Category Archives: New In Theaters

Reviews of what’s out now

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Paint By Numbers

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A Magnificent Life

by Hope Madden

Sylvain Chomet is a filmmaker of eccentric, soulful films inspired by awkward, honest relationships, like The Triplets of Belleville. His films sparkle with love of vintage showmanship, the arts, and France. For those reasons, Chomet seems the ideal filmmaker to tackle a biopic about France’s prolific playwright and filmmaker, Marcel Pagnol.

Chomet’s animated feature A Magnificent Life opens in France of 1956. Pagnol is taking a bow, his early-career play having been successfully relaunched. But in a small party after the performance, he is listless. It seems the world has moved on, and he has nothing left to offer.

That emptiness, as we’ll see, is a post-success theme for the artist. Chomet positions these slumps as the points at which Pagnol would seek out a new challenge—from theater to film to literature.

The hand-drawn animation is an elegant wonder. The style for A Magnificent Life bears little resemblance to Chomet’s delightfully caricatured approach to Triplets or the endearingly wobbly look of The Illusionist. That’s not the only way the filmmaker’s latest animated feature changes pace.

A Magnificent Life follows a traditional biographical story arc, and that kind of reliance on familiar beats is out of character for Chomet. The film is also dialog heavy, which is wildly unusual for this filmmaker. In Chomet’s previous animated features, both Oscar nominees, any dialog became simply a blip or burble in a meticulously crafted sound design.

Pagnol’s life and career do seem fascinating. He rejected easy money, stood up to political and artistic pressures, and continually produced groundbreaking work. But A Magnificent Life gets mired in the detail and loses the larger themes. Since so many of those details deal with Paris’s difficulty with the Marseille accent so common in the writer’s work, the points are embarrassingly lost in the English language dub.

A Magnificent Life offers a perfectly lovely history lesson on one of France’s greatest playwrights and pioneers of cinema. But Chomet’s lost the off-center wonder of his earlier animated work, and a documentary might have been a better choice for a straightforward biopic.

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Retail Equinox

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Forbidden Fruits

by George Wolf

Just a few minutes into Forbidden Fruits, it’s clear that Apple (Lili Reinhart) has created a living space that does not bow to the patriarchy – at the local mall or anywhere else.

Apple, Fig (Alexandra Shipp), and Cherry (Victoria Pedretti) are the Queens of the Highland Place mall in Dallas, and the awestruck whispers we hear as they walk in tell us much about the kind of power the “Fruits” enjoy.

Reporting to an unseen manager named Sharon (stay late for an important reveal), the ladies work the floor at the Free Eden boutique, fleecing customers into big dollar buys, worshipping Marilyn Monroe and adhering to a strict regimen that includes sex on a schedule and communicating with boys only through emojis.

Also…there are hexes and spells when needed. So, all seems good with this coven as a trio. Until Pumpkin (Lola Tung from “The Summer I Turned Pretty”) strolls in from that pretzel place in the food court.

Pumpkin is unintimidated by the Fruits, confidently telling Apple, “My job doesn’t define me, my hotness and personality do.”

That’s just one of many priceless lines, and writer/director Meredith Alloway’s adaptation of Lily Houghton’s stage play becomes a sharp, sly and sardonic treat, spilling the beans (and the blood!) about the chaos and contradictions of trying to stay true to yourself.

All four actresses are terrific, carving out distinct identities that keep various secrets on simmer. Is Cherry really that much of an empty-headed vessel? Does Fig have aspirations beyond Highland Place? And what’s the real truth about the death of Apple’s abusive Dad (“R.I. – but not P!”)

Tung makes it fun to guess Pumpkin’s true motives for joining the Fruits, and Alloway crafts an engaging ecosystem of complex girl power. The limited setting of the play never feels claustrophobic, and the mashup of storefronts, costuming and technology creates an anachronistic callback to the glory days of mall society.

Alloway does take her time getting to the bloodletting, but leans in pretty hard with some fun practical magic once it does hit. Remember those warnings about getting caught in escalators? Ouch!

But the real delight here is how the film utilizes a horror device derived from the fear of a women’s power to discuss how messy and imperfect the path toward self-actualization can be. There is strength in community, but danger when – as Cherry points out – you forget Shine Theory and “ruin my glow!”

These are definitely some hot topics for a day at the mall. But in the world of Forbidden Fruits, digging into them is even more fun than sorting through the blacklight posters at Spencer’s.

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Blood Pressure

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Alpha

by Hope Madden

There are drawbacks to being one of the most daring and original voices in cinema. Chief among them is expectation. Audiences anticipate that each new effort will somehow outshine the previous.

After 2016’s Raw, Julia Ducournau’s incandescent first feature, surely no one expected Titane. And I mean no one. Feral and unforgiving, homaging others but blazing its own wildly individual path, Ducournau’s sophomore effort took home Cannes’s Palm d’Or in 2021. The film that defies summarization managed to make Raw look tame, almost precious. Raw, by the way, is about a college freshmen overcome with cannibalistic frenzy whenever she’s aroused, if you haven’t seen it. Tame and precious.

So, expectations for Alpha, the filmmaker’s latest, were high.

The tale begins with its best scene. Amin (a wondrous Tahar Rahim) sits with his arm outstretched as his 5-year-old niece Alpha (Ambrine Trigo Oaked) makes his needle wounds pretty by connecting them, constellation-like, with a black marker. Simultaneously heartwarming and queasying, it seems the perfect opening to a Ducournau project.

We flash forward quickly to another disturbing scene. This time, 13-year-old Alpha (Mélissa Boros) has her arm outstretched. She’s barely lucid, surrounded by teens partying obliviously, as someone tattoos an enormous A on her arm. The work is not professional and draws plenty of blood.

From here, Alpha oscillates between two timelines in an alternate reality France. The core story of love and negligence, family trauma and addiction, sits in the context of a blood-borne epidemic. An epidemic to which Alpha has now made herself susceptible.

The AIDS analogy is clear but expect Ducournau’s visual style to turn the somber into something harrowingly beautiful. Sufferers of this unnamed virus show symptoms of smoke escaping their mouths when they cough. As the diseases progresses, bodies turn to something akin to blue veined, cracking marble.

It’s in this world that confused, self-destructive Alpha comes of age. Her mother (Golshifteh Farahani), a doctor, becomes passionately, almost blindly obsessed with keeping her junky brother and her reckless daughter safe.

The crisscrossing timelines often rob the film of its momentum. The real problem, though, is that in the end, Ducournau employs a fantasy trope to connect the timelines and embody the mother’s anxiety. Vague as she is about it, and powerful as the final moments are, Ducournau cannot breathe enough life into the cliché to elevate it above cliché.

There is a haunting ghost story at work here. Ducournau’s cast is astounding, and her visual style, though far more somber here than in her previous work, is still enough to draw a gasp. But Alpha boasts less imagination than either of the filmmaker’s previous efforts, and it’s hard not to be a tad disappointed.

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Games People Play

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Ready or Not 2: Here I Come

by Hope Madden

Back in 2019, filmmakers Matt Bettinelli-Olpin and Tyler Gillett released Ready or Not. This tale of scrappy hero Grace (Samara Weaving) delivered a giddy, action-oriented, splatter-fueled horror comedy with the relatable central message that rich people are evil.

Weaving is back for the sequel Ready or Not 2: Here I Come. Grace is paired with her sister and reluctant sidekick Faith (Kathryn Newton), as both are forced to endure Round 2. Last go round, newlywed Grace had to survive until dawn on the evening of her wedding while her husband’s family tried to kill her. There were rules, specific weapons—they aren’t savages. They’re Satanists.

Well, in surviving the Le Domas family’s game of hide and seek, Grace triggered a second game. And what this game teaches us is that the entire world is run by a bunch of billionaires, each of whom is unspeakably, irredeemably evil.

Just like real life!

But in the movie, the evil billionaires face consequences. So Ready or Not 2 is a cathartic joy.

Weaving and Newton share a fun, funny, bickering chemistry. Their backstory becomes the spine of a film that, like the original, delivers series of entertaining, bloody set pieces.

Bettinelli-Olpin and Gillett surround the sisters with a great ensemble, including the legendary David Cronenberg as the Danforth family patriarch.

Elijiah Wood is an understated hoot as Satan’s lawyer, reteamed for the first time since The Faculty with Shawn Hatosy, effortlessly psychotic and endlessly familiar as that white guy born into loads and loads of money. (Titus is his name.)

Sarah Michelle Gellar also stars as Titus’s twin sister Ursula Danforth. Geller’s turn is a manipulative delight, a billionaire convinced that a little evil is OK in the grand scheme of things if you do good stuff too.

Kevin Durand, Nester Carbonell, Maia Jae and the whole set of entitled hangers on are also spot on and fun. The entire film feels a little like therapy, honestly.

If you enjoyed Ready or Not, I’m hard pressed to believe its sequel won’t also leave you smiling.

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It’s Time Go

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Project Hail Mary

by George Wolf

The arguments about Awards Season 2026 may still be raging on social media, but Project Hail Mary arrives to start the conversation about next year. It’s the kind of lavish, well-polished, big movie star project that could generate word-of-mouth excitement, bring crowds back to the theater, and leave audiences with an inspiring message of hope and humor that is sorely needed.

And that will be awesome, truly. So, I already feel like a cynical jerk for not thinking it’s a masterpiece.

Thanks a lot, Ryan Gosling.

Actually, it’s pretty damn hard not to love Gosling’s turn here as Dr. Ryland Grace, a molecular biologist who’s teaching middle school science thanks to some of his less-than-peer-approved theories.

But when he wakes from an induced coma on a ship in outer space, “Grace” is our last hope for saving Earth from the nasty space dust that is about three decades away from destroying the Sun.

How did he get here? And how can a man “who puts the ‘not’ in “astronaut'” hope to succeed all alone?

Directors Phil Lord and Christopher Miller give us those answers, adapting Andy Weir’s best-selling novel with another crowd-pleasing script from Drew Goddard – who also adapted Weir’s The Martian for the screen. And much like The Martian, we’re among the stars with a solitary man who must rely on science to find the solution to survival.

But Grace isn’t really alone, once he meets a crab-like alien (voiced by James Ortiz) he calls “Rocky” thanks to an appearance that resembles a strategic stacking of stones. Rocky’s planet is also facing extinction, and the two form a bond that quickly aligns the film as a family-friendly mashup of 2001 and E.T.

Gosling’s self-deprecating charm and sharp comic timing are instantly likable, and once Rocky learns some basics of English, the alien’s penchant for inverting certain words and gestures leads to warmly funny exchanges. Lord & Miller (The Lego Movie, 21 Jump Street, Cloudy with a Chance of Meatballs) bolster the rapport with wondrous IMAX sequences, but can’t completely overcome the feeling that this is all just a little too obvious and cute.

Flashbacks to a terrific Sandra Hüller as the impatiently blunt leader of the Hail Mary project give the film some much needed depth, and the mild twist in Act Three pulls the narrative out of the safe zone, albeit too briefly. The Martian suffered from the same calculated, broad brush feel at work here, and thankfully Lord & Miller don’t follow suit and resort to a succession of eye-rollingly precise needle drops.

The film’s title could also apply toward winning back those finicky theater-goers. And Project Hail Mary is perfectly suited to be a memorable cinematic experience with mass appeal. It looks great, there’s a charismatic leading man, his little alien buddy, and an easily digestible life lesson.

An enjoyable trip to the movies will be had. It just ain’t a trip to deep space.

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Now With Extra Whitening!

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Slanted

by George Wolf

Writer/director Amy Wang’s debut feature Slanted has so many plates spinning in the air, I expected most of them to eventually come crashing down. For just over ninety minutes, Wang juggles social satire, body horror, high school comedy and cultural drama with a fearless commitment to boundary pushing.

Actually, maybe more like boundary shoving.

Chinese-American teen Joan Huang (Shirley Chen) has a singular mission: to beat out her high school’s Queen Bee Olivia Hammond (Amelie Zilber) and be elected Prom Queen.

Just imagine her gigantic framed picture in the hallway next to all those other white, blonde Queens of the past!

Joan’s mother, Sofia (Vivian Wu) and best friend, Brindha (Maitreyi Ramakrishnan) aren’t thrilled when Joan bleaches her black hair, but that’s just the beginning. Lured into the office of the smiling Dr. Singer (R. Kieth Harris), Joan is hooked by his pitch of a perfect new life. She tricks her mother into signing a consent form and undergoes Dr. Singer’s experimental surgery.

And when Joan Huang wakes up from the operation, she’s Jo Hunt (McKenna Grace). No scars, no bandages, just all pretty, blonde and perfectly white.

Dr. Singer’s first recommendation: “Go see Michael Buble!”

Anyone who remembers Eddie Murphy’s classic “White Like Me” SNL bit from 1984 will recognize the world that suddenly opens up to Jo – and Wang skewers that world with biting humor and wry precision. But as much as Wang pushes her character envelopes, she gets balance from a more subtle hand that calls out the systems that breed and perpetuate this Lilly white playground. (Keep an eye on the local business names, as well as the photographs chosen for mantles, bedroom walls and school lockers.)

Could there be a price to pay for Jo abandoning her family, friend and heritage? Oh yes. And while I won’t be the first or last to mention the resulting mashup of Mean Girls and The Substance, give Wang credit for not giving a flying F.

There’s plenty of last year’s Grafted here, too, though Wang never dives that deeply into a horror show. What she does do is pull all of these influences through her own lens with unapologetic abandon, and a fittingly flawed final girl.

This is a wonderfully ambitious, high concept debut for Amy Wang. At turns both familiar and ferocious, it never lets you get too comfortable with its message. Funny, horrific, bittersweet, angry and insightful, Slanted feels like an experiment gone right.

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A Good Enough Cry

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Reminders of Him

by Hope Madden

A couple of years back, director Vanessa Caswill leaned affectionately into cliché, cast well, and elevated Love at First Sight above its tired romcom streamer roots. Can she do the same with the Nicholas Sparks style tearjerker Reminders of Him?

She can. But here’s the more important part. Caswill isn’t trying to exit the sobby romance genre. She is trying to make a movie that will please the same people who loved A Walk to Remember, The Longest Ride, and of course, novelist Colleen Hoover’s last feature adaptation, It Ends with Us. She’s just also trying not to make utter crap.

Caswill succeeds to a degree on both counts, again by casting well and embracing cliché.

The effortlessly woebegone Maika Monroe is Kenna, who’s just returned to her small hometown after a 6-year stint in prison for involuntary manslaughter. All Kenna wants to do is rebuild her life and meet the daughter she gave birth to in prison.  Too bad that daughter lives with the parents of the Kenna’s boyfriend, who died in that crash that sent her to prison.

So, the stage is set for a work-ethic driven story of redemption. Which is, of course, just an excuse for the romance. Kenna falls for Ledger (Tyriq Withers), her late boyfriend Scotty’s childhood bestie who returned to the neighborhood five years ago to help raise Scotty’s daughter.

Monroe’s performances tend to be internal, so she wears Kenna’s misery more than performs it. There’s a naturalness to it that helps the often unrealistic dialog and plot choices feel more believable.

Caswill also does not pretend that poverty—which is what Kenna lives in as a felon who’s lucky to get a job bagging groceries—looks at all glamorous. And though she may make poverty look a lot safer than it is, she surrounds Kenna with some fun ensemble players and a bit of needed joy.

Withers is primarily there to be inarguably handsome, but he and Monroe do share enough chemistry to make the romance somewhat compelling. And though Lauren Graham and Bradley Whitford suffer with woefully underwritten characters, both veterans have talent enough to enrich what the script lacked.

Does Reminders of Him do exactly what you expect it to do, scene after scene? It does. But it’s supposed to. It just does it a little better than it really had to.

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Who Has Ears to Hear, Let Him Hear

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Undertone

by Hope Madden

Ian Tuason’s paranormal podcast feature Undertone offers a lot of reasons to be impressed. It’s a single location shoot, and almost a one-hander. Aside from a catatonic mother (Michéle Duquet) and a variety of voices, Nina Kiri is on her own.

Kiri plays Evy, who is recording her paranormal podcast Undertone from her dying mother’s house. Evy’s been staying at Mom’s for a while now, and if she’s honest about it, she’d like it to just be over with. Evy’s waiting for the death rattle.

She loves Mama, but the relationship is thorny with Catholic guilt and shame. We sense this more than see it as Tuason crowds his set design with Catholic iconography. It’s a busy if impressive set, and Tuason makes great use of it with fascinating camera work. He uses mainly stationary cameras, often set off-angle so they feel more like a voyeur’s or ghost’s point of view, or even a security camera. The movement reinforces that sense. On the rare occasion that the camera does move, it does so in an obviously mechanical way that even more closely resembles security footage.

This gives the film a Paranormal Activity vibe—fitting, as Tuason is slated to write and direct the next installment in the found footage franchise.

But Undertone is less about what you see and more about what you hear. The somewhat oppressive sound design is intentional, of course, and frequently effective.

Kiri delivers a heroic performance. Not only has she no conscious actor to react to, but the vast majority of her performance is simply Evy, in headphones, listening to something.

The film falls apart at the story level. Evy and her podcast co-host Justin (voiced by Adam DiMarco) decide to listen to a set of 10 audio files emailed to them anonymously. The files conjure up something supernatural that, combined with Evy’s isolated, spooky, guilt-laden environment, starts affecting her headspace.

But the sound files and podcast are silly. The mythology within the house—Evy’s relationship with Catholicism and her mother, the demonic yarn being revealed by the audio files—none of it comes together into a coherent horror story. And worst of all, nothing happens.

Undertone is an impressive technical achievement but the story’s just not there.

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The Rain in Spain

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Heel

by Hope Madden

Few people who watched the Netflix series Adolescence would describe it as darkly comical.

And yet, Adolescence co-creator and co-star Stephen Graham lends his considerable talent to another look at the troubling behavior of young white men in Jan Komasa’s Heel.

Graham plays Chris, a well-intentioned family man. Anson Boon is Tommy. One morning, after a night of hard debauchery, Tommy wakes up in chains in Chris’s basement.

From there, Komasa’s film, written by Bartek Bartosik and Naqqash Khalid, could become something truly horrifying. Instead, it reimagines The Clockwork Orange by way of My Fair Lady.

There’s obviously something terribly wrong with Chris, his wife Kathryn (Andrea Riseborough), and probably their young son Jonathan (Kit Rakusen). But they don’t think so. Indeed, they’re so convinced of their benign purposes that the family hires a part time maid (Monika Frajczyk), even though there’s a human being chained up just off the laundry room.

Of course, during the interview, Chris does ask if Katrina has any distinguishing marks. That could be a red flag.

The performances across the board are marvelous. Certainly, we’ve come to expect nuanced, even surprising turns from both Grahan and Riseborough. But it’s Boon who really impresses. His Eliza Doolittle arc is fantastic and frustratingly believable.

Komasa plays with your expectations and manipulates your emotions. It’s really hard to root for the kid in the cellar, and it’s often a little tough to dislike this broken family, although there is clearly something very cracked and likely dangerous about them.

The sharp script never overplays its themes. Heel keeps you guessing, keeps you fascinated, and sometimes has you almost breathless. It’s also quite funny and touching.

The longer you watch, the more provocative Heel becomes. Even if you’re furious by film’s end, it’s hard to deny its power.

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Violent Femme

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The Bride!

by Hope Madden

One part Metropolis, one part Bonnie & Clyde, just a touch of Bride of Frankenstein and yet somehow entirely writer/director Maggie Gyllenhaal’s own, The Bride! deserves that exclamation point.

Jessie Buckley is a force of nature in a dual role—sort of a triple role, really: an unhappy Chicago gangster’s moll; Mary Shelley, silenced far too soon; and a monster, chaotic, unruly, unburdened by memory and guided by peculiar fury.

The likeliest lock for Oscar in the 2026 race for her breathtaking turn in Hamnet, Buckley is perfectly paired with Christian Bale (that hack!), a unique image of Frankenstein’s monster. He is tender, lonesome, adoring, and very anxious. Frank has a serious anxiety issue, which is mainly calmed by watching his favorite movie star, the song and dance man Ronnie Reed (Jake Gyllenhaal).

To watch Buckley and Bale, two masters of their craft, work off each other is a treat, each of them tearing through Gyllenhaal’s inspired and intelligent script with dark joy.

The leads are surrounded with memorable, noir-esque characters: Annette Bening as our mad scientist, Peter Sarsgaard as the gumshoe with some secrets, Penélope Cruz as the brains behind the investigation, John Magaro as the spineless gangster.

Great as they are, and they all are, the star here is Maggie Gyllenhaal. Her tale is hyperliterate with surreal flourishes, dazzlingly filmed, constantly surprising and yet charmingly inevitable, and fueled by a glorious, contagious rage.

There are dance sequences (an absolute blast) and shoot outs, a deep vein of dark humor, opportunities for redemption, and delightful easter eggs. (Ida’s nemesis is a gangster named Lupino; silver screen star Ida Lupino turned to directing, and one of her most cynical and impressive efforts was a 1963 episode of the TV show Thriller called “The Bride Who Died Twice.”)

The Bride! delights with an anarchic energy, but its underlying plot is tight, its characters clearly drawn and beautifully performed, and its aesthetic wondrous. In just her second feature, after 2021’s sublime The Lost Daughter, Gyllenhaal’s cemented her spot as one of the most exciting filmmakers working.