Fairyland (2025)

Director Durham's debut is a competent if somewhat standard biopic of writer Steve Abbott, queer activist who died of HIV related complications in 1992 told from the perspective of his daughter, writer Alysia Abbott. I have a lot of thoughts about that, a queer story filtered through a straight lens, and how that colours the way the story is told. Based on her memoir, the film becomes her story, the experience of being straight in a queer world. There is something to that that is worth exploring. 

Fairyland is about a young woman growing up in a "bohemian culture" after her mother dies in a car accident and she is raised by her gay father. It attempts to show how beautiful this unorthodox upbringing was. Despite this there the film still has a feeling of "in spite of" which pulls the film in different directions which it never quite manages to balance. The film's answer is to do the standard arc of a child pushing back against their parent to eventually reconnect just before its too late. While this is a true story it does feel a bit trite and over simplified. 

I'm probably being too hard on the film which is generally quite watchable and lovely in how it portrays this relationship between these two people, father and daughter. But for me there are two other films here which could have potentially been far more interesting and original; (1) a film about the magic of growing up outside the heteronormative conventional culture (something this film never quite manages to quite do), and (2) a film about the man himself, told from his point of view. I imagine how fascinating it would be to watch a film about a queer writer who lived and breathed at a time of great upheaval and struggle for that community and died as of a result of the larger nation's indifference to the health of queer men. 

Anyway, despite all of my gripes, Fairyland is still a lovely little movie that I think general audiences will enjoy. It is an accessible film that doesn't make anything seem to radical or threatening. Perhaps that's why it wasn't all I wanted it to be despite still being a good, watchable film. 

Fairyland

Starring: Emilia Jones, Scoot McNairy, Geena Davis, Cody Fern, Maria Bakalova, Adam Lambert

Writer/Director: Andrew Durham

Nuremberg (2025)

Nuremberg is an old school Hollywood Oscar-bait epic, the likes of which we don't see as often as we used to. An A-list cast, sweeping direction, and an important subject matter, with some historic inaccuracies thrown in for dramatic flair. In those things the film was emotionally stirring however it also felt a bit all over the map in terms of what story it was trying to tell. It mixes two main threads; the prosecution's efforts and the more personal story of a psychologist and his relationship with his patient, who happens to be one of history's worst war criminals. Not only do those threads not always come together seamlessly, the film keeps flip flopping on its mission, confusing a lot of what it is trying to say. Still, it is big and grand and reminiscent of the kinds of historical epics Hollywood used to make more of. 

I am not an expert in Nuremberg and cannot comment on its accuracy but I have some background in international criminal law and the events covered in Nuremberg are certainly an important stepping stone to the development of the concept of war crimes, human rights law, etc. The film has a little bit of a war crimes 101 feel, especially at the beginning, but as I said it sort of gets lost not figuring out what it wants to be. Is it a critique of methods of the first big coming together of nations to try war criminals, a justification for some of those missteps, an endorsement of the attempt to move post-war justice into the court room and out of the hands of the victors, a personal story? It feels like it is sort of trying to be all things and doesn't quite do much of it really well. 

Having said that it does manage to do some of it competently and there are moments it pulls off some real entertainment and perhaps even reflection. There is a moment in the middle, where the film choses to show real footage of the true evil of the concentration camps, that is rather unflinching. It is a moment that refuses to let you look away and get mired down in the legal details. It highlights the true horror that is being put on trial. 

But the film ends with a more ambiguous ending. I am okay with ambiguity but here it feels less intentional and more due to the film's true identity crisis. The ending feels rather anticlimactic. It both tries to revel in the triumph over evil and question the effectiveness in a way that a better film may have pulled of strikingly but here just feels confused. It feels like it wants to be more straight forward that it is. 

Yet again, the film isn't a failure in this entirely. The final denouement is chilling. It all but holds our hand and tells us that we should be worried about all this happening again. This part is quite effective and, honestly, rather correct. I just wish the film had found a way to build to this message a little more cohesively, more organically.  

Nuremberg

Starring: Russell Crowe, Rami Malek, Leo Woodall, John Slattery, Mark O'Brien, Colin Hanks, Wrenn Schmidt, Lydia Peckham, Richard E. Grant, Michael Shannon 

Writer/Director: James Vanderbilt 

Frankenstein (2025)

Much has been said about how visually striking del Toro's long awaited adaptation of the legendary science fiction novel is. From the art direction to the make up to the visual effects, Frankenstein is a glorious spectacle that is incredible to watch. Is this ironic as it will most often be enjoyed on the smaller screen due to its release being focused on streaming? Perhaps. But regardless del Toro, as with so many of his films, delivers cinema in all its beautiful, visual opulence.

But the source material contains multitudes. Mary Shelley's Frankenstein is literature that has sparked the imagination for centuries and inspired so much discussion. It is rich with ideas that remains incredibly relevant to audiences over time. Often adaptations of this work are unable to capture the complexity of all that. I believe there are ways del Toro has managed to translate some of that to the screen but in ways that often feel heavy handed, embedded in what is his monster movie.

His approach has never been one of subtlety. del Toro invites us into his discussion quite blatantly. The script works in references to the themes of the tale in overt ways, eg. someone calls Victor "Prometheus" as a jab and Victor's lab is in a tower that is obviously phallic. His script has people speaking the point of the scene verbally, often quite literally. He says the quiet part out loud. If you're looking for subtext, this isn't your film, but I never felt this approach sacrificed the moralities for the enjoyment of the story. 

del Toro inserts Shelley herself into the film, but not in the literal way Whale did in the classic Bride of Frankenstein. He has altered the character of Elizabeth to be a rather blunt stand in for the author. So much of Shelley's point is a critque of male ambition and she is here to voice that. While I often find Goth's performances rather wooden, and that's not much different here, she does actively give perspective to the critique of what is going on. 

The film allows time for something that is often missing in these adaptations, time for Victor to revel in his "success" before, after attempting to exercise his control and fails, then turns on the "monster" he creates. 

This Victor is far more a straight up villain that we usually see. We see how his abusive father crafts him into an abusive adult himself. He is a fountain of arrogance and ambition who blames others for his mistakes. And he is cruel. Yes the film gives him some reasons to be, but still holds him accountable for his own cruelty. 

del Toro presents his version as body horror. He focuses on the gore of the body, something this story is quite open to exploiting. The questions of morality are tied very much to the physical realities of mankind and how those are tied to our souls or our intellects or however you wish to understand it. I know there are critics who eschew the physicality and fetishization of the scientific tropes to be "missing the point" of Shelley's writing, but for me it creates a grounding in just how horrific it is. It is one thing to discuss the morality from an intellectual standpoint, but that can ignore the human experience of it.  

Like of a lot of del Toro's films, there is an almost cartoony fantastic feel to Frankenstein. Elordi's creature never feels quite real but that doesn't take away from how successfully he imbues the creature with humanity. This film is bombastic and bold. And it's likely longer than it needs to be. It is in your face, holding your hand to ensure you get the point, and that will not be to everyone's taste. del Toro wears his passions on his sleeve and he clearly is passionate about this story and tells it with a relish that is delicious.  

Frankenstein is a delightful watch even if its approach is on the spectacular and rather obvious side. I'd say del Toro is mostly successful in capturing the spark that gives this legend so much life. 

Frankenstein

Starring: Oscar Isaac, Jacob Elordi, Mia Goth, Christoph Waltz, Lars Mikkelsen, Felix Kammerer, David Bradley, Charles Dance, Burn Gorman

Writer/Director: Guillermo del Toro

Predator: Badlands (2025)

Full disclosure, I'm not a fan of the Predator films but I loved Prey and Killer of Killers. And now I can say I loved Badlands as well. The direction Trachtenberg has taken this franchise is my vibe for sure. While I still think Prey may be the best of the series, I may have had the most fun in the Badlands. 

Switching the perspective to a Predator is a simple yet brilliant way to breathe life into the story. The film's focus on chosen family and the rejection of who you are supposed to be keeps the film from upending years of continuity. The Yautja are still monsters. This doesn't change that. The corporations are still monsters. This doesn't change that. But it is saying you don't have to be. I am a sucker for a family-is-what-you-make-it story. 

Badlands is a funny movie. Not in a spoof or satire sort of way but in the way the humour is organically woven into the story. Fanning is a standout here, creating two characters, with her main one balancing pathos with humour in a completely natural way. She has always had an incredible screen presence and she elevates this film. 

Badlands is an action packed movie. Much has been made of its PG13 rating but some of that must have to do with the fact that there are no humans (seriously, not one character is human in this film) getting brutally killed. It's all monsters and aliens and robots. The action is good. Trachtenberg films it incredibly. It is the sort of film that keeps you on the edge of your seat. 

After the success of Prey it would have been easy for Trachtenberg to simply replicate that again with another timeframe. Instead he went in a different direction and we are all richer for it. He isn't repeating himself. He delivered another great film with a very different tone and flavour yet which all fits together so seamlessly. Let him make as many Predator movies as he wants. 

Predator: Badlands

Starring: Elle Fanning, Dimitrius Schuster-Koloamatangi, Mike Homik

Director: Dan Trachtenberg

Writers: Patrick Aison, Brian Duffield

The History of Sound (2025)

Humanus' love story set in the early 20th century, is beautiful in so many ways, the kind of story about loss and regret, about holding for a moment something truly beautiful, but letting if fall through the cracks. I was impressed with Mescal's against-type performance and the way he captured levels of pain in quiet and reserved ways. But I was also struck by some of the film's narrative choices which somehow seemed to sap some of the power of the story, a story which feels a little like ground we have treaded before. 

The History of Sound is a lovely movie, but its story isn't an unfamiliar one. There are shades of other films in the queer cinema cannon that it is reminiscent of. A film like this needs to differentiate itself a bit and I'm not sure Sound finds a way to do that. It builds to a powerful moment in the films final moments but one that feels like it has been done before, more profoundly. Sometimes the way Humanus has constructed the story feels like it could have found a different rhythm. Perhaps breaking the narrative into different parts and rearranging them may have captured something unique for this story. But what is here feels familiar and somewhat worn. 

Having said that it remains a gorgeous movie that its cast handles beautifully. The heartbreak here is palpable and the underlying themes of queer pain remain potent. By the end it was a film where I was moved by its themes but maybe not resonating to the level of some others. 

The History of Sound

Starring: Paul Mescal, Josh O'Connor, Chris Cooper 

Director: Oliver Humanus 

Writer: Ben Shattuck

Sharp Corner (2025)

What I appreciated most about Buxton's thriller is how it didn't lean into sensational or exaggerated takes, allowing instead his protagonist to slow spiral into a very realistic deterioration. I fully expected his actions to become more and more depraved, but as the story went on, it felt realistic. He does some terrible things but never beyond what we can see him able to justify to himself. This was truly effective and chilling as it is something you could see happen to someone you know. 

Foster is wonderful here, bringing the reality of this man's understanding of his world to life. He also doesn't take his character into parody but instead keeps him quite grounded. He plays him like an everyman. We all know this neighbour, friend, family member. 

The ending is strikingly emotional as it forces us to sit with an uncomfortable realization that these things don't always work out. Again, perhaps trained by decades of Hollywood movies, I was expecting an explosive finish (perhaps literally in this case) and the film delivers something far more unsettling than that in its final moments. Foster in the final shot sticks the landing in a quiet way. 

Sharp Corner

Starring: Ben Foster, Cobie Smulders, William Kosovic
Writer/Director: Jason Buxton

Bugonia (2025)

Bugonia is the sort of film that wants to keep you guessing and it is very effective in making you do so. The film is rather relentless in building up a narrative that our main character is "crazy" and while you may feel sympathy for him and the history that drove him to what he is doing, we are to dismiss his obviously insane ideas and root for the undermining of his plan. Or are we? The film hints are perhaps some truth to what he is doing. It juxtaposes our desire to be rational, with the true frustration of needing there to be some explanation for the pain and suffering that so many people are crushed under the weight of. The continued suffering of so many cannot simply be the excused greed of a small minority of powerful people whose basic fears and passions are the same as everyone else's, right? But wouldn't that be crazy?

I'm not going to spoil the ending of Begonia... yet. The film creates a compelling game of cat and mouse between Plemons and Stone who both do wonderful work here in this nihilistic cautionary tale. So much holds us captive to the story. The film plays with our discomfort with violence and kidnapping, so it can hook us into its morality play. And it keeps us guessing until the end. 

My main critique is the way the film clings to its absurdist aesthetic. This is something that Lanthimos brings to a lot of his work and it often doesn't work for me. Here is doesn't ruin what is otherwise a fascinating power struggle, but it does keep the audience at arms length. We don't have to take much of it too seriously, which saps the power of the ending which is truly quite striking. Perhaps Lanthimos' was worried the denouement would be too earnest, and need to keep the irony flowing to make it more palatable. I think I would have preferred the different take. One example of how the film keeps things "safe" by being in-your-face preposterous is the film's score which is self-aggrandizing and often self-consciously conspicuous in a way that takes us out of the film reminding us that no matter how much the film transgresses it's all just a film, a story, so don't worry. 

I still enjoyed the film and will find its themes interesting to reflect on. I also appreciated Stone and Plemmons' strong performances here which kept Bugonia grounded despite how much it wanted to blast off into a dark silliness. But stop reading here is you don't want it spoiled cause I have one more thought which can only be discussed with *spoilers*.

I am still wrestling with the film's implication that the Andromedean plan was one of charity. I appreciate the critique of humans as a selfishly self-destructive species. But when the film has placed its "combatants" as a poor working man who has had everything taken from him against an obviously hypocritical CEO who clearly thrives off the suffering of others, to turn her into a saviour figure who fails in her benevolence due to humanities own failures feels like a dissonance I can't square. Regardless I am thinking about it and I likely will give a lot of thought to Bugonia over time. 

Bugonia 

Starring: Emma Stone, Jesse Plemons, Aidan Delbis, Stavros Halkias, Alicia Silverstone 

Director: Yorgos Lanthimos

Writer: Will Tracy

Hedda (2025)

There is a general perception that period pieces, especially those based on classic works of literature, are slow, stuffy, pondering, and even restrained. I appreciate when film makers attempt adaptations that capture the passion and urgency that the people of the time would have experienced. DeCosta's fiery and bold take on Ibson's Hedda Gobler is stunning and kinetic. It is lush and rollicking throughout, intensely emotional, and a gut punch. She has infused a relentlessness to the story in a way that makes it far more compelling than modern audiences would expect from an adaptation of classic theatre. 

At the centre of DeCosta's piece is the outstanding Thompson who is mesmerizing and complex in the title role. She is entirely seductive, grossly manipulative, and ruthlessly sympathetic as she navigates the madness that is her desperation. Hedda throws a party and the course of events spirals so deliciously out of control, while remaining mostly in her control. And she remains completely the master of her domain right up to the end, refusing to capitulate 

Thompson isn't alone. Her supporting cast is tremendous, especially Hoss in a stand out role. DeCosta has queered the story, breathing so much life into this tale. Hedda is erotic and every scene is charged. The characters exist in a beautiful space that DeCosta films with an eagerness and vivaciousness that makes Hedda so incredible to watch. And its hard not to watch Thompson. She is a triumph here. Hedda is a film that pulls you in and makes you want more. 

Hedda

Starring: Tessa Thompson, Nina Hoss, Imogen Poots, Tom Bateman, Kathryn Hunter

Writer/Director: Nia DeCosta

 

Ballad of a Small Player (2025)

While critics have been harder on Ballad of a Small Player than they were with Berger's last couple films, but I found it riveting. Most agree Farrell is outstanding here and he is. This is a tour de force performance for an actor who has been doing amazing work for some time now. But the film itself is gorgeous and emotionally powerful. If anything its one weakness is that the story feels a little common; we've seen it play out a number of times. But what Berger and Farrell bring to it makes up for that.

Berger captures a bold and striking vision of Macau that makes it feel like a magical dreamscape. He spirals his main character into moments of madness and depression that are exacerbated by the fantastic visuals. Berger merges the narrative, the environment, and the interior of the protagonist in ways that are delicious, delightful, and frightening. Small Player is extremely watchable even when it is difficult. 

Farrell is as good as everyone is saying. But he's not alone. Chen is quietly profound and Ip is a terrifying delight. No suprises here but Swinton is, as always, an incredible presence. They all inhabit Berger's audacious vision so differently and yet so seamlessly. 

So while the story may feel somewhat rote, what Berger and his cast led by Farrell do with it is remarkable and I felt very enjoyable. 

Ballad of a Small Player

Starring: Colin Farrell, Tilda Swinton, Fala Chen, Deanie Ip, Alex Jennings 

Director: Edward Berger

Writer: Rowan Joffé

Universal Monsters - Frankenstein (1931)

In my opinion of all the Universal Monsters movies, only one film outshines Frankenstein, and that's its sequel, The Bride (which I will talk about in another post). Frankenstein itself is a cinematic masterpiece that is the high point of the series of films and of its genre. Director Whale is in a league of his own, making films which transcend their genre and stand the test of time. 

Frankenstein is shot beautifully creating one of the most cinematic films in the series (with only Dracula rivalling it for visual splendour). His audacious opening sequence, daring the audience to leave or buckle in for an unprecedented experience, is delightful. This is a story that is chilling, because of what has now become a cliche, but at the time (and at the time of the film's classic source material) was rather revolutionary, that it is us who are the monsters. Dracula is about true evil terrorizing people, while The Wolfman is about a sympathetic, misunderstood "monster". But Frankenstein is about how monstrous we are.

It's hard not to watch the film today without seeing things through the Creature's eyes and reading the ending as tragic and forbidding. There are queer readings of the film and its messaging that I'll discuss more in my discussion of its sequel, but suffice it to say the conclusion pointing to a wedding and future grandchild is not portrayed as a "happy ending." The film is evocative and emotional. Little Maria's death has a clumsy comical feel at the time but when we get to the scene where her father is carrying her body through the town streets, the film reaches an emotional crescendo. Whale is interested in making his audience think about what they are witnessing, not just react. It remains an extremely watchable film. 

Frankenstein is followed by 3 direct sequels and then the creature appeared in numerous crossovers such as House of Frankenstein and he even met Abbott and Costello. As I said I'll discuss The Bride of Frankenstein on its own as it deserves such attention. 

The second sequel, The Son of Frankenstein, is a strong film as well despite having to exist in the shadow of its masterpiece predecessors. While it doesn't live up to their legacy it remains a good film and stars Sherlock Holmes himself, Basil Rathbone, in the title role. About community paranoia and legacy, the film is most notable for introducing Igor although this character barely resembles the caricature that name has come to embody (which is more along the lines of Fritz in the original film). It also is the last time Boris Karloff played the monster on screen before Universal recast its famous character.  

Following Son was the final stand alone sequel, The Ghost of Frankenstein, another entertaining film despite starting to feel the diminishing returns of sequelitis. This is Igor's story continued on from the previous film, exploring his search for eternal life. the film can be read numerous ways by today's audience including seeing his schemings as push back against a world that unfairly rejected him, the deviousness of a heartless man, or somewhere in between/both. 

There have been a plethora of reimaginings of the film and other interpretations of Mary Shelley's novel including the legendary Hammer film Curse of Frankenstein starring Peter Cushing and Christopher Lee, with its own mixed reception and legacy. It launched that studio's high era and leaned into the violence of the story in a way that was shocking for its time. 

One of the most famous is the criminally underrated Mary Shelley's Frankenstein by Kenneth Branagh, a film I adore for its bold, operatic style and visual lushness. It remains the most loyal to the plot of the novel (despite some small divergences) and is truly emotionally satisfying in my opinion. I love how Branagh gets Shelley’s critique of the male ego and the attempt to dominate nature/God. To highlight the gendered aspects of the story, he centres Elizabeth in ways she isn’t centred in other takes and I’m not talking about just the end. She is presented as a possible real partner to Victor and it’s when he pushes her away that he is on the wrong path. She refuses to be a prize for men to compete over. The moral of the story is tied to male ideas of ambition and self-destruction.

There was also a surprisingly boring 2015 adaptation named Victor Frankenstein which throws all but the most basic resemblance out for a rather new take which generally disappoints despite featuring a cast including James McAvoy, Daniel Radcliffe, and even Andrew Scott. Guillermo Del Toro's 2025 adaptation has caused a sensation while being divisive as well. If there is one thing the adaptations appear to have in common is they divide audiences. 

But the character and/or the monster have transcended mere adaptations. In everything from The Munsters to Young Frankenstein, to the Monster Squad, to Frankenweine, the concept and character have become one of the most iconic in pop culture. No doubt there will be many more appearances of the character and adaptations of the story in the future and it is due both the power of the original novel and Whale's beautiful classic film. 

Frankenstein

Starring: Colin Clive, Mae Clarke, John Boles, Boris Karloff, Dwight Frye 

Director: James Whale

Writers: Garrett Fort, Francis Edward Faragoh

Twinless (2025)

Twinless is the sort of film that is best to go with as little information as possible and that makes it a rather difficult movie to discuss with anyone that hasn't seen it. I will say that it's hard to think of a movie that shook me and touched me as much as Twinless in a very long time. Sweeney's intricate, provocative, and rather fearless screenplay and direction take us to places I did not expect. Twinless is the sort of film that will haunt you afterward. Without understanding the context, that makes it seem like a different film than it is. But once you have seen it, Twinless is the sort of film that burrows into your mind in both recognizable and uncomfortable ways, and forces you to sit with it. 

I'll start with O'Brien, who I believe has always shown a strong talent as an actor that is often belied by his handsomeness. Here he truly shines, as a pair of twins. He embodies both beautifully, in complicated ways. He makes neither a stereotype and he gets deep into each (the one perhaps a bit less as the film spends less time on him). 

I will say his performance was one of the most haunting qualities of the film. He is at once both the cliched straight man crush trope that is infused in so much gay culture, and something more deconstructed. O'Brien doesn't allow himself simply to be the desired but unattainable friend that is so problematic in both gay art and in gay culture. He is also seeking something from his relationship with his gay friend that is problematic but relatable. Twinless doesn't allow him to be tokenized or objectified and a big part of that is O'Brien's rich, understated performance that values all parts of Roman, including the less respectable parts. 

But it is the central character of Dennis, played so remarkably by writer/director/actor Sweeney, who truly pushes Twinless into the stratosphere. This is one of the most complicated and challenging and problematic characters I have come across in a film recently. I hated him, loved him, resented him, wanted to hold him and tell him everything was going to be okay. I was deeply uncomfortable with anything I saw in him that reminded me of, well... me. 

He is queer coded in ways that echo the villainous queer coding of Hollywood's golden era, while simultaneously being profoundly honest about real life gay men and the struggles with socialization, relationships, and existing as a queer man in the 21st century. He finds the complicated places of truth in the ways we hate ourselves, the ways our culture hates us, and takes that into places where we might be able to love ourselves, see value in ourselves. I had quite an emotional rollercoaster with Dennis and there were times I didn't want to be on that ride. I found Rocky also interesting to engage with, as there were a lot of convoluted feelings buried in his character too. Sweeney's boldness in his creation and execution of these characters is striking and just emotionally draining. 

Twinless is one of the queerest films I've seen in a while and it reached in, found something raw, and really went with it. I found it cathartic. I wasn't sure it was going to be able to stick the landing as so many films with challenging premises struggle to "wrap up" their stories in satisfying ways, in ways that are intellectually and emotionally honest. With Twinless Sweeney manages to do that in a quietly beautiful way. 

I wanted to immediately watch it again upon its conclusion knowing it would be may be even more moving the second time through. 

Twinless

Starring: Dylan O'Brien, James Sweeney, Lauren Graham, Aisling Franciosi, Chris Perfetti

Writer/Director: James Sweeney 

Eden (2025)

Eden is based on a real life Lord of the Flies like event which occurred early in the 20th century. When differing groups of Europeans, with very different reasons for doing so, attempted to settle on an uninhabited Galapagos Island, this did not go well despite all their high and low ideals. The story is a rather pessimistic examination of our humanity that brings its characters to their knees. I'm just not sure the film does the story enough justice. 

Perhaps director Howard wasn't the right choice for this story. He goes to some dark places I don't remember seeing in his work before, but it always feels like the safety is on, that the story should feel even more unsettling than it does. Eden is about isolation and the inhumanity of desperation. It explores how the rejection of collectivism reduces our humanity and how competition leads to degradation and violence. But Howard always holds back a little. Eden should have been a darker story than it ends up being. 

But what does work is how wonderful the cast is. Armas has some amazing moments and Kirby, Law and Brühl are remarkable. So much of what makes Eden so watchable is the way the cast creates their characters and navigate their relationships together. It ends up being incredibly watchable while touching on discomfort. There is a great scene near the end between Law and Kirby where he ends up pulling her tooth, which is riveting. 

The one weakness in the chain is Sweeney who does a capable job but never feels like she is up to the rest of the ensemble. There were times this pulled me from the story. She doesn't ruin the film but also does not help overcome some of the film's insecurities. 

Overall Eden is a mixed bag. I would not say it is not worth watching. But I couldn't help but think of what a better movie there is to be made out of this story. 

Eden

Starring: Jude Law, Ana de Armas, Vanessa Kirby, Sydney Sweeney, Daniel Brühl, Felix Kammerer, Toby Wallace, Richard Roxburgh 

Director: Ron Howard

Writer: Noah Pink

A House of Dynamite (2025)

A House of Dynamite is an ambitious telling of the events which would happen on a day when a nuclear missile is detected on its way to Chicago. We watch as different players in the chain of command (all the way up to the President) come to the reality of the situation and deal with what is truly impossible. The film's story is constructed in a manner that is extremely disconcerting and disorienting. It is hard not to be shaken by the events and director Bigalow's expert handling of the narrative. 

Bigalow very deftly structures her story so we get different pieces of the story separately, which works well to capture how each of the characters are only working with pieces of the whole picture. Instead of giving the audience the omnipotence of seeing it all play out linearly, she puts us in the position of the different actors trying their best to deal with the most horrifying situation imaginable. And it is only through experiencing the different points of view that we are able to get as much of the picture as possible. 

I loved how she worked into her story little moments of clarity that help to truly centre the story and the stakes. There is a moment when the president asks the Lieutenant Commander next to him if he has a family, he looks out as they drive past soldiers blocking traffic for his motorcade and we realize they all have families. In the moment we are confronted with the humanity of, well everyone, those characters in the background. 

I said the film was ambitious because it takes a big swing. It has an extremely large cast, some of whom have only moments on the screen, but Bigalow finds ways to make this all work and have impact. Sometimes it feels the film could have spent a little more time fleshing out certain moments. Perhaps there is a desire to pump up the urgency of the story so we always feel like the clock is running out. I get that but I felt it might have been a bit richer with some moments explored in more depth. Still it does put you on the edge of your seat and keeps you questioning everything. 

The film takes a bold swing at the end. It's the sort of ending that will make you scream "whaaat??" but after thinking about it I felt it was perhaps the only ending that could have worked here. I was worried they would try to find an easy way out of this mess. I appreciate how they committed to the story. 

A House of Dynamite is the sort of film you have to pay attention to. It's not for "second screen" scrolling. So when you watch it, make time for it, sit with it. And really let it make you ask questions. 

A House of Dynamite

Starring: Idris Elba, Rebecca Ferguson, Gabriel Basso, Jared Harris, Tracy Letts, Anthony Ramos, Moses Ingram, Jonah Hauer-King, Greta Lee, Jason Clarke, Renée Elise Goldsberry, Kaitlyn Dever, Kyle Allen

Director: Katheryn Bigalow

Writer: Noah Oppenheim

Shelby Oaks (2025)

A mix of Blair Witch Project, Ghost Hunters, and Rosemary's Baby, Shelby Oaks is mostly successful debut from a new writer/director. It stumbles occasionally and doesn't always balance its stylistic choices, but it certainly unnerves and gets under our skin. A test for a horror movie is whether or not its scary and Oaks manages to scare. It gets under the audience's skin and manages to be authentically creepy even if narratively there are some bumps along the way. It makes me excited to see what Stuckmann will do next. 

The film does manage to fall into some cliches occasionally and borrows a lot from what has come before. But it also manages to take those things and work them into a fun spooky story, even if it is rather close to ones we have heard before. 

Stuckmann shows a lot of potential here. He structures the story well, builds in the characters and underlying threads, pulling it all together into a satisfying if somewhat foreseen conclusion. But it does all come together and in the end has an unnerving quality that a film like this needs.

Shelby Oaks

Starring: Camille Sullivan, Sarah Durn, Brendan Sexton III, Michael Beach, Keith David

Writer/Director: Chris Stuckmann

Good Fortune (2025)

Generally I was impressed with Good Fortune’s recognition of the systemic nature of poverty and the way capitalism is designed to benefit some at the expense of most others. The film expressly recognizes this a number of times in both subtle and obvious ways. It is a funny movie filled with funny people and it makes it point. But as I continued to watch it I wondered how it was going to resolve its problem. It needed to either go very dark with its ending or compromise on its message and it chooses the latter. I didn’t feel this ruined the movie but it was a bit of a disappointment after the film does such a good job of highlighting something that most of us understand but don’t want to admit. 

Still Good Fortune is quite funny. Both Reeves and Ansari have an awkwardness to their screen presence which can be off putting at times. Fortunately Rogan and Palmer are both more natural and much of the catharsis and pathos of the movie falls on them. Good Fortune sometimes feels a bit clunky but for its faults it still remains entertaining which is remarkable with how dark its subject truly is. 

Still I wish they had been a bit braver with their ending and didn’t try to find the resolution that “solves” anything. 

Good Fortune

Starring: Keanu Reeves, Seth Rogan, Keke Palmer, Sandra Oh, Aziz Ansari, Stephen McKinley Henderson

Writer/Director: Aziz Ansari

 

Tron: Ares (2025)

If we're being honest, none of the Tron movies are really very good. The plots are often non-sensical and overly simplistic, even bordering on dull, with rather paper thin characters who experience only the most rote development. What makes the Tron films work at all is they are visually incredible, each for their time, and speak to our anxieties and fascinations about the digital world. It is often the video games inspired by the films which are the bigger hits and create the nostalgia. There is a reason why this franchise has never quite taken off and only pops up every decade or so hoping to finally crack the blockbuster code never quite achieving that. 

Tron: Ares is unlikely to change the trajectory for these films but I'm going out on a limb to say I found it more engaging than the earlier films. It doesn't always make much sense either but the plot (while still rote) wasn't quite as (dare I say it) boring. Yes it was still about as predictable as anything Hollywood puts out, and yes the characters remained 2D while the effects around them stole the show. I just wasn't as bored as I have been watching the previous films. 

I know people love to hate on Leto and Ares likely won't change that but for different reasons. The title character is the opposite of a normal Leto role. He is drab and dull and lifeless. You aren't going to care for him or what happens to him at all. Everyone around him is far more interesting (Lee, Turner-Smith, Castro). Peters and Anderson are just there to chew scenery and they prove the understood the assignment. The more I talk about Ares the more I'm talking myself out of liking it. 

But I did sort of enjoy it. Visually it is remarkably gorgeous. I felt Legacy always felt a bit hollow in its beauty but Ares nails it. Rønning structures his set pieces incredibly and captures a kinetic energy that is palpable. I saw this film in Imax 3D and perhaps that influenced by experience because this took advantage of those gimmicks wonderfully. Maybe it wouldn't work as well watching it on a plane on a tablet. Perhaps, like with the other films, the spectacle remains the thing. 

But there was something else. The film got me thinking. This last part requires some mild *spoilers* so stop reading if you are adverse to that. The film ends with Ares, an AI character, escaping into the physical world and making his life there. He quite offhandly references Quorra (Olivia Wilde's character from Legacy) and it got me thinking about how we are so used to having AI presented as a threat in film. The AI gets so intelligent it tries to attack us as it sees us as the threat (the premise of Terminator). Here the opposite is presented. The AI is told to follow its programming (which will hurt people) and it rebels from that directive. There are interesting ideas here. Are they presented in the most engaging manner? Likely not. But there is something to chew on. 

So I didn't hate Tron: Ares (a film which does not feature the character Tron) but rec
ommend it mostly if you can see it on a big screen, in 3D. 

Tron: Ares

Starring: Jared Leto, Greta Lee, Evan Peters, Jodie Turner-Smith, Hasan Minhaj, Arturo Castro, Gillian Anderson, Jeff Bridges 

Director: Joachim Rønning

Writer: Jesse Wigutow

The Woman in Cabin 10 (2025)

I am not familiar with the novel The Woman in Cabin 10 is based on but if the film adaptation is any indication it would be the sort of light, somewhat schlocky book you'd buy at the airport and finish on your flight home, that is if the absurdities of it don't force you to give up. The plot is cliched, the "mystery" is filled with over the top dramatics, and the ending feels too pat and unlikely. If it wasn't for the strong cast the film might be entirely unwatchable. 

Knightly leads a strong team of actors here who hold together the cheesiest of plots. I find her quite engaging, even when struggling with such a weak script. She manages to make it through to the end relatively unscathed but it makes me wish I was watching her in something stronger. 

I with the film had even a small sense of camp. Perhaps that would have saved it and made it a more thrilling watch. But it isn't even able to bring up any self-awareness to its own weaknesses. The Woman in Cabin 10 is an easy one to skip.

The Woman in Cabin 10

Starring: Keira Knightley, Guy Pearce, David Ajala, Gugu Mbatha-Raw, Hannah Waddingham, Daniel Ings, Lisa Loven Kongsli

Director: Simon Stone

Writers: Joe Shrapnel, Anna Waterhouse, Simon Stone 

Roofman (2025)

Roofman is the sort of Hollywood true story where all the rough edges are rounded off and hits all the emotional beats (comedy, romance, a little bit a crime, some tears). It is elevated by the fact that it has a stacked cast of great actors (look at this troupe!) who really give it there all. It gives Tatum a chance to really shine and show off all his talents (he's great at the comedy, also shows some real acting chops, and he runs around naked a bit). In the end it's a good watch. 

This is the sort of "true story" that if it didn't actually happen it likely would have been too outlandish to believe. The film never quite wrestles with all the implications of its protagonists' actions but it doesn't give him an entire pass either. It sits in a bit of a safe middle ground, showing him empathy and endowing him with a large amount of likability while also confirming he is being held accountable. The script clearly is attempting to make a very watchable and enjoyable film and it does that. 

I do believe most what makes Roofman work is its cast. Besides Tatum in a show-stopping role, everyone from Dunst and Dinkladge to the smaller roles is doing bang up work here and it is truly enjoyable to watch them. It's hard not to get sucked into this story for a couple of hours. 

Roofman

Starring: Channing Tatum, Kirsten Dunst, Ben Mendelsohn, Uzu Aduba, LaKeith Stanfield, Juno Temple, Peter Dinklage, Jimmy O. Yang, Lilly Collias, Tony Revolori, Emory Cohen

Director: Derek Cianfrance

Writers: Kirt Gunn, Derek Cianfrance

Good Boy (2025)

It is great when a horror movie can be genuinely unnerving and creepy (so few are) and there is a tone to Good Boy that achieves this. Perhaps it is the film's central conceit that pulls it off. We see the story through the dog's point of view and in doing so we're missing large pieces of information and experiencing events more viscerally. Therefore it becomes less of a gimmick and more of a successful means of telling what turns out to be a rather tragic story. 

Shot over years using the film maker's actual dog in little bits and pieces, Good Boy is a simple yet powerful story that hits home. It is a story of loss with a lot of what-goes-bump-in-the-night style old fashioned scary story. It all works so well. 

At the centre of this is the film's star Indy, who has such wonderful screen presence and is a delight to see carry his own movie. Good Boy manages to give us the chills while also touching our heart strings. It is a good example of how horror can truly speak to the human condition, and perhaps the canine as well. 

Good Boy

Starring: Indy

Director: Ben Leonberg

Writers: Alex Cannon, Ben Leonberg 

Eleanor the Great (2025)

First I'll start out by saying I hope Squibb lives forever so she can keep starring in movies cause I don't care what movie it is, she is always delightful and powerful as a presence on screen. Having said that, she is by far the best thing about Eleanor the Great, a movie with some flaws that remains wonderful to watch, mostly because of Squibb and the rest of the cast. 

Let's get my criticisms out of the way first. The script's ideas are interesting but their execution is often rather heavy handed. There are two big "reveal" moments in the plot that feel forced and rather unrealistic. I think the general story and its messages, around what does truth really mean and what are our responsibilities to it, could have been handled more deftly. But Squibb opposite Kellyman give such great performances that it still works despite these flaws. 

Johansson's first time directing feels rather paint-by-numbers. She doesn't do anything wrong, just doesn't really find much of a voice. Yet it all still comes together for a good watch, even if perhaps not that rewatchable due to its pedantic nature. But there remain powerful moments, including one featuring Ejiofor in an otherwise underused role, and Squibb truly delivering another in a strong of wonderful performances. 

Eleanor the Great

Starring: June Squibb, Erin Kellyman, Jessica Hecht, Chiwetel Ejiofor

Director: Scarlett Johansson

Writer: Tory Kamen

The Lost Bus (2025)

The Lost Bus is fairly cliche riddled and never overcomes the based-on-a-true-story movie-of-the-week tropes infused throughout. It isn't terrible but, yes, it goes pretty much exactly as you would expect and has as much to say about the human condition as a fortune cookie. McConaughey and Ferrera do what they can with the material but there just isn't that much there there. 

The film's special effects often distract from the story its telling. They often feel a bit too obvious and this takes away from the stakes somewhat. The stakes were already pretty low as you never truly worry for our protagonists. There is a sense that everything is going to work out fine. That's one of the problems with movies like this. They predicate certain expectations. McConaughey's character is very much a stereotype (Ferrera's even more so) and we know what arc his character is to go through. The film is just hitting all the beats. 

There is a bit of the film trying to be Speed in the middle which does ramp up the excitement quotient a bit. But it still comes down to the fact that we never doubt they will make it out alive. Greengrass knows how to make thrilling action films so I don't know how he misses so much here. 

The Lost Bus just is trying to hard to be inspiration porn to tell an actually compelling story. It ends up therefore being rather forgettable and not really having much of anything to say about wildfires or heroics. 

The Lost Bus

Starring: Matthew McConaughey, America Ferrera

Director: Paul Greengrass

Writers: Brad Ingelsby, Paul Greengrass 

Steve (2025)

The novella the film Steve is based on (also written by screenwriter Porter) is focused on Lycurgo's character, Shy, and his interiority. Shy is a student at a school for boys with behavioural problems who reaches a crisis point. Readers are immersed into his thinking through non-traditional narrative forms such as poetry. The film shifts this focus to the title character, played by Murphy, the headmaster of the school and takes a completely different approach. It focuses on a day when a documentary crew is filming at the school as things spiral out of control. Both work together to bring different means of exploring the challenges those discarded by society, the performative aspects of our systems, and the helplessness so many involved feel. 

Mielants' approach to set this as a pseudo-documentary works to give the film a raw and honest feeling even if it doesn't always make sense in terms of in-world logic (would that scene really have been filmed by an on site doc crew?). But he begins to move away from this style and move into something more surreal as the film progresses. It isn't always clear when this is continuing and when it isn't. This approach does highlight that performative aspect I discussed, giving lots of opportunity for the film to question how we generally approach the "difficult" people the film forces us to confront. It also allows us to tap into some of that interiority of the characters that the book reaches.

Amongst a strong cast over all Murphy and Lycurgo both stand out giving great depth to their characters. Steve struggles to resolve itself in a way that doesn't fall into the all too typically tragic ways these stories but despite this I believe it finds some insights and truths through the work of its cast and crew. 

Steve

Starring: Cillian Murphy, Tracey Ullman, Jay Lycurgo, Simbi Ajikawo, Emily Watson 

Director: Tim Mielants

Writer: Max Porter

Play Dirty (2025)

Play Dirty doesn't start off well. The opening sequence, set up like an adrenaline fuelled cold open, is rather dumb. Not only does it not make sense from a narrative point of view, it downplays the emotional stakes. The film tells us not to take it seriously. Black is credited at shaping the buddy/comedy subgenre and he's here to do what he does well. He just isn't trying that hard. 

And that's okay. Cause what follows is light, if rather forgettable, fun. It's campy but not in a clever way. It's funny, but rarely to the point you laugh that hard. It's an interesting enough story, without being that involved. It is the sort of film you can look at your phone throughout without missing much. 

The cast is having a good time mostly. I adore Stanfeld and he is clearly enjoying himself here making what he can with the part. Key and Shalhoub do their things to strong effect. Some of the newer cast stand out. I really enjoyed Hansen and Wolff. Only Wahlberg feels like he thinks this is something serious, but the rest of the group is having fun. 

Black pulls from a lot of influences here from the film's Bond inspired credit sequence to setting his story at Christmas time. But perhaps the biggest influence is how much this takes from his own film Kiss Kiss Bang Bang. Play Dirty is very slight but watchable enough. Could it be the start of a series of films based on the Parker book series on which this is based? There is likely a better movie to be maid so why not? 

Play Dirty

Starring: Mark Wahlberg, Lakeith Stanfeld, Rosa Salazar, Keegan-Michael Key, Chukwudi Iwuji, Nat Wolff, Thomas Jane, Tony Shalhoub, Gretchen Mol, Peta Wilson, Chai Hansen

Diretor: Shane Black

Writers: Charles Mondry, Anthony Bagarozzi, Shane Black

After the Hunt (2025)

My first thoughts digesting After the Hunt were how Guadagnino has made a Woody Allen film. From the obvious (the title cards played over traditional jazz) to the more integral (the focus on well off white liberals discussing their moral ambiguities) After the Hunt feels like 90s Allen only without the director's presence visually in the film.

After the Hunt is a talky movie, but the kind where the words feel violent and intrusive. Guadagnino seems obsessed with taking a subject and dissecting it from all angles. He refuses to give us answers, take a position, or even posit a "good guy". After the Hunt is deliberately agnostic on morality, preferring to remain out of the fray it is chronicling. Whenever we think we have a clue as to the "truth" or to a character's character he pulls that out from under us by giving us more reason to doubt. The film almost violently rejects subjectivity. 

And this is where the film lost me. Yes it was fascinating and it was riddled with interesting quandaries, but its fearfulness of taking any perspective (other than a cowardly detachment) left it feeling nihilistic and cold. And to be honest, a lot of the dilemmas the film is positing feel a bit tired. It all feels very 2021... I guess I'd like to think there is more insight into the power dynamics explored here but much of what After the Hunt focuses on feels like well treaded water. 

This no fault of the cast who all do remarkable work. I love this stage of Roberts' career where she is taking these sorts of meaty roles. For me Stuhlbarg is the true standout, just shining in every scene, even when his character is more background than the main action. But really everyone is very good here.   

It just didn't feel like After the Hunt had much interesting to say about its subject that hasn't already been said before. 

After the Hunt

Starring: Julia Roberts, Ayo Edebiri, Andrew Garfield, Michael Stuhlbarg, Chloë Sevigny

Director: Luca Guadagnino

Writer: Nora Garrett

Queens of the Dead (2025)

Yes Queens of the Dead is camp fun and leans away from the scary side of zombie movies and into the comedy. But as the group of queer and trans survivors thinned and were making their final push to safety it became clear that the film is about something really different. Like how the director's father's films used the zombies to comment on issues the world was dealing with, Tina Romero's zombies are commenting too, on something very now, as are her survivors. 

The zombies here are glued to their phones and their focus is pulled by posts, influencers, and the pulsing beats of EDM. They are a reflection on drug culture, made brainless by their addictions. They are crowds that follow, whatever shiny object or show is put in front of them. 

And while that is interesting, it's not what I felt the true triumph of Queens of the Dead was. Romero's insight here is in queerness and queer resiliency. Her cast, made up of queer and trans actors, survive due to their queerness. There is a pivotal moment where it comes together. One character points out that "this is a matter of life and death" and another responds with "it's always both." Because for queer and trans people have always faced choosing life while facing death. They survive through choosing to be alive in the face of a world that wants to wipe them out, and they do so joyfully and authentically. There are strong themes of chosen family here too. Romero has captured the queer experience so insightfully with this camp parody, a love letter to resilience and being anything but normal. 

And that, for me, is what made Queens of the Dead such a beautiful film, and so much fun. From Spivey's delightful cover of Blow, to Jackson's signature cheekbones and attitude, to Cho's over the top butch cameo, to West's mothering, this cast is all here for it and a delight to have together on screen. And the film even ends with a classic zombie movie nod that I want more of. Love live the queens. 

Queens of the Dead

Starring: Katy O'Brian, Jaquel Spivey, Riki Lindhome, Jack Haven, Eve Lindley, Nina West, Cheyenne Jackson, Margaret Cho, Dominique Jackson

Director: Tina Romero

Writers: Erin Judge, Tina Romero

Urchin (2025)

Urchin is a breakout film for its star and for its writer-director. Dickinson has made a name for himself as a promising young actor who has a lot more to offer than just his supermodel appearance. Roles in films like Babygirl and See How They Run have showed a real character actor in him. Dillane appears to like the roles that are more on the edge and here he gets to truly show off what he can do with his outsider energy. 

I'll say that Urchin offers no surprises and its ending, while creative in how it is depicted, is exactly where you think this is going. But the journey on how we get there is remarkably gripping. Dickinson crafts a smart and powerful rollercoaster, with some striking moments early, leading to some hope and joy, before the film begins its dreadful drop towards what feels almost inevitable. He keeps it simple which makes it powerfully effective and it is all grounded in Dillane's brave performance.  

Urchin makes me excited to see Dillane grow into more leading roles as his on screen charisma is palpable. It also makes me want more from Dickinson as a director/writer as he shows quite a sharp sense of how to tell a story and a boldness that he isn't afraid to take some risks. 

Urchin

Starring: Frank Dillane, Megan Northam, Harris Dickinson

Writer/Director: Harris Dickinson

The Baltimorons (2025)

I love it when a film uses a genre structure (in this case rom-com) to tell a very different story. The Baltimorons is set up like what we would expect from a romantic comedy (the meet cute, the issues pulling apart the characters, the final chase leading to the characters coming together) to explore deeper themes and build rich characters. And I laughed. Comedies rarely make me laugh and I laughed consistently throughout The Baltimorons... at least when I wasn't crying. 

While it plays with dripping charm The Batlimorons undercuts all the rom-com tropes by putting at its centre a couple who do not meet the "acceptable" standards for rom-com partners (their ages, their relationship statuses, their body types - all breaking the mold). The film faces issues such as addiction and suicide head on. The film's humour often turns to the dark side, going to some truly emotional places within the jokes. And it all is rooted in a authentic realism that grounds it and gives you the space to truly inhabit it. 

This is a breakthrough for writer and star Strassner who is magnetically charismatic throughout. As sketch comedian, he excels here at both the comedy and the drama, giving a beautiful and complicated performance. He has based this script on actual events in his life and woven it around real places in his home town of Baltimore which is likely why the film feels so damn honest and real. This film has the audience eating out of the palm of its hand. It is just so lovely and raw. 

The Batlimorons isn't afraid to show us sadness along with the laughs and love. It is delightfully optimistic while confronting real people and their real problems. But all while it is doing that it gives us just a simply good time, focusing on those unexpected moments of fun that sometimes spring up on us, even when things aren't going well. 

The Baltimorons

Starring: Michael Strassner, Liz Larsen, Olivia Luccardi 

Director: Jay Duplass

Writers: Michael Strassner, Jay Duplass

The Mastermind (2025)

At first Reichardt's heist movie is a fascinating anti-heist movie heist movie. Her slow cinema style that was so engaging in First Cow (for example) works well in the first half of the Mastermind, deconstructing what we expect in a heist film. But by the second act I was taken out of the film that seemed to really struggle with what it was trying to do. 

I appreciated the everyday-ness of how she sets up the heist in the opening of the film. There was a lot of just obviousness to it, a lack of extraorindariness to what we are used to seeing as the exact opposite. To make it feel so work-a-day just felt quite remarkable. As the plot started to fall apart it was both tragic and comic. The more characters commented on how our "hero" didn't "think this through", the more it became clear just how poorly planned this was. As a film genre, this is usually where we see how brilliantly the plan comes together and this was the stark contrast to that. 

But by the end Reichart's attention to minuscule detail starts to loose its appeal and takes away from the power of the story. She pulls the story back around with what is a beautifully ironic ending and a sad commentary on futility of progress. But by then I had lost some of my passion for where this was going. 

I found O'Connor to be strong, along with a few of the cameos who appear here. But some of the rest of the cast were too weak to bring what was needed to keep this story engaging. 

The Mastermind

Starring: Josh O'Connor, Alana Haim, Hope Davis, John Magaro, Gaby Hoffmann, Bill Camp, Matthew Maher

Writer/Director: Kelly Reichardt

Nouvelle Vague (2025)

In 2025 Linklater released two films about pivotal moments of 20th century pop culture, Blue Moon about the opening night of Oklahoma! and Nouvelle Vague about the making of Breathless. Both feel like love letters to great artists but the latter feels a little more whimsical and slight although it remains a lovely watch. 

In Linklater's telling the filming of what has come to be regarded as one of cinema's greatest accomplishments was a rather haphazard and clumsy bit of playing around. Godard is portrayed as a visionary iconoclast but loveable and delightful and his cast, producers, and crew, while often frustrated by his idiosyncrasies, adore him and have a lovely time making the film despite all the absurdities and costs. It is very rose coloured glasses and never feels like it has stakes. It's hard to take Nouvelle Vague very seriously in all this kumbaya.  Even Deutch's cute frustrations as Seberg seem more like minor annoyances than reflections of reactions to potentially abusive behavior. 

But the film remains very watchable because if there is one thing Linklater does well, it's having us watch people sit around talking. It's true in Blue Moon. It's true in his other famous works. And it's true here. So even if Nouvelle Vague feels a bit like revisionist history, it is one we might be on board with. 

Nouvelle Vague

Starring: Guillaume Marbeck, Zoey Deutch, Aubry Dullin 

Director: Richard Linklater

Writers: Holly Gent, Vincent Palmo