that grounds the film’s more surreal elements. Visually, A Different Man creates an unsettling, almost claustrophobic atmosphere. The strange cinematography is critical in this as it uses shadows, muted colors, zooms, and close-up shots to evoke a sense of unease. The film is not overtly a horror film, but it borrows many elements from the genre, particularly in how it builds tension and atmosphere. The way Edward is often framed—isolated, detached from his surroundings—reflects his emotional and psychological state. The more he ponders why Oswald isn’t shunned by society because of his appearance, the more he becomes the monster he thinks people thought of him pre-surgery. The film’s pacing, however, may prove divisive for viewers. Schimberg deliberately takes his time unraveling the plot, and the film’s slow-burn approach can either work as a meditative exploration of identity or feel too sluggish for those looking for more immediate thrills. While the slow pacing helps to build a sense of dread and inevitability, it also means that certain plot points feel stretched or repetitive. Furthermore, the film raises many intriguing questions about identity, self-perception, and the nature of obsession, but it doesn’t always provide satisfying answers. There is a deliberate ambiguity in how Schimberg handles the themes, which some may appreciate as a way to leave the film open to interpretation. However, the lack of a clear resolution may be a missed opportunity for others. A Different Man excels at creating a world that feels almost dreamlike in its disorientation. The blend of psychological drama with subtle horror elements allows the film to hover in a unique space, even if it doesn’t fully commit to one genre. The film’s use of the stage play as a central device is also practical, as it mirrors Edward’s internal journey. Watching someone else portray him on stage becomes a metaphor for the way Edward is distanced from his own identity. Schimberg’s previous work often centers around characters on the fringes of society, and A Different Man continues that trend by offering a protagonist who feels out of place in his own skin. Edward’s journey is one of isolation and alienation, and the film’s depiction of his struggle to reclaim his sense of self is haunting and poignant. A provocative look at identity and worth, A Different Man sees Sebastian Stan at his best while Adam Pearson gives a statement performance that should resonate in today's industry loudly. While it does ponder a bit and makes the audience question its intentions, it never ceases to commit to its goal. Schimberg’s direction shows a clear vision, even if the film doesn’t always reach its full potential. It’s a haunting and unsettling piece of cinema that, despite its flaws, leaves a lasting impression. You can follow Tyler and hear more of his thoughts on Twitter , Instagram , and Letterboxd . Must Read 'A Different Man' Review It’s a haunting and unsettling piece of cinema that, despite its flaws, leaves a lasting impression. SHOP 'The Outrun' Review Repetitive and labored are the traits most commonly found on the road to sobriety, although the authentic notion of translating them to the screen doesn’t favor the viewer. SHOP 'Joker: Folie à Deux' Review A movie filled with so much contempt for its fans that you wonder why it even bothered to please them in the first place. SHOP 'Wolfs' Review It’s fun in the present and harnesses the power of movie stars in a time when that magic has steadily faded. SHOP 'The Wild Robot' Review The film will captivate younger viewers and leave older ones reflecting on the delicate balance between the human (and mechanical) and natural worlds. SHOP

Lists September 23, 2024 TIFF24: Tyler's Time at the Festival If good things lasted forever, they wouldn’t be as precious. September 21, 2024 TIFF24 Recap There’s nothing like having a cinematic buffet such as this, and the experience of gorging is unbeatable. September 1, 2024 TIFF24 Preview This year's lineup might the be the best one yet August 16, 2024 Ranking the Films of James Cameron As he turns 70 years old today, it’s time to look back at the audacious filmography of Big Jim. July 1, 2024 The Top 10 Films of 2024 (So Far) I’d like to take a moment and be thankful for the best that cinema has had to offer us in this initial half. June 11, 2024 Top 10 Pixar Films Here’s a look at ten of the most exemplary movies Pixar has made in its three decades of existence. May 19, 2024 Ranking the Mad Max Franchise Here’s a look back on the previous four entries in this ever-changing franchise. May 7, 2024 Ranking the Planet of the Apes Franchise Now is the best time to look back and rank all nine films in this primal franchise once and for all. April 17, 2024 Ranking the Films of Adam McKay In honor of his 56th birthday, here’s a look back at the filmmaker’s work and how his evolution has made an impression on Hollywood. April 11, 2024 MSPIFF43 Preview Over 200 films from around the world will be screened at The Main cinema during the two-week-long event Prev Page 1 2 3 4 5 1 ... 1 2 3 4 5 6 7 ... 7 Next Page

'The Outrun' Review October 4, 2024 By: Hunter Friesen You’re midway through your standard musician biopic. The lead singer, who was doing so well for themselves, has now been introduced to drugs. “I just need to take the edge off,” they say repeatedly, all while their friends and family plead for them to return to how they used to be. They crash out, literally and figuratively, lying in a puddle of their stench and failure. But that low valley eventually leads them to the highest mountain, with sobriety presenting an opportunity to return to their roots and refind their passion for life. Chances are that it didn’t take much mental strain for you to think of at least a half dozen films that fit that exact description. It’s not hard when the path has been trekked so often that there’s nothing left to admire about it. Now, let’s take that 15-30 minute sequence from all those movies and laboriously stretch it out to 120 minutes. By doing that, you’ve created The Outrun , an addiction drama in which I could have used a couple of drinks to help numb the boredom. Granted, there is a ceiling to how much a biography can be railed for being formulaic, as they all retell the events in a person’s life, something I have no right as an (uninformed) viewer to criticize as fact or fiction. Who am I to tell someone that their personal journey doesn't ring true, or isn’t unique enough to be worth adaptation? The novel that The Outrun bases itself on serves as a memoir for author Amy Liptrot, tracing her alcohol-fueled days in London to her rehabilitation back in her native Scotland. Liptrot, Daisy Lewis, and director Nora Fingscheidt adapt the story for the screen, crafting a nonlinear structure that leverages the grip that the past will always have on Liptrot’s stand-in, Rona (Saoirse Ronan). Weeks into her recovery period, she will face a sudden and almost unquenchable urge to drink, coupled with a flashback to the allure that alcohol had in her boozier days. Those crashes of the past and present serve as the biggest flourishes within Fingscheidt’s directorial arsenal, although the past never illuminates more than the simple fact that Rona was a volatile alcoholic who alienated her friends and family. It’s all a bit generic, from the early party days when everything was great, to the later years when she’s stumbling down the street and everyone pleads with her to get help. Ronan dives headfirst into the material in the same way as someone like Gena Rowlands, grabbing the screen with their magnetic presence and never letting go for a second. She is the pulse that keeps this heart beating, albeit quite slowly for most of the runtime. One would have hoped that a stronger story would have supported her, as her performance, however strong it is, leaves little impression when compared to her previous work and the work of her genre contemporaries. Repetitive and labored are the traits most commonly found on the road to sobriety, although the authentic notion of translating them to the screen doesn’t favor the viewer. An addiction drama will be born, people will halfheartedly care about it, the performance will gain awards attention, and the world will move on. It’s the circle of life, and we’re just living in between stages of it. Must Read 'The Outrun' Review Repetitive and labored are the traits most commonly found on the road to sobriety, although the authentic notion of translating them to the screen doesn’t favor the viewer. SHOP 'Joker: Folie à Deux' Review A movie filled with so much contempt for its fans that you wonder why it even bothered to please them in the first place. SHOP 'Wolfs' Review It’s fun in the present and harnesses the power of movie stars in a time when that magic has steadily faded. SHOP 'The Wild Robot' Review The film will captivate younger viewers and leave older ones reflecting on the delicate balance between the human (and mechanical) and natural worlds. SHOP TIFF24 Dispatch #4 Anora, Megalopolis, Oh, Canada, The Substance SHOP

Awards September 28, 2024 Awards Update: Fall Festival Winners & Losers Reactions pour in, standing ovations are timed, and prizes are bestowed upon a select few. August 26, 2024 Awards Update: Final Pre-Festival Predictions The runners have taken their positions on the starting block. July 26, 2024 Decoding the Fall Festival Lineups We’re a lot closer to realizing which pieces the studios are prioritizing. Oscar Predictions ​ Last Updated: 09/28/2024 Next Update: 10/26/2024 1 Blitz 2 Anora 3 Emilia Pérez 4 The Brutalist 5 Conclave 6 Dune: Part Two 7 Sing Sing 8 A Complete Unknown 9 Nickel Boys 10 Gladiator II Best Picture 1 Steve McQueen (Blitz) 2 Brady Corbet (The Brutalist) 3 Jacques Audiard (Emilia Perez) 4 Sean Baker (Anora) 5 Denis Villeneuve (Dune: Part Two) Best Director 1 Anora 2 Blitz 3 The Brutalist 4 A Real Pain 5 Saturday Night Best Original Screenplay 1 Sing Sing 2 Conclave 3 Nickel Boys 4 A Complete Unknown 5 Dune: Part Two Best Adapted Screenplay 1 Timothée Chalamet (A Complete Unknown) 2 Adrien Brody (The Brutalist) 3 Ralph Fiennes (Conclave) 4 Colman Domingo (Sing Sing) 5 Daniel Craig (Queer) Best Lead Actor 1 Angelina Jolie (Maria) 2 Karla Sofía Gascón (Emilia Perez) 3 Saoirse Ronan (The Outrun) 4 Mikey Madison (Anora) 5 Marianne Jean-Baptiste (Hard Truths) Best Lead Actress 1 Clarence Maclin (Sing Sing) 2 Guy Pearce (The Brutalist) 3 Kieran Culkin (A Real Pain) 4 Denzel Washington (Gladiator II) 5 Jeremy Strong (The Apprentice) Best Supporting Actor 1 Danielle Deadwyler (The Piano Lesson) 2 Zoe Saldaña (Emilia Perez) 3 Saoirse Ronan (Blitz) 4 Felicity Jones (The Brutalist 5 Aunjanue Ellis-Taylor (Nickel Boys) Best Supporting Actress 1 The Brutalist 2 Dune: Part Two 3 Blitz 4 Joker: Folie à Deux 5 Maria Best Cinematography 1 Blitz 2 Conclave 3 Anora 4 Emilia Pérez 5 Sing Sing Best Film Editing 1 The Brutalist 2 Conclave 3 Dune: Part Two 4 Sing Sing 5 Challengers Best Original Score 1 TBA 2 TBA 3 TBA 4 TBA 5 TBA Best Original Song 1 Blitz 2 Dune: Part Two 3 Emilia Pérez 4 Gladiator II 5 Twisters Best Sound 1 Blitz 2 Dune: Part Two 3 Gladiator II 4 Wicked 5 The Brutalist Best Production Design 1 Dune: Part Two 2 Wicked 3 Blitz 4 Maria 5 Gladiator II Best Costume Design 1 Dune: Part Two 2 Beetlejuice Beetlejuice 3 Maria 4 A Complete Unknown 5 Nosferatu Best Makeup & Hairstyling 1 Dune: Part Two 2 Gladiator II 3 Kingdom of the Planet of the Apes 4 Blitz 5 Twisters Best Visual Effects 1 The Wild Robot 2 Inside Out 2 3 Flow 4 Memoir of a Snail 5 Wallace & Gromit: Vengeance Most Fowl Best Animated Feature 1 Emilia Pérez (France) 2 The Seed of the Sacred Fig (Germany) 3 I'm Still Here (Brazil) 4 Universal Language (Canada) 5 The Girl with the Needle (Denmark) Best International Feature 1 No Other Land 2 Daughters 3 Sugarcane 4 Apocalypse in the Tropics 5 Black Box Diaries Best Documentary Feature 1 Blitz (10) 2 Dune: Part Two (10) 3 The Brutalist (9) 4 Emilia Pérez (7) 5 Sing Sing (6) 6 Gladiator II (6) 7 Anora (5) 8 Conclave (5) 9 A Complete Unknown (4) 10 Maria (4) Nomination Leaders

'Dune' Review October 25, 2021 By: Hunter Friesen Like humanity’s search for the missing link or the cure for cancer, movie studios have unsuccessfully tried and failed to adapt Frank Herbert’s daunting 1965 science fiction novel, which laid the framework for several subsequent entries in the genre such as Star Wars and Blade Runner . Cult film director Alejandro Jodorowsky tried in the early 1970s, but financial troubles stopped him from getting past pre-production, a story which has now become immortalized in the critically acclaimed 2013 documentary Jodorowsky’s Dune . Over a decade later, David Lynch, armed with the mega millions of super-producer Dino De Laurentis, was utterly crushed by the weight of the material, which was forcibly squeezed into a two-hour runtime. Years went on as names such as Ridley Scott and Peter Berg were attached to the project, but nothing ever came to fruition. Now in 2021, it’s time for Denis Villeneuve – director of Sicario, Arrival, and Blade Runner 2049 – to attempt what has been thought to be impossible. To prevent the mistake of Lynch’s adaptation, the 412-page novel has been split into two parts. Despite not bearing that moniker in the official title, the phrase “part one” does flash underneath the main title in the opening sequence. This comes as a warning to those expecting a complete narrative. Like Harry Potter and the Deathly Hallows: Part 1 and The Hunger Games: Mockingjay – Part 1 , Dune is here to establish the major events that will come in the sequel, which has yet to be officially confirmed. But rather than faring like those two examples, Dune falls more in line with The Divergent Series: Allegiant , which shuddered the series before the conclusion could be filmed. Now, that’s not to say that Dune shares all the same qualities as that cinematic failure. Villeneuve is one of the most financially efficient directors working today, as he gets maximum value out of every dollar within his budget. With $165 million at his disposal, Villeneuve has crafted a universe of mythological proportions. From desert landscapes crawling with sandworms to interstellar cruisers, the scale that Villeneuve and cinematographer Greig Fraser work with is something to behold. Seeing this in IMAX brings a reward worth far more than the ticket price. But for all its grandiosity on a technical level, what’s at the heart and soul of Dune is shockingly small. Taking place in the year 10191, the story centers on Paul Atreides, prince of the great house who rules over Caladan. Soon, the family is ordered by the unseen Emperor to govern Arrakis, which overflows with the precious mineral known as “spice.” The natives of the planet called the Fremen, resent their colonial oppressors, a feeling that Paul slowly begins to understand. After the imperial betrayal, Paul’s loyalty and place within the universe begin to be tested as he is led down an unfamiliar path. That plot description may be admittedly light, but a proper one would require much more precious margin space. Villeneuve (his first writing credit since coming to Hollywood) along with veteran Eric Roth and Jon Spaihts seem to have punted all the interesting material for the latter edition. What’s left is a shallow plot with dangling thoughts on colonialism, the chosen one, and religious allegories. Ironically, the groundbreaking material within the novel has been mined so many times by other properties that this film adaptation feels like a carbon copy of others. That feeling of emptiness stretches into the cast as well, despite it being filled with a roster of immense international talent. Boiling down to being described as space Jesus, the character of Paul Atreides is one of awkwardness and enlightenment. Timothée Chalamet is fitting in the role, working his gawky frame and soft voice past the limitations of the script. Through no fault of their own, the rest of the cast aren’t able to shine as much as they should, with interesting actors such as Oscar Isaac, Stellan Skargård, Jason Momoa, and Charlotte Rampling being brushed aside for umpteen amounts of landscape shots. At some point, those beautiful vistas begin to feel empty, as the human element has been restricted to a minimum. Dune is an odd case of style over substance, in that the substance is there but was intentionally left out for another time. It’s a gamble that may pay off once Part 2 is released, but until then it leaves this first part as a desert-sized disappointment. Must Read 'Wolfs' Review It’s fun in the present and harnesses the power of movie stars in a time when that magic has steadily faded. SHOP 'The Wild Robot' Review The film will captivate younger viewers and leave older ones reflecting on the delicate balance between the human (and mechanical) and natural worlds. SHOP TIFF24 Dispatch #4 Anora, Megalopolis, Oh, Canada, The Substance SHOP TIFF24 Dispatch #3 April, On Swift Horses, Relay, The Fire Inside SHOP TIFF24 Dispatch #2 Bird, Harbin, The Assessment, The Order SHOP

'The Last Thing He Wanted' Review February 27, 2020 By: Hunter Friesen Netflix has been on a roll these past few years. While changing the idea of how television can be consumed, the streaming giant has also financed dozens of films from revered auteurs and budding talent. This level of investment has paid dividends with films such as The Irishman and Roma . But like all portfolios, there are some stinkers such as Bright and The Ridiculous 6 that blemish the hits. Joining the latter pile of garbage is the newest film to be dumped unceremoniously on Netflix: The Last Thing He Wanted . A journalist for The Atlantic Post , Elena McMahon made her mark with hard-hitting investigative pieces detailing the revolutions in 1980s Central America. One day, her secretive father attempts to reconnect with her after years apart. It’s revealed he’s rekindling their relationship because he has fallen victim to Alzheimer’s. With his final days winding down, he confesses that he is a gun smuggler for the Nicaraguan Contras and asks her to complete his final deal. To fulfill her father’s dying wish, Elena must go back to the place where everything began for her. Only this time she’s on the opposite side of the law than before. Reteaming with Netflix after the critical success of Mudbound , director Dee Rees makes some of the most shocking failures a respected filmmaker could make. Her command of the material is nonexistent as the plot and characters move along without any rhyme or reason. For a two-hour movie (that feels twice as long), Rees offers little in terms of suspense and subtlety. The choppy editing lacks any cohesiveness between its revolving door of throwaway characters and locations. Even when Rees is supplied with quality supplemental material, such as the score by Tamar-kali, she cues it at the most obvious times, turning it against her intentions. She does throw in a nice camera movement every once in a while, but it’s painfully obvious that it’s only being done to try and cover up the catastrophe that is being filmed. An example is the laughably bad final shot that looks ripped straight from a parody movie. Adapted by Rees and Marco Villalobos from the book of the same name, The Last Thing He Wanted is one of the most incomprehensible movies ever made. I would feel safe betting someone a billion dollars to watch this movie and then properly explain what they had just seen. The dialogue is both cliched and flowery as it makes even the smallest detail hard to comprehend. Characters speak English in a way so cryptic that it seems they aren’t even speaking English at all. No amount of rewinding or looking through a dictionary could help me understand what exactly someone was saying. Fortunately, the poor sound mixing makes half of the dialogue muddled, saving me from further anguish. Also part of the problem is the script’s overabundance of half-baked storylines and details. I would say that almost every one of these plots and subplots is filled with holes, but I’m not sure of what the plot was, to begin with. Characters and locations come and go, barely leaving a mark on the overall narrative. That is, until the end when Rees wraps a dozen different things up in the final three minutes, ending the film in a pile of disjointed pieces that produces more questions than answers. I know it’s a tired trope to say that a movie should have been a mini-series... but this seriously should have been a mini-series. Anne Hathaway is mediocre as our supposedly tough main character. Hathaway tries her best, but she is woefully miscast and can’t muster a sliver of enough fortitude to convince us of her believability. Ben Affleck plays a CIA agent hot on Elena’s trail. Affleck seems to have been on set for less than a week and has as much energy as someone who just woke up from a nap after downing a bottle of NyQuil. Factoring in his minuscule screen time, it’s safe to say that the main reason he was cast was to put his name on the poster. Playing the ailing father is Willem Dafoe, who has recently been on a career resurgence. Disappointingly, Dafoe falls into the type of hammy overacting that plagued the middle third of his career. The Last Thing He Wanted is a glaring misfire on the careers of the usually dependable cast and crew. It will surely land on many worst-of-the-year lists and may even take the top spot on a few. Thinking about this awful movie is the last thing I ever want to do. Must Read 'Wolfs' Review It’s fun in the present and harnesses the power of movie stars in a time when that magic has steadily faded. SHOP 'The Wild Robot' Review The film will captivate younger viewers and leave older ones reflecting on the delicate balance between the human (and mechanical) and natural worlds. SHOP TIFF24 Dispatch #4 Anora, Megalopolis, Oh, Canada, The Substance SHOP TIFF24 Dispatch #3 April, On Swift Horses, Relay, The Fire Inside SHOP TIFF24 Dispatch #2 Bird, Harbin, The Assessment, The Order SHOP

'Tuesday' Review June 13, 2024 By: Hunter Friesen Death has come in all different shapes and sizes throughout times and cultures. In Christianity, Death is one of the Four Horsemen of the Apocalypse, the Pale Horseman to be exact. In many Romantic language regions (France, Portugal, Italy), it is mostly personified as a female figure, with other areas of Europe seeing it as more Grim Reaper-like with a skeletal frame and a scythe. And in Asia, Death takes the form of a bureaucrat, an escort between the lands of the living and dead. Considering all the different physical and temperamental interpretations of Death throughout human history, its presence as a talking macaw bird in Daina Oniunas-Pusic’s Tuesday shouldn’t come as anything out of the ordinary. Of course, that’s easier said than done, especially with Oniunas-Pusic introducing us to this celestial being as it traverses the Earth collecting the souls who are at its doorstep, many of them leaving this world in fear and confusion. No matter the form it takes, Death does come for us all, and you’ll never know when and how it’ll show its face. For the 15-year-old titular character (Lola Petticrew), Death has been stalking her for months now in the form of an unspecified terminal illness. It’s felt each time she takes a wheezing breath, and whenever her stay-at-home nurse tries to steer the conversation away from anything too morbid. But when that fateful bird actually does come for her one day, she doesn’t plead or cry. Instead, she tells it a joke and offers to give it a bath, as the blackness of death has clouded its bright orange feathers. Like Superman, the bird can hear everyone’s dying thoughts at all times. The piercing sound design elevates the overwhelming fear and discomfort of that situation, a neverending stream of people revealing themselves in their final moments. On the other end of that problem is Tuesday’s mother Zora (Julia Louis-Dreyfus), who refuses to listen to her daughter’s pleadings about their situation. To reveal anything more about the plot would diminish the experience of witnessing it first-hand. Oniunas-Pusic’s vision for her story knows no bounds, reaching further down the rabbit hole than even your wildest predictions could have covered. And even if I did tell all within this review, you still wouldn’t have all the necessary information to make a decision on whether it all works or not. The directions the film goes down have to be felt to be processed, many of them likely to not fully reveal themselves until much later down the road. It’s like trying a new food. Sure, you can read all the ingredients and form an opinion in your head whether you would like it. But you can’t know for sure until you stop thinking and just put it in your mouth. The gamble is part of the process. That inability to fully comprehend everything solely through text complements the actor’s trust in Oniunas-Pusic. Petticrew and Louis-Dreyfus are tasked with extremely challenging jobs, acting opposite a CGI creation (a very convincing one) and navigating the extremely thin tonal tightrope this film often finds itself balancing on. Each of them is dealing with the five stages of grief in their own way, Petticrew being further along into acceptance and Louis-Dreyfus stuck in denial. Special mention does have to be made to Arinzé Kene for his motion capture performance and vocal work as the macaw, both of them making the bird into just as much a character as what Andy Serkis has done with his creations over the years. Would a conventional narrative track for this story result in a more cohesive and stronger emotional pull? Perhaps. But there are still several tearjerking moments between mother and daughter, one of which takes place on a beach seemingly secluded from the rest of humanity. And fear not all you haters of weepy terminal illness dramas, as no boy is trying to romance Tuesday in her final days, nor does Zora go through the clichéd motions of dealing with her sadness. It all comes together to make something more than the sum of its parts, which are all equally fascinating to pick apart and dissect. I’m still doing that as I type out this review, and I’m sure to continue doing it throughout the year. Death is not something that can be neatly packaged and processed, so it makes sense that a film about it would refuse to trek down the well-laid path that so many have gone down before. Must Read 'Wolfs' Review It’s fun in the present and harnesses the power of movie stars in a time when that magic has steadily faded. SHOP 'The Wild Robot' Review The film will captivate younger viewers and leave older ones reflecting on the delicate balance between the human (and mechanical) and natural worlds. SHOP TIFF24 Dispatch #4 Anora, Megalopolis, Oh, Canada, The Substance SHOP TIFF24 Dispatch #3 April, On Swift Horses, Relay, The Fire Inside SHOP TIFF24 Dispatch #2 Bird, Harbin, The Assessment, The Order SHOP

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. Must Read 'Wolfs' Review It’s fun in the present and harnesses the power of movie stars in a time when that magic has steadily faded. SHOP 'The Wild Robot' Review The film will captivate younger viewers and leave older ones reflecting on the delicate balance between the human (and mechanical) and natural worlds. SHOP TIFF24 Dispatch #4 Anora, Megalopolis, Oh, Canada, The Substance SHOP TIFF24 Dispatch #3 April, On Swift Horses, Relay, The Fire Inside SHOP TIFF24 Dispatch #2 Bird, Harbin, The Assessment, The Order SHOP

'Dumb Money' Review September 9, 2023 By: Hunter Friesen Dumb Money premiered at the 2023 Toronto International Film Festival. Sony Pictures will release it in limited theaters on September 15, followed by a nationwide expansion on October 06. The Big Short , Vice , and Don’t Look Up writer/director Adam McKay has been accused by his detractors of thinking his audience is stupid, talking down to them through flashy celebrity cameos and on-the-nose dialogue. It’s not an incorrect opinion, but McKay has still always provided a compelling argument within his theses, with The Big Short offering a sobering retelling of the housing crisis. Craig Gillespie’s Dumb Money , premiering at the 2023 Toronto International Film Festival, REALLY wants to be The Big Short for Gen-Z, taking down the 1%ers who run Wall Street and rig it against the little guy. But this David vs. Goliath story doesn’t have the necessary charm or smarts to be as deadly as it thinks it is. “Hold the line!,” “Diamond hands!,” “Apes together strong,” and “I just like the stock,” were phrases that became popularized during the pandemic as the GameStop short squeeze rocked not just the financial industry, but the psyche of the American public. It all started on r/wallstreetbets, an internet forum famous for its memes and overly passionate members. Their prophet was Keith Gill (Paul Dano), a mild-mannered Massachusetts financial advisor who goes by “Roaring Kitty” because of his penchant use of cats in his live streams. He’s bullish on the GameStop (GME) stock, thinking that’s it undervalued and that all the hedge fund managers are fools to be in a short position. He seems crazy, but he has the numbers and quirkiness to attract other followers, including debt-ridden nurse Jenny (America Ferrera), GameStop employee Marcus (Anthony Ramos), and college students Riri (Myha'la Herrold) and Harmony (Talia Ryder). “If he’s in, I’m in” is what they all say, creating a surge in the stock price as more and more people jump on. Most of these traders were referred to as “dumb money” by the hedge funds and media. They’re just retail traders who always think they can beat the market but end up giving their money away to the big fish. Writers Lauren Schuker Blum and Rebecca Angelo, adapting the novel “The Antisocial Network” by Ben Mezrich, have compassion for these small fries. They’ve all been pushed down their whole lives, and the time is now to stand together. Unfortunately, none of these characters are that compelling outside of Keith, which largely stems from Dano’s charismatic commitment to playing the intellectual fool. They end up being a generic group, with little to separate themselves. The same goes for the villainous billionaires played by Seth Roge, Vincent D’Onofrio, and Nick Offerman. They’re caricatures of unearned wealth, another in a quickly tiring line found in Triangle of Sadness and Glass Onion last year. Gillespie continues his high-energy antics from I, Tonya (also premiering in Toronto in 2017) and Cruella , zipping the editing around this overstuffed cast. It keeps the film on its toes and the 100-minute runtime breezy, but it also keeps the details to a minimum. The exact (or even simplified) machinations of the short squeeze are given little attention, replaced by bright lights and a flurry of newsreel clips. Just like the memes that inspired the movement, Dumb Money is fun in the moment, but has little to no substance underneath the surface. If you’re looking for entertainment, you get just enough of it to make this worthwhile. If you’re looking to be educated on this event, I’d recommend literally anything else. Must Read 'Wolfs' Review It’s fun in the present and harnesses the power of movie stars in a time when that magic has steadily faded. SHOP 'The Wild Robot' Review The film will captivate younger viewers and leave older ones reflecting on the delicate balance between the human (and mechanical) and natural worlds. SHOP TIFF24 Dispatch #4 Anora, Megalopolis, Oh, Canada, The Substance SHOP TIFF24 Dispatch #3 April, On Swift Horses, Relay, The Fire Inside SHOP TIFF24 Dispatch #2 Bird, Harbin, The Assessment, The Order SHOP

Awards Update: Making Sense of the Fall Festival Frenzy September 21, 2023 By: Hunter Friesen Welcome to an ongoing series where I cover the 2023/2024 awards season. On a regular basis, I will update my Oscar predictions, taking into account the new information that has been received since the last update. Full predictions in every category can be found on the Home and Awards page. In my previous awards update , I was having trouble predicting The Color Purple to amass enough nominations to get into Best Picture on account of Warner Bros. already having a majority of their weight behind Barbie and Dune: Part Two . That problem has now been solved with Denis Villeneuve’s sci-fi epic being punted to March of next year, opening up opportunities in all eleven of the categories I had it predicted to be nominated in. The Color Purple stepped in for many of those spots, raising its overall nomination tally from four to seven. But that bump wasn’t the biggest improvement a single film got, as that title goes to Poor Things , which added an additional six nominations thanks to its overwhelmingly enthusiastic reviews and Golden Lion win at Venice. It’s taken over the spot of Dune: Part Two in the upper tier of films that have a viable path to winning Best Picture. The biggest hurdle it now has to cross is the box office, as this modern landscape offers no promises of success to anything outside the mainstream. The film would be out in theaters at this very moment in a just world where the studios paid their writers and actors a fair wage. Although this year’s Venice Film Festival featured fewer American titles than normal, it still solidified the status of a few high-profile contenders. Bradley Cooper’s Maestro flew a bit under the radar, something awards strategists prefer instead of being the film with a target on its back. The reviews were great (but not enthusiastic), with particular praise going towards Carey Mulligan and Cooper’s lead performances. Another performer showered with positivity was Priscilla star Cailee Spaeny, who walked away with the Volpi Cup for Best Actress. It’s hard to predict the newcomer to be Oscar-nominated as several other actresses emerged out of the fall festivals, including Venice attendees Jessica Chastain ( Memory ) and Aunjanue Ellis ( Origin ). We also got the bombshell that Lily Gladstone will be campaigning in Lead Actress for Killers of the Flower Moon , the same move Michelle Williams did last year for The Fabelmans . While Gladstone and the film itself have received rave reviews, it's not enough (at the moment) to make her a contender to win on Oscar. She's a sturdy contender and will most likely be nominated. Annette Bening (barely) maintained her placement within the predicted Best Actress nominees as Nyad premiered respectably at the Telluride Film Festival. The same can be said for Colman Domingo and Rustin . These films hinge entirely on their lead performances, placing them at a disadvantage compared to other performers in Best Picture nominees. Searchlight continued their Venice dominance at Telluride with the premiere of All of Us Strangers , nabbing the best reviews of the festival. Andrew Haigh’s quiet film probably won’t be a big contender, but I feel that Searchlight can push it into the weaker Adapted Screenplay category. It wasn’t sunshine and rainbows for everybody though, as Emerald Fennell’s Saltburn crashed out of the race after a relatively poor premiere. The love-it-or-hate-it breakdown of the reviews doesn’t bode too well for any hope of repeating the success of Promising Young Woman . Toronto provided the next stop for a few Venice and Telluride titles, most notably Alexander Payne’s The Holdovers , which nabbed the first runner-up position for the People’s Choice Award. The winner of that award has gone on to be Best Picture nominated every year (except for 2011) since the expansion of 2008. I don't know if this year's winner, American Fiction , will be able to continue that streak, but it could follow the same path as All of Us Strangers and get into Adapted Screenplay. Unfortunately for TIFF CEO Cameron Bailey, none of the other world premieres he booked have the goods to be viable contenders in any categories. Next Goal Wins and Dumb Money were met with mildly mixed-positive reactions (Waititi’s film could be aided by the Golden Globes), while stuff like Lee , Pain Hustlers , and Les Indésirables received little attention. Our eyes now shift over to the regional festivals, where titles like Poor Things and Maestro will tour the country throughout October gaining support. The New York Film Festival and AFI Fest will be the two biggest stops for each. There’s also the box office performance of Killers of the Flower Moon and the start of the next phase with the Gotham Awards and FISA nominations. Must Read 'Wolfs' Review It’s fun in the present and harnesses the power of movie stars in a time when that magic has steadily faded. SHOP 'The Wild Robot' Review The film will captivate younger viewers and leave older ones reflecting on the delicate balance between the human (and mechanical) and natural worlds. SHOP TIFF24 Dispatch #4 Anora, Megalopolis, Oh, Canada, The Substance SHOP TIFF24 Dispatch #3 April, On Swift Horses, Relay, The Fire Inside SHOP TIFF24 Dispatch #2 Bird, Harbin, The Assessment, The Order SHOP