'The Last Showgirl' Reviews: Pamela Anderson Could Nab an Oscar Nod!

         On December 13, 2024, Roadside Attractions releases 'The Last Showgirl', which has earned predominantly positive reviews from critics and a score of 80% on Rotten Tomatoes at the time of this writing. In the film, "a glamorous showgirl who must plan for her future when her show abruptly closes after a 30-year run." The ensemble cast includes Pamela Anderson, Dave Bautista, John Clofine, Jamie Lee Curtis, and Billie Lourd. Read the full review round-up below.

        Gregory Ellwood of The Playlist notes, "When Curtis walks onto a table in the middle of a casino and starts dancing to Bonnie Tyler’s “Total Eclipse of the Heart,” throwing her job away as visitors barely notice, you know there is something special here. You just wish there was more of it" Concluding, "For most of the film, Anderson has played her role, for lack of a better description, as very demure, very mindful. It’s been mostly a quiet, confident performance. Shelly has her own set of street smarts but has almost lived her entire life in this Vegas strip bubble. When the bubble pops, Anderson unleashes an unforeseen wave of emotion encapsulating Shelly’s pain. Many may have recognized that Anderson was an underrated actress before “The Last Showgirl.” That being said, few believed she could project this from deep within her soul. Describing it as a revelation may be a stretch, but it’s damn close."

Photo Courtesy of Roadside Attractions

        Amber Wilkinson of Eye for Film says, "The script marks a step up from TV shows for Kate Gertsen (The Good Place, Mozart In The Jungle) and she brings a lot of verve to the dialogue, especially in early scenes where talk of the price of lemons mixes with costume snagging and general conversation as the dancers scramble about backstage, captured with grace by cinematographer Autumn Durald Arkapaw. But while Gertsen proves sure-footed in the melee, her characterisations lack the detail in the film's more quiet moments to fully sell the emotional beats. Anderson, for her part, acquits herself well, bringing an edge of panic to the perpetually sunny-side-up Shelley as she finds the illusions she has carefully crafted for herself start to crumble. The supporting cast are uniformly strong, particularly Bautista, who brings a real soulfulness to his role and Jason Schwarzman (Coppola’s cousin), enjoying a sharply written cameo."

       Peter Debruge of Variety was less impressed, stating, "The Last Showgirl intends to reclaim the nobility of these women, to remind that they’re real people, with dreams and disappointments of their own. But a little more dimension would have gone a long way." Continuing, "Granted, there’s something poignant and vulnerable in Anderson’s decision to play a Las Vegas dancer who’s lost her sparkle. Shelly joined the “Razzle Dazzle” revue in 1987 (two years before “Baywatch” debuted on TV), sacrificing everything — including the traditional duties expected of parents — to live her dream of performing on the Strip. More than three decades later, she struggles to keep up with the younger girls, whom she treats like adopted daughters. While Jodie (Kiernan Shipka) and Marianne (Brenda Song) are flexible enough to get other jobs, Shelly is knocked sideways when she hears from stage manager/old flame Eddie (an uncharacteristically gentle Dave Bautista, doing his best Kris Kristofferson) that the show is closing."

'September 5' Reviews: Film "will pin you to your seat"

         On December 13, 2024, Paramount Pictures releases 'September 5', which has received rave reviews from critics, earning a score of 88% on Rotten Tomatoes at the time of this writing. In the film, which is generating Oscar buzz, "During the 1972 Munich Olympics, an American sports broadcasting crew finds itself thrust into covering the hostage crisis involving Israeli athletes." The ensemble cast includes Peter Sarsgaard, John Magaro, Ben Chaplin, Leonie Benesch, and Zinedine Soualem. But what did the critics say?

        Peter Travers of ABC News says, "The massacre of the Israel team at the 1972 Munich Olympics becomes a riveting docudrama on journalism under fire as seen through the contro lroom of ABC Sports doing live coverage. Peter Sarsgaard, John Magaro and Leonie Benesch will pin you to your seat" Adding, "Scaling this testosterone wall is "The Teachers' Lounge" breakout Leonie Benesch as Marianne Gebhardt, the only German-speaking member of a boys club unashamed of underestimating women. Start an Oscar campaign pronto for the brilliant Benesch, who is so good you want to cheer. All the actors could not be better or more fully committed."

       Lucia Ahrensdorf of The Film Stage writes, "September 5 may aim to represent the uncomfortable ethics of media, but this is no Ace in the Hole. About the final shootout that results in hostage deaths, Marianne (Benesch) tearfully says, “I stood with hundreds of people, waiting for something to happen so we could take a picture of it.” This line is meant to implicate our protagonists as voyeurs, media vultures. Yet this moment doesn’t resonate deeply when the film goes out of its way to cast these characters as blameless. (What can they do? It’s their job!) With a matter-of-fact, procedural tone, September 5 treats journalism as a sport––not one of blood and sweat, but something more like ping-pong. The plot builds up to the infamous moment when the journalists misreport the escape of the hostages, only to then have to backtrack and report that, actually, they’ve died. The mistake evokes an emotional reaction from the staff, but the show must go on: they quickly pivot to working on tomorrow’s broadcast of the memorial service. The theatergoers around me exclaimed variations of “wow!” and “phew!” after the film had ended––as if they had just gotten off a roller-coaster ride. I wondered what value there is in these straight re-tellings of the reporting of historical events. It’s true to the characters’ experience to design the film as 90 minutes of adrenaline, but shouldn’t we ask more of films than simple recreation? Watching September 5, it’s hard not to miss the messy agony of Steven Spielberg’s Munich. Here, humanity is condensed and trapped in professional gestures––a bloodless upholding of American corporate-media machinations. Such moments of humanity among the bloodless professionalism are the point, the filmmakers might say. Some may feel a thrill, but I left feeling cold and blank, the buzz quickly worn off."

Photo by Josh Chiodo on Unsplash

        Gregory Ellwood of The Playlist notes, "A breezy 91 minutes, “September 5” is captivating on multiple levels and, frankly, a surprising success considering Fehlabum‘s previous work. Even though the fate of these hostages was determined over five decades ago and you witness the events from a distance, Fehlabum and his editor Hansjörg Weißbrich will keep you in suspense as the drama plays out. The filmmakers’ decision to use real broadcast footage could have easily backfired, but intertwining just McKay with Walker’s portrayal of Jennings strikes the perfect balance (it also helps they have the larger-than-life Howard Cosell call into the control room rather than have him appear on screen). It only reinforces the sense that you are part of a live news story and the genuine tension that accompanies it. Oh, and as a lesson in the craftsmanship that went into what is now “old school” analog television coverage, the movie will be eye-opening for many." Adding, "Quizically, the only aspect of the story “September 5” fumbles is the political ramifications of Black September’s actions. It gives the innocent Israeli victims their due but simply leaves it at that. This is not a movie that wants to seriously dive into the Palestinian-Israeli conflict. The terrorists are largely lifeless which, granted, was what was known during the actual broadcast. It’s mostly captivated by the inherent drama capturing the event. The balance of brilliant decisions and unfortunate mistakes that plague coverage of an event like this. And it’s smart enough to recognize that for these television creators, this isn’t something they will shake off in a day or two. But they did their job and like no one before them. You just wish what happened next was explored beyond the requisite title card before the credits roll."

'Wicked' Enchants Critics

         On November 22, 2024, Universal Pictures released 'Wicked: Part I', which has earned rave reviews from critics, currently holding at 92% on Rotten Tomatoes at the time of this writing, alongside a Critics Consensus that reads, "Defying gravity with its magical pairing of Cynthia Erivo and Ariana Grande, Wicked's sheer bravura and charm make for an irresistible invitation to Oz." The ensemble cast includes Michelle Yeoh, Bowen Yang, Ethan Slater, Jeff Goldblum, Marissa Bode, and Jonathan Bailey. Read the full review round-up below.

        Robert Kojder of Flickering Myth says, "Wicked: Part 1 rarely has a dull moment and puts almost every minute of its 160 into something majestically arresting and character-forward while concluding on an emotionally rich, natural stopping point."

        David Crow of Den of Geek praises the film, stating, "Wicked manages to levitate above whatever cynical commercial considerations weigh it down, or for that matter what any critic might have to say about those limitations. This thing is built to last as a monument to theater kids for generations to come." Adding, "Yet it is the movie’s old-fashioned theatrical impulses that prove to be its real superpower. Or, to put a finer point on it, Erivo and Grande can really sing, and they do so often in live and spectacular fashion. A friend I saw the picture with was even surprised to learn that most of their singing was performed in-camera, even when Erivo is being flung on wires and a broom 40 feet above the soundstage floor."

Photo by Alex Kalligas on Unsplash

       Fionnuala Halligan of Screen International notes, "A Black actress playing a green witch could seem to overload Elphaba’s outsider status, but Erivo masters every subtle grace note to give a performance that is both accomplished and emotional. Garland also captured that same sincerity of wounded, innocent yearning in an entirely different way (not a comparison that should be made lightly, admittedly). Composer and lyricist Schwarz fills the screen and the room with orchestrations that really do bring back the memory of the full-blown Hollywood musical. Adaptations that have taken this pre-Christmas exhibition slot of late – from Wonka to West Side Story, Mary Poppins, The Greatest Showman and beyond – have tended to shuffle around the full embrace of the screen musical’s baked-in staginess. Joker: Folie A Deux even denied itself as a musical. Holzman, who wrote the musical book and adapts it here, embraces it all, including the peculiar Ozian language, enhancing the otherworldliness of where the film is taking us. Combined, it’s a propulsive force to be reckoned with. Or should that be a melting force? What happens next? Wicked dares to leave the audience at the half-way mark, with Part II already shot and set for release this time next year (November 21, 2025).  That’s beautiful wickedness indeed."

'Hard Truths' Reviews: "Jean-Baptiste is breathtakingly good, and it’s so nice to have Leigh back on the dramatic scene. He’s essential to it"

         On December 6, 2024, 'Hard Truths' is scheduled for release by Bleecker Street, earning rave reviews and currently holding at 98% on Rotten Tomatoes. In the film, "Legendary filmmaker Mike Leigh returns to the contemporary world with a fierce, compassionate, and often darkly humorous study of family and the thorny ties that bind us. Reunited with Leigh for the first time since multiple Oscar-nominated Secrets and Lies, the astonishing Marianne Jean-Baptiste plays Pansy, a woman wracked by fear, tormented by afflictions, and prone to raging tirades against her husband, son, and anyone who looks her way. Meanwhile, her easygoing younger sister, played by Michele Austin (Another Year), is a single mother with a life as different from Pansy's as their clashing temperaments -- brimming with communal warmth from her salon clients and daughters alike. This expansive film from a master dramatist takes us into the intensities of kinship, duty, and the most enduring of human mysteries: that even through lifetimes of hurt and hardship, we still find ways to love those we call family." But what did the critics say? 

       Brian Tallerico of RogerEbert.com says, For the first half of “Hard Truths,” Pansy is a tornado of Karen-esque encounters as Pansy unrealistically yells at salespeople, cashiers, and anyone else who dares look at her wrong. It’s almost a counter to Leigh’s masterful “Happy-Go-Lucky”—call this one “Angry-Go-Lucky”—but then the curtain drops when Pansy’s sister insists they visit Mom’s grave on Mother’s Day. The following scenes allow Jean-Baptiste to dig into a deep emotional well that goes surprisingly unexpressed. This is a woman who won’t stop talking when she’s mad but cannot find the words to express her sadness. Pansy is a pretty awful human being to strangers and her family. Still, Leigh and Jean-Baptiste struggle to find compassion for someone with so much emotional baggage that all that can escape the weight of it all is anger. I understand the intent of the relatively vague ending—it’s no spoiler to say that Leigh is uninterested in a tidy emotional wrap-up—but I still don’t think it quite lands like the best of his films. However, that feeling could change on repeat viewing—the man’s works often reveal more the second and even third times around. And the streak continues; after all, Mike Leigh doesn’t make bad movies." Adding, "Jean-Baptiste is breathtakingly good, and it’s so nice to have Leigh back on the dramatic scene. He’s essential to it."

       Jon Frosch of Hollywood Reporter notes, "If the matter of why Pansy’s family puts up with her haunts Hard Truths like an unsolved mystery, Leigh allows glimmers of an answer by the time the film draws to a close: Pansy may be a nightmare, but in her howling, despondent way she’s also a life force. And in Jean-Baptiste’s brilliant turn, one detects the possibility — remote, yet distinct — that beneath all this woman’s fierceness and fury is a kind of fierce, furious love."

       Michael Sicinski of In Review Online writes, "Mike Leigh, one of cinema’s last great humanists, has chosen to remind us that bitterness consumes everything, and that it is impossible to love others until you find the strength to heal."

        Nadia Dalimonte of Next Best Picture praises the film, stating, "Jean-Baptiste is the magnificent core Leigh orbits around to reach the stars. Full of humor and sorrow, her vigorous performance prioritizes the character’s humanity in every scene. Rather than concern herself with trying to make the character “likable,” Jean-Baptiste fully embraces her temperament without apology. She deftly navigates from alienation and cynicism to regret and hopefulness (even if for a glimmer). What makes Jean-Baptiste’s performance especially compelling is her balance of the dichotomy in Pansy’s self-expression. She readily confronts the people, places, and things that trouble her. However, she has difficulty voicing why she feels the way she does. The pain of not knowing haunts her. Jean-Baptiste also exercises incredible comedic timing while not abandoning the tinges of sorrow that are part of her."

Photo by Elena Takmakova on Unsplash

'The Piano Lesson' Reviews: "John David Washington has one of his best turns"

         On November 8, 2024, with a streaming release on November 22nd, Netflix released 'The Piano Lesson'', which has earned rave reviews, currently holding at 94% on Rotten Tomatoes. In the film, which is "Set in 1936 Pittsburgh during the aftermath of the Great Depression, The Piano Lesson follows the lives of the Charles family in the Doaker Charles household and an heirloom, the family piano, which documents the family history through carvings made by their enslaved ancestor." The ensemble cast includes John David Washington, Samuel L. Jackson, Ray Fisher, Corey Hawkins, and Danielle Deadwyler. But what did the critics say?

       Pete Hammond of Deadline Hollywood Daily says, "Continuing Denzel Washington‘s stated quest to bring new film versions of iconic playwright August Wilson‘s 10-play Century Cycle (aka Pittsburgh Cycle since nearly all take place in the writer’s hometown), he has now come in as producer (with Todd Black) of one of Wilson’s most celebrated works, the 1987 Pulitzer Prize-winning The Piano Lesson, previously made as a TV movie in 1995 and in 2022 the subject of a major Broadway revival. Finding success with his 2016 film version of Fences following its Tony-winning Broadway revival and bringing an Oscar to Viola Davis as well as Denzel’s 10th nomination, and then 2020’s Ma Rainey’s Black Bottom, this seems like a natural move as well as a work that perhaps lends itself better than others in Wilson’s canon to a cinematic adaptation." Adding, "Acting honors go to Deadwyler, so great in the recent Till ,who captures Berniece’s love of family but also her own contradictions. John David Washington has one of his best turns, impressively embodying Boy Willie while acting opposite Jackson, the man who created him on stage all those years ago and now takes on another much older character in the story, still knowing just the right beats to play in Wilson’s sandbox of knockout dialogue. Jackson, Washington, Fisher, and Potts are all reprising their Broadway roles joined by an exceptional cast clearly drawn to doing Wilson proud."

       Lovia Gyarkye of Hollywood Reporter notes, "Deadwyler submits herself completely to the will of her character. She slips into her skin with a quiet ease and, once bonded, finds and reveals her truth. The results are often electric."

Photo by Martti Salmi on Unsplash 

       J. Don Birnam of Next Best Picture praises the film, stating, "And the eponymous Piano may as well be Berniece’s very heart and soul. It carries the heavy history of their family, the suffering, but also the perseverance. Willie’s desire to rid their family of the instrument so that he can take over the land of the man who oppressed them for generations is superficially appealing and quite understandable. What better way of turning the tables on your enslaver than owning his land? In the face of this, Berniece’s desire to hold on to this piece of wood, to this shrine to the suffering of Charles’ family, seems to make no sense. However, the piano holds a lesson that does not immediately meet the eye, and as “The Piano Lesson” reaches its climatic third act, the beauty of Wilson’s lessons becomes apparent. The point is that suffering can be expiated in more profound ways. Willie wants to simply move on from the past. But, for Wilson, it is not sufficient or satisfactory to just do so. Instead, confronting the past and bringing its souls with you will build out the true path toward redemption. “The Piano Lesson” gets a bit over the top in its climatic rendition, with Washington acting too much like he’s still on stage and not in front of a camera, and the schizophrenic editing by Leslie Jones betraying the director’s own inexperience. But the proverbial ghouls of a first-time director are exorcised just in time before they can bring down the entire edifice he had carefully constructed." Continuing, "When the dust settles, and the Charles Family contemplates its future, Wilson’s signature humanism will be on full display, together with the compelling, complex nature of his characters, thanks to the talent of this remarkable cast. And the principal motif of his play, the piano’s core lesson—that a single, perhaps unremarkable object can hold the key to personal salvation—will take your breath away."

'My Name is Alfred Hitchcock' Wows Critics

         On October 25, 2024, Cohen Media Group released 'My Name is Alfred Hitchcock', which has received rave reviews and a score of 100% on Rotten Tomatoes at the time of this writing. In the film, "A century after the debut of Alfred Hitchcock's first feature, he remains one of the most influential filmmakers in the history of cinema. But how does his vast body of work and legacy hold up in today's world? Mark Cousins, the award-winning filmmaker behind Women Make Film, The Storms of Jeremy Thomas, and The Story of Film: A New Generation, tackles this question and looks at the auteur with a new and radical approach: through the use of his own voice. As Hitchcock rewatches his films, we are taken on an odyssey through his vast career -- his vivid silent films, the legendary films of the 1950s and 60s and his later works -- in playful and revealing ways." Read the full review round-up below.

       Todd McCarthy of Deadline Hollywood Daily notes, "My Name Is Alfred Hitchcock is a frisky, free-wheeling, deeply informed salute from one very clever British chap to another who was also rather more than that, one who made his first film 97 years ago and whose work is still widely seen and known." Adding, "Many of the films are discussed at some considerable length, for their fundamental strength as well as for their quirks. “I realized movies are a trickster medium,” “Hitch” remarks at one point. “I am a trickster, you see. I wanted to straddle commerce and art, Murnau and D.W. Griffith.” In the final scene of his career, in Family Plot, Hitchcock had Barbara Harris wink at the camera—“a trickster’s wink.”

Photo by Toni Cuenca on Unsplash

       Sheri Linden of Hollywood Reporter says, "Other than one of his trademark cameos, in Marnie, there are no moving images of Hitchcock himself; instead, the doc puts a few stills of the auteur in rotation. Any suggestion of TV newsmagazine-style repetition is soon dispelled by Cousins’ inquisitive camera, pulling in tighter, and by the keen liveliness of the deceased filmmaker’s voiceover. Carried along by Hitchcock’s narration, we peer into his photographic portrait, and into his films: the “most serious” (The Wrong Man), the lesser-known silents (“You probably didn’t see it,” Hitchcock/McGowan says of 1927’s Downhill, aka When Boys Leave Home), the shimmering black-and-white nail-biters of the ’40s, ’50s and ’60s (Shadow of a Doubt, Strangers on a Train, Psycho) and the immortal Technicolor dreamscapes (Rear Window, Vertigo, North by Northwest, The Birds)." Continuing, "As “Hitchcock” notes, his movies have been analyzed every which way and back again. Cousins’ fresh approach divides the work into six sections, an elegant capsule melding existential questions with the practical challenges and opportunities of big-screen storytelling. The first chapter, Escape, is the longest, and from there the film moves through Desire, Loneliness, Time and Fulfillment, culminating with Height — as in an elevated sense of perspective. It’s a damn good outline for a life, let alone a compelling blueprint for exploring the oeuvre."

'Blitz' Reviews: "Newcomer Elliot Heffernan, who plays our hero George, delivers a captivating performance, shouldering the at-times-unwieldy period drama with the same directness and confidence as its director"

         On November 1, 2024, with a streaming release on the 22nd, Apple Original Films released 'Blitz', which has received predominantly positive reviews from critics, currently holding at 77% on Rotten Tomatoes. In the film, "Sir Steve McQueen's "Blitz" follows the epic journey of George (Elliott Heffernan), a 9-year-old boy in World War II London whose mother Rita (Saoirse Ronan) sends him to safety in the English countryside. George, defiant and determined to return home to his mom and his grandfather Gerald (Paul Weller) in East London, embarks on an adventure, only to find himself in immense peril, while a distraught Rita searches for her missing son." Read the full review round-up below.

       Adam Sweeting of The Arts Desk notes, "You wouldn’t have pictured the creator of 12 Years a Slave or Widows as a sentimentalist, but he looks suspiciously like one in this opulent World War Two saga, which was the opening film of this year's LFF. Set amidst the terrors of the Luftwaffe’s bombing campaign over London in 1940, Steve McQueen’s film is driven by the bond between Kate (Saoirse Ronan) and her young son George (Elliott Heffernan, pictured above with Ronan and Paul Weller), and how it’s put to the test when George is evacuated to the safety of the countryside. Kate is pierced to the heart by George’s piteous plea – “please mum, don’t send me away” – and George won't be denied. As the evacuees’ train huffs its way through nostalgically green and wooded English scenery, he seizes his chance to leap to freedom and make his way back to his home in Stepney (where Paul Weller delivers a quietly effective turn as his grandad, Gerald.) His journey becomes a kind of pilgrim’s progress as McQueen uses it to explore the way the war affects various strata of society, though this somewhat formulaic approach means the film lacks a consistent narrative focus."

       Rogan Graham of Little White Lies says, "Academy Award winner Steve McQueen returns with wartime odyssey, Blitz, retelling key moments of the siege on the capital during World War Two as seen through the eyes of a biracial 9-year-old boy fleeing evacuation orders. Newcomer Elliot Heffernan, who plays our hero George, delivers a captivating performance, shouldering the at-times-unwieldy period drama with the same directness and confidence as its director. Beside McQueen himself, a big draw for audiences will be Saorise Ronan who slips seamlessly into the role of east-ender Rita, mother of George and daughter of Paul Weller’s piano-playing club crooner Gerald. Yet there’s perhaps a mite too little for Ronan to actually sink her teeth into."

       Monica Castillo of RogerEbert.com praises the film, stating, "As Rita, Ronan stands out in every shot thanks to her stellar performance as a concerned mother who will stop at nothing to do right by her son, McQueen’s direction, cinematographer Yorick Le Saux, and the production teams that meticulously color coordinated the sets, costume, and makeup to draw our attention to her.  Le Saux, whose previous credits include “Little Women,” “High Life,” and “Only Lovers Left Alive,” strikes this sumptuous tone in the lighting, bringing to life the rich colors and period details, like the dark wooden glow of a crowded dance hall, the sea of factory blues, and endless rows of brown brick walls. Rita’s scarlet lipstick and coat pop dramatically into the movie’s focus, not unlike the little red coat in Steven Spielberg’s “Schindler’s List.” The camera uses many closeups to enhance the characters’ experiences, like seeing the mud on George’s shoes after he’s traveled for hours or when Rita’s coworkers draw on tight lines to seem more sophisticated to the lads at the bar. The most rousing scene in the movie is the film’s passionate all-out dance scene in a small club where Rita and George’s father party. As McQueen did in “Lovers Rock,” he once again captures the intoxicating full-body experience of a good round of dancing, and it’s a pleasure to watch even when bookended by terrible events. These details aren’t related to the story, but they ground the audience in the time, emotions, and setting of its characters."

Photo by Andrew Neel on Unsplash

'A Real Pain' Reviews: "a witty, funny and tender emotional journey"

         On November 1, 2024, Searchlight Pictures released 'A Real Pain', which has earned rave reviews from critics, currently holding at 92% on Rotten Tomatoes. In the film, "Mismatched cousins David (Jesse Eisenberg) and Benji (Kieran Culkin) reunite for a tour through Poland to honor their beloved grandmother. The adventure takes a turn when the odd-couple's old tensions resurface against the backdrop of their family history." But what did the critics say?

       Jack Martin of Film Feeder says, "The film certainly has the mannerisms of a standard road trip comedy... but Eisenberg manages to avoid a lot of the typical tropes with an underlying gentleness that cuts to the core of our two central travellers." Adding, "Some have tried over the years to find the humour in the horror, including Jerry Lewis’s infamous (and infamously unreleased) The Day the Clown Cried, but writer-director Jesse Eisenberg opts for a slightly different angle with his film A Real Pain, which ends up making all the difference. It all boils down to the simple fact that it isn’t the Holocaust that is funny, but rather people’s reactions to it, particularly those who might have descended from those unfortunate to have been inside one of those camps. That actually does make for some plentiful laughs in this tender and rather touching comedy-drama about what it is to trace one’s ancestry, and not being particularly jazzed about what they learn, either about their ancestor or even themselves."

       Brianna Zigler of AV Club notes, "Eisenberg’s screenplay deploys the right kind of wry, subtle humor at the right moments, and gut-wrenching heartache in others. On the other hand, there is not much formal daring to Eisenberg’s direction, though the evolution of the on-screen relationship between Benji and David isn’t really in need of flashy camerawork. Maybe Eisenberg is aware of his stylistic limitations, or maybe he’s more interested in softer, more personal filmmaking. A Real Pain suffers from some of the same issues as When You Finish Saving The World, in that Eisenberg shackles him to a low-key style of filmmaking and storytelling that doesn’t allow his work to stand out from countless other small, personal indie films about families with problems. Still, A Real Pain ends not with the cousins making promises to repair their relationship—as a lesser film might have—but something slightly more cynical. There is no simple catharsis to reckoning the horrors of the past with the eases of the present day; all you can do is choose how to live with it, and Eisenberg’s refusal to wrap his film in a neat little bow elevates his sophomore film into something almost as difficult as its subject material."

       Avi Offer of NYC Movie Guru praises the film, stating, "The screenplay by writer/director Jesse Eisenberg is a witty, funny and tender emotional journey. Eisenberg understands the concept that the root of comedy can often be found in tragedy. He keeps the story lean by beginning at the airport after David and Benji's grandmother died. There are no flashbacks to their experiences with her, but during a dinner with others in the tour group, a lot gets revealed about how Benji was closer to his grandmother than David was and how blunt she was. Based on the way that they describe her, she seems like kindred spirits with Maude from Harold & Maude. He also confides in them something very personal regarding Benji's suicide attempt. It's a brief scene and a moving one, but underdeveloped as if Eisenberg were scared to allow the film to get too dark and unflinching. The evolving dynamics between David and Benji throughout the tour feels true-to-life, though, especially when they banter. Kudos to Eisenberg for providing them with different personalities. Benji comes across as an annoying, rude jerk as well as a bad influence initially, but there's more to him than meets the eye. He even has no shame in criticizing the tour guide, James (Will Sharpe). To be fair, much of the dialogue is on-the-nose and lacks subtlety. However, it never becomes maudlin or cheesy. Jennifer Grey has a supporting role as Marcia, one of the tour group members. Her character, though, just like everyone besides David and Benji, are underwritten and forgettable. Compared to Treasure, which has a similar plot, A Real Pain is much more captivating and heartfelt. In a double feature, it would be the A-movie while Treasure would be the vastly inferior B-movie. Also, Eiseberg deserves to be commended for keeping the running time at 90 minutes which means that he grasps the concept of restraint and that less is more."

Photo by Andrew Neel on Unsplash

'Kensuke's Kingdom' Wows Critics

Photo by Drew Beamer on Unsplash

         On October 18, 2024, 'Kensuke's Kingdom' was released by Blue Fox Entertainment, receiving rave reviews and a score of 96% on Rotten Tomatoes. In the animated film, "A young boy and his family set off on a sailing trip of a lifetime until a violent storm erupts, sweeping Michael and his dog overboard. After washing up on a remote island, terrified, they struggle to survive and adjust to life alone, One day, Michael discovers he is not alone when he is confronted by a mysterious Japanese man who has lived there secretly since World War II, angry that Michael has arrived. However, as dangerous invaders threaten their fragile island paradise, Michael and the old man, Kensuke, join forces to save their secret world." The ensemble cast includes recent Oscar winner Cillian Murphy, Sally Hawkins, Ken Watanabe, Aaron MacGregor, and Raffey Cassidy. But what did the critics say?

       Joseph Tomastik of Loud and Clear Reviews says, "Kensuke’s Kingdom is a British 2-D animated film … which, the more I think about it, I can’t remember the last time I ever saw one of those. This work of animation is based on Michael Morpurgo’s 1999 novel that I had never even heard of, but having seen the film and then read the summary of the book’s plot, I can almost guarantee it would have moved me had I read it as a kid. Thankfully, this film adaptation brought out that reaction of childlike wonder in a distinctly simple, heartfelt way that very few animated films – hell, very few films, period – manage to do."    

        Jack Martin of Film Feeder notes, "Animation is, always has been, and will continue to be a medium that gifts storytellers an entire new realm of possibility to bring their tales to life on the screen. Yet, there are still far too many people who prefer to label it as a “genre”, which has rightfully earned the ire of many an animator whose hard and underappreciated work is undeservedly dumped in the same category as action, horror, comedy et al. When will we learn, once and for all, that animation is no less a form of expression than live-action filmmaking is, especially when it is animated films like Inside Out 2 and Despicable Me 4 that are currently dominating the box office, and when others like Robot Dreams and now Kensuke’s Kingdom are gaining significant critical traction on the independent circuit? The latter animated film, from first-time feature filmmakers Neil Boyle and Kirk Hendry, shares some things in common with the Oscar-nominated Robot Dreams. For instance, it relies less on dialogue and much more on the visuals to do the lion’s share of the storytelling, and it refuses to overcomplicate a reasonably simple story that nonetheless explores some heavy themes, all in a fairly short runtime (though this film is shorter by about twenty minutes). Both movies, though, are also quite astounding in their visual storytelling, with Kensuke’s Kingdom in particular delivering some plentiful animation and tender emotion to carry itself, which ultimately makes it a lovely family-friendly delight."

       Peter Bradshaw of Guardian writes, "In some ways, Kensuke’s existence cancels the jeopardy of Michael and Stella’s arrival on the island and solves the terrifying question of how they are to get food and water; Kensuke obligingly (if mysteriously, at first) provides these. But then Michael is to find that the island is home to apes and other animals which are being hunted by sinister people who show up in a boat, and for a while these apes, and not Michael, assume a virtually centre-stage position in the story. Another type of story might have pondered the possibility that Michael would simply get older and inherit Kensuke’s position as “king” of the island and die there himself in due course, alone. Well, a happier and simpler ending is at hand. It’s rather Spielbergian in its way (Spielberg filmed Morpurgo’s War Horse) but more low-cal."

'Conclave' Reviews: "Conclave is everything I could have ever hoped it to be, and more"

         On October 25, 2024, Focus Features released 'Convlave', which has received rave reviews from critics, currently holding at 93% on Rotten Tomatoes alongside a Critics Consensus that reads, "Carrying off papal pulp with immaculate execution and career-highlight work from Ralph Fiennes, Conclave is a godsend for audiences who crave intelligent entertainment." In the film, "Cardinal Lawrence (Ralph Fiennes) is tasked with running this covert process after the unexpected death of the beloved Pope. Once the Catholic Church’s most powerful leaders have gathered from around the world and are locked together in the Vatican halls, Lawrence uncovers a trail of deep secrets left in the dead Pope’s wake, secrets which could shake the foundations of the Church." The ensemble cast includes John Lithgow, Stanley Tucci, Lucian Msamati, Brian F. O'Byrne, and Isabella Rossellini. Read the full review round-up below.

        Clotilde Chinnici of Loud and Clear Reviews says, "Ultimately, Conclave is everything I could have ever hoped it to be, and more. The film is not only an excellent thriller, but also a very successful reflection on the Catholic Church and the system of corruption that it has come to represent." Adding, "The acting is where Conclave shines the brightest. Ralph Fiennes is excellent as the main character, solidifying his place in this year’s Oscar race and as one of the most fascinating and transformative actors of his generation. Stanley Tucci and Sergio Castellitto are also in their respective roles as Bellini and Tedesco, representing two polar opposites within the Catholic Church. The cinematography by Stéphane Fontaine is also particularly impressive."

       Peter Debruge of Variety notes,  Adapted from the Robert Harris novel by Edward Berger, who assumes a very different challenge after “All Quiet on the Western Front,” this thinking man’s thriller unfolds like a murder mystery behind the locked doors of the Domus Sanctae Marthae, where the College of Cardinals is cloistered, except no one suspects foul play in the previous pontiff’s death. Still, intrigues abound as the papabili — those considered next in line for the job, played by such formidable actors as Ralph Fiennes, Stanley Tucci and John Lithgow — pull whatever levers they can to be elected. But “Conclave” obviously concurs with Plato’s adage, “Only those who do not seek power are qualified to hold it,” featuring a host of candidates who seem positively British in their self-effacing humility, side by side with others ambitious enough to sabotage their rivals."

       Matt Neglia of Next Best Picture writes, "Following up his Academy Award-winning WWI film “All Quiet On The Western Front,” director Edward Berger returns with “Conclave,” a meticulously constructed thriller based on the novel of the same name by Robert Harris. Releasing during an election year here in America may draw more extreme parallels to today’s society than if it were released any other year. Still, there’s no denying the timeless quality of Berger’s film as man’s quest for power is as traditional as it gets and has, sadly, never faded away. Peter Straughan’s well-crafted screenplay pulls back the ornate curtains of the Vatican to reveal a world rife with ambition, conspiracy, and hidden secrets."

Photo by Matthew Schwartz on Unsplash

       David Ehrlich of indieWire praises the film, stating, "Much of the movie is confined to the red and gray marble corridors where the cardinals sleep at night, the nuclear bunker-like design of which helps deepen the impression that the fate of the outside world is at stake. The rest takes place in less oppressive spaces, where the various rounds of voting are interrupted by bombshell accusations worthy of US Weekly. Pushing against the unavoidable talkiness of Peter Straughan’s (piously faithful) script, Berger keeps the blood pumping with a forcefully gliding camera, a handful of static compositions so painterly they could be hung on the walls of the Vatican, and a Volker Bertelmann violin score so loud and oppressive that it sounds like it’s lobbying for a vote. When that doesn’t work, Isabella Rossellini is on hand to appear as the glowering Sister Agnes, who puts the fear of God back in any cardinals who might be worshiping at the altars of their own ambition. No matter how didactic the movie’s writing might be (read: very), “Conclave” is never dull. And while the tension between idealism and realpolitik might be thin and superficial, the pettiness of it all is as much of a feature as a bug in a story about a group of old and/or aging holy men whose little red skullcaps can’t disguise the fact that they’re still bullying each other in the cafeteria."

'The Outrun' Reviews: Saoirse Ronan Emerges as an Oscar Frontrunner

         On October 4, 2024, Sony Pictures Classics releases 'The Outrun', which has earned predominantly positive reviews from critics, currently holding at 77% on Rotten Tomatoes alongside a Critics Consensus that reads, "Benefiting from Saoirse Ronan's deeply committed performance in the central role, The Outrun proves a moving portrait of addiction in spite of its somewhat shapeless narrative." In the film, "Rona, fresh out of rehab, returns to the wild Orkney Islands after more than a decade away. As she reconnects with the dramatic landscape where she grew up, memories of her childhood merge with the more recent challenging events that have set her on the path to recovery." The ensemble cast includes Paapa Essiedu, Lauren Lyle, Stephen Dillane, and Saskia Reeves. But what did the critics say? 

       Maureen Lee Lenker of Entertainment Weekly notes, "Ronan, cast against the backdrop of the sublime, evocative Orkney Island landscapes, elevates the film to a moving tale of overcoming one's demons and learning to savor life as it comes." Adding, "In the 30-year-old Irish actress' nearly 20-year career, it's hard to find fault with a single performance even in imperfect films. In The Outrun, she racks up another stellar credit as recovering alcoholic Rona. The film, based on the 2016 memoir by Amy Liptrot, marks Ronan's debut producerial effort — and it's a highly personal project for her as well. That's evident in the pain and ferocity she brings to Rona, who we meet in the midst of the bender that finally convinces her to go to rehab."

       Emma Simmonds of The List says, "A four-time Oscar nominee and she’s still only 30, actress Saoirse Ronan has shown the breadth of her talent across comedies, period pieces and action. In The Outrun, from director Nora Fingscheidt, she tackles the challenging territory of addiction, playing alcoholic Rona, and, as ever, she’s sensational. Based on Amy Liptrot’s memoir and set on the Orkney Islands, the film is a vivid portrait of redemption and rebirth, and a love letter to the rugged Scottish landscape."

       Alistair Ryder of Vague Visages was less impressed, stating, "If the aim was to get audiences to recognize that alcohol abuse doesn’t necessarily mean drinking yourself to death, then there's an importance to its approach. But what makes for a striking drug awareness campaign doesn’t make for a rewarding drama."

Photo by Martti Salmi on Unsplash

       Amber Wilkinson of Eye for Film praises the film, stating, "There are plenty of directors who show off their style and verve but arguably we don’t celebrate those who take tricky subject matter and present it in a way that is artistic but also looks effortless. Nora Fingscheidt definitely deserves to receive plaudits in that regard as she immerses us immediately and completely in the headspace of Rona (Saorise Ronan), a recovering alcoholic, who has brought the memories of the past home with her from London to her family’s farm on the Orkney Islands as she tries to get her life back on track. Based on the memoir by Amy Liptrot, who shares adaptation duties with Fingscheidt, this, just as most people’s recovery from alcoholism, is not a linear story, but one in which the traumas of the past intertwine with the challenges of the present. It rests on a performance from Ronan that moves seamlessly between Rona’s various emotional states - her character may rarely be grounded but we always know exactly where we are with her."

'A Different Man' Reviews: "Writer-director Aaron Schimberg’s third feature boasts three remarkable performances"

         On September 20, 2024, A24 releases 'A Different Man', which has received predominantly positive reviews from critics, currently holding at 86% on Rotten Tomatoes. In the film, "Aspiring actor Edward undergoes a radical medical procedure to drastically transform his appearance. But his new dream face quickly turns into a nightmare, as he loses out on the role he was born to play and becomes obsessed with reclaiming what was lost." The Critics Consensus reads, "Surreal and unsettling, A Different Man overcomes an occasionally tenuous narrative grasp by virtue of its bold, provocative approach to serious themes." The ensemble cast includes Sebastian Stan and Miles G. Jackson. Read the full review round-up below.

       David Ehrlich of indieWire says, "Schimberg creates a house of mirrors so brilliant and complex that it becomes impossible to match any of his characters to their own reflections, and absolutely useless to reduce the movie around them to the stuff of moral instruction." Adding, "Edward’s fate is written in the stars from the moment he defies the gods and becomes a different man (or deludes himself into thinking that’s possible), and Schimberg’s movie settles into an assured feeling of predictability once the rehearsals for Ingrid’s play are interrupted by someone named Oswald, whose neurofibromatosis suggests that he might have some lived insights to share with the show, and whose charisma soon threatens to steal the spotlight away from its very self-conscious star. Oswald is, of course, played by Adam Pearson, who was also in “Chained for Life.”

Photo by John Jackson on Unsplash

        Daniel Fienberg of Hollywood Reporter notes, "Like the famous “Eye of the Beholder” episode of The Twilight Zone, in which humans turn out to be society’s freakish outcasts, this dark comedy suggests what happens when an aspiring thespian afflicted with neurofibromatosis manages to find a miracle cure, only to long for the life he had when he was still deformed."

       Peter Debruge of Variety writes, "With “A Different Man,” Schimberg attempts — and mostly succeeds, with deliciously awkward results — to cram a lifetime of thoughts about beauty and ugliness, attraction and disgust, identity and performance into a postmodern meta-film mold that few (apart from Charlie Kaufman, perhaps) have managed to make tolerable. Add to that Schimberg’s Brechtian way of cueing audiences to interrogate his choices as they go (the makeup is deliberately imperfect, the script brazenly self-conscious), and you get an exercise more appealing to film critics and academics than to an amusement-seeking public."

       Tim Grierson of Screen International praises the film, stating, "Writer-director Aaron Schimberg’s third feature boasts three remarkable performances, including Sebastian Stan as the self-loathing thespian and Adam Pearson, a British actor with neurofibromatosis. Pearson’s very presence challenges the film to avoid exploitation and, instead, offer a blistering portrait of identity, authenticity (both in the arts and in life), and chronic dissatisfaction."

'Nightbitch' Reviews: Quirky Film Emerges as an Oscar Contender

         At The 2024 Toronto International Film Festival, 'Nightbitch' quickly garnered predominantly positive reviews, currently holding at 72% on Rotten Tomatoes. In the film, which is distributed by Searchlight Pictures with a release date on December 6, 2024, "A woman (Amy Adams) pauses her career to be a stay-at-home mom seeking a new chapter in her life and encounters just that, when her maternal routine takes a surreal turn." The ensemble cast includes Scoot McNairy, Zoe Chao, and Ella Thomas. But what did the critics say? 

Photo by Josh Chiodo on Unsplash

        David Rooney of Hollywood Reporter says, "It’s disappointing that a book greeted as a feminist fairy tale, which dared to say out loud some dark truths about the more often unspoken conflicts of motherhood, has been defanged." Adding, "While McNairy makes Husband annoyingly inattentive, the actor is also careful not to let him become a complete douche. There’s humor in his admission that solo Baby duty — which allows Mother to throw herself back into her art — is hard.  But it feels like a betrayal of the story’s whole reason for being that his redemption takes up so much space. Nightbitch is a film that should make us squirm, but its path to marital harmony seems designed to soothe, not challenge. “Motherhood is fucking brutal,” says the protagonist. But then suddenly, it’s not, a tidy resolution driven home in a WTF? scene right before the end credits roll."

        Johnny Oleksinski of New York Post writes, "Mother, an artist who used to be shown at major galleries and museums, must pretend to everyone who asks that she couldn’t be happier with her sedate life. Her faux contentment just conceals a primal urge to charge through the woods and, you know, kill squirrels. Because Adams is so good at playing people who are just about to snap (“Julie & Julia,” “Doubt,” “Hillbilly Elegy”), the viewer goes along with her for the ride, er, walk. “Nightbitch” is funny and lovably weird. A bigger issue than its oddball plot is that the film, which Heller also wrote for the screen, is one-note. Once we know where the story is headed, it ventures there exactly as we anticipate it to — and nowhere else. Much like a dog fetching a stick.       

        Meagan Navarro of Bloody Disgusting notes, "Adams creates a grounding emotional throughline to tie it together just enough for its messaging to succeed, eliciting some genuine laughs along the way, but Nightbitch seems too scared of its own feral setup and defangs its righteous wrath too early."

       Peter Gray of The AU Review praises the film, stating, "Despite the fact that the recently released trailer made Nightbitch look more like a quirky comedy – think a female-drive, R-rated take on Tim Allen’s The Shaggy Dog – I can attest that Marielle Heller‘s take on Rachel Yoder‘s seemingly unadaptable 2021 novel of the same name is far from the laughable ridiculousness some may expect.  It’s quirky, yes, and a film about a woman turning into a dog has a layer of ridiculousness built in, but this is truly a meditation on motherhood, isolation and female rage, driven at the helm by a fearless Amy Adams. And despite its horrific elements, Nightbitch is also far from the disturbing genre experience that some other critics out of TIFF (where this film had its world premiere) were waxing lyrical about.  After something like The Substance, almost anything will pale in comparison, and though there may be a few light squeamish moments – Adams’ unnamed character (she’s simply credited as “Mother”) sprouts a tail out of an enlarged cyst on her body at one point, whilst another shot of menstrual blood evoked an audible reaction – it’s nothing a genre fan can’t handle.  The true horrors of Nightbitch lay within the pressure of parenthood, and what that can do to someone’s psyche as a result of not feeling supported."

Angelina Jolie Becomes an Oscar Favorite in 'Maria'

         At the 2024 Venice Film Festival, Angelina Jolie established herself as an early Oscar contender in 'Maria', which has garnered predominantly positive reviews from critics, currently holding at 71% on Rotten Tomatoes. In the film, "The tumultuous, beautiful and tragic story of the life of the world’s greatest female opera singer, relived and reimagined during her final days in 1970s Paris." The ensemble cast includes Pierfrancesco Favino, Kodi Smit-McPhee, Alba Rohrwacher, and Haluk Bilginer. But what did the critics say?

  

Photo by Christina DelliSante on Unsplash

        Joey Magidson of Awards Radar says, "Between Jackie and Spencer, Pablo Larraín has become a filmmaker closely associated with tragic women. He returns once again to that subject matter for Maria, a look at the final days in the life of opera legend Maria Callas. In some ways, this is familiar territory to be trafficking in, but in other ways, it’s a far different work. Playing at the Telluride Film Festival, the movie is deeply sad, hauntingly beautiful, and features a career best performance from Angelina Jolie. Maria is a neater work than Jackie and Spencer in some ways, while in others, it’s a much sadder film, which is saying something. Jolie is incredible, as were Natalie Portman and Kristen Stewart before her, with Larraín capturing her perfectly. The investment in the character and the role pay off, as this is once again a chilly work, potentially keeping some at even more of a distance due to Callas being less well known to some audience members than Jackie Kennedy and Princess Diana." Adding, "Maria features Angelina Jolie's best work in Pablo Larraín's latest tragic biopic."

       Scott Menzel of We Live Entertainment writes, "Jolie disappears into the role thanks to her committed performance as well as the remarkable costume and hair & makeup team that worked alongside her." Continuing, "Pablo Larraín has slowly started to build an impressive body of work. His films have a distinct look, and his vision as a filmmaker is entirely on display with each new project. Larraín clearly has a passion for history and loves to blur the line between reality and fiction. Maria, like all of his previous outings, is absolutely gorgeous to look at. The cinematography by Edward Lachman is superb, as each frame looks and feels like a work of art. While the subject matter of Larraín’s films have limited appeal, it’s hard to argue that he knows how to get incredible performances out of all his actors, no matter how big or small their role might be. This is one thing that has consistently blown me away about Larraín. He is an actor’s director and has proven that time and time again."

       Stephanie Zacharek of TIME Magazine was less impressed, stating, "Maria may burnish her legend. But it also snuffs out her spark." Continuing, "Meanwhile, too many times to count, Jolie’s Maria gazes into the middle distance, mourning the person, the presence, the artist she used to be, reflecting aloud on her one true love, the “ugly and dead”—as she puts it—Aristotle Onassis. (When he appears in the movie's flashback scenes, a wily gnome in evening dress, he’s played by Turkish actor Haluk Bilginer.) Every gesture Jolie makes is tragic and quivering; when she smiles, it’s the wan, magnanimous kind, as if she really couldn’t be bothered. This is a performance from the “Don’t hate me because I’m beautiful” school, a great artist’s final days rendered with a self-conscious sheen that has nothing to do with the inherent grandness, or sadness, of Callas’s life."

       Nicholas Barber of BBC praises the film, stating, "Knight has written countless lines of spikily witty, quotable dialogue, and it's never a chore to watch a beautiful actor wearing beautiful outfits in beautiful Paris locations." Adding, "We all know from the opening scene that Callas's week is not going to end with a miraculous comeback, so her physical and mental wanderings don't have any tension or momentum. The film is also too adoring and reverential to let us sympathise with its supposedly fragile heroine. Unusually for someone who is drug-addled and terminally ill, Jolie's Callas never looks anything less than magnificent, and she is always supremely dignified, poised and confident, out-quipping everyone who crosses her path. "What did you take," asks her butler, after his boss has been to her well-stocked medicine cabinet. "I took liberties all my life," she replies, "and the world took liberties with me"."

'Queer' Reviews: "Craig gives us a pinch of that glowering Burroughs DNA, but the trick of his performance, which is bold and funny and alive, is that he's playing the younger Burroughs, before he'd passed through the looking glass of cultivated insanity"

         At the 2024 Venice Film Festival, 'Queer' quickly garnered predominantly positive reviews from critics, not only establishing itself as an early award season contender but a score of 79% on Rotten Tomatoes. In the film, "In 1950s Mexico City, WILLIAM LEE, an American ex-pat in his late forties, leads a solitary life amidst a small American community. However, the arrival in town of EUGENE ALLERTON, a young student, stirs William into finally establishing a meaningful connection with someone." The ensemble cast includes Daniel Craig, Drew Starkey, Lesley Manville, Jason Schwartzman, and Henry Zaga. But what did the critics say?

       Owen Gleiberman of Variety says, "Craig gives us a pinch of that glowering Burroughs DNA, but the trick of his performance, which is bold and funny and alive, is that he's playing the younger Burroughs, before he'd passed through the looking glass of cultivated insanity." Adding, "The last third of “Queer” may prove to be a challenge for audiences — much more so than the film’s explicit eroticism. Yet Luca Guadagino is telling a version of the same compelling story that he told in “Call Me by Your Name”: that of a queer love that, instead of delivering the salvation it promises, withers under the gaze of the real world. The film’s final shot is stunning. It shows that you after all the drugs, the warped crusades, the queerness he owned, the one thing William Burroughs could never figure out was how to heal his broken heart."

Photo by Christina DelliSante on Unsplash

         Richard Lawson of Vanity Fair writes, "Queer is meant to be prickly, withholding, enigmatic. To want anything more from it might simply be repeating Lee’s mistake, grasping for something that could never be ours." Continuing, "Queer is offbeat, abstract, erratic in mood and tempo—befitting an adaptation of Burroughs’s work. It can be a mean and off-putting film, though some of our revulsion is born of the horror of self recognition. To liven the mood, Guadagnino stages a few sex scenes that—when stripped of context, maybe—certainly qualify as hot. He uses anachronistic songs—there are two Nirvana covers, for example—to score scenes, alongside Trent Reznor and Atticus Ross’s pulsing, mechanical original compositions. The film is a riot of style and technique, growing ever more surreal as Lee chases after Gene, and after a validation that will never come."

       Ryan Lattanzio of indieWire notes, "Guadagnino wants not only to expand your consciousness as a moviegoer, but to cut you open and rearrange all the parts of you that see and feel things when you watch a film at all."

       Zhuo-Ning Su of Awards Daily praises the film, stating, "By turns sexy, heartbreaking, and extraordinarily trippy, the film mutates in front of our eyes in its exploration of this strange, strange thing called love... Queer is a triumph."