1st Reviews

My Old Ass is everything a coming-of-age story should be. Funny, endearing and emotionally impactful - this beautiful little film reminds us that all we have in this life is time, and we shouldn’t take a moment of it for granted.  During a mushroom trip on her 18th birthday, Elliot (Maisy Stella) spends the evening talking to a 39 year old version of herself. Older Elliot (Aubrey Plaza) tries to impart whatever wisdom and warnings she can, hoping her younger self will take the advice to heart. Plaza and Stella have a playful, naturalistic chemistry portraying the same character at different stages in her life. Plaza has a smaller role than expected, but her scenes are vital in shaping young Elliot’s trajectory through her final summer at home, before moving to the big city. Stella brings such genuine feeling personality to the role, capturing the ambitions and uncertainties of a naïve 18 year old.  What I loved most here, is how true to life young Elliot behaves at her age. Ye...

  Having amnesia is already difficult enough, but add in a zombie apocalypse and it is a recipe for disaster. The story follows Ethan who is searching for his girlfriend Emma and is taken in by an older woman named Mae. Mae discovers that Ethan has Amnesia and feels bad for him so she decides she is going to help him find Emma.  The journey to finding Emma is not an easy route and the story also does not follow a linear plot which makes this zombie tale very unique. The zombies themselves are also very unique as the infestation is a earthborn virus that turns humans into tree and fungal monsters. As Ethan and Mae navigate the world in search for Emma, they also discover that the zombies have moments of cognitive recovery which is very non-traditional in a zombie story, this allows for some interesting zombie situations. The zombies themselves are also noteworthy with an amazing variety of practical effects. Die Alone is not only a great addition to the zomb...

  Rachel Morrison, the first ever female nominee for the Academy Award for Best Cinematography, impresses in her touching and exciting directorial debut. The film focuses on Claressa Shields, the only American boxer to win a gold medal at the Olympics -- let alone at age 16! Morrison’s energetic style and the soundtrack gives a Creed -like energy to the film, that portrays the city of Flint as the ultimate underdog and gives us characters we can really interact with and understand, even if we don’t always agree with them, such as Claressa’s parents. Ryan Destiny shines in her first major role, giving Clarissa a titular fire and rageful drive to win that makes her a character whose fascinating and lovable to watch. But what makes the film worth the price of admission is watching Brian Tyree Henry work his magic in an Oscar-worthy powerhouse of a performance. As Claressa’s coach Jason, Henry not only extends an enduring tough love that anchors the film, but makes the audience fall in...

  Steven Soderbergh, for the last few years, has been playing with the idea that “less is more”, presenting innovative concepts and filmmaking styles with seemingly minimal budgets and resources compared to his past films. Presence takes the unique approach to a ghost film of setting its scenes in long takes, completely from the ghost’s perspective. This could’ve threatened to become a gimmick within minutes, only Presence does the exact opposite — it expands to become so much more than how it begins, and keeps improving as it goes on. The main reason the film sticks is the growing focus on the family drama, which is delivered with originality and poignance. All four of the family members and their dynamics pull you in, with the father (Chris Sullivan, in a career-best and movie-best performance) having a deep understanding and connection to his daughter as she has more interactions with the supernatural, while scolding his son for his treatment of his sister and others. Meanwhile,...

Saturday Night Live has been a staple in American network television for the better part of 50 years but just because it is beloved by many now, does not mean it had a smooth start. In fact, it was the complete opposite of whatever smooth is and at the time, a live comedy show was completely revolutionary.  Saturday Night is a unique approach to the biopic genre that attempts to take place in real time over the 90- minutes just before The show goes live for the very first episode. The result is a chaotic mess of unorganized artistry and the merging of comedic minds from the era including; Dan Aykroyd, Chevy Chase, John Belushi, Garrett Morris, Andy Kaufman and so many more. It is also poetic that these legendary comedians are played by so many young rising actors and comedians. Some are so spot on with their portrayals, its fighting.  The pacing of the film is incredibly fast as the cast hurries to prepare for its premiere. This endless cycle of set changes and ...

  The Substance delivers body horror in more ways than one. Coralie Fargeat’s shocking sophomore outing is not one for the squeamish. It’s every bit as grotesque as you’ve heard - maybe more so. All that nastiness is crucial, though, in forming this wickedly audacious skewering of Hollywood’s toxic beauty standards.  This movie absolutely oozes confidence through its bold, singular vision. It doesn’t hold anything back with its rabid, in-your face-satire. Subtlety has no place here. Fargeat goes right for the throat with her pointed commentary, not interested in beating around the bush. It’s not an original message, but that doesn’t make it one bit less relevant. What separates The Substance from other movies tackling the same topic, is how absolutely f*cking insane it is.  Every frame in this movie is calculated to serve a purpose. The vibrant, oversaturated palate and symmetrical framing is utilized brilliantly to draw your gaze exactly where it needs to be. The sound d...

  This uncompromising detective cat-and-mouse thriller weaves in terrifying history, visceral action, and career-best work from many of its actors. Jude Law plays a character who deviates from other enigmatic detectives through his displays of emotion and powerful arc. His lawman goes toe-to-toe with white supremacist cult leader Bob Matthews. Nicholas Hoult is riveting as Matthews, playing a charismatic figure who recruits by acting as a brotherly figure to his Order, but has a deeply frightening set of ideals. The film most importantly is uninteresting in mystifying this man, rather showing him down-to-Earth to allow us to interact with him as a family man and a leader to others, and show us the ways these terrorist cults manage to expand. His deeply buried messianic complex is also fascinating, and the way he sees every conflict as a minor inconvenience in the way of his inevitable achievement of his goal. Jurnee Smollett also has some of the most memorable acting moments in any...

  Nightbitch  takes a clever approach to its titular metaphor, and Marielle Heller approaches the film’s themes about the messiness of motherhood and wifehood with raw truth. Amy Adams is the film’s central magic, weaving in the film’s narrative about a woman whose upsetness with her life and anger waiting to burst out is hidden underneath her love for taking care of her family. But is that really all there is to life? The film will also resonate with audiences, especially women, for its perspective on motherly strength and sacrifices, and the messy emotions that come with them. Alongside Adams is Scoot McNairy as her husband, whose heart is in the right place but is clueless to where he can be doing better. Where the film stumbles is in its uneven execution of is strong vision. The humor misses the mark as much as it’ll make you laugh out loud, and the narration from Adams’ character is overblown and breaks the golden “show don’t tell” rule. It’s a film that’s nowhere near as...

When the graphic-novel was released in 2011, it was controversial for the medium it was released on. The memoir version of being a John and paying for sex-workers was not typically presented in this form of media but now a live-action film, it should not be presented as that controversial. Set in Toronto, many iconic Toronto locations are present in the film as it was filmed all across the city. I truly enjoy films that are not afraid to showcase the city and all of its interesting features. Sonny and Chester are in a relationship and live together when Sonny decides she wants to start seeing other people. Chester, caught off guard and unaware how to deal with the situation, decides he doesn't want a new relationship and would rather just pay women to sleep with him and not have to deal with the emotional trauma of another relationship. Dan Beirne plays Chester, an awkwardly introverted cartoonist. Dan does a great job with the role and most of the funny bits come fr...

  The Wild Robot   breathes new life into themes we've explored plenty in animated films. The animation is absolutely gorgeous; the storybook-esque coloring that DreamWorks also embraced with   Puss in Boots: The Last Wish   makes the forest Roz explores look stunning, and makes room for creative liberties with some of the coloring -- overly red fires look beautiful in the night sky, and water looks absolutely magnificent. The movie isn't overly concerned with shoving in action sequences for the sake of youngsters' attention, nor does it feel pressed to pace itself quicker; the time jumps and lower stakes often benefit the film. Lupita Nyong'o was likely the only person who could've voiced Roz with such audacious surprise and innocent gentleness, capturing her eagerness to help, learn, and soon, live the way she wants with and for whom she wants. Pedro Pascal, Kit Connor, Mark Hamill, and Catherine O'Hara round out the great batch of animal voices, though Stepha...

  We all know the deal. More often than not; big corporations have dirt under their nails. Have you ever actually stopped to read those 40+ page terms and conditions documents? Seeds follows a social media influencer who strikes a deal with a company that represents everything her people stand against. Ziggy is a member of the Mohawk people, who’s left the reservation to chase her big city dreams of being a famous influencer. After striking a lucrative deal with a seed company, she heads home to discover not everything is above board with her new partners. As the true motivations of this corporation gradually reveal themselves, Ziggy finds herself, as well as her family and friends, tangled up in a dangerous situation.  I will give the movie credit for its loveable group of characters, led by a stellar Kaniehtiio Horn as Ziggy. She’s infectiously bubbly but also hard headed and ferocious when the time calls for it. The small cast has great chemistry and their interactions feel...

  From the opening shot, Coralie Fargeat’s direction of The Substance stuns with colorful satire, and body horror that shocks and disgusts but makes the experience darkly exciting. Demi Moore gives her best performance in ages, playing a middle-aged woman whose superstar days have passed her, having been rejected by a patriarchal society that favors younger, more beautiful women. Once the science fiction/horror elements kick in, she and Margaret Qualley have a thrilling dynamic without ever actually sharing the screen together. Throughout the disturbing gore and game of tug-of-war the two lead actresses have over their shared identity, the through line is the strong if unsubtle commentary about the impossible standards society have set on women, especially as they age, and the effect it has on women’s outlook on their own self-worth.  It’s not for the faint of heart, and perhaps leans too far into the silliness in the final 20 minutes for the darkness to keep resonating anymor...

  A film about SNL should make us laugh, feel revealing, and be packed with celebrity and pop culture history, and that's exactly what Jason Reitman's take on the sketch show's beginning offers plenty of. The lovely 70mm look, long takes throughout the studio, and energetic score from Jon Batiste give the film a strong and dedicated technical edge. While many films based on true stories have one or two casting choices that feel inspired,  Saturday Night  has dozens. Gabriel LaBelle, who's probably a decade younger than Lorne Michaels was when this all went down, plays the creator with a contagious ambition to make magic for audiences on the stage. Rachel Sennott is sometimes the scene-stealer and the heart of it all, while Dylan O'Brien as Dan Aykroyd is one of his most fun performances in years. Cory Michael Smith brilliantly portrays the unstable ego of Chevy Chase, one of the most infamous members of the show's original cast, while Matt Wood is uncanny in his...

  There are moments in women’s lives that change their perception of beauty. When they are younger, the idealized beauty standards are subtle as women are conditioned by society through the representation of female bodies in media. It doesn’t affect young girls until they hit adolescence, and they are taught that you're not as appealing once you hit a certain age. Watching celebrities go through this tenfold because of the tabloids and social media has turned aging into the worst thing imaginable.  There have been body comparison photos and rude commentary about middle-aged women’s faces. Sadly, celebrities can’t get away from people discussing their bodies.  It’s sad to see some actresses over fifty not get the same opportunities as they used to when they were younger. Ageism in Hollywood has possibly been the most toxic because of the age range in which actresses have difficulty finding roles. Sure, there are fresh faces that enter the mix, but older actresses who have ...

For the show to go right, everything must first go wrong. Saturday Night is 109 minutes of stress fuelled chaos, as the clock ticks down to the very first live broadcast of SNL. This is one of the most entertaining and energetic films of the year, and a must watch for fans of NBC’s iconic late night weekend staple.  Jason Reitman wastes no time throwing viewers into the thick of it, as we pick up approximately 90 minutes before the first show is set to air. Immediately, you get a sense of the tremendous pressure creator Lorn Michaels is under, as he scrambles to get his cast and crew in order before the big debut. Everyone is counting on him. Many doubting the show will even make it to air. The film frequently cuts to black with a time stamp, as we get closer to 11:30pm. It’s anxiety inducing, rarely losing that feeling or its momentum for the entire runtime. It’s exhilarating and also exhausting to witness.  There isn’t much in the way of narrative structure or plotting, so d...

  Megalopolis   is the ambitious new epic fantasy/sci-fi drama from cinema legend Francis Ford Coppola. In the city of New Rome, Julia Cicero (Nathalie Emmanuel) is torn between the ideas and loyalties of architect Cesar Catalina (Adam Driver), who sets out to reinvent the NYC-esque city entirely into a utopia of his imagining, and her father (Giancarlo Esposito), the mayor who wants to keep things as they are. Megalopolis  sets out to be the most ambitious movie meant for a large screen in ages, with outrageous ideas coming at us straight from Coppola's mind (and pockets, too). Unfortunately, shooting for the moon doesn't land  Megalopolis  among the stars, more so the dirt. It's a canvas of messy ideas that come together without reward, prestige, or even sense. The dialogue is unintelligible, the story is impossible to follow, and the green screen and effects that try to imagine out-of-this-world visuals in line with  Doctor Strange  look rather hide...

  We have all watched horror movies when people find out something terrible happened inside their house but how would you feel if something traumatic happened at your property right before your eyes? Based on a short story by Russell Wangersky, Jason Buxton directs this location based thriller about a man who becomes obsessed with car accidents happening at his house.  The film opens up with Josh (Ben Foster) and Rachel McCall  (Cobie Smulders) excited about moving into their new home. With their son Max off to sleep, Josh and Rachel attempt a late-night quicky that turns into a near death experience. A car loses control and smashes into a tree in their front yard which leads to the death of the driver. The story would be traumatic enough for anyone to handle if it was an isolated incident but the issue is a sharp corner at the edge of the property that keeps causing accidents unexpectedly. These traumatic experiences put a wedge in the McCall relationship as they bo...

  Sean Baker’s latest film is his biggest, utilizing more settings than his other films yet still addressing issues related to the working class. However, this one isn’t as grounded as his other films about America’s divisions -- and flourishes because of it. The movie effortlessly balances fairy tale romance, screwball comedy, and tense drama, even becoming a hostage thriller of sorts at one point. Mikey Madison delivers a star-making performance as the titular character of Ani. She may be looking for love, control, validation, security, glamour, or respect -- it varies every moment and that’s what makes Ani so unpredictable. She owns the screen with her every move and line. We meet her at her job as an escort, a role that doesn’t normally constitute a movie protagonist, but Mikey is immediately lovable despite her being from a world new to us. All the supporting characters are also expertly utilized, and the look and soundtrack make Anora feel like a lovely adventure… until thing...

  Joshua Oppenheimer’s debut narrative film is so out there that it’s simultaneously impossible to ignore yet impossible to fully recommend. It’s a bleak apocalyptic film about a family that’s spent 20 years being the last family on Earth, living in a salt mine that they’ve turned into a luxurious home underground while the world has ended outside their walls. And to top it all, it’s a musical, with Sondheim-esque numbers about the character’s outlook on their living conditions, whether as a layer of irony or meant to be taken literally. The tone and approach of  The End  is so fascinating and out there compared to most films that you absolutely want to see where it’s going, even when it’s constantly working against itself. The clashing tones prevent the audience from feeling the internal dread that they should when sharing a space with these characters, and the musical elements feel completely out of place and pointlessly drag the film’s runtime. The awkward humor often ...