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'Rebel Moon – Part Two: The Scargiver' Review April 19, 2024 By: Hunter Friesen It’s ironic, but not unexpected, that the conclusion of Zack Snyder’s mega-budget blockbuster duology, the project that was supposed to bring every other studio’s franchises to its knees, has been treated by Netflix the same way it would churn out any piece of cinematic slop to its subscribers. The big game commercial spots have been replaced with tacky social media ads, the lavish red carpet premieres with unpublished fan screenings, the boastful (a better word would be “delusional”) interviews with boilerplate salesmanship, and the touting about the future of movie distribution being changed forever have altogether ceased. What was once planned to be an event film has been reduced to a footnote in the endless scroll along with nearly everything else the streamer gets its greedy hands on. That ho-hum attitude toward the release couldn’t be more opposite from the film itself, which is able to find its feet and deliver the grandiose chaos that fans have been longing for after Part 1: A Child of Fire sacrificed itself to (poorly) lay the foundation of this universe. But Snyder and his two co-writers, Shay Hatten and Kurt Johnstad, can’t trust their audiences to remember anything from what they watched just four months ago, so we’re forced to listen to Anthony Hopkins give a “previously on…” recap as the opening shot descends on the dreadnaught mothership of the Imperium. On that ship is Atticus Noble (Ed Skrein), who’s more-or-less been Frankensteined back to life after meeting his demise at the hands of Kora (Sofia Boutella) in the last movie. I know what you’re thinking. Did they at least use his resurrection as an opportunity to fix his haircut? I’m sorry to be the bearer of bad news, but it’s still as terrible as ever. The seven samurai of the outer worlds have been assembled, and now it’s time to prepare to defend the village against everything the Imperium will throw at them. Despite being ten minutes shorter than its predecessor, The Scargiver gets much more time to breathe thanks to the incessant hopping to nondescript worlds no longer being needed. Everything takes place in the village, save for the ungodly long dinner table scene where each character goes around giving a redundantly extended flashback to their origin. I know my curiosity will get the better of me and I’ll indulge in the future Snyder Cuts of these two features, but the thought of that scene being stretched even more does send a shiver down my spine. After that and an extended trip to FarmVille, the carnage can ensue. It might be a sacrilegious act to even compare the two, but there’s no escaping the feeling that the final hour and change of this film is Snyder’s attempt at his own Battle of Helm’s Deep from The Lord of the Rings: The Two Towers . Waves of faceless soldiers descend upon the village, ready to be mowed down by the plucky farmers. Snyder’s usual slow motion is on full display here, with some epic moments being bound to line the racks of every screensaver website, while others flounder under the weight of the pretentiousness. And it’s still worth pointing out that Snyder once again serves as his own cinematographer, employing that ultra-shallow focus that we’ve all come to hate. Even with all those (very valid) complaints, none of this is as exhaustively mediocre as it was in A Child of Fire . Maybe it’s because of my reduced expectations or inability to fully care about what Snyder is dishing out, but there’s a lot of mindless enjoyment to be had. The explosions are forceful, the action is more competently filmed, and the objectives are clear. I dare say that I would have semi-welcomed experiencing this in the theater. The loudspeakers would have greatly helped in appreciating Junkie XL’s bombastic score, borrowing liberally from his work from Zack Snyder’s Justice League (not that I’m complaining). It’s easier to have fun with The Scargiver now that you’re not being bombarded with the tenacity of a used car salesman. I’m sure that’s not exactly the approach Netflix and Snyder had when they poured hundreds of millions of dollars into this wannabe franchise, which has four more entries planned. But that’s the reality of the situation, so it’s best we keep Snyder out of the headlines and just let the movie do the talking (or yelling for that matter). 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

'Gran Turismo' Review August 25, 2023 By: Hunter Friesen Screenwriters Jason Hall and Zach Baylin make it their main objective to never let you forget that Jann Mardenborough (Archie Madekwe) is an underdog that no one believes in. “This isn’t a game, this is real life,” “You’re just a gamer, what do you know about driving cars?” “This time there isn’t a reset button,” are just a handful of lines that you'll become increasingly tired of hearing. It seems Hall and Baylin never took the lesson on diminishing returns, as all the suspense surrounding Jann’s outcome is completely evaporated by the fifth scene where someone tells him he can’t accomplish his dream. To cut them some slack, this is based on a true story, a fact that the producers REALLY want you to know, going so far as to rename the movie Gran Turismo: Based on a True Story in some markets. Mardenborough is a real person who became obsessed with racing at a young age. But he didn’t have a similar upbringing to the other drivers on the professional circuit, filled with fame and easy access to the best cars money can buy. Jann’s window into the racing world was through the PlayStation game “Gran Turismo” (don’t call it a game in front of Jann because it’s a “racing simulation”). The opening scene (or commercial if you want to be more accurate) introduces us to the immense detail and precision that went into making the game as realistic as possible. Unlike other gaming series like “FIFA” and “Madden,” “Gran Turismo” is generally accepted as the most authentic portrayal of the sport it represents. No one seems to believe that Jann’s world-class gaming abilities can translate into real racing, least of all his former soccer pro dad (Djimon Hounsou). Nissan marketing executive Danny Moore (Orlando Bloom) sees potential in the kid. If Jann can be made into a serious racer, it will make Nissan one of the most popular car companies among the untapped gaming demographic. Put in charge of the training process is Jack Salter (David Harbour), who’s also a non-believer in “sim racers.” Over time his cold heart begins to thaw, with Jann proving himself to be just as good as he says he is. Upon the announcement, one would think that former wunderkind Neill Blomkamp is serving his time in director jail with this assignment. There are no signs of that here, fortunately, with the District 9 and Elysium director crafting some stunning racing sequences, even if there are so many that they end up blurring together. The roaring of the engines fills the theater corner to corner, and cinematographer Jacques Jouffret captures some decent shots. It’s old-fashioned studio craftsmanship applied to a sport that values tradition. Even with all the underdog cliches I mentioned earlier, there’s still a strong emotional connection to Jann and Jack’s partnership. Madekwe and Harbour have great chemistry as they play to the tune of “young upstart and grizzled veteran” we’ve heard many times before. But it’s been done so many times because it works, and it works here. The lows are bitter and the highs are sweet. Gran Turismo is a product of brand synergy, meant to push the overall awareness of a product just as much as it's supposed to tell a cinematic story. It’s part of a worrying trend of corporations taking on the role of their own biggest fan (see Tetris and Flamin’ Hot ). But there’s also stuff like Air and Barbie that can make the most out of propaganda and entertainment. Blomkamp’s film doesn’t reach those heights, but it still does just enough to cross the finish line in a respectable fashion. 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

'80 for Brady' Review January 20, 2023 By: Hunter Friesen Lighter than a feather and filled with enough New England Patriots propaganda to get itself banned in Atlanta, Buffalo, New York, and Miami, 80 for Brady would probably have cleaned up at this year’s AARP Movies for Grownups Awards if it had been given a timely qualifying release. Of course, there’s always next year, where there’s potential for Martin Scorsese’s Killers of the Flower Moon to be upstaged in the categories of “Best Buddy Picture” and “Best Intergenerational Film.” At the time of the film’s announcement, famed Patriots/Buccaneers Quarterback Tom Brady had just announced his retirement from football after 22 seasons, which included 7 Super Bowl titles, 3 NFL MVP honors, 15 Pro Bowl selections, as well as an extended list of other career achievements. It does take a certain amount of hubris on Brady’s part for his first post-football move to be the commissioning of a movie about four fans who worship him as a god. Granted, this is inspired by a true story, even if the script by Emily Halpern and Sarah Haskins, part of the writing team behind 2019’s Booksmart , takes some very creative liberties with the truth. The 80 in 80 for Brady denotes the ages of four friends who have centered their strong friendship over their love of Tom Brady and his New England Patriots. It all started on September 23, 2001 (a date celebrated every year by Patriots fans) when Lou (Lily Tomlin) was stuck at home recovering from her last round of chemotherapy. Her close friends Trish (Jane Fonda), Maura (Rita Moreno), and Betty (Sally Field) tried to entertain her by getting the TV to work, but it was stuck on one channel. At that exact moment, young Tom Brady steps into the pocket after regular starter Drew Bledsoe was taken out of the game due to a nasty sack. From there, the rest is history, for both Brady and his cohort of dedicated octogenarian fans. Fast forward to 2017 and the Patriots are going to another Super Bowl. Instead of staying home like they always do, the group decides to make the trip down to Houston for the big game. “The Super Bowl is no place for four old women,” says Maura, who happens to be right. But that statement being true is what makes for the most of the fun within 80 for Brady , as four Hollywood legends with effortless charm and chemistry blaze through the biggest event of the year. Much of the material is light and fun, made to purely entertain you for the ninety-eight-minute runtime and nothing more. And compared to most of the entries in this specific genre, which include Book Club (plus its upcoming sequel) and Poms , this one works fairly well. Moreno, who technically doesn’t qualify for the club considering she’s 91, clearly has the most fun within the ensemble. It’s unfortunate that the only dance routine within the film is poorly choreographed and doesn’t allow the original cinematic Anita to show off her long-lived talent. There are some attempts at drama, but it’s all so clean and shallow that it barely even registers. The stakes are pretty much nonexistent, and the jokes can be seen from a mile away. Director Kyle Marvin keeps everything breezy, and cinematographer John Toll (recipient of two Academy Awards) makes the Super Bowl festivities look as appealing as possible. Football fans may not be totally won over by 80 for Brady , but its intended audience of retirees will undoubtedly eat it up. And in a time when one of the largest sustainers of adult theatrical programming is not returning to the cinema, we’ll take all the help we can get. So, take your parents and/or grandparents out for a nice time, and maybe try to convince them to get back into their old cinemagoing habits. 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

'A Star Is Born' Review October 8, 2018 By: Hunter Friesen A Star Is Born is one of those classic Hollywood films that has stayed close to each generation that has experienced it. Whether it be the original from 1937 or the remakes in 1954 and 1976, people have adored the timeless story that preaches the value of hope and perseverance in the face of adversity. Now in 2018, the film is being remade for the third time, this time with director, writer, and star Bradley Cooper teaming up with Lady Gaga to tell the classic tale to a modern audience. The film follows the relationship between music superstar Jackson Maine (Cooper) and aspiring singer Ally (Gaga). They quickly fall for each other after meeting and set out to share their love and music with the world. Because of this, Ally’s career starts to take off, while Jackson’s begins to crumble beneath his feet as he battles alcoholism and addiction. From this point, their lives begin to irreversibly change. They try to hold onto each other, but it becomes more and more difficult as they go down their own separate paths. Bradley Cooper is a natural director and it is astonishing that this is his debut feature. It probably helps that over the past decade, he’s had the opportunity to learn from veteran directors like Clint Eastwood and David O. Russell. Cooper possesses a ton of confidence and a queen eye for great visuals. The concert scenes are the highlight of the film as they bloom with bright colors and original music. It feels like we’re right there on stage with the main characters as they profess their love to each other while pouring all their emotions into the songs. Cooper uses a high amount of close-ups of the character’s faces in order to tell the story. He also does well at letting scenes play out in a natural order rather than cutting them up. This creates a feeling of authenticity and rawness as the characters are allowed to feel like real people rather than the fictional stars that have been seen so many times before. It’s well known that Cooper is the director and star, but what’s most surprising is that he also contributed to the script along with Eric Roth and Will Fetters. The dialogue between Cooper and Gaga is some of the most authentic speech you’ll find today. Every emotion possible is put on display as their contrasting journeys play out. They always feel like a real couple as they try to manage their relationship and the strain that fame has put on it. In addition to the main plot, there is also a subplot between Maine and his older brother Bobby, who has acted as Jackson’s caretaker all his life. The brothers share a strong bond as they look back on their rough childhoods and re-examine how their relationship has changed over the years. While the subplot provides a good break from the main story and packs an emotional punch, there just needed to be more of it. The interactions between the brothers are few and far between, and by the end, it feels like a lot more could have been explored. The legacy of A Star Is Born has been built on great acting from the leads. Cooper and Gaga more than live up to expectations and will surely be compared to the greats that have come before. Cooper probably gives his career-best performance as the country star fighting his own personal demons. With his lowered voice and grizzled face, Cooper’s character is a sad spectacle that exudes sympathy as his journey takes him lower and lower. He also lends his voice to some great music as he and Gaga light up the stage together. While Cooper is terrific, the show belongs to Lady Gaga as Ally. Even though she’s a superstar singer in the real world, Gaga hides all of that behind her transcendental performance as every girl trying to get ahead. She's the heart of the film as she delivers each line with perfection. Her chemistry with Cooper is second to none as they simultaneously explore the effects that fame has on a person. Lastly, Sam Elliott also gives a career-best as Bobby. He doesn’t get much screen time, but he makes every second count as he plays a character battling his past and the effects it has had on his life. A Star Is Born has everything going for it; great directing, a powerful story, amazing original songs, and two leads who couldn’t be closer. It’s the best film of the year (so far) and will become an instant classic, one that will be played and remembered by this generation for years to come. 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

'Triangle of Sadness' Review May 28, 2022 By: Hunter Friesen Triangle of Sadness premiered at the 2022 Cannes Film Festival. Neon will release the film at a later date. An influencer couple, a Russian capitalist, two British arms dealers, and an American Marxist sea captain all board a $250 million luxury yacht bound for the high seas. What could go wrong? You’ve seen movies better at dissecting economic classism than Triangle of Sadness . You’ve also seen much tighter and more succinct ones. And you’ve definitely seen ones that leave you with a better understanding of an issue than when you walked in. But, I don’t think you’ve ever seen a film that doesn't do all of that and still be as wickedly hilarious as Triangle of Sadness . Ruben Östlund has never found an issue he can’t tackle. Whether it be mundane social norms in Involuntary , male ego in Force Majeure (for which he was given the dubious honor of having remade in the English language with the woefully dull Downhill ), or the upside-down art world in The Square , the Swedish filmmaker has always found a playful way to show just how absurd life is. And, along with those themes of social skewering, the thing that has stayed most consistent is the praise he’s received. Force Majeure snagged the Un Certain Regard Jury Prize at the 2014 Cannes Film Festival, which allowed him to be “promoted” to the official competition with 2017’s The Square . The brighter lights did nothing to hinder his upward trajectory as he added the prestigious Palme d’Or to his trophy shelf. Now in 2022, Östlund’s stock continues to rise with his second consecutive Palme win, joining Michael Haneke and fellow countrymen Billie August as the only filmmakers to win the award for back-to-back films. So, with all the awards surrounding Triangle of Sadness as it sets its American theatrical release, the question remains: Does it live up to the hype? Well, yes and no. Taking a page out of the Zoolander school of satire, Östlund’s film opens with a modeling audition. At the age of 25, Carl (both smartly and aloofly played by the rising Harris Dickinson) is getting a little too close to being phased out of his career as the roles in the “grumpy” and “smiley” brands aren’t coming as easily as they used to. He’s left to languish in a slow and painful societal death, which includes losing social media followers and invites to his girlfriend Yaya’s (Charlbi Dean, who tragically passed away just after the film’s premiere) runway shows. This A Star Is Born dynamic threatens the pair’s relationship, which Östlund punctuates with a side-splitting cringe-fueled debate over who should pick up the check at a restaurant. Fortunately, the couple is bound for a superyacht vacation that will act as the final opportunity to mend their connection. On the boat, they become the middle class, stuck between the uber-rich guests and the lowly workers that service every passenger’s whim, which includes going for a swim to assuage their master’s guilt and promising to clean the sails, even though this a motorized vessel. In this second act of the film’s clear three-act structure, Östlund unleashes a tirade of written and visual allegories upon his micro-society, with two standouts being Woody Harrelson’s alcoholic ship captain and the closing scene where the ship fills with literal shit and vomit. Any viewers with a weak stomach have been properly warned. None of what Östlund is saying is revolutionary, but it is oh so funny. But that high level of hilarity can’t sustain itself across the film’s extremely bloated 150-minute runtime, which becomes quite clear during the final, and weakest, act. Through unforeseen circumstances, the passengers have been marooned on a desolate island. Things get even more in-your-face by Östlund as the social hierarchy completely flips, with the white-collar passengers proving to be inept and the “peasants” becoming royalty because of their basic survival skills. From here to the end, most everything only elicits a mild chuckle instead of the belly-aching that the first two hours had accustomed us to. Triangle of Sadness demands to be seen with the largest crowd possible, as its mixture of low and high-brow humor travels like wildfire in the moment. Unfortunately for the majority of the viewers, the post-pandemic theatrical landscape doesn’t create too many opportunities for that level of a collective experience for any non-MCU branded film. It’s a true pity, as my Cannes screening of Östlund’s farce in May has lasted longer in my memory than most blockbusters do the day after. 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

'Broker' Review May 31, 2022 By: Hunter Friesen Broker premiered at the 2022 Cannes Film Festival. Neon will release the film at a later date. Revered Japanese auteur Hirokazu Kore-eda has been on a sort of international tour since he won the Palme d’Or for Shoplifters during the 2018 edition of the Cannes Film Festival. Before then, he’d remained tied to his native Japan beginning with his 1995 directorial debut, Maborosi . But after the golden laurels, he set his sights on making his English-language debut, The Truth , with Catherine Deneuve, Juliette Binoche, and Ethan Hawke. Also uncharacteristic was the film’s debut at the Venice International Film Festival, away from Cannes where four of his last five films premiered. While it couldn't be considered a failure, the film was seen as a lesser work from a dependable master. So, as a possible rebound tactic, Kore-eda has returned to familiar territory with Broker , debuting in competition at this year’s Cannes Film Festival. But Kore-eda hasn’t made a full return as he stops just short of Japan by setting and supplying his film with top-tier talent from South Korea. And with the help of his crew, many of which come from Parasite including lead actor Song Kang-ho, cinematographer Hong Kyung-pyo, and composer Jung Jae-il, Kore-eda has crafted a touching, if familiar, story about families forming in the most unlikely of circumstances. A baby has been left in a deposit box used by mothers who can’t, or won’t, keep their babies. Two of the employees at the facility, Sang-hyun (Song Kang-ho) and Dong-soo (Gang Dong-won), have formed a partnership to circumvent the rules of the establishment by taking the babies into their protection and selling them under the table to needy couples. The act itself isn’t just about the money, even though it does help since the going rate for a child is nearly $10,000. The pair see themselves as saviors for these kids, as selling them off gets them to a proper home much quicker than the laborious state-run system. 1 in 40 mothers that drop off their babies never return, but So-young (Lee Ji-eun) is that one. She comes back to discover that her baby has been snatched by the pair, whom she labels as simple “brokers” looking to make a few extra dollars under people’s noses. Needing to keep her quiet, and to lend some legitimacy to the sale (which So-young is still okay with), the brokers decide to cut her in on the deal. Purely based on this introductory premise, Kore-eda has laid a field filled with moral quandaries. Is it right to break the law and sell a child if it means they will potentially have a better life? Who is worse, the mother that disposes of the baby, or the people that sell the child? Who’s responsible for the child once the mother has disowned them? Kore-eda doesn’t stop there, as the plot thickens those arguments with supporting details and rationalizations from each character. So-young is revealed to have a troubled past, lending some credibility to the usual selfish act of giving up your child. Sang-hyun has had run-ins with the law, and Dong-soo grew up in a run-down orphanage where the chances of being adopted are slim to none. But even with all these character developments that should create an ethically questionable story, Kore-eda’s direction never makes you feel as if any of this is wrong or dangerous. Throughout the film, the gang is being tailed by two female police officers looking to catch them in the act. That danger of being caught never comes to the surface, with the cops being more of a humorous nuisance than a threat. Similar to his previous Cannes entry, Shoplifters , Kore-eda does make plenty of time to instill lessons on how we don’t often get to choose the family we have. A direct reference to Paul Thomas Anderson’s mosaic Magnolia , tells all how the best-laid plans never truly turn out the way we envision. Even though each character may have their agenda behind the act, their shared journey is what binds them together. Dong-soo and So-young’s symbolic journey atop a Ferris wheel, coupled with the ivory keys of Jung Jae-il, make for a tear-inducing moment. With a lighter tone and more melodrama, Broker doesn’t contain the precision of Kore-eda’s previous works. But that lightness makes for an accessible and emotionally rewarding experience. 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

'Wonka' Review December 13, 2023 By: Hunter Friesen Have you ever wanted to know the origin story of Willy Wonka? No? Well too bad! The good chaps on the Warner Bros. executive board needed a four-quadrant product to help boost the Q4 2023 earnings report and good ol’ Willy was the character on the board that the dart landed on. It was either him or Will Ferrell’s Buddy the Elf. But don’t worry too much, as you might actually enjoy this piece of commerce, as writer/director Paul King of the Paddington films brings enough whimsical charm to make it all go down as smoothly as the titular character’s chocolate. Debts, ledgers, profits, margins, fine print, cartels, bribes, and monopolies. These are the words you would be familiar with finding in a film about The Great Recession or about drug trafficking, not a film about Willy Wonka. But the candy on the island where Willy (Timothée Chalamet) sets his sights on making his fortune might as well be drugs, as it rules over the economy and everyday life of its citizens. The decadent Galeries Gourmet is where you go to sell your chocolate. But you need a shop to legally sell it, and the three main chocolatiers/tycoons - Slugworth, Prodnose, and Fickelgruber - have an iron-clad grip on the trade through police influence and price fixing. “The greedy beat the needy” is the motto of the town’s poor, whom Willy joins when he’s swindled into indentured servitude by the mean laundry woman Mrs. Scrubbit (Olivia Colman). This all sounds a bit depressing, doesn’t it? There’s a clear Dickensian feel to everything, with King and co-writer Simon Farnaby never shying away from the darkness that often appears in Roald Dahl’s stories. Willy is an orphan just like Noodle (Calah Lane), a young girl Mrs. Scrubbit took in as a baby and forced to be her eternal personal servant. The one thing Willy has that sets him apart is his optimism, which he often lets out through some jovial songs. The marketing department at WB may not have wanted you to know that this was a musical, but King and Chalamet are more than ready to knock your socks off through the power of showmanship. The songs are not all hits as Chalamet acts like a kid on a high school stage, speaking out to the crowd with glee. His version of Willy veers a little closer to Johnny Depp than Gene Wilder, packing enough mystery into his abilities that you sometimes wonder if he’s even human. Paddington alums Sally Hawkins and Hugh Grant followed King over here, with the former playing Wonka’s deceased mother and the latter an Oompa Loompa. It’s hard to look away from Grant as the four-foot-tall green-haired creature on account of his inherent charm and the awkwardness of his face being superimposed on a CG creation. It’s only about two steps better than what Corey Stoll got as MODOK in Ant-Man and the Wasp: Quantumania back in February. There’s also a bevy of likable supporting players like Keegan-Michael Key, Jim Carter, and Rowan Atkinson as Father Julius, the leader of a group of corrupt monks who guard the stolen chocolate for the cartel. Paul King’s Wonka is possibly the best version of such a depressingly deep-rooted concept. It’s harmless, regularly fun, and offers a little something for both kids and adults. It doesn’t have the rewatchability of the 1971 original, but it’s got a lot more than Tim Burton’s crazed (and sometimes underappreciated) 2005 remake. 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 Starling Girl' Review February 6, 2023 By: Hunter Friesen The Starling Girl premiered at the 2023 Sundance Film Festival. Bleecker Street will release the film in theaters on May 12. The narrative beats within writer/director Laurel Parmet’s The Starling Girl may not be the most original, but that doesn’t lessen their impact. Elevated by an excellent leading turn by Elzsia Scanlen, who continues her upward trajectory after successful supporting roles in hit films and television shows such as 2019’s Little Women and HBO’s Sharp Objects , Parmet’s feature debut offers a youthful examination of the struggle between personal ambitions and the confines of religious tolerance. Scanlen is the titular Starling girl (Jem Starling to be exact), playing younger than herself through wardrobe decisions and physical performance. The Starling family is among many within a Christian fundamentalist community nestled in the Kentucky plains. Jem's actions are in service of what God and her community would want, such as leading a group prayer dance for her youth group. But just like every teenager, Jem starts to become drawn to the other sex, particularly her handsome youth pastor Owen (Lewis Pullman, last seen as the shy Lt. Robert “Bob” Floyd in Top Gun: Maverick ), who happens to be ten years older than her and married. The attraction slowly becomes mutual, with the flirtation of danger being a catalyst of their desire for each other. Parmet’s script focuses both on the personal aspects of this complicated relationship, and the societal judgment of it. As part of being a member of her community, Jem does not have the luxury of independence when choosing a romantic partner. Her devout mother and recovering alcoholic father have decided that Jem will be courted by Owen’s much younger brother Ben, despite there being no spark of affection between them. This loss of autonomy is painful to witness, mostly because of Scanlen’s displays of inner turmoil. Much of the film plays within the tropes of this specific story, as our character rebels against their societal expectations, leading to consequences in their relationship with themself and others. At 116 minutes, the pacing could have been greatly quickened, or at least some of it chopped off in bulk. Much of the material with Jem’s father, played finely by Jimmi Simpson, plays dangerously close to parody as the struggles with addiction are delivered with such heavy-handedness. If not for Scanlen’s performance, The Starling Girl would fall much further into the realm of obscurity its middling writing and direction had it heading for. If not for anything else, Parmet’s film has given one of our brightest young talents room to shine. Those with a deeply religious background may find more depth to it, but they may also find it dryly conventional. 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

Privacy Policy *Last updated June 29, 2023,* This privacy notice for The Cinema Dispatch ("we," "us," or "our"), describes how and why we might collect, store, use, and/or share ("process") your information when you use our services ("Services"), such as when you: ​ Visit our website at https://www.cinemadispatch.com , or any website of ours that links to this privacy notice Engage with us in other related ways, including any sales, marketing, or events ​ Questions or concerns? Reading this privacy notice will help you understand your privacy rights and choices. If you do not agree with our policies and practices, please do not use our Services. If you still have any questions or concerns, please contact us at hunter@cinemadispatch.com . SUMMARY OF KEY POINTS This summary provides key points from our privacy notice, but you can find out more details about any of these topics by clicking the link following each key point or by using our table of contents below to find the section you are looking for. What personal information do we process? When you visit, use, or navigate our Services, we may process personal information depending on how you interact with us and the Services, the choices you make, and the products and features you use. Learn more about the personal information you disclose to us . Do we process any sensitive personal information? We do not process sensitive personal information. Do we receive any information from third parties? We do not receive any information from third parties. How do we process your information? We process your information to provide, improve, and administer our Services, communicate with you, for security and fraud prevention, and to comply with law. We may also process your information for other purposes with your consent. We process your information only when we have a valid legal reason to do so. Learn more about how we process your information . In what situations and with which types of parties do we share personal information? We may share information in specific situations and with specific categories of third parties. Learn more about when and with whom we share your personal information . How do we keep your information safe? We have organizational and technical processes and procedures in place to protect your personal information. However, no electronic transmission over the internet or information storage technology can be guaranteed to be 100% secure, so we cannot promise or guarantee that hackers, cybercriminals, or other unauthorized third parties will not be able to defeat our security and improperly collect, access, steal, or modify your information. Learn more about how we keep your information safe . What are your rights? Depending on where you are located geographically, the applicable privacy law may mean you have certain rights regarding your personal information. Learn more about your privacy rights . How do you exercise your rights? The easiest way to exercise your rights is by submitting a data subject access request , or by contacting us. We will consider and act upon any request by applicable data protection laws. Want to learn more about what we do with any information we collect? Review the privacy notice in full . TABLE OF CONTENTS 1. WHAT INFORMATION DO WE COLLECT? 2. HOW DO WE PROCESS YOUR INFORMATION? 3. WHEN AND WITH WHOM DO WE SHARE YOUR PERSONAL INFORMATION? 4. DO WE USE COOKIES AND OTHER TRACKING TECHNOLOGIES? 5. HOW LONG DO WE KEEP YOUR INFORMATION? 6. HOW DO WE KEEP YOUR INFORMATION SAFE? 7. DO WE COLLECT INFORMATION FROM MINORS? 8. WHAT ARE YOUR PRIVACY RIGHTS? 9. CONTROLS FOR DO-NOT-TRACK FEATURES 10. DO UNITED STATES RESIDENTS HAVE SPECIFIC PRIVACY RIGHTS? 11. DO WE MAKE UPDATES TO THIS NOTICE? 12. HOW CAN YOU CONTACT US ABOUT THIS NOTICE? 13. HOW CAN YOU REVIEW, UPDATE, OR DELETE THE DATA WE COLLECT FROM YOU? 1. WHAT INFORMATION DO WE COLLECT? The personal information you disclose to us In Short: We collect personal information that you provide to us. We collect personal information that you voluntarily provide to us when you express an interest in obtaining information about us or our products and Services when you participate in activities on the Services, or otherwise when you contact us. Personal Information Provided by You. The personal information that we collect depends on the context of your interactions with us and the Services, the choices you make, and the products and features you use. The personal information we collect may include the following: email addresses Sensitive Information. We do not process sensitive information. All personal information that you provide to us must be true, complete, and accurate, and you must notify us of any changes to such personal information. Information automatically collected In Short: Some information — such as your Internet Protocol (IP) address and/or browser and device characteristics — is collected automatically when you visit our Services. We automatically collect certain information when you visit, use, or navigate the Services. This information does not reveal your specific identity (like your name or contact information) but may include device and usage information, such as your IP address, browser and device characteristics, operating system, language preferences, referring URLs, device name, country, location, information about how and when you use our Services, and other technical information. This information is primarily needed to maintain the security and operation of our Services and for our internal analytics and reporting purposes. Like many businesses, we also collect information through cookies and similar technologies. The information we collect includes: Log and Usage Data. Log and usage data is service-related, diagnostic, usage, and performance information our servers automatically collect when you access or use our Services and which we record in log files. Depending on how you interact with us, this log data may include your IP address, device information, browser type, and settings and information about your activity in the Services (such as the date/time stamps associated with your usage, pages, and files viewed, searches, and other actions you take such as which features you use), device event information (such as system activity, error reports (sometimes called "crash dumps"), and hardware settings). Device Data. We collect device data such as information about your computer, phone, tablet, or other device you use to access the Services. Depending on the device used, this device data may include information such as your IP address (or proxy server), device and application identification numbers, location, browser type, hardware model, Internet service provider and/or mobile carrier, operating system, and system configuration information. Location Data. We collect location data such as information about your device's location, which can be either precise or imprecise. How much information we collect depends on the type and settings of the device you use to access the Services. For example, we may use GPS and other technologies to collect geolocation data that tells us your current location (based on your IP address). You can opt out of allowing us to collect this information either by refusing access to the information or by disabling your Location setting on your device. However, if you choose to opt-out, you may not be able to use certain aspects of the Services ​ 2. HOW DO WE PROCESS YOUR INFORMATION? In Short: We process your information to provide, improve, and administer our Services, communicate with you, for security and fraud prevention, and to comply with law. We may also process your information for other purposes with your consent. We process your personal information for a variety of reasons, depending on how you interact with our Services, including: To evaluate and improve our Services, products, marketing, and your experience. We may process your information when we believe it is necessary to identify usage trends, determine the effectiveness of our promotional campaigns, and evaluate and improve our Services, products, marketing, and your experience. To identify usage trends. We may process information about how you use our Services to better understand how they are being used so we can improve them. 3. WHEN AND WITH WHOM DO WE SHARE YOUR PERSONAL INFORMATION? In Short: We may share information in specific situations described in this section and/or with the following categories of third parties. Vendors, Consultants, and Other Third-Party Service Providers. We may share your data with third-party vendors, service providers, contractors, or agents ("third parties") who perform services for us or on our behalf and require access to such information to do that work. The categories of third parties we may share personal information with are as follows: Ad Networks Website Hosting Service Providers We also may need to share your personal information in the following situations: Business Transfers. We may share or transfer your information in connection with or during negotiations of, any merger, sale of company assets, financing, or acquisition of all or a portion of our business to another company. 4. DO WE USE COOKIES AND OTHER TRACKING TECHNOLOGIES? In Short: We may use cookies and other tracking technologies to collect and store your information. We may use cookies and similar tracking technologies (like web beacons and pixels) to access or store information. Specific information about how we use such technologies and how you can refuse certain cookies is set out in our Cookie Notice. 5. HOW LONG DO WE KEEP YOUR INFORMATION? In Short: We keep your information for as long as necessary to fulfill the purposes outlined in this privacy notice unless otherwise required by law. We will only keep your personal information for as long as it is necessary for the purposes set out in this privacy notice unless a longer retention period is required or permitted by law (such as tax, accounting, or other legal requirements). When we have no ongoing legitimate business need to process your personal information, we will either delete or anonymize such information, or, if this is not possible (for example, because your personal information has been stored in backup archives), then we will securely store your personal information and isolate it from any further processing until deletion is possible. 6. HOW DO WE KEEP YOUR INFORMATION SAFE? In Short: We aim to protect your personal information through a system of organizational and technical security measures. We have implemented appropriate and reasonable technical and organizational security measures designed to protect the security of any personal information we process. However, despite our safeguards and efforts to secure your information, no electronic transmission over the Internet or information storage technology can be guaranteed to be 100% secure, so we cannot promise or guarantee that hackers, cybercriminals, or other unauthorized third parties will not be able to defeat our security and improperly collect, access, steal, or modify your information. Although we will do our best to protect your personal information, the transmission of personal information to and from our Services is at your own risk. You should only access the Services within a secure environment. 7. DO WE COLLECT INFORMATION FROM MINORS? In Short: We do not knowingly collect data from or market to children under 18 years of age. We do not knowingly solicit data from or market to children under 18 years of age. By using the Services, you represent that you are at least 18 or that you are the parent or guardian of such a minor and consent to such minor dependent’s use of the Services. If we learn that personal information from users less than 18 years of age has been collected, we will deactivate the account and take reasonable measures to promptly delete such data from our records. If you become aware of any data we may have collected from children under the age of 18, please contact us at hunter@cinemadispatch.com . 8. WHAT ARE YOUR PRIVACY RIGHTS? In Short: You may review, change, or terminate your account at any time. If you are located in the EEA or UK and you believe we are unlawfully processing your personal information, you also have the right to complain to your Member State data protection authority or UK data protection authority . If you are located in Switzerland, you may contact the Federal Data Protection and Information Commissioner . Withdrawing your consent: If we are relying on your consent to process your personal information, which may be express and/or implied consent depending on the applicable law, you have the right to withdraw your consent at any time. You can withdraw your consent at any time by contacting us using the contact details provided in the section "HOW CAN YOU CONTACT US ABOUT THIS NOTICE? " below. However, please note that this will not affect the lawfulness of the processing before its withdrawal nor when applicable law allows, will it affect the processing of your personal information conducted in reliance on lawful processing grounds other than consent. Cookies and similar technologies: Most Web browsers are set to accept cookies by default. If you prefer, you can usually choose to set your browser to remove cookies and teject cookies. If you choose to remove cookies or reject cookies, this could affect certain features or services of our Services. You may also opt out of interest-based advertising by advertisers on our Services. If you have questions or comments about your privacy rights, you may email us at hunter@cinemadispatch.com . 9. CONTROLS FOR DO-NOT-TRACK FEATURES Most web browsers and some mobile operating systems and mobile applications include a Do-Not-Track ("DNT") feature or setting you can activate to signal your privacy preference and not to have data about your online browsing activities monitored and collected. At this stage, no uniform technology standard for recognizin g and implementing DNT signals has been finalized. As such, we do not currently respond to DNT browser signals or any other mechanism that automatically communicates your choice not to be tracked online. If a standard for online tracking is adopted that we must follow in the future, we will inform you about that practice in a revised version of this privacy notice. 10. DO UNITED STATES RESIDENTS HAVE SPECIFIC PRIVACY RIGHTS? In Short: If you are a resident of California, you are granted specific rights regarding access to your personal information. What categories of personal information do we collect? We have collected the following categories of personal information in the past twelve (12) months: ​ A. Identifiers: Contact details, such as real name, alias, postal address, telephone or mobile contact number, unique personal identifier, online identifier, Internet Protocol address, email address, and account name ​ B. Protected classification characteristics under state or federal law: Gender and date of birth ​ C. Commercial information: Transaction information, purchase history, financial details, and payment information D. Biometric information: F ingerprints and voiceprints E. Internet or other similar network activity: Browsing history, search history, online behavior, interest data, and interactions with our and other websites, applications, systems, and advertisements ​ F. Geolocation data: Device location ​ G. Audio, electronic, visual, thermal, olfactory, or similar information: Images and audio, video or call recordings created in connection with our business activities H. Professional or employment-related information: Business contact details to provide you with our Services at a business level or job title, work history, and professional qualifications if you apply for a job with us I. Education Information: Student records and directory information J. Inferences dare drawnfrom collected personal information: Inferences drawn from any of the collected personal information listed above to create a profile or summary about, for example, an individual’s preferences and characteristics K. Sensitive personal information We may also collect other personal information outside of these categories through instances where you interact with us in person, online, or by phone or mail in the context of: Receiving help through our customer support channels; Participation in customer surveys or contests; and Facilitation the delivery of our Services and responding to your inquiries. ​ How do we use and share your personal information? Learn about how we use your personal information in the section, "HOW DO WE PROCESS YOUR INFORMATION? " More information about our data collection and sharing practices can be found in this privacy notice. Will your information be shared with anyone else? We may disclose your personal information with our service providers under a written contract between us and each service provider. Learn more about whom we disclose personal information to in the section, "WHEN AND WITH WHOM DO WE SHARE YOUR PERSONAL INFORMATION? " We may use your personal information for our business purposes, such as for undertaking internal research for technological development and demonstration. This is not considered to be the "selling" of your personal information. California Residents California Civil Code Section 1798.83, also known as the "Shine The Light" law, permits our users who are California residents to request and obtain from us, once a year and free of charge, information about categories of personal information (if any) we disclosed to third parties for direct marketing purposes and the names and addresses of all third parties with which we shared personal information in the immediately preceding calendar year. If you are a California resident and would like to make such a request, please submit your request in writing to us using the contact information provided below. If you are under 18 years of age, reside in California, and have a registered account with the Services, you have the right to request the removal of unwanted data that you publicly post on the Services. To request the removal of such data, please contact us using the contact information provided below and include the email address associated with your account and a statement that you reside in California. We will make sure the data is not publicly displayed on the Services, but please be aware that the data may not be completely or comprehensively removed from all our systems (e.g., backups, etc.). 11. DO WE MAKE UPDATES TO THIS NOTICE? In Short: Yes, we will update this notice as necessary to stay compliant with relevant laws. We may update this privacy notice from time to time. The updated version will be indicated by an updated "Revised" date and the updated version will be effective as soon as it is accessible. If we make material changes to this privacy notice, we may notify you either by prominently posting a notice of such changes or by directly sending you a notification. We encourage you to review this privacy notice frequently to be informed of how we are protecting your information. 12. HOW CAN YOU CONTACT US ABOUT THIS NOTICE? If you have questions or comments about this notice, you may email us at hunter@cinemadispatch.com . 13. HOW CAN YOU REVIEW, UPDATE, OR DELETE THE DATA WE COLLECT FROM YOU? You have the right to request access to the personal information we collect from you, change that information, or delete it. To request to review, update, or delete your personal information, please fill out and submit a data subject access request .

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

'Nightbitch' Review September 8, 2024 By: Hunter Friesen Nightbitch had its World Premiere at the 2024 Toronto International Film Festival. Searchlight Pictures will release it in theaters on December 06. “Motherhood is a bitch” reads the tagline for Nightbitch , the feature film adaptation of author Rachel Yoder’s much-raved 2021 novel. It comes as a warning to us all, but not in the form the overzealous marketing (including an incredibly divisive trailer ) would have led us to believe. Motherhood can be a trapdoor for some people, with the promises of the beauty of fertility and providing for others being switched out for restless nights, little appreciation, and the slipping sense that you are your own person. It turns women into a primordial version of themselves, a state where self-preservation triumphs over self-actualization. And in the case of Nightbitch (both the novel and the film), motherhood being a bitch is also a warning that there may be a slight chance you start turning into a dog after having children. Only slight! It first starts with patches of fur and a heightened sense of smell for our unnamed Mother (Amy Adams). Her newborn boy is now a two-year-old, and those very long two years have worn her down. When she sees a friend in the supermarket, they ask her if she loves being a mother. In one of several instances of writer/director Marielle Heller’s comically-intuned editing, Mother goes into a long tirade about its pitfalls akin to America Ferrera’s speech in Barbie . But once she’s gotten that off her chest, we cut back to reality and at the start of the initial question, only for Mother to answer with a simple “I love it!” This exchange represents the heart that Heller is digging for in the next 90-ish minutes. There is so much about motherhood that cannot be discovered until it is experienced, with society not allowing women to talk about what they have to go through every day. Or, if someone does lend an ear, it’s usually in the form of her husband (Scoot McNairy), who, while always having a loving interest, never gives the full attention and consideration required. Both of them just float through their existence, one shouting into the void and the other turning the other way. Once the breaking point is reached for Mother, that’s when her animal instincts come out. In a page out of the Animorphs book series, Mother transforms into a red husky at night, running with a pack of dogs doing all sorts of canine things. She comes back to the human world covered in leaves and smelling of blood, and also with a sense of freedom that could only be achieved by fully cutting loose. Is this transformation literal, or just a metaphorical representation of postpartum depression and body changes? The clues lead to it being literal, but Heller never dives enough into the deep end for it to be conclusive. There are more than a few moments of kookiness (the ones promised in the trailer) where this movie could distance itself from the many other stories about womanhood and maternity, but there’s a refusal from Heller to really through us for a loop. Her intentions and emotions are authentic, something that shouldn’t be a surprise considering her filmography which includes Can You Ever Forgive Me? and A Beautiful Day in the Neighborhood . Someone who does cut loose is Adams, devouring the meat of this performance with gusto. Her character fears becoming invisible, but it’s impossible not to see what Adams is bringing to the table, which ranges from soulfully teary monologues to devouring rabbits on the front lawn. Backing her up is an enigmatic performance from Jessica Harper as the local librarian and a trio of neighborly moms (Zoe Chao, Mary Holland, and Archana Ryan) that provide some excellent moments of comic relief. They often say less is more, but in the case of Nightbitch , more would have been more. A little more zaniness here and a little more directness there would have lifted this well-meaning story out of the crowded category labeled “just fine.” A woman turning into a dog isn’t exactly doing just fine, and neither should a film with such promise as this. 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

'Megalopolis' Review May 30, 2024 By: Hunter Friesen Megalopolis premiered at the 2024 Cannes Film Festival. Lionsgate will release it in theaters on September 27. Megalopolis is the most fascinating film I’ve ever watched, a glorious triumph of the creative spirit and a catastrophic failure in the execution of it. It’s a Jenga tower forty years in the making, each block brimming with an idea that’s been born, reshaped, killed, and reborn several times over to the tune of $120 million of its creator’s personal fortune. Make no mistake, there is not a minute where this tower isn’t dangerously teetering or in complete free fall. But how glorious it is to watch it all crash to the ground! That same verve for the fate of the film itself can be applied to writer/director/producer Francis Ford Coppola’s take on the Roman Empire, which has found a new life in an America lost in time and space. This retro-future New York is decorated head to toe in Roman regalia, with Madison Square Garden transformed into a coliseum and everyone flashing their favorite togas and olive branch crowns. But the skyline (a hideous amalgamation of matte paintings and the digital backdrop technology pioneered by The Mandalorian ) is still littered with the skyscrapers of the past, and Cadillac Escalades remain the vehicle of choice. How and why the world got to this point is not fully explained, or even that important. What is important is what it all represents… which is also often a mystery. For Cesar Catalina (Adam Driver), this version of New York is all wrong. His mantra is shaped by the words of Kylo Ren from The Last Jedi : “You’re still holding on! Let go!” His dream project is the titular city of Megalopolis, a utopian urban space to be built upon the crumbling infrastructure of the old world. His designs are fueled through Megalon, a new element he has created that functions similarly to Wakanda’s Vibranium. It’s stronger than any metal, heals wounds, and plugs whatever holes the plot deems necessary to fill. Considering Coppola conceived this project in the late ‘70s and actively started developing it in the ‘80s, a tumultuous period that saw him reach his creative apex with Apocalypse Now and financial ruin with One from the Heart , it’s not hard to visualize the director creating Catalina as his stand-in, Megalopolis as American Zoetrope, and New Rome as the studio system at the tail end of the New Hollywood movement. Coppola has always had a disdain for the corporatization of filmmaking, and so does Catalina for how Mayor Frank Cicero (Giancarlo Esposito) perpetually puts a stop to his plans. Cicero decries Catalina’s vision as merely idealistic daydreaming, badmouthing his name in the media and passing legislation to maintain the old ways of thinking, including plans for a casino that will most certainly funnel all its profits to its already rich benefactors. Caught in the middle of these two warring titans is Cicero’s devoted daughter Julia (Nathalie Emmanuel), who quickly becomes a star-crossed lover of Catalina. To give Coppola the highest amount of credit, his ideas of a new way of thinking are not limited solely to the pages of his script. Megalopolis is not a movie that can be defined by normal filmmaking grammar, which allows it to maintain a rambunctious energy that is just as infectious as it sickening. Frames crash into one another in triptych fashion, the camera feverishly swirls around as it captures the debauchery, and the music can never decide if it's backing up an opera or a circus. To break the mold of reality and fiction even further, Coppola integrates a live element into the film as a man walks toward the screen and interacts with Catalina in real time, asking him questions and receiving answers. The merit of that moment and its viability once the film reaches a wide release remain a mystery, but its sheer existence is what pushes the giddy “what the fuck am I watching?” energy of the whole thing to an entirely new level. But even if the studios are meant to be the ultimate bad guy in this fable, Coppola’s mishandling of his production inadvertently makes a case for their existence. We may decry their reckless spending and inability to take risks, but there’s no denying that any studio could have spent $120 million more efficiently than it is here. The sets and costumes look hideously gawdy, with the actors populating them speaking in unintelligible Shakespearean dialects. The cinematography is reminiscent of a perfume ad, the backdrops always in a magic hour mode and overstuffed with more visual effects than George Lucas’ Star Wars prequels. That badness does become part of the charm at a certain point, an almost inadvertent way for the director of The Godfather trilogy to tear down your preconceptions of what a master filmmaker concocts once the guard rails have been fully removed. Almost all of the actors are just as off the chain as Coppola, with Aubrey Plaza and Shia LaBeouf matching the chaos to perfection. She plays Wow Platinum, a TV personality who enacts a gold-digging strategy to marry Catalina’s decrepit banker uncle Hamilton Crassus III (Jon Voight), and he plays Crassus’ degenerate cross-dressing grandson who tries to steal the empire through Trumpian tactics. Everyone else, most notably Dustin Hoffman and Talia Shire, can barely figure out where they are and what they’re doing, leaving the whole ensemble feeling like a mishmash of high school theater kids yearning for an adult to tell them what to do. Going into Megalopolis determined to make heads or tails of whether it was worth all the time, energy, and resources isn’t the correct attitude. Just as Coppola’s past risk-taking endeavors have furthered the evolution of cinema long after their initial birth, so might this maddening behemoth in the decades that follow. Do I want its influence to reach beyond this moment and shape the future? I don’t know, but I’m absolutely ecstatic that the question has been raised in such a memorable way. Must Read 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 Piano Lesson' Review It’s a gratifying film for anyone interested in the interplay of history, art, and identity SHOP TIFF24 Dispatch #1 Better Man, Hard Truths, I'm Still Here, The Return SHOP