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The Actor 2025
Truthfully just a bit boring, treading through thoroughly ruminated on themes such as "aren’t we all an actor?" and every place is a film set for which you play as a different character and so on. And for this being the directorial debut of Duke Johnson, who co-directed Anomalisa with Charlie Kaufman, its surrealism is simply far too tame to stimulate and provoke anything. It’s never uncomfortable, it’s never profound or sad, it just is.
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Opus 2025
Shamelessly riding off the coattails of Midsommar, Opus overwhelmingly suffers from tackling its entire narrative with the preciseness of a bulldozer.
Take our protagonist Ariel (Ayo Edebiri) for example. A magazine writer who bemoans at having worked at the same publication for three years and yet hasn't had the opportunity to write anything she truly wants. Her main goal is to "write about famous people and then eventually write a book." Fast forward an hour and a half later, and…
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Queer 2024
Coming from Challengers, despite my overwhelming enjoyment of it, I had a slight trepidation that Guadagnino was slowly sheering his more enigmatic and spiky directing style, mainly in the sense that Challengers no longer felt like it had the spirit of an indie.
Now it had a $50 million budget so of course it doesn’t, but I still felt like with that release, we were entering a mainstream era of Guadagnino, and with that the loss of his typical thematic through-lines…
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The Substance 2024
Perhaps some more subtle contextual clues went over my head, but I’d recommend not going into this film expecting it to be a nuanced story on beauty standards in the modern Hollywood era (and at large).
Of course there’s so many supporting factors contributing to this misaligned animosity towards aging, and my friend that I saw this with pointed out that The Substance could actually be an exploration of eating disorders, which I wasn’t privy to in the slightest. Point being,…
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