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‘ETERNITY’ Wastes the Afterlife in Rom-Com Purgatory

Joan (Elizabeth Olsen) just died. Fortunately for her, death comes with options. She gets to choose between a series of curated afterlives, each designed so she can spend a hand-selected eternity with the person she loved most. Unfortunately, she was married twice: first to Luke (Callum Turner), a dedicated soldier who died in war, and later to Larry (Miles Teller), with whom she shared 65 years and raised a family. So now Joan must decide between the smoldering heat of her first love and the cozy domesticity of her second. With A24 distributing and a respectable cast assembled, one might assume the existential rom-com Eternity would sidestep the genre’s tired clichés and deliver something meaningful. Instead, it sinks comfortably into the wreckage of the rom-com’s worst instincts, like a codependent relationship that’s too lazy to risk anything new. Though just mildly amusing and just mildly clever, Eternity is unmistakably formulaic, centering its drama on that tried and true love triangle truism: women be indecisive. Read More

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‘ZOOTOPIA 2’ and the Overwhelming Joy of the Meaningful Family-Friendly Film

“It was so wonderful.” That was my three-year-old daughter’s verdict after watching Zootopia 2, which marked both her first press screening and her first time seeing a movie in a theater. And I have to agree. Even if you remove the film’s actual quality from the equation, the experience itself—sharing one of my greatest joys with my wide-eyed little girl as she gleefully demolished popcorn and a sour apple ICEE—was pure movie magic. Read More

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The Tragedy of ‘HAMNET’ and the Absolution of Art

The therapeutic power of art reverberates through both creator and observer. There’s something that stirs the human spirit in encountering it, especially when it comes carved straight off the bone of the soul. And no emotion strikes deeper than the sorrow born of tragedy. In Chloé Zhao’s powerhouse of a dramatic tearjerker, Hamnet, tragedy and art are married through a human tapestry of love and loss. Buckle up and bring the Kleenex. Read More

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‘WAKE UP DEAD MAN’ is A Holy Mystery a Few Beads Short of a Full Rosary

Detective Benoit Blanc is back for the third edition of Rian Johnson’s irreverently charming neo-noir Netflix mystery series, Wake Up Dead Man: A Knives Out Mystery. This time knives (and, of course, a murder most foul) are indeed involved, but so is an unholy whodunnit that defies the logic of the material world: a locked-closet killing and an apparent resurrection used as profane misdirection when a slaying at an isolated church leaves everyone scratching their heads and praying to god for answers. The effect is another breezy, well-laid-out puzzle box from Johnson that spins its duplicitous webs, though it falls short of greatness due to an over-reliance on confessional exposition and an underdeveloped ensemble cast. Read More

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‘DIE MY LOVE’: Postpartum Dread Lacks Direction

Leaving the big city for a beat-up house deep in the Montana sticks, new parents Grace (Jennifer Lawrence, frequently nude) and Jackson (Robert Pattinson, less nude) are struggling to adjust. She’s a writer; he works with his hands in coveralls. Their rural life isn’t particularly fulfilling, and neither, unfortunately, is the film. From acclaimed auteur Lynne Ramsay (We Need to Talk About Kevin, You Were Never Really Here), Die My Love is a meandering plunge into postpartum ennui that captures its characters’ slow unraveling but drags the audience along for the same dreary ride without much in the way of reward. Read More

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‘PREDATOR: BADLANDS’ Is the Alien vs. Predator Movie We Deserve

Other blockbusters take note: the Predator franchise just can’t seem to miss latest. The newest entry, its sixth live-action film, Badlands, is stripped to the stark white bone, yet still taps into the pulsing artery of what makes this movies like this so fundamentally compelling: a culture of necessity. There isn’t a single ounce of fat on Predator: Badlands, which is a lean, mean, killing-machine of a tentpole movie that tells a thrilling coming-of-age story through the lens of IP and somehow enriches both in the process. Director Dan Trachtenberg, now three for three in the Predator franchise, has emerged as something of a modern-day James Cameron, only leaner, less cringy, and frankly, more consistent. He understands that the best genre films aren’t just about the spectacle. They’re about how environments shapes the character as much as the plot and use special effects and thrilling fight sequences to further that idea. Read More

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‘BUGONIA’ Is Alienating For All the Right Reasons

A twisted morality play-cum-psychological thriller with a maybe-science-fiction bite – one that only Yorgos Lanthimos could execute at this level – Bugonia may be a remake, but it’s still infused with vivid originality and alive with possibility. The story of a radicalized gig worker and his slow-witted cousin who kidnap a powerful biochem CEO (convinced she’s an alien from the Andromeda galaxy) plays out as a tense, one-location two-hander that crackles with the high-voltage energy of Jesse Plemons and Emma Stone. It’s unnerving, darkly funny, sharply acted, and loaded with just enough satirical commentary on the tragedy of modern life to keep it gripping from its bleak opening moments to its glorious finish. Read More

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Del Toro’s ‘FRANKENSTEIN’ a Sumptuous Parable of Abusive Fathers

Guillermo del Toro seemed destined to tackle Frankenstein eventually. The fact that he finally got around to it feels less like a surprise than a gothic inevitability, summoned with clear adoration for the source material and a meticulous eye for detail. His entire career has circled the idea of misunderstood monsters and the nobility buried within those abandoned to the fringes. But after decades spent riffing on creation myths and weaving stories of the macabre and supernatural, his version of Frankenstein, for all its sumptuous production and undeniable cinematic majesty, feels a bit, well, Frankensteined together. Read More

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‘BLACK PHONE 2’ Doesn’t Phone It In, But Still Misses the Call

Black Phone 2, a snowy and sentimental spooky sequel from Scott Derrickson, is a mixed bag of horror do’s and don’ts. Set three years after the events of the first film, where kidnapped child captive Finney fought and killed a serial child murderer known as the Grabber (Ethan Hawke) by communicating with his deceased victims through a kind of supernatural apparatus, i.e., a black phone, the sequel picks up with more messages from the great beyond. Derrickson’s followup is thoughtful and meditative in places, well-acted in others, shoddily written here and there, full of stylistic choices but light on actual scares: a menagerie of successes and shortcomings stuffed into one haunted receiver. Read More

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Colin Farrell is Down Bad in Plodding Macau Gambling Drama ‘Ballad of a Small Player’

Part sweaty character study, part paranoid gambling thriller, The Ballad of a Small Player tries to burrow into the psychology of a degenerate gambler adrift in the gaudy purgatory of Macau but comes up short. What could have been an impressive vision of bad luck and worse decisions unfortunately delivers fewer thrills than a five-dollar hand of baccarat in Reno at 2PM on a Tuesday. The film has plenty of surface appeal: shimmering neon, location-shot flair, handsome production design, perfectly tailored suits that scream status and money even as they’re dressing a man on the edge of financial ruin; and there’s even a human pulse thumping beneath it all, largely thanks to a glisteningly committed, twitchy turn from Colin Farrell. But Edward Berger’s latest – following the austere All Quiet on the Western Front and the critical grand slam Conclave – is ultimately a confused, meandering, and profoundly unsatisfying drama that gambles big on a unlikable protagonist and forgettable story to come up well short of a winning hand. Read More