The Damned Review — Beautiful & Bleak Horror at Its Finest

For anyone that’s been following along at Screen Love Affair, you know the horror genre is one of my favourites. However, most horror movies these days don’t work for me. Not only do so many of them feel the same, they often lack any real identity, and the worst part is that they lack any real fear. However, it’s not all doom and gloom. 2023 and 2024 both delivered horror movies that ended up in my top 10 favourites list (spoiler for the 2024 list) with Skinamarink and Oddity.  The Damned intrigued me. From the first trailer I saw for it ahead of Nosferatu, I knew I had to see the movie. The movie takes place sometime in the 19th century in a remote Icelandic fishing “village” which is more or less made up of about seven people. Odessa Young plays Eva, a widower and owner of this fishing enterprise. One day a foreign ship sinks offshore near their village and when bodies eventually wash ashore, bizarre things begin to happen to this small community.  So, does The Damned rise to the occasion, or does it sink into the icy depths of generic horror slop? My Thoughts It’s crazy in a genre that is as saturated as horror is, that I’m constantly surprised and impressed with how much uniqueness can still exist. The Damned is beautiful, bleak, horrifying, and exactly what I was hoping to see.  Let’s start first with how the movie looks. The Icelandic backdrop is gorgeous. If you hate winter, I suppose you may disagree, but the coastal village surrounded by snow covered hills and mountains was absolutely breathtaking. At the same time though, it’s cold and you feel that throughout the entire movie. This is where the “bleak” aspect comes in. This world is cruel, harsh, and unforgiving. The village is struggling, with so little food they end up resorting to eating some of their bait. That’s also why, when a boat sinks off their shore, ultimately they decide there’s nothing they can feasibly do, and so they leave the crew of the shipwreck to their fate.  Beyond this, it wasn’t just the world that felt bleak, but this was a rare case where the doom and dread that permeates throughout the movie gives you a feeling of hopelessness for these characters. In a typical slasher, I always expect there to be, at the very least, a final girl that survives the events of the movie. I had no such confidence about the fates of the characters in this village and it’s because of how well the different aspects of this movie come together to create this sense of hopelessness. The landscape, while beautiful, is also cold and isolating. The music, while nothing groundbreaking or new, enhances those feelings of unease as the movie progresses.  This isn’t your average jumpscare horror snoozefest, this is something that genuinely had me shook as I was watching it. All the typical horror tropes are pretty much cast (pun intended) aside for a subtlety that managed to scare me for real. The most effective tool the movie uses is silence. One scene in particular was completely silent, but what I was watching freaked me out so much that I almost wanted that loud pop jump scare to release me from the tension I was feeling. That’s also where the depth of this movie comes into play and how it sets itself apart. This isn’t some sort of slasher/monster movie in the traditional sense. The horrors experienced in this movie are very much a consequence of the mind and the soul. Grief, trauma, sadness, and fear are all significant themes the movie and its characters explore and experience and this is done to great effect.  I don’t want to give away too much here, but there is a benefit to following the movie closely and much of the movie is up for interpretation. I’m writing this review after screening the movie only once, but I’m excited to see it again in theatres to get even more immersed in the movie and see what things I catch on a second viewing.  As far as performances go, everyone is solid in their roles, including Joe Cole who you might recognize from Peaky Blinders) and Game of Thrones alumni Rory McCann and Francis Magee among others, but this is really the Odessa Young show and she was absolutely brilliant. As a woman living in the time that she did, she masterfully moves between the grief of a widower, the strength of a leader, and the passion of someone with more love to give. I first saw Young in My First Film and, as I noted in my review, I thought she was also fantastic then too. At just 26 years old, she has some great experience already and is a talent worth keeping your eyes on! Verdict I mean, what more can I say beyond beautiful, bleak, and horrifying? This is exactly what I want out of horror movies. The Damned filled me with a hopelessness and dread that I haven’t experienced in a horror movie in a while and I’ll be damned (two puns in one review, somebody stop me) if I didn’t really dig it. It also achieved this all while being a very simple movie that didn’t overly rely on effects or cheap tricks to build its tension. This is good old fashioned horror filmmaking on display and I’m very happy to kick off 2025 on such a solid note! The Damned is in theatres now in the UK, Ireland, USA, and Canada. Don’t miss it!

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Babygirl Review — A Horny, High-Stakes Affair That Mostly Delivers

We’re kicking off 2025 with one of the last movies to get released in 2024!  Babygirl stars Nicole Kidman as a high-powered CEO who begins an affair with one of her interns.  I got to see this one ahead of its release with a pretty big crowd and it was one of the more memorable theatre experiences of the year. Does that mean the movie rocked my world though? Let’s discuss! My Thoughts I only ever watched the first 50 Shades of Grey film (with lots of alcohol), and Babygirl felt like 50 Shades of Grey but good.  The first thing to talk about is the lead performance from Nicole Kidman. She’s fantastic here. Her character is complex and she’s completely believable throughout the movie, no matter what she’s doing.  Antonio Banderas plays her husband and he’s good in the movie. He doesn’t have a ton to do here, but there’s one moment where he gets to shine and he makes the most of it.  The other key role was the intern, played by Harris Dickinson. I’ve seen a lot of mixed feelings on his performance, with opinions ranging from it being an example of perfect casting or a complete miscasting. I actually found myself more in the middle. I thought he was fine, but I don’t feel like he was the only one that could’ve played the role. He definitely had chemistry with Kidman, which is key, and I thought he matched the tone of the movie well. He brought out some chuckles from the audience, but was also deadly serious when he was supposed to be.  On that note, this has got to be the horniest theatrical film ever to be released on Christmas. There were definitely some excitable sounds coming from various audience members during our screening which was very amusing for Sergio and me. It was definitely clear that lots of the ladies in the audience were really enjoying themselves with this one! Outside of the performances, I also really liked the soundtrack and the score, but pretty much everything else was just fine. I can’t say that anything stuck out to me as bad, though, either.  Halina Reijn is the director, writer, and producer of Babygirl. She also directed Bodies, Bodies, Bodies, a movie that I loved, but the things I like most about these two movies have less to do with the direction. It’s definitely the performances that carry the movie and the dialogue is fun, but the narrative overall doesn’t do much new or all that interesting.  I hope as Reijn gets even more experience that she develops a stronger identity as a filmmaker to stand out more, but these are two very solid movies, especially early in her career.  Verdict I think the ladies will especially like this movie based on the reactions I heard in the theatres, but this isn’t something only they can enjoy. There’s some solid laughs in this one to be had and I think you can do much worse on a date night.  Check out Babygirl in theatres now!

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Review Roundup: From Legal Thrills to Gladiatorial Gripes—What’s Worth Watching?

We Live in Time The other movie I saw at the Violet Crown in Austin was We Live in Time. This was a solid movie that’s all but guaranteed to ensure nobody leaves the movie with dry eyes. The main cast of Andrew Garfield and Florence Pugh are unsurprisingly top notch, and their chemistry is great.  I knew absolutely nothing about this movie going in, but the only warning I will give here is that the movie is described in some places as a romantic comedy and I DEFINITELY think that is misleading. There are some smiles and happy moments but they’re more organic and less about setup and punchlines you’d find in a typical rom-com. If anything, I suppose you could call this a romantic drama, but the subject matter is much more serious than the tag of rom-com would suggest.  It doesn’t do anything new or really unique, but it’s a solid enough movie that definitely will pull at your heartstrings.  Juror #2 Clint Eastwood, who directed Juror #2 is 94 years old, but man, does he still have the sauce. I really liked Juror #2 and I was hooked as soon as I knew the premise. Nicholas Hoult plays Justin Kemp, who, while serving as a juror in a high profile murder trial, realizes that he might actually be the one who committed the crime.  Now this isn’t some weird amnesia tale or something either, but I will let the details come through for you when you watch this movie. Aside from the solid direction, the cast here was great, but especially Nicholas Hoult in the lead role. I’ve seen Hoult in a ton of movies from the X-Men movies to last year’s Renfield with Nic Cage as Dracula, but this was the first time I’ve really thought Hoult was great instead of just serviceable in a role.  This is a complicated role to play that draws a lot of feelings from the audience, and he balances all of them perfectly here. Supporting him in this movie are JK Simmons as a fellow juror, Toni Collette as Faith Killebrew, who is running for District Attorney, and Chris Messina as Collette’s sparring partner and defense attorney.  I really enjoyed the twists and turns of this movie, but I want to highlight just how much I loved the ending of this one. No spoilers here, of course, but this movie is a difficult one to stick the landing on given the complex moral nature of its story, but when the credits hit, I let out an audible gasp because I couldn’t believe how well they ended this movie.  The only issue I have with this movie has nothing to actually do with the movie itself but the awful release it received thanks to the (lack of) brain trust over at Warner Brothers. This could very well be the last movie Clint Eastwood ever makes, it’s incredibly good, and they opted to give it an anemic theatrical run and stick it on Max instead. Clint deserves so much better and I really hope these creatives stop working with Warner Brothers until some massive changes take place because this is shameful.  Heretic I absolutely love Hugh Grant and I love to see him having so much fun in roles lately and Heretic is no exception. The setup is simple, two Mormon missionaries go to talk to Mr. Reed (Grant) and their conversation about God becomes much more than they bargained for.  I suppose that technically, yes, this is a horror film, but it really isn’t preoccupied with tricking you with lazy jump scares or anything like that. The movie is much more tense, and it’s the simplicity of everything that allows this tension to permeate throughout the movie. Our two missionaries played by Sophie Thatcher and Chloe East are incredibly solid, but it’s definitely Grant that gets to shine the most here. If you’ve seen some of his more recent performances, this one will feel similar to you, but he brings such a fun aspect to a character that is menacing because of his words and lack of action. He doesn’t play some brooding man interested in acting out violently; he’s an intellectual, and that feels fresh when so many horror movies are more in the former camp.  The only thing that really held this back for me was that the journey ultimately exceeded the destination and I felt that the questions the movie raised were more interesting than the answers the characters ultimately provided. With that said though, I saw this on the same day as Juror #2, and, like that movie, I really dug the very end of this one and the questions it leaves you with. Make sure to reach out after you watch this one, so we can discuss that ending! Small Things Like These Coming off of his Oscar win for best actor, Cillian Murphy followed up the giant critical and box office success of Oppenheimer with the much smaller Small Things Like These. Taking place in Ireland in 1985, Murphy plays a coal merchant named Bill Furlong. He’s a father of five who is well regarded as a fair and hard-working boss in his small community of New Ross. Furlong makes a startling discovery at the convent and struggles with what to do while coming to terms with his own past.  This movie deals with a different topic than you might expect with such a description, but it’s one that is no less heartbreaking. Unfortunately, though, it’s this grimness that makes it hard for me to really capture my feelings about this movie. It’s incredibly bleak and grim, not just in the content, but with the technical aspects as well. It’s slow, dark, grimy, gray, and depressing. This makes for some incredibly impactful moments surely, but it also makes it hard for me to be enthusiastic about recommending it. Similar to The Zone of Interest from last year, which was incredibly effective as a

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Review Roundup: Conclave, Joker 2, Megalopolis, and More—What’s Worth Watching?

Speak No Evil I’m going to be short and sweet here because there is really only one reason to watch this movie and it’s for James McAvoy. I know, I’m just as shocked as you that James McAvoy delivers a great performance. I thought every other one he’s given was just a fluke 😜. McAvoy invites friends he met on vacation (and our main characters) to visit him and his family at their house and things get weird. Speak No Evil is a competently made thriller that manages to be enjoyable enough to watch, in spite of its predictability. Joker: Folie à Deux I was thrilled when I heard that Todd Phillips was following up the critical and box-office success that was the first Joker with a musical. What a swing! And what a miss. I’m stunned that this movie feels as flat and boring as it does in spite of that swing. There were choices in here that I liked, though, including the “twist” ending (I say twist relatively loosely here), but Todd Phillips seemingly lacks the juice when he doesn’t have movies to rip from directly. Whether you loved the first one, or hated it, I really don’t think there’s much here for anyone, except for a brief appearance from Tim Dillon, who I love and who has absolutely trashed this movie on podcasts he’s been on. There was also a solid scene with Joaquin in a courtroom, but that was about it.  I have to say, this really disappointed me because I wanted to love this movie for being so subversive and so different and because I thought it would piss off a big portion of the audience that loved the first movie. The truth is that this movie isn’t even worth their disdain, because it’s just so criminally flat and boring. It’s not that it’s so bad – it’s just pathetic.    Megalopolis You know who does have juice though? Even at 87 years old? Francis Ford Coppola! Now, is this the kinda juice everyone will want? Nope. But I’ll be damned if I’m not one of the Megalopolis truthers. A whacky, genuinely funny, and incredibly pure vision from a director that at 87 takes more risks than pretty much all of his peers combined. I think if you go into this expecting a pretty zany little ride and not a Godfather-esque masterpiece, you might just have as much fun with this as I did. Alcohol or other substances may help that too 😉. Wolfs Clooney and Pitt together as fixers forced to work together to clean up a mess and protect some powerful people. It’s cliched as hell, but the movie star charisma made this a fun throwback to an era where we got tons of these kinds of movies every year. The bigger thing with this movie that bugs me, though, was the abysmal theatrical release it had thanks to Apple. I’ve been a big fan of the way that Apple was working its film division into its streaming platform. It was giving full theatrical runs and lots of money to filmmakers like Ridley Scott and Martin Scorsese, but it appears Wolfs was a turning point for the worst.  As reported by Variety, “Back in August, Apple gave a rose-and-thorn update to its rollout of “Wolfs.” The tech giant confirmed that it was pulling the wide theatrical release of the film, on which it had partnered with Sony as a distributor. Instead, “Wolfs” moved to a one-week limited theatrical engagement on Sept. 20, with its debut on the streamer Apple TV+ coming a week after on Sept. 27.”  This evidently pissed off writer and director Jon Watts who recently stated that he wouldn’t be doing the announced sequel with Apple and returned the money he was paid to develop the sequel because of how they handled this transition to streaming.  I must say, I respect the hell out of this move from Jon Watts and I hope more artists insist on this kind of thing for their movies.  Beetlejuice Beetlejuice Remember Beetlejuice? Well this movie does and is happy to bring you down memory lane for the follow-up all these years later. It’s also bogged down by characters it didn’t need and clearly didn’t know what to do with. Might work for you, but fell flat for me. Blink Twice Another predictable revenge thriller, but also one that lacks a core piece of what makes revenge thrillers so fun. When it’s revenge time, dial things up to 11 and let the characters and audience bask in that. Too much of the climax happens either offscreen or too fast for my liking. Zoë Kravitz does fine in her directorial debut, but nothing on a technical, story, or performance level really wowed me.  Despite being a “thriller,” none of those who went to see this movie with me were excited about it. So I can’t really recommend this one, but I suppose it would be fine if you really have nothing better to watch. Conclave Conclave was another movie I got to see at a little indie theatre in Austin called the Violet Crown. If you love movies like I do, I highly recommend seeking out small theatres like this when you travel. The charm, friendly staff, and the uniqueness from a place like this really goes a long way to making a theatre experience more memorable.  Conclave is a bit of a political thriller but the trailer goes to great lengths to sell it as a bit more action heavy than it really is. I wouldn’t consider it a slow burn by any stretch though. The pace is pretty fast and there are plenty of turns in this movie that keep you engaged and on your toes. Also, only because I’ve heard some questions about this in particular, but it definitely isn’t some incredibly philosophical or preachy movie some may expect either.   I really enjoyed this movie even though the ending stumbled a bit more

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Quiet, Please! The Fight to Save Movie Theatre Etiquette

If you’re a movie lover on social media, you’ve probably noticed an unsettling trend: audiences treating theatres like their personal living rooms. The release of Wicked seems to have amplified this, with a viral post of someone snapping a photo of the title card and encouraging others to do it, and other people even singing along during the film. At the same time all this was happening during Wicked, I was watching fight scenes in the coliseum during Gladiator II while someone played Candy Crush on their phone a few rows down from me.  If that’s not bad enough, celebrities like Cynthia Erivo and Dwayne “The Rock” Johnson have encouraged disruptive behaviour during movies, blurring the lines of what’s acceptable at the theatre. It feels like people no longer know how to behave in crowds, and this problem is particularly pronounced in movie theatres. While Broadway offers sing-along performances to cater to audience participation, they also set clear boundaries for regular showings. Similarly, some movie theatres have hosted designated sing-along screenings, yet disruptions still occur during non-sing-along showings. So why does this happen when we’re simply trying to enjoy a movie on the big screen? Before we get into this more deeply, I’m going to state my bias up front. I speak for everyone at Screen Love Affair when I say that we firmly believe that using your phone or talking (let alone singing) in the theatre is completely unacceptable.  Watching a movie in a theatre is a communal experience, shared by every person in the theatre watching the movie with you. The moment you start using your phone or talking loudly during a movie, you’re negatively impacting every other person in the theatre with you. Whether it’s having to listen to somebody’s conversation drown out the audio from the movie or being distracted by the bright light of a phone that even people in the back row can see, these distractions make it hard to focus on the reason we’re here in the first place: to watch a movie on the big screen, in a dark room, and free from the distractions of the outside world. Because going to the movies is a communal experience, we have to have a mutual respect for each other, and what I’ve seen lately on social media demonstrates that that respect is nowhere to be found.  When Did Theatre Etiquette Go Off Script? Theatre etiquette issues are nothing new. As long as movie theatres have existed, people have been talking in them. But things weren’t always this bad. Decades ago, watching a movie was akin to attending a live performance. Audiences were expected to sit silently, immersing themselves in the story on screen. Whispering was frowned upon, and the thought of opening a bag of candy during a quiet scene—risking even the slightest noise—was almost unthinkable. I first noticed a major change when I was younger and watched Marvel movies in theatres. These films brought something different to theatres, offering a new kind of experience on the big screen. Martin Scorsese famously likened superhero movies to “theme park rides,” and it’s easy to see why. Attending a Marvel movie during opening weekend can feel like a communal celebration as fans show up in costumes, cheer, and even scream at pivotal moments. These movies are designed to amplify that energy, with perfectly timed applause breaks built in for those “epic” scenes. It’s almost impossible not to get caught up in the enthusiasm during a screening like that. Anyone who grew up with these films will remember how electric the opening weekend of Avengers: Endgame was, and the sheer excitement it inspired. Beyond Marvel, concert movies have also blown up more recently, with Taylor Swift and Beyoncé being two of the biggest examples that come to mind. These things existing aren’t the problem, but it demonstrates that, like everything over time, the theatre-going experience is changing.  The real issue is that we’ve had a generation of moviegoers that have grown up with these kinds of movies and think this is the way that all movies are meant to be experienced. After all, if people are screaming and cheering the whole time, what’s a quick glance at your phone or chat with your friend?  These days, bad theatre etiquette is rampant and inescapable, even when you’re watching a more traditional kind of film. For example, I went to see Gladiator II in IMAX recently with some friends and it was an incredibly frustrating experience. Seated behind us were a group of friends that were leaning over each other and talking loudly and consistently throughout the movie. If that wasn’t bad enough, someone near the front of the theatre pulled their phone out regularly with the brightness incredibly high to play games on their phone. Someone else was constantly pulling their phone out to seemingly check the time, while another person near the front was recording certain moments of the movie.  What can we do in situations like this? Well I turned around to politely request the people behind us not talk during the movie. I had to turn around two more times (growing less polite with each turn) until they finally stopped. But there was nothing I could do about the phones. I was seated too far away to say anything without disrupting other people. To do anything, I would have had to move past 20 other people on either side of me as I was seated in the middle of a row, and then walk around talking to each individual person, or leave to go get a theatre employee. Is it fair to me or any other paying customer to have to do that, though? Absolutely not.  It’s not just one bad experience, either. I constantly see phones at nearly every movie I watch in theatres, hear people talking as if they’re the only ones there, and I even sat near more than one person who actually answered a phone call in the middle

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Standing on the Shoulders of Kitties – Does Bubbles’ Big Break Hit the Right Notes?

If you’re a Canadian around my age, then you probably grew up with Ricky, Julian, Bubbles, collectively known as the Trailer Park Boys. I was probably too young to watch the shenanigans the boys would get up in Sunnyvale Trailer Park and their confrontations with Jim Lahey and Randy, but in so many ways, they were unavoidable. Whether you had your own Bubbles impression, referred to any kind of booze as “the liquor,” or you thought Phil Collins was just the owner of the Dirty Burger (and not a legendary musician), the impact the boys had on the culture has been significant. In the last few years I’ve watched all the movies and the show again and there’s a remarkable consistency to their work that’s damn impressive. My favourite of the movies is definitely Trailer Park Boys: The Movie released in 2006. I’d hold it up against anything as the most Canadian movie of all time and something that fills this guy with Canadian pride every time I watch it. One thing that helps that feeling is the soundtrack, which features songs from Canadian legends The Tragically Hip, April Wine, and Rush. Fast forward 18 years later and Bubbles has his sights set on making Bubbles and the Shitrockers the next great Canadian band in Standing on the Shoulders of Kitties: The Bubbles and the Shitrockers Story. Is the story of Bubbles and the Shitrockers a worthy entry in the Trailer Park Boys franchise though? Before I get into the answer, I want to thank Strike Media for giving me the chance to watch and review this movie ahead of its Canadian and UK release. Getting a chance to review a Trailers Park Boys movie ahead of its release is one of the cooler moments for this small-town Canadian boy! My Thoughts The movie kicks off in Sunnyvale Trailer Park. After the success of his first song “Liquor and Whores”, Bubbles is looking to make it in the music business, managing his own recording studio out of his sheds, and by starting his own band. Bubbles (played by Mike Smith) is really the main focus here. Ricky (Robb Wells) and Julian (John Paul Tremblay) are also in the film, but are definitely used in more of a supporting role. Bubbles has always been the heart of the Trailer Park Boys and that definitely is used to the advantage of the movie. He’s very easy to root for and the more heartfelt moments land a bit stronger because of that. As much as Bubbles wants to take a stab at real music, he writes about what he knows, which of course is where the kitties come in. A good chunk of the songs are either about kitties or include references to them, but while some get some laughs for sure, “Who’s Getting His Belly Now,” is a surprisingly sweet song about “Vince the Pince,” Smith’s real life cat from back in the day. Speaking of the music, I actually enjoyed it throughout the movie! Nothing changed my life or anything, but there were some really catchy songs in here that have become welcome additions to my playlist. Some favourites are “Breakfast Beer,” “Drinkin’ With the Angels,” and “Home is Where Your Shed Is.” Of course, the main reason you watch a Trailer Park Boys movie is the jokes, and there are plenty of laughs to be had here. There were a couple moments that actually would rank high on my list of hardest laughs in Trailer Park Boys history. Of course, Randy (Pat Roach) is always a great source of amusement and he’s around quite a bit in this one as he joins Bubbles and the Shitrockers on tour. Speaking of the cast, everyone is solid here, including the rest of the Shitrockers. The movie is jam packed with some cameos from very famous musicians, celebrities, and music producers. One cameo from an actor towards the end of the movie caught me by surprise and made for some great bits too. My only real complaint is that the big final song of the movie didn’t land as strongly for me as other ones throughout the movie. This caused a bit of a stumble for me at the ending, but nothing significant enough to derail the movie or anything. I just would have really liked for that last song to be the best one so it feels like a more proper payoff. Also, as you might expect, the story isn’t one that will blow you away with its originality, but it’s still solid enough to move you along throughout the movie without weighing it down at all. The pacing is great too and you never feel bored or too eager to move on to the next beat. Verdict Overall, Standing on the Shoulders of Kitties: The Bubbles and the Shitrockers Story is a worthy entry to the Trailer Park Boys filmography! After more than 23 years of Trailer Park Boys, you should more or less know what to expect here. If you’ve never enjoyed them (what’s wrong with you?!) then I don’t think there’s anything here to really change your mind, but I think the catchy songs, celebrity cameos, and the humour are enough to make this worthwhile for someone who isn’t all that familiar with the Trailer Park Boys. It also doesn’t require any sort of experience with their previous works for you to enjoy either, which is impressive in its own right given just how extensive their back catalogue is. You can catch this one in theatres in Canada on December 6th and in the UK exclusively in VUE Cinemas as of January 10th, 2025!

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Review Roundup: Anora, Terrifier 3, and 5 More Films Worth Watching

Welcome to the first of three Review Roundups! We have 21 new reviews coming at you over the next week and we will kick things off with our first 7 in this review. Between work, covering the Austin Film Festival, and life in general, we’ve been pretty busy but we still wanted to get our reviews out for movies that you might have missed. So, without further ado, let’s jump into these rapid fire reviews. Anora A must see for sure. Sean Baker is a special filmmaker. He previously made The Florida Project and that movie has stuck in my mind since I first saw it in Ottawa years ago. Anora follows Ani, an exotic dancer portrayed by Mikey Madison, as she embarks on a whirlwind romance with Vanya, the son of a powerful Russian oligarch. For anyone unaware of Baker’s previous movies, they have this raw authenticity that you don’t see very often. One thing Baker does is populate his movie with real people from the locations they shoot in. Even if you didn’t know that while you’re watching, you can still feel that authenticity in the world and that emanates throughout his work.  Anora is surprisingly funny but manages to remain pretty grounded and raw. Mikey Madson certainly will be a frontrunner for that Lead Actress Oscar too. I had a blast watching this movie, both at an early screening for it at the Festival du nouveau cinéma de Montréal and again at the Alamo Drafthouse in Austin, Texas.  I initially felt torn on the ending, but the more I’ve thought about it, the more it really suits the movie and remains true to its core.  Expect to see this one in my best of the year list and definitely give it a chance when it’s showing near you! Saturday Night I won’t lie, I didn’t think I would like this movie. The trailer didn’t work for me and I was worried this woulda been pretentious as all hell. But dammit, I liked this one! This movie takes place over the span of about 2 hours before SNL hits the airwaves for the first time. While SNL is a recognizable institution now, it wasn’t always. In fact, it would’ve been very easy for the show to fail, and the chaos of that is on full display in this movie.  The fast pace made this one feel like a breeze and there was a steady stream of jokes, heart, and bits to keep me engaged. I’m a bit of a TV historian too, so I was very aware of the story of SNL, the original cast, and the politics at NBC, so I thoroughly enjoyed all of those nods and bits. I do wonder if you’re not as invested in these people going in though if your enjoyment simply wouldn’t be the same. The thing that stuck with me most though was the performance from Cooper Hoffman. Cooper is the son of the late Philip Seymour Hoffman, one of my all time favourite actors, and I’ve been eagerly following Cooper’s career to see if some of that magic has passed on. I think it definitely has, and one scene in particular stood out to me so much that it made me giddy. I genuinely can’t wait to see everything Cooper Hoffman will do in the future. Woman of the Hour Woman of the hour is directed by and stars Anna Kendrick in her feature film directorial debut! It follows the experience of Sheryl Bradshaw and the real life Dating Game Killer. Without giving too many details of what actually happens, Bradshaw was on the Dating Game TV show when Rodney Alcala was a contestant, who actually ended up “winning” a date with Bradshaw. Alcala though was in the middle of a spree of killings at the time for which he obviously hadn’t been caught yet.  Overall, I enjoyed this one enough and it was a solid directorial debut for Kendrick. If you’re a true crime person, this will definitely be up your alley. I did have a couple issues, namely Kendrick’s character’s involvement. It’s not that the performance was bad or anything, but the whole dating game angle just doesn’t weave very naturally into the story. Such a prominent focus on Kendrick’s character just feels out of place given how little she had to do with anything that actually happens in the case. The fact this serial killer ended up on the dating game is certainly weird, but aside from an intriguing premise, they just don’t manage to weave that angle into the movie very well.  This was pretty close to a half heart rating, but I do like the true crime genre and definitely enjoyed this one enough to justify a positive rating. The Apprentice A movie without an audience no doubt. If you love Trump, you don’t care to see the Hollywood take on the more formative years of the former (and now future) President of the United States. If you hate Trump, you’re probably not all that interested in learning more about what made him the man he is today. And finally if you’re indifferent to Trump, you’re probably sick of hearing about him over the last decade. With that said, there’s some solid stuff in this movie. I was impressed with what I felt was a bit more balanced of a take on Donald Trump. I certainly wouldn’t say it was even, but it didn’t play as fast and loose with the truth as you might expect it to, at least as it relates specifically to Trump himself. I really like the performances here from Sebastian Stan as Trump, who I would say emulates Trump more than he does an impression of him, and Jeremy Strong as Roy Cohn, Trump’s friend, lawyer, and mentor. The movie does some fun things visually to match the vibe of the different decades it spans too which I liked. The only issue I really had was that I

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‘The Brutalist’ Review: A Dense Historical Epic About the Difficulties of Making Art

It’s been weeks, and there are images from Brady Corbet’s The Brutalist that haven’t left me. It’s an exquisitely crafted film, shot with care on VistaVision, a largely obsolete 35mm film format that hadn’t been used in the full production of a movie in decades. This is a large, dense film. In a strange way, it reminds me somewhat of Francis Ford Coppola’s Megalopolis but without the camp and bad green screen. It’s audacious, ambitious, visually distinctive, and structurally unique. Like Megalopolis, The Brutalist is an American epic. It’s about an architect, a visionary, and in many ways, it’s about filmmaking itself—art-making itself—and the ways that art interacts with commerce, the obstacles and sheer manpower that it takes to erect a building or create something like a film. It’s also an immigrant story, about people who come to America to build monuments and achieve the greatness promised by the American Dream. I still don’t know what to fully make of The Brutalist, but I do know that it’s been haunting my brain ever since we walked out of the Paramount Theatre in Austin, where we had the pleasure of seeing it projected on 35mm. The experience was fantastic, and seeing a movie that was shot on film projected on film is, bar none, one of the best ways to experience a movie like this. It not only looked amazing, but the material quality of the projection made it feel like watching the past come to life, which is exactly what you want in a historical drama. Set in the post-war period, the movie follows László Tóth (Adrien Brody at his best), a Hungarian-Jewish architect, the titular brutalist, who makes his way to Philadelphia to build a life after being separated from his wife Erzsébet (Felicity Jones) and orphaned niece Zsófia (Raffey Cassidy), who are still in Europe after the Holocaust. There, his life becomes entangled with rich industrialist Harrison Lee Van Buren (Guy Pearce), who recognizes his talent for building and gives him a project. The film is structured in two parts, with a built-in 15-minute intermission in between, as well as an overture and an epilogue to bookend the whole endeavor. Structurally and formally, it’s one of the most striking movies I’ve seen in a long time. The use of a near-forgotten film format, the length and distinct two-part structure, the inclusion of an intermission—all of these elements are a kind of cinematic brutalism, emulating in a way the architectural movement that gives the movie its title. Brutalism was and is an architectural movement borne out of the tumultuous mid-century, a reaction directly in response to modernism and post-war architecture. The name is largely thought to have come from the French term, “béton brut,” meaning “raw concrete.” Concrete is one of the staples of brutalism, which was largely centred around creating functional buildings out of sturdy and cheap materials, left unadorned to expose their material qualities. The principles of brutalism emphasized simplicity, structure, and material honesty. At its inception, it was built on a utopian ideal of utilitarianism. As a movement, brutalism was short-lived and has something of a contentious legacy, with its large concrete structures often deemed cold and ugly. Its legacy is, however, far-reaching, found in everything from Soviet housing blocks to underground transit systems to city halls and libraries and cultural centres around the world. Personally, I find a lot of brutalist architecture to be beautiful in its own way. Brutalism is a blank canvas and an open question. It’s both utopian and dystopian, minimalist and maximalist, all at once. It’s confrontational. Of course, it was doomed to fail. Of course, it fell out of favour. But the best architecture, like the best cinema, invites you in, asks you to make your own interpretation, makes you feel something. That’s exactly how I experienced The Brutalist. I was captivated and moved by it. I was left with an open question. I realize I’ve said little about the actual movie so far, but it’s a movie that I don’t think I can really do justice by simply telling you about it. It’s not a perfect film. The first half moves and breathes more fluidly than the second half, which gets a bit lost in the fog of its own ambition, somewhat akin to Tóth himself. But I can say that I was never bored during its three-and-a-half-hour runtime, which is a rare feat. Adrien Brody also gives what is surely one of the best performances of the year, while Guy Pearce steals almost every scene he’s in. There’s beauty, humour, and darkness here in spades. In fact, some beats are bleak to the point of almost being borderline melodramatic, but the film somehow never buckles under the weight of those choices. If the end result has its rough edges, like raw concrete, the whole of it—long and dense and difficult, but still beautiful and balanced—is something you can’t help but admire. Verdict The Brutalist is big, bold, and beautiful. I loved so much about it, and I haven’t stopped thinking about it since leaving the theatre. It’s one of the most beautifully shot films I’ve seen all year, and it takes big swings in a way that I can’t help but respect. If you want a sweeping historical epic about people in all their flawed humanity trying to build things that will leave their mark on the world, portrayed by some of the best actors we’ve got, then this is one movie you don’t want to miss.

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‘The Order’ Review: Jude Law’s Neo-Nazi Docudrama Is One of the Best Cat-And-Mouse Crime Thrillers of the Year

The Order was one of the biggest surprises of AFF for me. I went into it with no expectations, not really knowing anything about it. What I got was one of the tightest crime dramas of the year so far. Of director Justin Kurzel’s previous work, I’d only seen his gritty, brooding adaptation of Macbeth, starring Michael Fassbender. Most of the rest of his filmography consists of smaller films set in his native Australia and probably his most high-profile film, the poorly received Assassin’s Creed adaptation from 2016. Likewise, screenwriter Zach Baylin’s previous credits include the Oscar-nominated King Richard alongside films like this year’s The Crow reboot and Bob Marley: One Love. All in all, a mixed bag, so you’d be forgiven for going into The Order with some trepidation. I assure you, however, it’s well worth your time. Set in the 1980s, the film is based on true events, following the FBI’s investigation into a white supremacist group, called The Order, behind a string of increasingly violent crimes with the goal of eventually overthrowing the US government. Jude Law plays the aging FBI agent in charge of the investigation, opposite Nicholas Hoult as Bob Matthews, the icy and persistent leader of The Order. If the plot sounds familiar or particularly resonant with recent history in America—well, it is. I was, personally, unfamiliar with the events depicted in the movie, so watching it was pretty eye-opening. I couldn’t believe that I had never heard about The Order or their crimes, some of which were quite high-profile and led to one of the largest manhunts in FBI history.   Impressively, the movie manages to stay propulsive and entertaining without sensationalizing or diminishing the weight of the events it depicts. For having such dark, frighteningly relevant subject matter, it toes that line very well. Maybe it’s that I had just watched another gritty cat-and-mouse thriller in Dirty Harry earlier during the festival, but The Order felt like it had the sensibilities of a 70s procedural, despite its 80s setting. It’s stylistic without being flashy, dark and naturalistic, straightforward but still propulsive and thrilling. I’ve been a fan of Nicholas Hoult’s since I was a Skins-obsessed teenager (shout out to my other formerly Skins-obsessed girlies), but I’ll readily admit he’s been a fairly under-the-radar presence since breaking out into bigger film roles. He’s never bad, but he’s never particularly stood out, either. But here, he is chillingly good as a racist insurrectionist, giving what is undoubtedly a career-best performance so far (this one edges out his performance in Juror #2 for me, though he’s very good there too in a different kind of moral tale). Law is also fantastic as the down-and-out, mustachioed Agent Husk, in what might also be one of his best performances to date, making a role that could easily fall into tropey familiarity feel lived-in. Even the supporting cast is excellent, particularly Jurnee Smollett and Tye Sheridan, who both bring a lot of pathos to characters that might otherwise feel surface-level. I wasn’t expecting to be so moved by this film, yet I was. The movie’s action sequences—shootouts and robberies and an unforgettable final raid in a smoldering house—stand out as thrilling set pieces. But the film also effectively conveys the weight of collateral damage amidst all that violence. While there are clear bad guys and good guys here, given one side is made up of militant neo-Nazis, the movie draws some interesting parallels between its two leads. In particular, it draws a line between the sacrifices that are inevitably made in dogged pursuit of a single-minded obsession—whether it’s pursuit of an ideological conviction or of justice. Husk’s career of chasing criminals has cost him his family and his health, and over the course of the movie, we see Sheridan’s overzealous rookie cop character increasingly buy into Husk’s determined approach, almost “indoctrinated,” as screenwriter Zach Baylin put it in the post-film Q&A at AFF, in parallel to Matthews’ indoctrination of his disciples and his children. Of course, Sheridan’s Jamie is driven by his moral compass and a desire to protect his family, wanting to make the world a little safer for his biracial child. But in a strange way, family is also what Bob Matthews offers to his followers—a twisted form of acceptance and community, ironically based around a hateful and destructive ideology. For all his talk of brotherhood and family, however, he’s selfishly obsessed with furthering his own bloodline, at the expense of his wife and their adopted children. The explosive and unnatural violence that’s borne out of his commitment to his cause stands in stark contrast with the vast and natural beauty of the film’s Pacific Northwest landscape (gorgeously shot by DP Adam Arkapaw). These larger thematic threads all give the film some depth, despite what is largely a by-the-book narrative. Ultimately, there’s nothing revolutionary here (how many times have we seen the ‘grizzled detective with skeletons in his closet’ trope before?), but the movie accomplishes what it sets out to accomplish remarkably well. It’s tightly paced, with beautiful cinematography and excellent action sequences, and tells a story that’s both emotionally and historically resonant. Verdict If you’re looking for an old-school meat-and-potatoes historical crime thriller about cops and neo-Nazi robbers, The Order fits the bill perfectly. While some of the supporting characters are thinly drawn, the movie is bolstered by standout performances, propulsive action, beautiful cinematography, and a story pulled from one of the many dark chapters in American history, one that’s in many ways still being written.

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September 5 Review — A Tense Look at the Munich Crisis Through the Eyes of the Media

The last of my coverage from the Austin Film Festival (AFF) is with this review for the upcoming film, September 5.  September 5 was co-written and directed by Tim Fehlbaum, a Swiss film director in his first mainstream feature film. Moritz Binder and Alex David join Tim as co-writers.  The film chronicles the 1972 Munich Olympic hostage crisis, but what makes this movie more unique is that it’s all from the perspective of the ABC Sports crew that was managing one of the first ever live coverage broadcasts.  The cast that fills out that ABC Sports crew is an impressive one that includes Peter Sarsgaard (Jarhead, Batman 2022) and John Magaro (The Big Short). The supporting cast includes Ben Chaplin, Leonie Benesch, and Zinedine Soualem among others!  So, should you tune in to September 5 or change the channel?  My Thoughts  September 5 is a solid movie that did a lot of things right. First of all, I was completely unfamiliar with the 1972 Munich Olympic hostage crisis and if you don’t know much about that incident, I assume the movie is a bit more compelling overall to you. With that said, the strength of the movie isn’t really in the hostage crisis itself, but the ABC Sports team that is in Munich to cover the Olympics.  I really enjoyed this perspective as a way to make the movie feel a bit more unique than other movies like it. The added layer is that they were first a sports crew and not a news team, but also that this incident was a first of its kind with live footage being broadcast during the crisis itself. Something we’re all too familiar with in 2024.  While this offers an interesting perspective, it’s also a pretty big risk because almost all of the movie takes place in the building the ABC crew is broadcasting from and so you can’t place the audience anywhere in the crisis itself, except for what the live cameras can show us in the room.  I definitely think this risk pays off for the most part, especially towards the end of the movie. Without giving away any spoilers, as the hostage crisis concludes, the final location is completely dark both literally and in the sense that there are no cameras to really see what is happening. If, like me, you had no idea how the hostage crisis ends, you and the news team are left in the same position, wondering what is happening and struggling to balance reports about what actually occurred.  Regardless of the narrative, for a movie like this to succeed, the cast needs to be incredibly strong, and they certainly were. The biggest standout for me was definitely John Magaro, who was effectively running the live coverage from the control room. His character starts his shift with some questions floating around about his qualifications to even call the coverage for the Olympics, but then as the hostage crisis unfolds, he’s forced to make some major decisions that will be seen by millions around the world. He really does carry the bulk of the movie on his shoulders, but everyone around him (especially Peter Sarsgaard, Ben Chaplin, and Leonie Benesch) does a fantastic job as their characters challenge and support him throughout the crisis.  With all of that said though, the movie really struggled to elevate itself to something truly great for me. I did see this in the middle of a full day at AFF, but the movie ultimately struggled a bit with the pacing. I just felt a lack of momentum, especially as the ending built more to a confusing and unclear moment instead of something more concrete. This makes sense given that the ABC Sports crew was in the same boat as the audience is in terms of not knowing, but it just struggled a bit to build and maintain momentum for me. This is definitely part of the downside of the risk I mentioned earlier about keeping the focus so tightly on the ABC crew, when there were moments occuring that would have been more interesting to see outside the control room. To be clear, I’m not making a case of “Oh the movie would have been more interesting if it did something differently,”. Firstly, because I’m not sure that’s even true, but more importantly I don’t really believe in that kind of criticism. The idea that a movie is different than what you wanted or expected and is therefore not as good, is very hollow criticism to me. What I mean here is that I found my mind being more drawn to what’s actually happening in the crisis while the movie was trying to make me more compelled by what was happening in the control room. While I found the conflict in the control room interesting, it still wasn’t as interesting as the conflict they were covering. One thing I also feel compelled to mention is the apparent controversy that is already brewing ahead of the film’s wide release. For those unaware, without spoiling the movie at all, the hostages that were taken were Israeli coaches and athletes and they were taken by Palestinian terrorists. When I went to log the film on Letterboxd (you can follow Adriana and I on there) the top review said “I’m sorry, but it felt like watching Israeli propaganda.” Further, there was speculation that the film was rejected from the Toronto International Film Festival because of the ongoing Israeli and Palestinian conflict.  For what it’s worth, I do disagree with the idea that this feels like Israeli propaganda, but it’s obviously hard to not think about the movie while ignoring the ongoing conflict. I think the movie itself is very focused on the time and the situation and it never felt preachy to me or anything like that either. It was very much about the ABC Sports crew and them having to pivot and cover the crisis. The text blurbs that appeared at the end

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