The film stars Adam Scott as Ohm Bauman, an American writer and a person of disagreeable temperament. Scott is very much the central character, but alongside him we have the various hotel staff – Cob (Brendan Conroy), owner of the hotel, Cob’s son-in-law and front desk clerk Mal (Peter Coonan), the serious and sometimes aggressive groundskeeper Fergal (Michael Patric), bellhop Alby (Will O’Connell) and happy, helpful Fiona (Florence Ordesh). There is also the local woods-based hermit who creates magic mushroom-infused milk drinks and is generally odd.

The film is written and directed by Damian McCarthy, a filmmaker best known for 2020’s Caveat and 2024’s Oddity, two well-received horror movies.

Ohm Bauman travels to the isolated Bilberry Woods Hotel in Ireland, a picturesque location and a place his parents had visited and often said they always wished to return to. With both his parents now dead, Ohm plans to scatter their ashes in the woods and also finish his latest book. The hotel is festooned with monuments to Irish folklore, from odd carved figures to a slightly scary old man telling children very unsettling ghost stories. In short order, several bad things happen, including a suspicious disappearance, which quickly leads to Ohm and others thinking about the mysterious Honeymoon Suite, which is never used for guests and seemingly never even entered. A heavy metal gate is kept locked at all times. There are many stories that the honeymoon suite is haunted.

The film is one of the best examples of a horror movie, where it is never clear how much is supernatural evil and how much is simply in the minds of those experiencing it. We see things from Ohm’s perspective, and in a number of ways, he is an unreliable narrator. First of all, Ohm is a writer, a protagonist writer is almost certainly a sign that we’re not seeing what “really” happened, then Ohm has a lot of trauma that he is dealing with that is connected to this very hotel, and also, there are a lot of hallucinogens flying around.

For consistently playing the nicest characters on TV, Scott is a very good jerk writer, and despite the things that happen to him in the film and his past, it’s often hard to feel too sorry for Ohm. The hotel staff occupy the curious place of many tourist areas; their livelihoods depend on tourism, but they also resent the tourists, especially when they’re as rude as Ohm. Mal is the obsequious desk clerk, Fergal, whose duties include shooting goats with a crossbow, Alby, the helpful if timid bellhop who tries to talk to Ohm and quickly regrets it and Fiona, the cool bartender with an interest in Irish folklore and, naturally, the potentially haunted honeymoon suite.

McCarthy is very good at creating tension and has an amazing use of the space of the hotel to make it scarier. There are very few locations in the film, with most scenes taking place in the hotel or the surrounding woods, and we actually see very little of the hotel, just the few key locations and the vague impression of its hard to find your way around if you don’t know the building well. He also manages to be very creative with one of the mainstays of horror cinema – the jump-scare, with often the reveal of the “scare” just being slipped in almost unnoticed.

The film sometimes suffers from there not being an adequate opposite character to Ohm, and even with the monsters, there are several different entities presented at various times, diffusing the impact somewhat. The film also sometimes strains credulity in what actions people would take, all supernatural events aside, leading to some scenes where you can’t help but think that no one would do that. But overall, the film is a great horror movie and will only further add to McCarthy’s reputation as an excellent horror director.

Rating: (4 / 5)

The post Review: Hokum – Adam Scott Leads a Twisted Horror Tale of Grief, Folklore and Fear appeared first on Big Picture Film Club.

Ms. Magazine was co-founded in 1972 by journalist and activist Gloria Steinem, along with editors Letty Cottin Pogrebin, Patricia Carbine, and Suzanne Braun Levine. The magazine challenged the usual woman-oriented publications that focused on housekeeping, suburban fashion, or recipes. These typical magazines were supported by brands and felt more like advertisements than journalism, let alone spaces for opinionated writing.

In reality, the debut of Ms. Magazine happened months earlier, on 20 December 1971. What is seen as the first edition was a 40-page insert in New York magazine, which had, in its ranks, founding editor Gloria Steinem as a staff writer. Considering that it could be their only shot to bring more serious conversations, the issue featured pieces on Black Family and Feminism, the need to review the roles of sex and gender in the English Language, and the strong story We Have Had Abortions which brought a list of 53 signatures by well-known American women, including Anaïs Nin, Susan Sontag, and Steinem herself. In eight days, the 300,000 available copies sold out. What followed was a successful story of a magazine founded and run by women, negating the voices rooting for its failure.

Having non-reader-friendly pages meant that announcers wouldn’t throw money at the magazine; still, it approached subjects that were avoided, and by its reception, the publication showed that society needed to face itself in the mirror.

“Domestic violence” and “sexual harassment” might come up every now and then in the media and at the workplace when discussing the trials that women go through in their daily lives; still, it is due to Ms. Magazine’s trailblazing that such terms for these dreadful situations are part of the lexicon. Although there is still much to be done regarding women’s and other minorities’ rights, the documentary features film and TV clips from that era and interviews with women recounting their experiences, showing what may feel like a different world but is still very present today. Thus, conforming to the defining work by such publications.
One of the highlights of the documentary is that, even though it uses archival footage and shows interviews from that time and period, it has never-seen-before footage of the period and interviews with the Ms. Magazine staff, allies, and collaborators, which makes it more valuable, considering that many of those voices are now in their twilight, thus giving more credibility to this work.

A precise look at the complexity of the feminist movement

By not turning it in a pinkish nostalgia dream, ‘Dear Ms.’ goes into the deep conversations between feminism and intersectionalities showcasing how with all the good intentions, White feminism can have it blind spots for Black women and other non-white women hailing from impoverished backgrounds that have to deal with their condition as women plus racial background and economic realities that push them downward in the stairs as they struggle for a better place in society and more respect from their peers.

The delusion of Black women can be seen in how the magazine Essence, which focused on Black women, didn’t flourish as its bigger cousin. Pain and frustration can be heard in these Black voices, but so too can the ways in which such hard and disappointing experiences can reinvigorate and be turned to other ways for female Blackness.

The documentary’s third act explores the difficult topic of feminism and sex work, showing that the movement is not a heterogeneous body. Some radical feminists oppose sex work, sometimes mirroring conservative or religious positions. Still, some women view sex work as part of their feminist expression, and it provides income for many disenfranchised women.

Former porn actress, sexologist and activist Annie Sprinkle shines in this section. She shares her decades-long perspective and offers a profile of sex worker life in America. In the end, Sprinkle speaks about her Ms. Magazine piece on cookies. While she does not mention sex work there, the piece serves as a metalinguistic microcosm of how sex work fits into society. It is controversial, but it won’t go away, much like cookies.

The trio of directors is competent and made good use of the subjects, themes, and interviewees to avoid having a bloated doc; on the other hand, giving Ms. Magazine a proper look through, and the helmer’s skills open up opportunities for other documentaries: one focused on Black Women Magazine Essence, and the other featuring Sprinkle as a character study. Sprinkle is a character from the 70s and 80s gritty New York and should have a biopic by now.

‘Dear Ms.: A Revolution in Print’ should be available in physical form, and Journalism, Sociology, History, and Anthropology colleges, among other Humanities areas, would do their students and staff a favour by showing it to them. Ms. Magazine is still in print, and it has a younger sister, the Women’s Media Center (WMC), which counts Gloria Steinem among its founders. I’m glad that at the start of my foreign writing career, I was able to publish with WMC, where I learned not only about journalism but also how to approach and cover minorities and distressing realities.

The post HBO’s Dear Ms. Documentary Review: How Ms. Magazine Shaped Feminism and Media Culture appeared first on Big Picture Film Club.

Project Hail Mary starts with Dr Ryland Grace on a spaceship waking up from an induced coma designed to make the journey easier on the astronauts. Originally, Grace cannot remember who he is or what is going on, but soon things start to come back to him. He is part of “Project Hail Mary”, a worldwide effort to save Earth; the Sun is being eaten by a new form of life, and within decades, the resulting cooler temperature will make life on Earth impossible. This mission is a huge roll of the dice, a long-shot doomed to fail – the analogy of a “Hail Mary” pass in American football, something that will almost certainly not work, but what do you have to lose?

The film focuses on Grace on the Hail Mary spaceship as he travels to a distant star to find out why it isn’t being dimmed by these lifeforms, and is interspersed with Grace back on Earth. Starting with him as a middle school science teacher to being recruited to “Project Hail Mary” and the work done to get the project going.

The film is directed by Christopher Miller and Phil Lord, best known for directing The Lego Movie and the Spider-Verse animated films. While they have worked on live-action films before, animation has been their main concern. The film is a spectacle. They mix wonderfully created sets of spaceships with the immense beauty and desolation of open space. The film is full of breathtaking shots of stars, the atmosphere of distant planets, of rotating spaceships and the sky seemingly being on fire.

The trailer of the film was controversial in that it shared information many fans of the book thought should have remained secret, namely, the existence of Rocky. Rocky is an alien lifeform that Grace meets on his mission…who is on a similar mission for his own people. In scenes reminiscent of Arrival, Grace and Rocky spend some time simply trying to communicate with each other, both realising the other is there for the same reason. Rocky is so-called because, to Grace, he looks like a bunch of moving rocks. Most aliens in Star Trek, Star Wars etc are humanoid, similar in form to us; Rocky is not. Credit is due to the directors and Gosling for making us care so much about Rocky; they have a personality that is conveyed to us, and we become invested in their well-being and that of their planet. Rocky is created using puppetry rather than CGI and motion capture, which all involved have credited with a part of the reason people care about Rocky. Gosling is acting with something physical, not something that will be added using CGI later.

Ryan Gosling spends long sections of this film being the only actor on screen, and he easily holds our attention. The scenes on Earth show this rather unlikely saviour – an anxious, uneasy, kind, damaged person, who was severely punished when they tried to excel and so stopped trying to excel. The rest of the cast gets little time on screen; there is a mix of astronauts, scientists, and government figures who we meet and are in the background. The exception to this is Eva Stratt, played by Sandra Huller, the person running Project Hail Mary. She is an almost emotionless, stern, principled person trying to save the world; she has no time for jokes, doubt, procrastination or anything like that. This emotionless exterior is not a lie, but it becomes clear she is doing all this because of how much she cares and just what she is willing to sacrifice.

Project Hail Mary is one of those films that fulfils so much of the cinematic experience, a genuine visual spectacle, heart-wrenching, tense, funny, mind-opening and more. It is a film about trying, trying to do the right thing, trying to be better today than you were yesterday, trying to put others first and while we may not always succeed, there will be other opportunities.

Rating: (4 / 5)

The post Review: Project Hail Mary – A Bold, Emotional Sci-Fi Epic Worth the Journey appeared first on Big Picture Film Club.

This introductory scene serves as a résumé of what Brazil was like under the military dictatorship and what it is like to try to make it here today. Oppressive, improvised, comical, dramatic, paranoid, and charismatic all at the same time, these qualities are blended under the peculiar writing and lens of auteur Kleber Mendonça Filho, as well as the world-class acting skill of Wagner Moura.

‘The Secret Agent’ dialogues with Mendonça Filho’s memoir-documentary ‘Pictures of Ghosts’ (2023): both use Downtown Recife’s classic film palaces. In the documentary, these theatres are fading memories of a bygone, elegant era; in the Solimões saga, they become a character alongside the picture, with a blend of colonial, neoclassical, and art nouveau architecture. The same sun that gives the distinctive coloring and shades also touches the skin of locals, granting Recife a unique look compared to more well-known Brazilian cities like São Paulo, Rio de Janeiro, or Salvador. Mendonça Filho presents aspects of local culture that resonate abroad without losing identity—his film is a love letter to his childhood in Recife and its cinema culture.

Although Brazil has brought to the world many films depicting the dictatorship years, ‘The Secret Agent’ stands out. For the untrained eye, it feels like a B-movie, but this presentation is just a layer of a nuanced arthouse picture that can also entertain. The exploitation gene is more alive when the legend of the hairy leg is told during a friend’s meeting, and the narration is followed by scenes of an amputated hairy leg causing mischief in Recife’s night, which was, in fact, a way to expose the abuses of the dictatorial law enforcement agents during that era of suffocating freedom of expression. Not to forget that, according to the National Truth Commission, 434 people were killed or disappeared by the dictatorship. Nevertheless, experts like Eugênia Augusta Gonzaga believe this number exceeds 10,000 people.

Besides being another chapter of Brazil’s revisionism of its authoritarian past, ‘The Secret Agent’ follows the world success of Walter Salles’ ‘I’m Still Here’ (2024), in which a widow and mother of four defies the regime in search of her state-abducted, tortured, and murdered husband. Both films take place in the 1970s under the same government, but they feel very distinctive and showcase that Brazilian narrators have more stories from that period to tell, and ‘The Secret Agent’ keeps the Brazilian momentum in world cinema.

Since the last decade, Brazilian films have been gaining space abroad. To explore this trend, renowned Brazilian critic Sérgio Rizzo shared his perspective in an exclusive interview with The Big Picture Film Club. Rizzo explains the international award-winning picture in the global landscape: “For Brazilian cinema, the film’s successful international run represents yet another contribution to the self-esteem of audiovisual production in the country. Its international production and distribution alliances also help, following ‘I’m Still Here,’ to reinforce the image of Brazilian audiovisual production as a good partner, capable of creating works deeply connected to national culture and, at the same time, with the capacity to communicate with audiences in other countries, especially in Europe and the USA.”

Still, it is not an easy way to reclaim the role it had in the 70s and 80s as happened with ‘The Kiss of the Spider-Woman’ (1985) or the acclaim it got at the dawn of this century with ‘City of God’ (2001) and there is work to be done after ‘I’m Still Here’ and ‘The Secret Agent,’ according to Rizzo: “However, for the success of these two films to cease being merely episodic and become a permanent occupation of a space in the international spotlight, measures are needed in the area of public policies that strengthen the Brazilian industry in the medium and long term, which is not currently happening.”

A pool of international exchange under tropical weather

Brazilian pictures have attracted international talents like Italian legend Marcello Mastroianni in ‘Gabriela’ (1983), ‘My Hindu Friend’ (2015) with Willem Dafoe, and Frenchman Vincent Cassel, who has strong ties with the nation, was cast in ‘Adrift’ (2009) and ‘The Movie of My Life’ (2017). Late German veteran character actor Udo Kier was a collaborator of Mendonça Filho, playing the main antagonist in ‘Bacurau’ (2019), which also had a squad of foreign talents, and portraying a Holocaust survivor in ‘The Secret Agent,’ a metalanguage of authoritarian regimes and their everlasting impact on their survivors, and also his last role. These and other collaborations show that there is room for foreign talent in authorial and independent Brazilian films.
When asked what foreign talent can bring to the Brazilian table, Rizzo explains: “‘I’m Still Here’ and ‘The Secret Agent’ already feature foreign professionals, especially Europeans, in artistic and technical roles. These are concrete and successful examples of opening new avenues for internationalising work, which are fundamental to the audiovisual production system in the 21st century.”

‘The Secret Agent’ features impactful cinematography by Russia’s Evgenia Alexandrova, while ‘I’m Still Here’ has a rich soundtrack by Australian musician Warren Ellis. Rizzo further elaborates on these symbiotic international relations:

Just as the US audiovisual industry traditionally relies on the talent of professionals from other countries; the Brazilian audiovisual industry has its doors open to the participation of foreign ‘players’ in strategic positions. Actors and actresses, for example, can revitalize their careers by participating in auteur films with strong festival presence and high circulation on prestigious exhibition circuits, which, in turn, allows them to occupy spaces in the global media spotlight. Producers can associate themselves with local projects and benefit from this same privileged circulation.” – Sérgio Rizzo

In this current high-momentum period, Brazilian cinema can accommodate both veteran and emerging talents. Names like Academy Award-winning Melissa Leo, charismatic 80s leading man Philip Michael Thomas, and New Queer Cinema mainstay Guinevere Turner come to my mind as they can offer much on and off-screen. While actors that deserve greater leading status include Ireland’s Mark Ryder (Borgia) and local Alexandre Rodrigues, who brought ‘City of God’s Rocket to life. Although the future is uncertain, the Brazilian cinema community, alongside local and foreign talents and fans, should savour moments like the one unfolding in this unique, sun-bathed corner of the globe.

The Secret Agent is in cinemas now

The post ‘The Secret Agent’ Unveils Authoritarian Trauma and New Narratives For World-Cinema appeared first on Big Picture Film Club.

This out-of-the-ordinary moment is a sample of how the dramedy ‘Rental Family’ portrays Japan from a unique light that appeals to locals and outside audiences as it approaches the business that gives the picture its name, where people hire actors to pretend that they are relatives, friends, or love interests, but doesn’t involve sexual relations, although there is a sensible approach to sex workers in the picture. The rental family is a “make-believe” connection; however, the picture directed by Hikari reveals how deep such relations can go, either on paths of tenderness or toxicity, while touching on hard themes such as queerness and neglectful parenthood in Japanese culture. The screenplay was written by Hikari alongside Stephen Blahut.

The protagonist benefits from Fraser’s everyman charisma, which blends his will to keep trying to improve even as life gives him a bad hand. Fraser won the 2023 Academy Award for Best Performance by an Actor in a Leading Role in a moment that crowned the beloved performer who had come from a dark and vulnerable personal period, and it is this appeal along with his acting range and skill to bring to life the characters that makes Vanderploeg more believable as a journeyman actor in a foreign land, who is very distant from the matinée adventurer from the Mummy franchise or the scoundrel lawyer from ‘Killers of the Flower Moon,’ asserting Fraser’s capabilities.

‘Rental Family’ unites a world-class cast, showcasing Japanese talent to the West and highlighting Japan’s cinema culture. Shannon Mahina Gorman plays the child who has Vanderploeg as her “father.” The young actress shows veteran sensibilities, making the character’s reactions natural and authentic. This stands out, as directing children to appear genuine is challenging and often results in performances that feel forced. Thus, further showing how Hikari is a capable director and the good worker that Gorman is.

Hira has a leading man vein that, alongside Ken Watanabe and Hiroyuki Sanada, makes him a successor to past Japanese cinema leading men such as Toshiro Mifune, Tatsuya Nakadai, and Ryô Ikebe. Hira can be charming and, in a snap, can be toxic. Another standout from the cast is journalist turned actress Mari Yamamoto, who finds in Aiko Nakajima, a dramatic character in ‘Rental Family’ who, at the start, goes with the motions in a life that seems to be leading to nowhere great in terms of professional planning, but also in a personal aspect. Nakajima represents what women have to endure in Japanese society. Yamamoto is known for the series ‘Pachinko’ and is shining in ‘Monarch: Legacy of Monsters.’ She is leading lady material.
Akira Emoto delivers a tender, sad performance as ageing actor Kikuo Hasegawa, a once-important figure who is now ostracised by the film industry and society. Struggling with his memories, his story reflects how the cinema industry neglects those who were once celebrated, leaving them as forgotten names or mere answers in crossword puzzles.

The cinematography gives ‘Rental Family’ a distinctive appeal compared to other Tokyo-based productions. It uses lighter colour palettes while also evoking a sense of loneliness and longing to belong, themes central to the story. The film is suitable for families, but it is not watered down, as it dialogues with films like ‘Lost in Translation’ and has shades of the darker ‘Midnight Cowboy.’

According to the University of Southern California’s (USC) Annenberg Inclusion Initiative, ‘Rental Family’ is among the top 100 highest-grossing films of last season and one of only nine in this group directed by a woman, a confirmation that Hikari is a raising voice and ‘Rental Family’ is better enjoyed in a movie theater, still it can be cozy at home. The cast’s chemistry and Tokyo’s unique architecture create a story that is bittersweet yet comforting, like having lemon ice cream on a late Sunday afternoon.

The post Rental Family: Brendan Fraser Leads a Tender Drama Exploring Japan’s “Hired Family” Culture appeared first on Big Picture Film Club.

What’s Going On

OBAA is a thriller from Paul Thomas Anderson, who is undoubtedly one of the greatest directors working today. The film starts with the French 75, a revolutionary direct action group in America and in particular, members Bob Ferguson and Perfidia Beverley Hills, husband and wife. The antagonist is Colonel Steven Lockjaw, who takes the lead in bringing the group down with extreme methods. The film then cuts to 15 years later, when Bob is simply trying to raise his daughter, Willa, in peace and safety, but Lockjaw is once again seeking them out.

Behind The Scenes

The film is directed and written by Paul Thomas Anderson, whose previous films include There Will Be Blood, The Master, Punch-Drunk Love and more, and some are calling this film the best of this already great career. Anderson’s films cover a range of genres, with this being one of the more straightforward, at least on the surface. The film is based on the book of the same name by Thomas Pynchon. Anderson has already adapted one of his works, Inherent Vice, a very different sort of film.

In Front of the Camera

It is a big cast, but Leonardo DiCaprio does probably have the most screentime, and it is essentially his character’s story that we follow. He plays Pat/Ghetto Pat/Rocketman/Bob Ferguson, Bob being the last identity he adopts, and for clarity’s sake, he shall be referred to as Bob Ferguson.

Perfidia Beverly Hills is played by Teyana Taylor and is very convincing as the committed revolutionary who wants to overturn practically every element of society. Like many in the group, she has an assumed revolutionary name – Perfidia Beverly Hills. Taylor is probably better known for her work in music as a singer, songwriter, choreographer and more.

Sean Penn plays Colonel Steven J. Lockjaw and gives one of the best performances of his career as one of the most unpleasant characters seen in film in a long time. Penn is a two-time Oscar winner and known for his roles in Milk, Mystic River and Carlito’s Way.

One Battle After Another is brilliant and ranks amongst Anderson’s best films. It is an incredibly complex representation of the struggle the revolutionaries are fighting and the authorities they are fighting, but also family bonds, communities in crisis, betrayal and obsession.

The audience sees the story from the point of view of Bob in the French 75, but they are not the “good guys”; the first revolutionary act we see is them briefly taking over a detention camp for undocumented migrants and liberating it. This is not represented as clever rogues getting one over on the authorities – the oft-employed Hollywood trick of the good guys having guns but not having them loaded is definitely not used here – but a genuine attack. Certainly, the French 75 seems like they do not want to actually kill people, but doing what they do, someone is going to get hurt, and indeed, someone does. The forces of law and order, such as they are, as exemplified by Lockjaw, are horrendous. It is true that the higher authorities may not be aware exactly what Lockjaw is doing and certainly not why, but the fact that that is possible is damning. It is never made completely clear exactly what Lockjaw’s position is – sometimes appearing to be a military officer, in which case, why is he deployed on US soil? Sometimes he seems more like some aspect of law enforcement, in which case, why does he act like an invading army? This ambiguity could be for several reasons: the difficulty of quickly explaining this, the fact that the distinction in the use of military and law enforcement in America is blurring, or that it is blurred to give the audience the impression that Lockjaw had effectively limitless power with no accountability. The only pushback to Lockjaw is from forces outside the authorities. It could even be thought that those above Lockjaw knowingly turn a blind eye, as spending ten minutes in his company would seemingly highlight the fact that he should not ever be given any power. He plays a supremely sinister villain, who keeps adding new layers to villainy, abuses of power, just plain abuse, and violence of every kind. He has an unrelenting nature, which is sometimes more akin to a villain in a slasher film. Yet he is simultaneously a ridiculous figure, riddled with insecurity and self-loathing, but that takes nothing away from how dangerous he is.

DiCaprio’s change from wild rebel to burned-out father is very well done, with his focus for action moving entirely to his daughter. DiCaprio’s best moments are when he is separated from his daughter and trying desperately to find her and help her, particularly the series of conversations he has with revolutionary agents, finding out where his daughter might be, but he can’t remember the long and convoluted password system.

Paul Thomas Anderson is not typically known for action scenes, but towards the end of the film comes an incredibly tense and thrilling set piece on deserted American roads that wind and undulate, hiding characters from each other and then coming into view spectacularly quickly. The extended sequence of what feels very much like an ICE raid on a city is non-stop tension for what feels like six hours.

OBAO is definitely one of the best films of the year and feels incredibly timely, as heart-wrenching as it is thrilling and packed with so much going on that lots of details weren’t able to be included in this review.

Rating (4.5 / 5)

The post Review: One Battle After Another – One of the Best Films of 2025? appeared first on Big Picture Film Club.

Director Vincent Grashaw tells the story of the retired “Bang Bang” Rozyski as he rekindles with his estranged grandson, Justin (Andrew Liner), and trains him in the sport that gave “Bang Bang” his claim to fame but also stole his happiness and innocence from a young age.

The movie doubles as a coming-of-age story for the supporting character Justin, who is played with diligence by Liner and represents a new opportunity at parenting for the lead. Still, it is primarily a character study for Rozyski that peels back the personality of boxers, straying from the clichés of an underdog aiming for a successful comeback to his previous status, thus bringing this fictional tale closer to the reality of the majority of the sweet science gladiators, whom I’ve followed as a boxing writer.

Rozyski’s grudge with former opponent Darnell Washington (Glenn Plummer) bleeds on the screen as an unhealed old scar pouring dark red blood. Washington is a loud boxer reminiscent of the great Black fighters of the past, a departure from Plummer’s more famous past roles. Washington gives a speech to Rozyski about the realities of boxing and life itself, mirroring the late Michael Gambon’s monologue in the British gangster classic ‘Layer Cake’ (2004), and forcing “Bang Bang” to mature.

Another stance where ‘Bang Bang’ avoids clichés is by humanising the cop character, Officer Flores, by not making her a die-hard hero nor a straight-out prejudicial villain, which gains nuance through the acting skills of Daniella Pineda, who Hollywood should consider casting in leading lady roles.

‘Bang Bang’ uses Detroit as its narrative; the movie is immersed in a city that is a far-cry from its glorious Motor City past, but the picture doesn’t go for easy emotions, like showing a ghost town. It presents a mostly blue-collar environment struggling amidst an America that has gone through too many socio-economic crises, thus too much pain. Still, there is room to love, as seen in how a trio of college-age youngsters receive ‘Bang Bang’ or the fondness that the local Polish community shows towards him, as many victorious boxers are a beacon to the places and people they hail from.

The clothing department also helps tell the story, and Rozyski’s golden Trans-Am automobile helps further his character presence as it is a signal to how people perceive their past to have been better than it actually was, how cars are extensions of their drivers’ personalities, and our never-ending addiction to 80s nostalgia, including its negative aspects. Not to forget that the Trans-Am looks gorgeous in the picture.
Another merit is that the feature doesn’t show “the fall of an icon,” a subject that media vampirizes as outlets like as much to make new idols as to destroy them and move on to the other, ‘Bang Bang’ performs the aftermath of the fall, the lingering destructive behaviours and patterns and how the opportunity for redemption can come late and is not guaranteed to be sweet.

The post Review: ‘Bang Bang’: A Gritty Boxing Character Study That Punches Beyond the Ring appeared first on Big Picture Film Club.

My honest thoughts? It’s decent, but it can do better. I’d line it up for a TV streaming session with my friends or family, but I wouldn’t watch it over and over again. Let’s talk more about that below. 

What Is Brick All About?

Tim and Olivia have gone through a misadventure, and Olivia wants to move to Paris to start anew. However, Tim is buried in his job as a game programmer and doesn’t want to leave their current home. But before they can even work through their issues, they get hit with a bigger problem: their whole apartment is suddenly bricked in overnight. It actually started as a typical people-stuck-in-a-room movie, but it’s way beyond that. 

The black bricks aren’t just made of concrete. They’re magnetic, can’t be broken, and do weird things when metal gets near them. Tim and Olivia meet other neighbors who are also trapped, and together they try to figure out what’s going on and how to escape. 

If you’re planning to watch Brick, it’s only available on Netflix, but hopefully, it’ll become available on other streaming services as well. 

What I Liked About Brick

The black bricks themselves are one of the best parts of the movie. They’re magnetic, impossible to break, and react violently to metal. I can’t even imagine myself being surrounded by that thing. The idea of being suddenly trapped in your own apartment with no way out pulls you in right away. Tim and Olivia’s strained relationship, especially their conversation about the miscarriage, adds emotional depth and gives more weight to their survival choices. I also thought the hidden cameras in the smoke detectors and the landlord’s creepy monitor room were among the most unsettling discoveries. It reminded me of one movie I watched on DISH TV deals.

What I Didn’t Like About Brick

The tone shift in the last act from slow, claustrophobic suspense to more of an action-thriller breaks the atmosphere that the first half worked to build. Some characters, like Ana and Marvin, are barely developed, so their fates don’t carry much weight. The reveal about the bricks comes late in the story and feels rushed, so it kinda felt less satisfying. Also, the final twist is clear but underwhelming after all the build-up. Many people were confused about the final scene because it ends so abruptly after the reveal.

Wrapping Up

I’d rate Brick a 6/10 in terms of overall impact. The premise is solid, but I think it’s kind of mediocre in some areas. It’s not the perfect German film I would talk about so enthusiastically, but it is still a great watch for those who are looking for sci-fi thrillers. The ending might confuse you in the same way it did for many viewers. Still, it’s the kind of movie you might think about afterward, even if it’s just to figure out what really happened. 

The post Movie Review: Netflix’s Brick (2025) appeared first on Big Picture Film Club.

So here, I will be sharing my thoughts about this movie and why I think it’s a great movie to watch. It’s available on Netflix exclusively, but may be available on other streaming deals as well. Let’s start!

What Is KPop Demon Hunters About?

KPop Demon Hunters is about Huntr/x, a popular K-pop girl group that also works as demon hunters. Long ago, demons were trapped behind a magical barrier called the Honmoon, and it’s the hunters’ job to keep it strong using their voices. Huntr/x continues this mission, but their leader, Rumi, starts losing her voice because she’s secretly part demon. 

While trying to keep this secret, Rumi and her group face a new threat: a rival boy band with a hidden agenda that could weaken the Honmoon and set the demons free. As tensions rise, Rumi must decide how far she’s willing to go to protect both her friends and the world.

Fans Loving the OST Album

What I really loved about this movie is the songs throughout the film. My favorites are Takedown, Free, Soda Pop, and What It Sounds Like, but honestly, all the other songs are also fire. The voice actors and everything about the songs (the beat, lyrics, and vocal quality) are extremely commendable. While watching the movie, I literally looked up if the album is already available on Spotify just so I could listen to it again. Just make sure you have a fast mobile internet like Boost plans, if you plan to watch it while you’re not at home. 

Here is the complete list of songs from the soundtrack album:

• TAKEDOWN – TWICE
• How It’s Done – HUNTR/X
• Soda Pop – Saja Boys
• Golden – HUNTR/X
• Strategy – TWICE
• Your Idol – Saja Boys
• Free – Rumi, Jinu
• What It Sounds Like – HUNTR/X
• Love, Maybe – MeloMance
• Path – Jokers
• Score Suite – Marcelo Zarvos

KPop Demon Hunters Is a Solid 9/10

What I loved the most about KPop Demon Hunters is the character development of Rumi. You really see her journey from someone hiding a huge part of herself to finally embracing who she is. Her struggles with her demon heritage, her relationships with her bandmates, and the tough choices she has to make all felt real and relatable. Beyond that, the visual quality was also superb, so it made the movie even more engaging to watch.

I would highly recommend anyone who wants to watch this movie to have fast internet, so you can really enjoy the movie. The songs that were also used throughout the film were catchy, emotional, and perfectly matched each scene. That’s why the love of the people for this movie is really understandable.

The Bottom Line

KPop Demon Hunters is a super fun movie with lots of action and catchy K-pop songs. If you enjoy K-pop, you will easily love this movie. The characters are also very likable. We look forward to more releases like this. Though it’s pretty obvious that Netflix is riding the K-pop wave right now, this movie felt fresh and unique. If you’re planning to watch this movie, you’re making the right choice. Happy watching!

The post KPop Demon Hunters Movie Review appeared first on Big Picture Film Club.

A task that is already stressful for career criminals, let alone first-timers, becomes even harder due to Frankie’s condition and the arrival of the apartment’s owner. This well-orchestrated scene keeps the sense of looming danger and mystery in the indie neo-noir ‘Gazer’ (2024), which premiered in Cannes last year and is making its rounds in American and British cinemas this season.

First-time director Ryan J. Sloan shot his debut feature using 16mm film, which sets it apart from its contemporaries, giving it a unique charm while also paying homage to New Hollywood classics without becoming an adulation exercise. Sloan works as an electrician in his daily job, and his blue-collar vision comes to the screen, as seen in how he shoots and presents the characters, giving a feeling that is different and more mature than some pictures that come from college “wonderkids” that get lost in their excessive dialogues and condescending prejudice.

By having Frankie as the protagonist, a frail single mother suffering to make the ends meet, who yearns to spend time with her daughter while juggling odd jobs and facing the hardship of a mental illness that makes her lose tracks of seconds, hours and even days gives the picture written by Sloan and Ariella Mastroianni, the talented lead who plays Frankie, a compelling character surrounded by others who feel like everyday people pushed to violent deeds due to the possibility of making a score that will make their lives a bit easier. A feeling that is furthered by showcasing the dark corners of lower-middle-class New Jersey, avoiding the cliché of treating it as a poor cousin of New York City, while presenting the city with its own distinct personality.
The 16mm film also gives a sense of the rawness of a story of rugged people who have their backs against the wall without much to look forward to, as one can feel in the suicide survivors group reunions. ‘Gazer’ also shares some of Edward Hooper’s aesthetic elements with its intelligent cinematography, which showcases how a forgotten America copes with loneliness and depression through the darkest hours of the night.

The jazz-inspired soundtrack is another high point, as it helps set the mood of the story and its layered mysteries and motifs without becoming a distraction, but rather an enhancement to this intriguing story.
The nightmare sequences allow the authors to play with language. In these moments, ‘Gazer’ flirts with fantastical horror and Kubrickian nightmares resembling ‘The Shining’ (1980), giving an insight into Frankie’s psychological pain and how survivor’s guilt lingers through the years, which once again brings the subject of time and how illusory the idea is that people can control it.

With the nightcrawlers presented in ‘Gazer,’ Sloan and Mastroianni are setting themselves as one of the interesting storyteller duos for the public and critics to follow in the years to come and are showcasing the relevance of preserving independent cinema. If ‘Gazer’ was done by a major studio, it would have the boring tropes of mainstream cinema to sell popcorn and seats of which the public is relieved in this art piece which keeps it running smooth and closer to real life.

Gazer is available in UK Cinemas from 25th July.

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What’s Going On?

Ageing famous musician Herb McGwyer is hired to perform at a private party by fans on a remote island for a huge fee, only to find out that there is only one fan – Charles. Not only that, but Herb’s old bandmate Nell Mortimer has also been hired without his knowledge, complicating matters additionally in that they were not just bandmates.

In Front Of The Camera

The film stars Tim Key, Tom Basden and Carey Mulligan. Tim Key and Tom Basden are long-time friends and colleagues in the British comedian scene, both were stand-up comedians and have worked together on numerous projects, including BBC sketch show Cowards and Anthonya short film about Santa Claus crashing his sleigh and the brutal survival battle he and one of his elves then have to go on. To go through some of their credits – Peep Show, Plebs, Inside No. 9, After Life, various Alan Partridge shows, The Detectorists and more.

Carey Mulligan is a much bigger star than either of these two and a high-profile actor from films like Drive, Never Let Me Go, Shame, and more and presumably Mulligan was attracted to this film because she believed in it rather than the fame and money it could bring.

Behind The Scenes

The film is written by Tom Basden and Tim Key. Basden has written the BBC show Here We Go, as well as working on Plebs, Gap Year and has written for many sitcoms like Peep Show and Fresh Meat. Key has fewer writing credits but has contributed to many interesting projects, and as his stand-up comedy is mainly comedic poetry, he has published books of his poems, as well as winning the 2009 Edinburgh Comedy Award.

The film is directed by James Griffiths, who has primarily worked in TV, directing episodes of Black-Ish, Episodes and Free Agents, as well as directing the original short film that The Ballad of Wallis Island is based on.

Does It Work?

Tom Basden and Tim Key bring a particular kind of humour to all of their projects, and it won’t be for everyone. Key is immediately incredibly awkward as Charles, or rather makes the audience and everyone else awkward, his eagerness and constant need to make gentle quips could be either irritating or endearing (both in reality and in the film). Tom Basden as Herb is almost equally immediately unlikeable, despite the fact that we would surely see his point – a famous musician who is being rowed to a gig where he has to wade through several feet of water, as there is no dock or jetty, does not scream professionalism. Despite Charles’ genuinely annoying behaviour at times, you cannot help but absolutely love him. This is a man who follows what he loves, lives a relatively simple existence. He has found and lost genuine soul-mate type love, but carries on enjoying life. The interaction with Herb and Nell helps to bring him out of the semi-isolation he has landed himself in is one of the joys of the film.

Carey Mulligan is very good as the third part of this unusual dynamic – she does bring a husband, but he conveniently goes away for several days – and we can see the ways in which she sees things differently from Herb, especially as to how things ended between them. But ultimately, the key relationship is not between Herb and Nell but between Herb and Charles. Basden and Key are both fantastic, and while sometimes Key’s range can feel limited (and looking at his other acting performances, that may well be true), what he can do, he does brilliantly.

The film avoids any number of clichéd ways to go – avoiding rom-com tropes and the like. Charles’ constant references to “we” and a partner who is clearly not around are painfully ignored by Herb for as long as possible. The understated sadness of Charles is very rarely ever visible on the surface, and ultimately, while he has sadness within him, he isn’t sad; his existence now is not merely lamenting what he has lost. There are other clichés that the film avoids, which would be spoilers and as such avoided here, but lead to a refreshing feel of the film.

Rating: (3.5 / 5)

The Ballad of Wallis Island is a charming, funny and emotionally touching film that anyone could enjoy but for some people who click with the style of comedy, will love.

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Weeks before, the scene seemed more amicable at the City of God favela, as the same place was having an amateur football match between the local team and visitors. Around the pitch, people were having a barbecue, drinking beer, and listening to live samba music while they cheered on their players. Still, a misunderstanding between athletes was stopped when drug lord Bullfinch (Marcos Palmeira) shot some rounds of bullets to stop the fracas and assert his leadership.

At the quiet Gardênia Azul (Blue Gardenia) favela, inhabitants meet with reporters at a church to confide how the militia, a paramilitary group with ties to law enforcement and government agents in high places, keeps a tight grip over their daily lives while promising to protect them. However, they are shaking off their money and imposing conservative values through powder. The militia leader Bull (Otavio Linhares) affirms that the “mess” that is happening in City of God due to a drug dealer’s turf war wouldn’t happen at his territory.

These three scenarios help to understand how complex the situation in Rio de Janeiro’s favelas has unfolded, as portrayed in the HBO Original series ‘City of God: The Fight Rages On’ (2024), which acts as a sequel to the quintessential world cinema picture ‘City of God’ (2002). The story happens two decades after the demise of the infamous drug dealer Lil’ Ze (Leandro Firmino).

It is a solid new chapter of the story from the movie helmed by Kátia Lund and Fernando Meirelles, based on the homonymous novel by Paulo Lins, as it is one of the best pictures out of South America and of the dawn of this century. ‘City of God: The Fight Rages On’ adds depth to the characters and their social context, packed with strong storytelling and prestige acting, putting this series in a higher league on par with the best productions from the USA and England.

Produced by Meirelles, it still maintains the premier cinematography and smart editing, which makes the favela feel lifelike. The scenario production is also recommendable since the colour schemes and aesthetics give the City of God favela a warm and fluid image while Gardênia Azul feels cold and mechanical, which translates the unwritten rules of those places where the corrupt state apparatus never arrived or left them behind.

The dialogues make the characters feel more down-to-earth, which is enhanced by the acting of an ensemble cast with strong chemistry. ‘City of God’ has cinematic action scenes but is not only about shootouts between drug dealers, militias, and police units, it shines best when humanizes stories by showing characters’ motifs and decisions, their moments of bliss and love, thus breaking with the stereotype propagated in the media that the favela is a bottomless limbo of violence and poverty, which is represented in the newspaper editor that relishes when Rocket photos show the violence in his neighborhood.

Highlighting the stage for more competent stories from the favelas

‘City of God’ started an informal Brazilian genre called ‘favela movies’ where upcoming productions would try to be as relevant as the pioneering movie or even take over its crown. Still, most of them are forgettable because they aim to exploit the suffering of an impoverished and mostly Black Rio de Janeiro, pimping their poverty in attempts to profit on an industrial scale and grab attention in international festivals. Keeping true to its roots, the series tells stories without falling into the pitfalls of a politically correct diversity protocol, which would hinder the final product.

The highlight of the series is the narrator and leading man, Rocket, portrayed by Alexandre Rodrigues. His skill brings a nuanced profile on masculinity and Blackness while also straying from the typical protagonist of crime dramas by having a photojournalist as the main character instead of a police officer or a thug.
We find Rocket in the twilight of his young manhood as he is about to become a middle-aged man. To survive, Rocket had to mature faster than his contemporaries, a characteristic that Rodrigues plays well by representing his pain and tiredness of a job that is necessary but takes its toll while keeping a jovial attitude that reminds those watching of the boy he was in the film.

The series also shows cultural and societal shifts in the favelas as Rocket’s daughter, MC Leka (Luellen de Castro), sings sexually explicit Brazilian funk lyrics, which the photographer isn’t much keen on. Leka was raised by her grandmother as her father was working on his career and moving out of the favela. By making Rocket a neglectful parent, ‘City of God’ gives a flaw that adds layers to the protagonist.
‘City of God: The Fight Rages On’ is not only a respectable series. It also serves as a stage to present once again to the world how talented Rodrigues is. The series screams to the industry that the youngster is one of the best leading men from South America and makes one wonder what directors like Spike Lee, Reginald Hudlin, Antoine Fuqua, Barry Jenkins, Dennis Villeneuve, Wes Anderson, and Michel Gondry could do with a world-class talent like him.

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2018’s ‘Shoplifters’ by Kore-eda can be perceived as a companion piece to South Korea’s Bong Joon Ho directed ‘Parasite’ (2019) as both tackle social class, economic oppression, and families struggling in the middle of it all; on the other hand, ‘Shoplifters’ and ‘Monster’ are portrayals of how it can be challenging to be a child in current days Japan which is different from how childhood is portrayed in British and American media and also displays Kore-eda’s proficiency to direct child actors straying them away from the acting more seen in TV ads and children’s TV shows.

‘Monster’ revolves around a mother demanding answers from a school and a teacher when her son shows erratic behaviour. Minato is a youngster facing hard times and is played with conviction by Soya Kurokawa, who can express anger, frustration, and enchantment like a veteran. As part of his narrative comes classmate Yori, an odd and introspective child interpreted by Hinata Hiiragi, who brings the sort of vulnerability that sets the pre-teen aside from his classmates and makes him a target to bullies.

Bullying is a disturbing reality in Japanese schools, which have a stricter educational culture than their Western counterparts due to societal demands and expectations. Still, Kore-eda doesn’t paint an easy picture, segregating characters into “good and bad” archetypes. Although presenting teachers and staff as fallible and sometimes even incompetent and immature, the director is empathic to the struggles of those responsible for preparing the future generations of their country and how they are sometimes suffocated by parents and even the media who also don’t respect their private lives and those who they choose to be their partners.

The movie also touches on the subject of neglect and parental abuse, which is still a taboo in mainstream media. Although more prominent with the debate of mental health and music movements like new wave and grunge, the hardships of parenting and how toxic parental figures can scar the young ones is hard to approach because it is not a viewer-friendly matter, and the result can be something corny, however, it is touched with a peculiar and masterful eye.

Kore-eda knows how to land on such complex grounds and deal with stomach-turning subjects without resorting to easy emotions and answers. Kore-eda leaves it to the viewer to interpret, and they won’t be able to grasp it at the exact moment they watch; hence, they carry the narratives to their homes.

The experience is furthered by the well-crafted and evolving soundtrack by Japanese legend Ryuichi Sakamoto in his last and posthumous film collaboration. The soundtrack acts much like another character, an observer that beholds the moments of drama and the joys of being a child or an adult enjoying a healthy relationship.
It is not only a great screenplay, but it also packs great images like showing the roles that fire and water play in telling this beautiful story and showing a side of Japan not much seen in samurai and yakuza films that for long have been the most contact Westerners have had with this country outside anime and gaming.

‘Monster’ is another solid entry in Kore-eda’s oeuvre and world cinema, and it can also be considered one of the best films of 2023. Kore-eda is a master of his art, and each film delivers a different experience of how complex human relationships can be.

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What’s Going On?

International businessman, arms manufacturer and all-around cad Zsa-Zsa Korda survives another assassination attempt while planning his greatest project to date (the titular “Phoenician Scheme”). After this latest attempt, he reconnects with his daughter, Liesl, who is on the verge of becoming a nun. Korda is an eccentric, free-thinking individual with seemingly little time for conventional family life, or conventional anything. Korda wants to name Liesl his sole heir…on a trial basis, the trial being as they complete the Phoenician Scheme. Also present is Bjorn, an entomologist, as Korda likes to have an expert on hand for quiet moments when he can learn about something.

The trio of Kodor, Liesl and Bjorn (who also now serves as administrative secretary) take off in Korda’s seemingly endless supply of planes to finalise the scheme and most importantly cover “The Gap”.

In Front Of The Camera

The film features a cavalcade of perennial Anderson actors in minor roles – Willem Defoe, Jeffrey Wright, Scarlett Johansson but the central cast consists of Benicio Del Toro as Korda (who has previously only appeared in one Anderson film The French Dispatch), Mia Threapleton as Liesl and Michael Cera as Bjorn.

Behind The Scenes

The director Wes Anderson is one of the most celebrated directors working today; his previous films include The Grand Budapest Hotel, Rushmore and The Life Aquatic With Steve Zissou. That said, whilst his charming eccentric style is loved by many, others find it pretentious and light on substance. It is safe to say that The Phoenician Scheme is adding to his stock of eccentric and divisive films.

The film is co-written by frequent Anderson collaborator Roman Coppola (son of cinematic giant Francis Ford Coppola), who is known primarily for his music videos and working with Anderson.

Does It Work?

The Phoenician Scheme is a very enjoyable comedy adventure of Korda constantly trying to do the impossible; scheming, plotting, lying, and liberally giving out hand grenades to potential business partners. Del Toro is an almost unstoppable force in the film; his character has survived numerous assassination attempts and plane crashes (which were likely assassination attempts) and has a “habit of surviving”. Korda is as much an anti-hero as you’re going to get in an Anderson film but as he puts increasing importance on his relationships with others – particularly Liesl, and less on his schemes he becomes increasingly likeable.

Whilst Korda is busy on his scheme, we see glimpses into a room of besuited bureaucrats seemingly running a sabotage campaign against Korda for America and its allies. The matter of fact emotionless discussion of their plans is a different tone to the larger than life shenanigans of Korda and the three minute explanation of an everyday screw is a highlight. We also see glimpses into an almost biblical scene of judgement, in black and white with everyone, including Korda, looking like they had stepped out of an ancient world morality play that is seemingly only taken place in Korda’s head as he contemplates his life and actions.

There are the typical Wes Anderson stylistic choices. The actual scheme is laid out to Liesl via a series of boxes – shoe boxes, glove boxes, shirt boxes, etc., each containing different parts of the plan and are arranged and viewed in the neat and symmetrical style of Anderson. The costumes are fantastic and ridiculous and Liesl’s transformation from dressing like a nun to dressing like a more stylish and secular nun is amusing to watch in the little pieces of flair that are added.

The film’s greatest strength is Del Toro’s performance. He captures the spirit of an unstoppable, almost unkillable figure, who is constantly moving and dealing with assassinations, spy conspiracies, unhappy business partners and unhappier familial relations. Threapleton is very believable as the conflicted religious young woman who, nevertheless, is somewhat enchanted by Korda, relentlessly pressing on him to be a better person (for example, actually being a father to his eight sons). Liesl’s relationship with Korda is very complicated, in part because he hasn’t seen her in years, in part because of their wildly different moral stances, but mainly because it is widely believed that Korda murdered her mother. Michael Cera as Bjorn is almost dull as a character but his love and enthusiasm of his subject matter – bugs – whilst events of international importance and very real danger swirl around him, wins you over.

Like most of Wes Anderson’s films, there must be two reviews of this film, one for fans of Anderson and one for everyone else. Some are brilliant and so rise above this need but The Phoenician Scheme does not.

Rating: (4 / 5) (For Anderson fans)

Rating: (3 / 5) (For those with no particular attachment of Anderson)

Also Read: The Unique Style of Wes Anderson

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Nominated for the Academy Award for Best Documentary Feature in 2025, ‘Black Box Diaries’ is directed and narrated by Itō herself. It shines a light on a rarely discussed side of Japanese society: a system steeped in sexism and cruel to survivors of sexual violence, not to mention the country’s neglect of those suffering from mental illness.

Reportedly only 4% of rapes are reported to Japanese authorities, and even then they’re handled under laws that date back nearly a century. The conviction rate remains low. Law enforcement often stalls investigations due to outdated views on gender, and prosecutors abandon nearly 50% of the cases they receive. Professor David T. Johnson at the University of Hawaii notes, that the result is for every 1,000 rapes in Japan, only 10-20 result in a criminal conviction and fewer than half of convicted rapists are actually imprisoned.

Adding to the grim picture, Japanese society frequently silences, shames, and discourages survivors from pursuing justice. In ‘Black Box Diaries’, Itō shares the hateful voice and mail messages she receives regularly, while people close to her urge her to walk away or report the crime anonymously.
The documentary also shows the moral failings of Japan’s justice system. The one police officer willing to help Itō stays in the shadows, afraid to risk his career. His colleagues try to steer Itō away from pursuing the case, avoiding her, dismissing her concerns, and even cancelling the arrest warrant, leaving Yamaguchi free to enjoy life as if nothing had happened.

Yamaguchi was closely connected to the late Prime Minister Shinzo Abe, on whom he had written a biography. When the case was brought before Parliament, Abe dismissed its significance, thereby erasing Itō’s humanity. This moment illustrates how untouchable Japan’s elites can be, and how deeply the political, legal, and law enforcement systems are complicit in protecting the powerful at the expense of the vulnerable.
‘Black Box Diaries’ is a testament to the aftermath of sexual assault. Itō’s struggle with depression, anxiety, and PTSD underscores the urgent need for Japan’s healthcare system to improve its support for mental health, especially for survivors and their families.

Shiori Itō is a central figure in Japan and Asia’s #MeToo movement, which still deserves far more attention, especially as momentum wanes in other parts of the world. One powerful scene shows veteran women journalists standing by Itō, sharing their own stories of harassment in a male-dominated industry where promises of promotion often mask a cycle of exploitation.

Itō reflects on how the fall of a “famous Hollywood producer” helped spark global awareness of abuse. She’s referring, of course, to Harvey Weinstein—the silver-screen Caligula now imprisoned while more allegations continue to surface. His downfall illustrates how powerful men are often shielded by a network of enablers who remain silent in exchange for career advancement.

Itō’s first book, Black Box: The Memoir That Sparked Japan’s #MeToo Movement (2021), chronicled her journey. The documentary gives us a glimpse into the investigative work, interviews, writing, and editing that led to its publication. To share one’s trauma in a memoir or documentary is not an act of narcissism—it is an act of courage. It requires survivors to relive their worst memories and discuss them publicly, bringing much-needed awareness to how difficult it is to be a woman—or anyone vulnerable in this world.
Meanwhile, Japanese media barely mention ’Black Box Diaries’, and major cinema chains refuse to screen it. This is yet another act of silencing—a new chapter in the violence inflicted on Itō. And yet, ’Black Box Diaries’ remains an essential journalistic document and a remarkable entry in the storied history of Japanese cinema.

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Prime Video’s ‘G20’ is a competent action-thriller. Some critics point out that it has genre troupes, and the CGI could’ve been improved in some minor scenes. Nevertheless, it is a action-movie that works due to competent direction by indie veteran Patricia Riggen, the precise cinematography during the well-choreographed action scenes, and the capable cast led by Davis, who is opposed by Anthony Starr (The Boys) as the actor plays the leader of the antagonists with gusto and an Australian accent.

One of the aspects that makes Viola Davis an acting virtuoso is her engagement with the role. In a way that the Academy adores, Davis isn’t shy to go through a physical transformation to get into the character, as their bodies are part of their personality and expression, as the actress did in ‘The Woman King’ (2022). In ‘G20,’ Davis again shows a powerful and realistic physique as she achieved it through a transformation under the skilled coaching of personal trainer and nutritionist Gabriela Mclain. Davis is 59 years old, and this shows that with adequate training and diet, she can bring this side of President Sutton, a US Army veteran, and make it believable in an action picture that suspends reality. There is no problem with the outlandish scenes because it isn’t a documentary.

The picture also gives room for the supporting cast to shine; the family is composed of the reliable Anthony Anderson, playing husband Derek, with the children: the trustworthy Demetrius (Christopher Farrar) and the computer-savvy Serena (Marsai Martin); the latter has a relationship infused with attrition with President Sutton. The family and its extended member, Presidential bodyguard Agent Manny Ruiz (Ramón Rodríguez), compose the emotional core of the picture.

As a movie that revolves around the most powerful nations in a summit in South Africa’s Cape Town, ‘G20’ has prime international talent with Italy’s Sabrina Impacciatore, Britain’s Douglas Hodge, Korean-American MeeWha Alana Lee and American Elizabeth Marvel. The picture allows South Africans Theo Bongani Ndyalvane and Noxolo Dlamini to shine and show that they are capable action heroes in their own right.
Another strong moment in the picture is the shooting scene, which is followed by a fighting scene, all under dark lights. This shows the choreographic and stunt proficiency in high-caliber pictures and how to photograph dark-skinned talent in very few lighted scenes. For action film aficionados, this is the moment that stands out.

Patricia Riggen, Gabriela Mclain, and producers Julius Tennon and Viola Davis with ‘G20’ show that there is a market for this product and that Davis can go further with bigger budgets and cinema theater weeks. There are many action movies that are called B movies out there, but the attributes pointed out in this article, and mostly Viola Davis’s acting skills and dedication, push it above much of the “content” offered today and serve as a new direction for the revered actress.

“I don’t think every movie you do has to be considered for an Academy Award. I wanted to do something that families could watch together, something popular,” said Davis in an interview with The Times of London. Critics forget that sometimes, viewers want something to forget our mundane lives and that dramatic roles are psychologically demanding for actors and those involved. The EGOT winner Viola Davis shines in the entertaining ‘G20.’

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The biopic ‘Queen of the Ring’ (2024) tells the story of Mildred Burke (1915 – 1989), a three-time women’s world champion of pro-wrestling who had her heyday from the mid-1930s to the early 1950s. Burke started when this amalgam of sports and entertainment was illegal for women in the US, and she trailblazed her way to the top while being a single mother in a masculine environment to become the first million-dollar woman athlete in history.

‘Queen of the Ring’ has the competent direction of Ash Avildsen, who has also secured his territory as a music and comic books impresario. The period piece is enhanced by the reliable work done by the research and art department that recreated a long-gone Americana to the point that helps to understand the central character development. The cinematography has a sense of immersion that makes the viewer detach from the world outside and sense how it was to live with the technology and values of those years, the well-curated soundtrack also plays its role in the experience; these resources cause nostalgia even in those who never lived there. The film is based on Jeff Leen’s book The Queen of the Ring: Sex, Muscles, Diamonds, and the Making of an American Legend (2009).

The great asset of ‘Queen of the Ring’ is its protagonist, Emily Bett Rickards (Arrow). The Canadian actress underwent an arduous body transformation to build muscle while prioritizing muscular definition. In addition, the performer went through pro wrestling training. The scenes where Rickards is training or wrestling have her as a ferocious predator eager to take any comers. All the preparation she went through makes it believable which is more valued by Rickards’ Golden Age star appeal.

It is a strong showcase of acting as Rickards feels like a countryside girl with fears and doubts who grows into a mature woman who has to accept her leadership role in a male-dominated world that is always were men and even other women try to ensure she knows her role. Rickards displays a lengthy range while traversing from hope, eagerness, fear, love, anger, and self-respect, and all that with a believable accent.

‘Queen of the Ring’ announces that Emily Bett Rickards is prepared for the upper echelons of leading ladies, be it in dramas, thrillers, action, or horror pictures. All the effort combined with her acting skills should set her up for bigger productions or at least get the attention of casting directors and producers. The supporting cast helps further this emotional story, which gains muscles with the professionalism of Walton Goggins (The White Lotus season 3), Cara Buono (Stranger Things), Francesca Eastwood (Juror #2), Tyler Posey (Teen Wolf), Martin Kove (Cobra Kai), Damaris Lewis (The BlacKkKlansman), Deborah Ann Woll (Daredevil), Gavin Casalegno (The Summer I Turned Pretty), and Adam Demos (Rescue Special Ops).
Demos gives life to the legendary and flamboyant pro-wrestler Gorgeous George, one of the first celebrities with the advent of television and significant influence in the public personas of Muhammad Ali, Bob Dylan, and Ric Flair. Although a supporting character, Demos’ George feels like an ever-shining diamond whenever he appears. Ann Woll’s Gladys Gillem starts as a naïve girl, then surrenders to resignation and ends as a stark reminder on how rough this scripted entertainment can be.

Alongside this respectable cast of supporting players is Josh Lucas (American Psycho), who gives one of his best performances as the problematic women-wrestling manager Billy Wolfe, a man who deserves his credit for helping usher the acceptance of women in the ring, as they were forbidden to wrestle among themselves.
Still, Wolfe is a philanderer and abuser prone to beating up women and those he deems weaker than him but acts as if he didn’t mean to wreak havoc. Once the damage is done, and as happens with abusive people, Wolfe reverts to a cycle of being nice again, which leads to further aggression.

Lucas cleverly portrays Wolfe as a good person who shows genuine interest in investing in others. However, this genuine feeling mutates into neglect or taking advantage of those in his inner circle, and once they are broken, he dismisses them, as he does with George, or uses full strength to destroy them.
The picture is improved by having world-class pro-wrestlers. Toni Rossall (Toni Storm) and Kailey Farmer (Kamille) portray wrestlers Clara Mortensen and June Byers, respectively. Both bring a different type of antagonist to Burke, being good scene partners for Rickards and complementing her narrative. Rossall and Farmer are world champions in real life. Their acting revolves around their physicality, not just the way they move in the ring but how they portray the personalities and motifs of their characters through their body language, making Mortensen and Byers very different from each other and from Burke.
The movie has so many rich characters that it could also be a limited series, but still, it wouldn’t have the same impact as ‘Queen of the Ring’ does, so showcasing them opens the doors for them to have their stories told, much like Mildred did for others.

‘Queen of the Ring’ comes after pro-wrestling biopics’ Iron Claw’ (2023) and ‘Cassandro’ (2023) and years after Darren Aronofsky ‘The Wrestler’ (2009), starred by Mickey Rourke, and the mainstream moment pro-wrestling is enjoying. ‘Queen of the Ring’ finds an identity of its own, which is straightforward, sometimes feeling like an endearing matinee piece from a bygone era, but it has moments of darkness as when it portrays husband-on-wife violence and how it was dealt with in those days, which packs a strong message and is another moment that Rickards’ chops flourish.

Avildsen’s movie gains by not being preachy, but it has messages of acceptance of women, Blacks, and queer people in society, and pro-wrestling owns a lot to these groups. The film shows the battles that Burke and her peers had to go through to have their artistic and entertaining craft respected, laid the road open for talents like Toni Storm, Kamille, Chyna, Mercedes Moné, Charlotte Flair, and others to be on the marquee of wrestling events and even headline the coveted Wrestlemania events which saw in its 35th edition Becky Lynch grappling with Ronda Rousey.

‘Queen of the Ring’ talks about the days we live in as women, queer people, and other minorities are having their rights threatened, if not terminated, in America and other parts of the globe. Nevertheless, it doesn’t forget that its focus is to tell Mildred’s story with skill, and it can entertain the whole family, but primarily girls at an age where they seek role models, much like those little girls on the ringside who projected themselves on Mildred Burke.

Rating: (4 / 5)

The post Review: ‘Queen of the Ring’ – Emily Bett Rickards is the New Leading Lady In The Ring appeared first on Big Picture Film Club.

However, the smiles in movie posters don’t tell the struggle of Black talent to have their spot and then see some of their peers climbing to the top in an industry that wasn’t built for them and still is ruled by invisible grabbing hands, obstacles and glass ceilings that dictate the roles for Black people in a rigged game.

To tell this story, which recounts the uphill battles, failures, successes, and funny anecdotes, come the two companion documentary features, ‘Number One on the Call Sheet,’ which are produced by James Foxx, Kevin Hart, Datari Turner, and Dan Cogan. Academy Award nominee Reginald Hudlin directs ‘Black Leading Men in Hollywood,’ and NAACP Image Award-winning Shola Lynch directs ‘Black Leading Women in Hollywood.’
The Leading Men Row features interviews with Foxx, Hart, and other heavyweights like Denzel Washington, Eddie Murphy, Will Smith, Dwayne Johnson, Idris Elba, Morgan Freeman, and Quentin Tarantino, among others. The leading women’s chapter has interviews with Viola Davis, Halle Berry, Angela Bassett, Cynthia Erivo, Whoopi Goldberg, and Tessa Thompson, to name a few. Although “siblings,” both pictures have a distinct feel and use the best that Hudlin and Lynch offer, all in favour of the Black history in Hollywood and the interviewees.

The expression ‘Number One on the Call Sheet’ marks the first actor to appear on a sheet with the cast’s names and what is to be shot. Being the number one shows that the actor is the subject of the narrative and not the object, as Tessa Thompson says in the doc. It is the top cat spot, the protagonist, and, on many occasions, the one with the higher paycheck. It is also a responsibility. In the end, it shows the talent, which is their status in the movie business.

‘Black Leading Men’ has a bold attitude, reflected in how the interviewees tell their truths. They share stories in which you can see them fluctuating from boldness to doubt and back to the mindset that led them to the top of their fields.

The documentary’s strength is its interviewee selection, which includes leading men with different levels of success. It showcases different archetypes and their pioneers to open roles that weren’t thought for men of colour in their original concept. Men like Washington, and before him Sydney Poitier and Harry Belafonte, are society’s standard bearers of Black masculinity, and within time, few Black actors crossed this barrier.

A welcome addition is Tarantino who has a vast knowledge of Hollywood, not to mention that he has created so many Black characters. Although employing crass and controversial humour, the director can translate to the screen nuances of the Black experience; therefore, his presence gives more gravitas to ‘Black Leading Men in Hollywood.’

Nevertheless, those who give Hudlin the most are Denzel, Freeman, Foxx, and Smith. They sit at a table of rarefied air for Black artists and the whole of Hollywood. Their stories of overcoming the struggles are vital to the picture; between the lines are those moments when they talk about their climb, seeing what they had to overcome and the modern challenges of being in the elite squad.
Reginald Hudlin appears as one of the interviewees. A mover and shaker of Black Hollywood, his presence is like that of a historian who has not only seen the events but also been part of them.

The emotional, deeper parts come from Denzel Washington’s interview. His lines make us understand why generations of actors from all ethnic backgrounds look up to him and even more why Black men look up to him. He is a paradigm of confidence and morality in a not-always-ethical landscape.

‘Black Leading Men’ uses a light and bright, colourful palette to tell a story and it highlights the skin tones of the interviewees, showing the consideration Hudlin and team had with the technical aspects that not only enhance the visual language but also further the narrative, which is contrasted with candid moments of vulnerability by these men and it prepares the terrain for its “sibling” documentary.

Mammies and watermelon women opened the path for the trailblazers of modern-day Black female Hollywood

Although it is a companion piece, ‘Black Leading Women’ has an identity of its own, given by Shola Lynch, staff, and her group of interviewees. There are fewer victorious smiles because, as Halle puts it, Black women are really at the bottom of the societal hierarchy, and not only in Hollywood.

Here, women discuss their career paths, those who came before them, and those who will come after. When it turns back to Hattie McDaniel and her 1940 Best Supporting Actress Academy Award win for playing Mammy in ‘Gone With the Wind’ (1939), there is a moment of pride which later turns into a sincere recounting that the talented McDaniel was pigeonholed to playing Mammies for the entirety of her career which is also a grim visage on how many in the industry perceive the very same interviewees of this documentary even after decades of McDaniel’s win where she couldn’t even celebrate among her peers for being Black.

The recount of the ‘mammies,’ nurses, sidekicks, and other stereotypical roles, testify to the fact that many producers can’t (or don’t want to) see these talented women due to their colour, and how they end up dying horrific deaths in horror movies to further the narratives of the white protagonist reminds the classic indie film ‘The Watermelon Woman’ (1996) by Cheryl Dunye where a young Black lesbian filmmaker research the life of The Watermelon Woman, an early 20th Century Black actress who played a set of ‘mammies’ before falling into oblivion.

Shola uses sombre colours and shy lighting to portray the interviewees so that they come naturally on the screen. This is how such capable women should be embraced by the industry, critics, and fans. They can interpret leads who are in love in a romantic role or psychologically demanding characters that are often relegated to white actresses. For example, Viola Davis is in the same league as Meryl Streep, Julianne Moore, Jodie Foster, and Annette Bening because Davis can go from complex dramas such as ‘Fences’ to epic pictures as seen in ‘The Woman King.’ Nevertheless, it feels that the world is only looking at her now. The fact that Black women are going strong in the Academy Awards Best Supporting Actress shows that the industry needs to take huge and courageous leaps to give them lead roles and match the grit these actresses have in a mechanism that wasn’t built to receive them properly.

Apple TV+ has an important documentary in both pieces because it documents Black Hollywood and how it interacts with Main Hollywood and other branches. It is of historical value considering the position cinema holds in American society and its influence around the globe.

‘Number One on the Call Sheet’ should be studied in universities as it is a recorded piece of history and testifies to Apple TV+’s commitment to cinema culture and its acceptance of people from different backgrounds.

The companion piece also opens Apple TV+ to explore other corners of Hollywood, like Latinos, Asians, foreigners, and queer community. For instance, a documentary with a similar format with interviewees like Colman Domingo, Andrew Scott, Hunter Schafer, and Guinevere Turner would serve as a historical document of the LGBTQIA+ artists in Hollywood. These communities are the backbone of cinema and entertainment, and these voices, such as those from ‘Number One on the Call Sheet’, are necessary to a healthier society than the one we live in today.

Rating: (4 / 5)

‘Number One on the Call Sheet’ premieres March 28th on Apple TV+.

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The Conclave is one of the world’s most ancient and secretive rituals; it happens when the cardinals of the Catholic Church stay secluded in the Vatican to elect the new Pope. The Edward Berger (All Quiet on the Western Front) picture is based on the homonymous best-seller by Robert Harris, who, to craft his fiction, consulted Cardinal Cormac Murphy-O’Connor, a priest who was part of two conclaves in 2005 and 2013.
The protagonist is Cardinal Lawrence, who is tasked with leading the traditional event; still, he struggles with his faith while trying to keep the peace between the power-hungry cardinals and their humble colleagues who see themselves as servants of the religion. This is one of the best acting performances by Ralph Fiennes, who portrays self-doubt, scepticism, and wariness towards not only his future but also the one that lies ahead for the Vatican and its followers around the globe.

Isabella Rossellini finds one of her most powerful performances in Sister Agnes, as the world-cinema royalty operates on a different level from her peers. Agnes tries to show solemnness while burning inside by seeing how some of the cardinals behave as decadent politicians and businessmen. Sister Agnes represents the space reserved for women in this institution considering its current and possible future states. The writing presents the diverse groups inside the centuries-old institution, giving the picture more credibility. In an organization that has been around for so long, there are factions, cult-like units, people who have committed hideous acts, but also those who believe in serving and loving their brothers and sisters under the same God.

The prejudice and sins that plague the church aren’t forgotten or absolved by ‘Conclave,’ but there are also characters who embody the positive traits respecting its dogmas. The ensemble cast with names like Stanley Tucci, John Lithgow, Lucian Msamati, Brían F. O’Byrne, and Sergio Castellitto compose the skilled vessels to paint how complex can be the Catholic church on its stances towards modern societal themes. The Mexican Carlos Diehz is an architect and a late bloomer in the acting world who leaves his mark as the humble and warm Cardinal Benítez.

The humanization of an ancient institution

The Catholic Church has rich imagery and symbolisms that are matched by few religions in the world, not only its rites but also its wardrobe, objects, music, architecture, and other aspects that are opulent and create good images from which cinematographer Stéphane Fontaine makes the most translating into a modern reading of renaissance art.

The colour red plays a special role. It doesn’t translate as passion and desire as seen in Pedro Almodóvar’s movies. Still, it is a tone of red akin to the blood that pours out of Christ’s body, a reminder of unity and repentance, while signalling to old traditions inserted in a heavily industrialized world.
Like the Vatican scenarios, the surrounding soundtrack becomes another character, helping further the experience and reading those men and women’s motifs, fears, and wishes.
Maturity is a trait of ‘Conclave’ because it doesn’t go for shock value or graphic imagery to criticize the Catholic Church, thus avoiding treading on the yesteryear clichés that suck out the weight of other cultural products that approach the sins of the Vatican. ‘Conclave’ is a breath amidst the self-righteous spawl of pseudo-religious movies in streaming services.

Having characters who struggle with their faith or the hierarchy they are stuck in while trying to maintain their dignity shows that ‘Conclave’ is respectful to the viewers. Catholicism is given as one of its richest on-screen representations. Berger’s film humanizes the institution and comes from the point of an outsider who doesn’t treat the characters and the organization as infallible. Their human element is what makes ‘Conclave’ a truly beautiful film.

The post Review: ‘Conclave’ – Ralph Fiennes Leads a Spellbinding Vatican Drama appeared first on Big Picture Film Club.

From the moment they hop into a taxi, Chasing The Night immerses us in the vibrant London nightlife, with each location offering a new slice of the city’s charm. The cinematography is sleek, capturing neon-lit streets and intimate corners that reflect both the excitement and hesitation of its characters. Adeyemi’s direction deftly balances quiet tension and playful spontaneity, keeping the pacing tight while still allowing enough space for subtle emotional beats.

One of the film’s biggest strengths is the palpable chemistry between Dìrísù and Ayorinde. Their dialogue and interactions are charged with what is said—and, crucially, what remains unspoken. You sense there is a weight on their minds, a conversation they’re both avoiding and Adeyemi carefully unravels these layers as the film heads toward its final act. The result is a sense of authenticity that resonates long after the credits roll.

Chasing The Night premiered on the festival circuit throughout 2024, garnering awards at S.O.U.L. Fest at the BFI and qualifying for both BAFTA and BIFA. Its official online release is set for February 25th on both Omeleto’s YouTube channel and Vimeo via Short of the Week, following in the footsteps of Adeyemi’s award-winning debut short No More Wings.

With its sharp visuals, standout performances, and a well-crafted narrative, Chasing The Night provides a compelling snapshot of London’s after-dark energy—and the unspoken truths we carry into the night. Whether this is just the beginning for Leon and Fatimah remains to be seen, but fans will surely be hoping for a longer exploration of their story in a feature-length follow-up.

The post Deborah Ayorinde and Ṣọpẹ́ Dìrísù Shine in the Romantic Drama ‘Chasing The Night’ appeared first on Big Picture Film Club.

In Front Of The Camera

The film has a large ensemble cast, lead by Gabriel LaBelle as the show’s creator and mastermind Lorne Michaels who is trying to wrangle some of the most unreliable and unpredictable people in the country to make a show. Willem Dafoe plays the positively sinister Dave Tebet; an NBC executive who can choose to cancel the live broadcast. There are too many actors to list here but particular attention should go to Matt Wood as John Belushi who is so incredibly convincing you think its they’ve just put footage of the real Belushi into the film, Cory Michael Smith as Chevy Chase who is so unlikable you want to punch him for most of the film and Rachel Sennott as Rosie Shuster, writer and Lorne Michael’s wife, sort of, who bursts with confidence and the ability to wrangle Lorne.

Behind The Scenes

The film is directed and co-written by Jason Reitman who is probably best known for directing Juno but also has great films like Up In The Air, Young Adult and more. Reitman has also done some work on SNL before.

Does It Work?

The film takes place almost entirely in the ninety minutes before the first live broadcast. The show is scheduled for 90 minutes but is estimated to be running at double that judging by all the acts they have, major cast member John Belushi hasn’t signed his contract, Chevy Chase is upsetting everyone with his ego, a llama has arrived and there are a million problems any one of which could sink the show. Many of the people involved are now well known as being difficult to work with – John Belushi is uncontrollable, Chevy Chase is not always popular with other cast members, guest host comedian George Carlin could not be relied upon in any way to not swear – or worse – on live tv and everyone seems to delight in poking the person from Standards and Practices, essentially the censor.

The film, especially the first half, will make you dizzy. Long unbroken shots follow Lorne as he tries to keep the show on track, snippets of conversation form a background hum of not quite discernible talking. Every five seconds someone is shouting about a delivery, a problem with costume, a phone call, a meeting. It feels exhausting just trying to keep up as the audience how anyone could handle making this film or the tv show behind it is hard to imagine.

The question is repeatedly asked – what is this show? It’s not a sitcom, it’s not a variety show, it’s not a sketch show like Monty Python, there were no stars in the cast and it’s often suggested, sometimes outright stated, nobody wants the show to succeed. When we see glimpses of some of the other things NBC is broadcasting, like the dire variety show The Rumpus Room you can see why SNL would be challenging and surprising. Milton Berle, a superstar from the early days of television whose nickname was Mr Television, hangs around the studios seemingly unimpressed with the show and everyone involved. He is a very concrete symbol of old television or perhaps television just before SNL. In a hugely uncomfortable moment talking to executives, affiliates etc, Lorne Michaels describes it as the first show made by the first generation who grew up on television. As brilliant as previous performers might have been television was a new medium for them.

As well as the various conversations about art, censorship, ambition, etc the film is very funny. Classically trained actor, playwright and opera singer Garrett Morris’ odyssey of trying to work out what his place is in this show, as the only non-white member of the cast he feels out of place and complains about only getting to play hoodlums and pimps – the end of this journey culminates in one of the funniest moments of the film. Nicholas Braun pulls double duty as the oddest of the odd performers Andy Kaufman and loveable puppeteer Jim Henson. Kaufman is never not in character and seems to wander the building not knowing where he is meant to be. Henson’s incredibly gentle demeanour sits uncomfortably with the foul-mouthed cast who also resent working with puppets, and Henson states that the problem is they’re not puppets, they’re co-stars. Which perhaps would not win over cynical comedy writers and performers.

Is It Real?

This is not a documentary. Many events depicted in the film didn’t happen in that way, at that time, in that order. Some didn’t happen at all. However, what Reitman was trying to recreate was the anarchic feeling that seems to have genuinely infused the show, the feeling of being on the very edge of failure but just maybe you could pull it off and do something spectacular. The show was not as unpopular with management as is shown, the cast was not quite as dysfunctional, and early TV legend Milton Berle wasn’t lurking around the set being Milton Berle-y. But the show was expensive, live and untested, who would put that on the air? The cast did have a lot of problems, Chevy Chase and John Belushi did not get along at all and to this day people still talk about how hard Chase is to work with. And Milton Berle did guest-host an early episode of SNL that Lorne Michaels hated.

Saturday Night is a funny and enjoyable film, which will work even better if you are a fan of SNL and American comedy.

Rating: (3 / 5) (3.5 out of 5 if you’re a fan of SNL.)

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Synopsis

When a family moves into a new house after a tragedy impacts the daughter, they must each wrestle with their own personal emotional challenges. All while dealing with the creeping feeling that another presence is hovering over the home.

What Did I Like?

Anyone discussing this film’s positives will invariably focus on two things, firstly the camerawork. The flowing, long takes used to deliver the film’s story are astounding. The smooth movement between rooms, often phasing in and out of different characters’ conversations, natural placement and motions and the perfect timing of each camera manoeuvre make the camerawork both a technical marvel and an effective way of characterising the presence observing the story. This film will undoubtedly be used in media courses for years to come. It’s an amazingly efficient example of how to involve audiences in a film’s world, story and atmosphere using the camera.

The second aspect many will focus on is the central cast’s performances. Callina Liang deserves the biggest share of the praise. Her performance as Chloe is fantastic. She mixes wonderfully played teenage vulnerability with a good amount of humour, strength and warmth. But all the other performers also do great work here. Chris Sullivan is quietly brilliant as Chris, the dad who does his best to help his kids. Even if he feels emotionally raw about his marriage. Lucy Liu’s Rebekah is brash but always realistic and sympathetic. Plus Eddy Maday’s Tyler and West Mulholland’s Ryan capture the vile sexist nature of many teenage boys disturbingly well. All of these performers individually and collectively make the drama fiercely engaging.

Beyond these points, it must also be noted that the effects are, mostly, very well done (artificial camera shakes aside). With the presence’s ghostly powers being pulled off without any behind-the-scenes seams being visible. The production design is beautiful. The direction of the action, as is expected from Steven Soderbergh, is so perfect it’s pretty much invisible and its discussion of issues relating to sexist force and violence hanging over the family is pointed and very relevant.

What Did I Not Like?

Undoubtedly the weakest element of this film is the writing. The story is fine and the characterisation of the main players is incredible but pivotal plot moments such as the use of a psychic and the final act feel either forced or like they aren’t given enough build-up, which makes the ultimate resolution not hit as hard as it could have. On top of this some of the dialogue, despite the cast’s best efforts, feels very much like it comes from the mind of a screenwriter rather than the characters speaking.

Also aside from the moments of the camera drifting around the house on its own the use of music feels rather forced and distracting. It’s as if it is trying to artificially heighten emotions that are already being achieved. Honestly, the filmmakers should have had more confidence in the characters and the direction’s ability to carry the story. 

Finally, the editing choice to end most scenes with a black screen feels like it always grinds the film to a halt. Something else should have been done to help give the impression of a change in time.

Conclusion

Presence is an admirable technical experiment with a memorably played set of characters and a well-realised small-scale world with a big message. It’s just a shame the plot and some poor sound and editing choices mean the film never quite matches the smoothness of the titular presence.

Rating: (3.5 / 5)

Also Read: Unsane and the iPhone Revolution

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Amazon MGM Studios’ ‘Unstoppable’ is a competent sports drama that finds its strength in the acting prowess of Jharrel Jerome (Moonlight) as Anthony Robles and Jennifer Lopez (Maid in Manhattan) as his mother, Judy Robles. The pair are surrounded by high-level veterans Michael Peña, Don Cheadle, Mykelti Williamson, and Bobby Cannavale, while Robles’ younger siblings and teammates are convincing in their roles.
Through his deeds, Robles became a hero to many who could follow his career. This helps us understand the more conventional directing approach of William Goldenberg, an Oscar-winning editor who collaborated with directors Ben Affleck, Michael Mann, and Kathryn Bigelow. The pace of the images, together with lighting and other technical elements, furthers the experience.

Goldenberg’s competence gives Jerome and Lopez room to present their layered performances. Jerome brings a determined and conflicted Anthony Robles, who goes from finding his place in the world to the determination to see in very committed professionals. ‘Unstoppable’ is at the same time a sports drama and a coming-of-age story. Jerome’s down-to-earth performance makes the screen wrestler a full-fledged human, not an unwavering superhero nor a character that brings pity from the viewers. This role positions Jerome as one of the best performers in his age group and led him to 2025 Bafta’s “EE Rising Star Award” nomination adding to a career that has powerful showcases in ‘Moonlight’ (2016) and the series ‘When They See Us’ (2019), not to forget that the actor played an amateur wrestler before in ‘First Match’ (2018).

Jennifer Lopez finds in Judy Robles a vessel to display a motherly persona with a vulnerable spot. The Robles are a big family, and Judy has to juggle work and keeping peace in the household. Lopez knows how to portray true happiness or when the character is faking it; playing a struggling woman shows a different side of a worldwide entertainer who comes to the stage as one of its brightest stars. Lopez’s acting in ‘Unstoppable’ is pretty different from ‘Maid in Manhattan’ and ‘Hustlers,’ as out is the endearing Latina help who dazzles with Ralph Fiennes and the sex bomb stripper Ramona, who, with her crew of dancers, scams Gordon Gekko wannabes while looking for the best interest of her daughter. Judy is the mother of many and the wife of a psycho. The stress of daily life can be seen in her eyes and facial expression and heard in the tiredness of her voice.

Hollywood, in particular the critics, try to pigeonhole Lopez. Still, looking at her career, it is noticeable how she has grown over time. It is not a stretch to position that she has learned a lot from past cast members. World cinema legend Sônia Braga portrayed Jennifer Lopez’s mom in two opportunities. There are shades of the notorious Brazilian acting in Lopez’s performances.

The narrative of ‘Unstoppable’ has an edge by portraying the abusive household that was made into a living hell by Rick Robles. Cannavale interprets an antagonist who is worse than any wrestler he has faced. ‘Unstoppable’ depicts a triggering toxic environment and portrays how seducing and psychotic abusers can be and also how the environment an athlete hails from can affect their performance. As seen in Anthony’s match to join the Arizona University State team, the audience will remember Rick Robles with his treats and machismo-fueled speech more than the opponent competing with Anthony for the spot. Cannavale has the threatening appeal of a wild horse 70s star, a profile lost in the current landscape.

The matches are another asset to the picture. Audiences are used to seeing boxing bouts in movies, and it is easier to understand the sweet science movement when compared to wrestling. Thus, fewer movies focus on wrestling as this combat sport is less popular. Nevertheless, ‘Unstoppable’ translates how gruelling and relentless high-calibre wrestling encounters are with attention-grabbing action that holds the attention due to its choreography, camera work, and editing, but the main component here is the stunt team. The real Anthony Robles worked as Jerome’s stunt double.

This film crosses from the sports drama genre to the mainstream, including staying above those depicting wrestling, which, although an ancient combat art with high cultural and historical relevance and an Olympic Games staple, is a niche sport in the modern era commonly mistaken with the choreographed pro-wrestling. ‘Unstoppable’ deserves a longer tenure in movie theatres. This picture is more enjoyable when watched with family members on a large screen because it can unite people considering that we dwell in polarized societies. There is a need to bond with others; cinema is a way to connect people with a collective emotional experience, and ‘Unstoppable’ does this.

The post Jennifer Lopez and Jharrel Jerome Shine in ‘Unstoppable’: The Inspiring True Story of Anthony Robles appeared first on Big Picture Film Club.

At its core, Room Taken delves into the shared pain of isolation. Isaac, struggling with the realities of homelessness and his status as a refugee, contrasts with Vitoria, whose blindness and widowhood have left her socially disconnected. Their shared space becomes a quiet battleground where their vulnerabilities meet, and healing begins. The film’s greatest strength lies in its exploration of how these two forms of isolation—one imposed by circumstances, the other by physical limitation—transform through an unexpected relationship.

The performances are understated yet immensely powerful. Brid Brennan imbues Vitoria with a tender dignity that captures both her strength and fragility. Gabriel Adewusi’s Isaac is equally compelling, balancing quiet desperation with glimpses of hope. Together, their chemistry lends authenticity to the narrative, drawing viewers into their shared moments of understanding and tension.

Colin Farrell’s involvement as an executive producer adds weight to the project, and his endorsement captures the film’s heart. “It treats loneliness and grief and the struggle of the immigrant with such a gentle hand, bringing its character and narrative threads together beautifully” Farrell said in Variety. His belief in the film speaks volumes, further elevating its profile in the international film community.

In its brief runtime, Room Taken tackles themes of grief, loneliness, and prejudice, while offering a poignant commentary on Ireland’s growing hostility toward refugees. The film’s compassion feels timely and vital, reminding audiences to see the humanity in others amid societal divisions.

Room Taken is a tender, evocative work that wears its heart on its sleeve. It reminds us that connection can be found in the most unexpected places, and its resonance lingers long after the credits roll.

This touching short has been shortlisted for the 2025 Oscars®.

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The movie’s main focus is the children living within the conflict; the documentary also presents their relatives, friends, and neighbourhoods, showcasing how deeply living in a state of war can affect how people interpret their surroundings and the world. Not forgetting its crippling effects on mental health and the creation of generational trauma.

Ten-year-old Jana resides in the Jenin Refugee Camp with other Palestinians who had to leave their area when the state of Israel was created. The documentary opens with Jana being questioned about the meaning of peace alongside her best friend, Heba, a girl of the same age. Their looks alternate between playful and sombre as they present their perceptions.

Later, the other key participants are shown, 16-year-old Renana, a resident of the Havat Gilad religious outpost founded by Jewish settlers. The teenager muses about the bucolic scene where she leaves and starts narrating what is supposed to be a calm life but with the looming sense of incoming conflict. Renana’s father was killed in a drive-by shooting, and she is supported by her sister Naomi, 14, who shares her views on life in the West Bank and their Arab neighbours.

Jana lives in an area where members of the Palestine Armed Resistance can be seen during broad daylight, including when there are protests on the streets. These same people brandishing assault rifles are seen as terrorists by opposing sides. The Havat Gilad settlement was established as an unauthorized community in 2002 and has been dismantled by official forces and rebuilt by the settlers on many occasions. Still, it was granted legal status by the Israeli government in 2018.

The documentary helps the viewer understand how layered and complex the situation on the ground is. Mettelsiefen, does the difficult job of finding nuance in this subject, by allowing children to talk about their lives, in such a way, that their words will resonate in the minds of those watching and hearing them, and interviewees are treated with fairness and without condescension. Mettelsiefen’s storytelling strengths lie in filming the on-the-ground reality and interviewing ordinary people, particularly children. This is proven by his 2017 Academy Award nomination for ‘Watani: My Homeland’ (2016), which followed the struggle of a family to survive the ongoing Syrian war.

The children’s age in ‘A State of Rage’ allows the understanding of how an environment, narratives, stress, conflict propaganda, and other aspects can permeate their psyche as shown in their words infused with prejudice, hatred and daydreams of carnage. Not only the violence they have endured and the stress and triggers they go through in their daily lives but also how they impact their choices regarding their future.
There is also the fear of the parents of their children joining the violent action as, at a young age, many are eager “to go to war” to defend the values they were raised upon and to seek retribution for relatives and members of their communities. Mettelsiefen, with a nuanced look, portrays the appetite for aggression that breeds in the human mind. On both sides, children are seen brandishing toy guns, playing play-fight, or playing armed combat video games as if they are preparing for what awaits them as late teenagers and young adults.

They are in a state where their childhood and innocence are starting to be overtaken by the sounds of flying bullets and screams of pain. Not only do their expressions shift but also the way and tone when they speak about such matters and their dreams as imagining what they will do in the near future is a way to keep moving forward in a desperate situation.

The camera paints a deeper picture of not only their conditions but also how Mettelsiefen interprets them, so lighting and architecture become characters, and households start to resemble the subjects of the film, even those with better resources. ‘A State of Rage’ doesn’t indulge itself in appellative soundtracks and scholar talking heads, choices that set it aside from other pieces on the matter. Without a doubt, the short documentary acts as a coming-of-age tale, allowing outsiders of the Israel-Palestine dispute to see the side of those affected by the decisions of the powerful and the impacts on their livelihoods and futures.
In a Western world where grown-ups have become nothing more than kidults, this documentary is relevant as it shows how rage slaughters naïveté and how the lines between childhood innocence and adulthood maturity are blurred.

A State of Rage is available in the UK via Channel 4’s On Demand Service

Also Read: Film & TV Industry Grapples with Mental Health Impact of Gaza Conflict on UK Professionals

The post Review: A State of Rage – Childhood Lost in The Israel-Palestine Conflict appeared first on Big Picture Film Club.