A BIG BOLD BEAUTIFUL JOURNEY (2025)

September 18, 2025

Greetings again from the darkness. I’m not normally the target market for romantic philosophy-of-life movies, so it seems apropos that one I connect with is likely to be labeled maudlin or sappy by others. Being a big fan of director Kogonada’s underrated COLUMBUS (2017), I was interested to see him team up again with his AFTER YANG (2021) star Colin Farrell, in a blacklist script from writer Seth Reiss (THE MENU, 2022).

Matching Colin Farrell with Margot Robbie means that, at a minimum, beautiful movie stars will fill the screen. Beyond their stunning looks, both are extremely talented actors – Farrell has certainly honed his skill over the years, while Robbie is a modern day Grace Kelly. David and Sarah first meet each other at a wedding. The attraction is there, but this encounter ends awkwardly with each going their separate way. We learn they are quasi-miserable lonely souls who see little hope in finding a true soulmate – the message here being that nothing should be assumed until one’s own soul-searching is complete.

The world’s most bizarre Rental Car counter is staffed by two quirky characters played by Phoebe Waller-Bridge (“Fleabag”) and Kevin Kline. A fantastical GPS system in their matching 1994 Saturns finds David and Sarah ordering the same ‘fast food cheeseburger’ at a roadside diner. This is step one in their titular journey … so named as David screams it while driving. Now traveling in the same Saturn, this GPS directs them to a series of doors – each connected to some past moment of their lives. A red door leads to a lighthouse, another to a high school musical production, one to a special museum, and yet another to hospital visits. It’s part trip down memory lane and part spiritual awakening.

What matters is that David and Sarah are sharing the journey with each other – good memories and bad. Stepping through the doors exposes bits of their life and personality that might take years for two in a relationship to discover, if ever they would. Dealing with one’s own past is a first step in moving forward, much less in accepting another to share a life with. Regrets, missed opportunities, grief, and hurdles are all part of what make us who we are. Supporting cast members include Lily Rabe, Billy Magnussen, Jodi Turner-Smith, and Sarah Gadon. Hamish Linklater nails his one crucial scene as David’s dad … surprisingly, it’s the film’s best scene. Whether it’s viewed as a search for one’s own soul or for a soulmate, the film deals with the baggage that goes with being a grown-up.

Exclusively in theaters beginning September 19, 2025

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Posted by David Ferguson

WALTZING WITH BRANDO (2025)

September 18, 2025

Greetings again from the darkness. Marlon Brando was a true Hollywood legend. Renowned for his performances in such movies as A STREETCAR NAMED DESIRE (1951), ON THE WATERFRONT (1954), and of course, THE GODFATHER (1972). He was nominated for eight Oscars, winning three. Despite his on-screen fame, Brando was an enigma in life. Sexual escapades, a commitment to causes, a neighbor and friend to Jack Nicholson, and his own French Polynesian island contributed to the mystique. It’s that private island which writer-director Bill Fishman (nearly a 40-year career of music videos) focuses on here.

The film is adapted from the 2011 book, “Waltzing with Brando: Planning a Paradise in Tahiti”, written by Bernard Judge, who is not just a big part of the story, it is in fact, his story being told. We first meet Bernard Judge (played by Jon Heder, NAPOLEON DYNAMITE, 2004) as a California-based architect with an interest in ecologically friendly and sustainable construction. It’s this interest that draws the attention of Marlon Brando (Billy Zane, TITANIC 1997; TOMBSTONE 1993, the underrated DEAD CALM 1989), who wants to develop something special on his remote island, Tetioroa. The two men hit it off and Bernard, with input from Brando, develops a comprehensive master plan and design.

Now if all that sounds a bit serious, you should know that director Fishman takes a light-handed, comedic approach to most of it. Zane’s Brando is both charming and manipulative, while Heder’s acting as Bernard is more suited to the man who finally takes to the relaxed Tahiti lifestyle, rather than the starched-shirt architect we first meet. Zane is made to look very much like Brando, yet he doesn’t limit his performance to posing and side-eyes. He even gets to deliver his Brando in “cuts” from THE GODFATHER, LAST TANGO IN PARIS, APOCALYPSE NOW, and SUPERMAN.

We learn developing a private island is not easy, even for Hollywood royalty. It’s also not cheap, and Brando, despite feeling tired of acting, continued taking jobs to pay for his dream … his restructuring of his “Gangster Movie” (THE GODFATHER) ended up costing him millions of dollars. The supporting cast includes Rob Corddry as Brando’s Business Partner, Richard Dreyfuss as the Money Manager, Alaina Huffman as Bernard’s wife, Camille Razat as a special friend. There are also appearances from Tia Carrere, David Guerira (as Francis Ford Coppola), and Heiae Touniou. Thanks to CGI, we see clips of Brando with Dick Cavett and Johnny Carson, and in keeping with the light-handed approach, there is a significant amount of speaking to the camera (breaking the 4th wall).

Billy Zane makes an excellent Brando (with a unique doorstop), while Jon Heder seems a bit miscast (or trying too hard). The story emphasizes Brando’s relaxed island style, purposefully avoiding the dark side. For Bernard Judge, these four or five years were life-altering, and we even see him looking back in 2010 during an interview for the book. Bernard passed away in 2021, so he didn’t get to see the film. It’s not a movie you can’t refuse, but for movie fans, it’s certainly fun to see Billy Zane as the icon.

Only in theaters on September 19, 2025

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Posted by David Ferguson

GRIFFIN IN SUMMER (2025)

August 28, 2025

Greetings again from the darkness. For fourteen-year-olds, there’s often very little difference in passion for something and obsession with that same thing. Writer-director Nicholas Colia (reimagining his 2017 short film, ALEX AND THE HANDYMAN) brings us the coming-of-age story of Griffin (a fantastic newcomer in Everett Blunck), whose passion for art is undeniable and plays a role in his newfound obsession (this time we can tell the difference).

A cold opening finds us on stage at the school’s end of year Student Talent Show. Griffin announces he will be performing an excerpt from his ‘latest’ play, “Regrets of Autumn”, which he describes as “Who’s Afraid of Virginia Woolf” and “American Beauty”. The scene, and his performance, are intense and funny, and far beyond the audience of teens since it’s a harsh view of the relationship between an alcoholic housewife and her disinterested and philandering husband.

With summer arriving, Griffin convenes his friends to begin rehearsal on his play. The basement takes some rearranging, and his patient and understanding friend Kara (the talented Abby Ryder Fortson, ARE YOU THERE GOD? IT’S ME, MARGARET, 2023) has agreed to be the director … despite her knowing that things must go according to Griffin’s plan. Of course, not every 14-year-old wishes to adhere to his 60 hour per week rehearsal schedule (don’t be late!), so there is a bit of pushback as kids like to be kids. Griffin is struck by another annoyance – his mother (expert at playing beat down characters, Melanie Lynskey, “Yellowjackets”) has hired a twenty-something handyman named Brad (the always interesting Owen Teague, IT, 2017), and the noise is disturbing Griffin’s creativity.

It’s the dynamic between Griffin and Brad that sets this one apart from so many movies. Stars align when Brad discloses that he’s a performance artist in New York City … the city of Griffin’s hopes and dreams. Soon the two are working together, and the fallout causes other issues that Griffin’s blinders initially prevent him from noticing. Additionally, his attraction to Brad is interrupted by Brad’s girlfriend Chloe (an energetic and funny Kathryn Newton, “Big Little Lies”), generating more unfortunate actions.

Coming-of-age is a term that gets easily tossed around, but the actual process can be quite challenging and often involves the first heartbreak. There’s another interesting aspect to Colia’s screenplay and that’s the similarities between Griffin’s parents’ relationship and that of the couple in his play. It’s never directly mentioned, yet was clearly an influence. This is Everett Blunck’s first lead role, and he’s a unique talent that we will surely see more often in the coming years. The same can be said for filmmaker Nicholas Colia who has delivered a dramatic coming-of-age with plenty of laughs, while also commenting on how one’s passion for art may be easily mocked, making it difficult to sustain.

Available in theaters beginning August 29, 2025

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Posted by David Ferguson

THE THURSDAY MURDER CLUB (2025)

August 27, 2025

Greetings again from the darkness. This is the type of movie that almost begs to be criticized, while at the same time, deserves to be enjoyed for being exactly what it tries to be. Author Richard Osman now has five books in this series, and the first has been adapted by co-writers Katy Brand (GOOD LUCK TO YOU, LEO GRANDE, 2022) and Suzanne Heathcote (“Fear the Walking Dead”). It’s directed by Chris Columbus, known for HOME ALONE (1990), MRS DOUBTFIRE (1993) and a couple of the Harry Potter movies. These are professionals who know how to entertain … and just as importantly, they know how to cast.

Take two Oscar winners, a former James Bond, a few British acting stalwarts, and add in a stunning English countryside manor and a murder mystery, and the result is low-key, crowd-pleasing entertainment (even if it panders a bit to its target audience). The setting is Cooper Chase, a scrumptious estate serving as a much-desired retirement home. Hobbies among the residents include the expected crafts, archery, crosswords, sudoku, jigsaw puzzling, and various committees. The most unusual is the Thursday Murder Club, where Elizabeth (Oscar winner Dame Helen Mirren), Ron (former 007 Pierce Brosnan), and Ibrahim (Oscar winner Sir Ben Kingsley) meet up to discuss an open police case provided by Elizabeth’s now comatose ex-cop friend.

It doesn’t take long for new resident Joyce (Celia Imrie, THE BEST EXOTIC MARIGOLD HOTEL, 2011) to be accepted into the club, where her nursing experience perfectly complements the diverse skills of former union leader Ron, former psychiatrist Ibrahim, and the mysteriously clever Elizabeth (whose background takes a while to come to light). Greedy owner Ian Ventham (David Tennant) wants to transition the home into luxury condos, and this irritates the residents while putting a spotlight on the other two owners, Tony Curran (Geoff Bell) and Bobby Tanner (Richard E Grant). 

When the murder occurs, the TMC springs into action with a “real” case. If they can solve it, they may even save Cooper Chase for all residents. The story unfolds in the manner of most whodunits, and our attention is on the main characters as well as others who come into play: Stephen (Jonathan Pryce) is Elizabeth’s dementia-stricken husband, DCI Chris Hudson (Daniel Mays) doesn’t appreciate the talents of TMC, while his assistant, Officer Donna de Freitas (Naomie Ackie) certainly does.

The clues, the research, and the disclosure of mastermind Elizabeth’s past are all fun to watch, and Joyce’s obsession with baking fancy cakes provides a necessary distraction at times. Fifteen-time Oscar nominee Thomas Newman provides the score, and we also get a bit of T Rex (“Bang a Gong”), a Springsteen ‘The River’ t-shirt, and a finale featuring an on-the-nose Cat Stevens’ “Oh Very Young”. One blink and you’ll miss it one-liner occurs when Stephen tells his wife, “You look like the Queen”. Gray cinema murder mystery is definitely having a moment thanks to “Only Murders in the Building”, the “Matlock” reboot, and the recently announced reboot of “Murder She Wrote.” It’s interesting to note that Helen Mirren, Pierce Brosnan, and Geoff Bell were all key players in the recent “MobLand”, a much darker limited series. I’m sure Dame Helen Mirren is enjoying the resurgence … just don’t call her “feisty”.

Opens on Netflix beginning August 28, 2025

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Posted by David Ferguson

EDDINGTON (2025)

July 17, 2025

Greetings again from the darkness. It’s frightening to see how societal norms and individual behavior have shifted over the past five years. It seems clear that the COVID Pandemic was a turning point … or at a minimum, an accelerant. Writer-director Ari Aster (MIDSOMMER, 2019; HEREDITARY, 2018) uses this as a theme in this Neo-noir Western that takes place in a small fictional town in 2020 New Mexico as the pandemic was kicking into gear.

You should know upfront that Aster serves up a giant pot of cinematic vegetable soup. Topics touched on include: politics, racism, pedophilia, Antifa, gun rights, Black Lives Matter, White guilt, envy, divisiveness, murder, conspiracy theories, George Floyd, David Hogg, face masks, social distancing mandates, cults, ambition, abortion, and Native American land rights. If that’s not enough for you, the film also includes an abundance of dark comedy and the final act features a barrage of violence. Just writing that is exhausting, yet nowhere near as exhausting as watching this film.

Oscar winner Joaquin Phoenix (JOKER, 2019) stars as Sheriff Joe Cross, an odd man in a white hat who dares challenge his rival, the sitting town Mayor, Ted Garcia (Pedro Pascal) for the office in the upcoming election. Cross is the one who eschews wearing a mask, while Garcia is the smooth-talking type who encourages commitment to the mandates. The differences between the men are obvious when we see Garcia’s heart-warming (pandering) TV ad as contrasted to Cross’ campaign car sign with “You’re” spelled “Your”. The two men don’t like each other, a situation exacerbated by rumors of a long-ago incident between Garcia and Cross’ wife, Louise (two-time Oscar winner Emma Stone).

Being ill-equipped to run an election, even with the assistance of his two deputies, Michael (Michael Ward, EMPIRE OF LIGHT, 2022) and Guy (Luke Grimes, “Yellowstone”), isn’t the extent of Cross’ problems. His marriage to Louise is rocky at best, and having her mother, Dawn (Deidre O’Connell, a talented actor in TV and movies since the 1980’s) live with them and spew her conspiracy theories only adds to the bumpy ride. Things get worse for Joe when Louise grows close to charismatic but vacuous cult leader Vernon (Austin Butler) … a guru who manages to calmly say things that rile folks up in a hollow-cause kind of way.

Cinematographer Darius Khondji works his magic with a film that bounces all over the place thematically. In traditional Westerns, it was always good versus evil; however, this contemporary version is more political and seems to lack any people who are actually good. Joaquin Phoenix goes all in for his role, and Pedro Pascal continues to prove he can play just about any character. Emma Stone and Austin Butler take on minor roles, while Deidre O’Connell gets to shine in a couple of scenes. Don’t believe for a second that filmmaker Aster is attempting to explain how we’ve reached this moment. It’s more a snapshot in time of how people react under extreme pressure and how everyone has a snapping point. Is the film provocative or is Aster just having fun stirring the pot? Talk amongst yourselves (after watching).

Opens in theaters on July 18, 2025

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Posted by David Ferguson

SORRY, BABY (2025)

July 17, 2025

Greetings again from the darkness. Once it became a bumper sticker, it also became a cliché. “Stuff” happens. It happens to each of us. Of course, the degree to which something bad affects us is a personal matter, and how we deal with it determines the impact on our life. A traumatic event will stick with us forever in what’s best described as the aftermath. Although we get some backstory, first time writer-director Eva Victor focuses on the aftermath, and the result is a realistic, grounded, and emotional perspective of one woman’s journey to trudging forward.

Much of the brilliance of the film is derived from the performance of the filmmaker, Eva Victor, as Agnes. Victor built an online following thanks to some comedy shorts, yet it’s on screen where this unique and ground-breaking talent truly arrives. Presented in five chapters, the story is told in mostly chronological order, except for the first segment which establishes the utter closeness of friends, Agnes and Lydie (Naomie Ackie, BLINK TWICE, 2024). The two were graduate school classmates, with Lydie moving on to New York City while Agnes remained to become a professor at the small New England school they attended.

We learn that the two besties shared a thesis advisor in Preston Decker (Louis Cancelmi, KILLERS OF THE FLOWER MOON, 2023), and he viewed Agnes as a brilliant student, and Lydie as a bit less. In a genius bit of filmmaking, we see the evening when Agnes is sexually assaulted, and that’s followed by a visceral scene in which Agnes describes the event in excruciating detail to Lydie. It’s an event that Agnes carries with her, ultimately driving an incredible scene with Lydie’s newborn baby. Other memorable players here include fellow graduate student Natasha (Kelly McCormack, “A League of Their Own”), whose no-filter rudeness and jealousy contribute to her scene-stealing; Gavin (Lucas Hedges, MANCHESTER BY THE SEA, 2016) as Anges’ neighbor with benefits; Fran (E.R. Frightmaster, “Grey’s Anatomy”) as Lydie’s spouse; attorney Eleanor Winston (Hettiene Park, DON’T LOOK UP, 2021), who conducts Agnes’ jury pool interview in a powerful scene; and Pete (John Carroll Lynch, FARGO, 2996) as a good listener and proficient sandwich maker in another of the film’s best scenes.

That should seem like a lot for one movie. It is. Key elements here include a cat, a sandwich, a mouse, lighter fluid, and boots. The film is filled with direct talk – Agnes says things out loud that many of us think to ourselves. She is a bit of all of us … with a deadpan delivery that sometimes finds the humor in the worst moments. Eva Victor will likely remind many of Phoebe Waller-Bridge of “Fleabag” due to her look and height, and there is no denying the talent on display. The scene with Agnes speaking directly to the baby hits home, and the words are those we would all appreciate at any stage in life, but certainly in the aftermath of one of those bad times as we attempt to move on.

Opening in theaters on July 18, 2025

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Posted by David Ferguson

STEALING PULP FICTION (2025)

June 26, 2025

Greetings again from the darkness. The first feature film from writer-director Danny Turkiewicz is an expanded version of his same-titled 2020 short film. It’s also an example of clueless buddies being passionate about a very bad idea. Mostly though, the characters here seem to share a certain unspoken loneliness that unites them.

Let’s clear the air on this one. It’s a goofy lark that never takes itself too seriously. It’s the kind of movie that opens on two buddies sitting in a bar brainstorming pun-themed businesses while sipping colorful drinks with little umbrellas in the glasses. Jonathan (Jon Rudnitsky, HOME AGAIN, 2017) and Steve (Karan Soni, Dopinder in the Deadpool movies) are film lovers with opposite personalities, although they do share a certain charming ineptitude. This worrisome pair also shares acronyms for everyday language. Examples include MTP for movie theater popcorn, and KIT for keep in touch. It’s this level of ‘brilliance’ that finds them agreeing on their next project … a specific cinematic heist.

A late-night screening of PULP FICTION leads to the knowledge that what they watched was directly from the personal 35mm reels from the director’s own collection. So, what do they decide? To steal the reels, of course (this film’s title is likely a giveaway).  Soon their gang for this heist has grown to four, including their wonderfully deadpan friend Elizabeth (Cazzie David, filmmaker of I LOVE YOU FOREVER, and daughter of Larry David), and their personal therapist Dr. Mendelbaum (Jason Alexander taking on the name of an infamous “Seinfeld” character).

Despite the lack of any real plan – and a failed “Practice Heist” – the foursome proceeds with the idea. There is a definite retro look and feel to the film, including numerous Tarantino nods, and movie posters for Turkiewicz’s previous short films pop up in the background periodically. The loneliness aspect mentioned above comes around for all four of our main characters … with a little help from one of Mendelbaum’s other patients (Victoria Secret model Taylor Hill) and the Pillisdorf Social Club. A special shoutout to Seager Tennis who goes fully unhinged playing Tarantino. Silly, odd, and unconventional all describe this film, and at 84 minutes, it may best be described as harmless fun … for those days when you want to avoid deep thought.

Opening in select theaters and on digital beginning June 27, 2025

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Posted by David Ferguson

THE PHOENICIAN SCHEME (2025)

June 11, 2025

Greetings again from the darkness. At this point it seems clear that Wes Anderson makes movies for himself and his devoted followers … and his loyal troupe of actors. I can’t think of another filmmaker whose movies are so instantly recognizable and consistently similar in look and feel. The pacing, verbal style, color palette, and overall rhythm of his latest compares favorably to some of his previous, including: ASTEROID CITY (2023), THE FRENCH DISPATCH (2021), THE GRAND BUDAPEST HOTEL (2014), and MOONRISE KINGDOM (2012). Rather than a criticism, that’s intended instead as a notice to viewers. If, like me, you’ve enjoyed his past films, you’ll likely take pleasure in this one.

Benecio Del Toro (one of the great faces in cinema) takes the lead here as wealthy businessman Zsa-zsa Korda, who inexplicably defies death about as often as most people brush their teeth. Due to his frequent near-death experiences and the risk involved in pursuit of his latest project, Korda names his daughter, Liesl (Mia Threapleton, daughter of Kate Winslet), a nun-in-training, as his sole heir and invites her to be part of the latest venture. The enterprise is exceedingly well-planned as evidenced by the labeled wardrobe boxes. Of course, the project is too convoluted for us to understand, but that matters little. It’s the globe-trotting and interactions with famous faces that raise the entertainment value.

‘Deadpan’ is today’s magic word – as it is in most Wes Anderson films. And if there is a secondary word of the day it would be ‘goofy’, because this undoubtedly falls on the light-hearted end on the Anderson scale. It’s filled with jokes, site gags, and purposefully oddball moments designed to elicit laughter (or at least enjoyment). The third of the lead triumvirate here is Michael Cera, who seems completely at ease – actually excelling in the Anderson world. He plays Bjorn, a character more complex than we are initially led to believe … although we don’t believe it, even initially.

Joining in the fun is an all-star line-up of actors other filmmakers only dream of casting. These include: Willem Dafoe, Scarlett Johansson, Rupert Friend, Richard Ayoade, Jeffrey Wright, Hope Davis, Benedict Cumberbatch, and Mathieu Amalric, each memorable in their segments. You won’t want to miss Tom Hanks and Bryan Cranston as brothers taking on the infinitely unskilled duo of Del Toro and Riz Ahmed (as a crowned Prince) in a game of basketball … and even that pales to the scene with Bill Murray as God.

Anderson co-wrote the script with frequent collaborator Roman Coppola and the score comes from 2-time Oscar winner Alexandre Desplat. Cinematographer Bruno Delbonnel perfectly captures the Anderson flavor in what I believe is their first time working together. What I find fascinating is that while watching the film, the characters and story struck me as a bit of a lark, yet some moments have come back around in my mind, and it seems quite clear that Anderson purposefully and slyly buried some life messages in this little comedy. What I’m saying is that the film works as a comedy, but also may carry a bit more heft that what I thought while watching. That falls under the definition of refined filmmaking.

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Posted by David Ferguson

LEMONADE BLESSING (2025)

June 6, 2025

Greetings again from the darkness. Those teenage years can be so bumpy. One day is the worst ever, and the next day is the best. Dealing with parents is frustrating because they just don’t understand. Making friends is impossible. Today they like you and tomorrow they join with others in making fun of you. Clothes and shoes are never right. School is a waste of time. It’s a wonder anyone ever reaches their twenties. In his first feature film, writer-director Chris Merola doesn’t try to tackle all aspects of teenage misery, rather just enough to make sure we recognize it.

John Santucci (Jake Ryan, ASTEROID CITY 2023, EIGHTH GRADE 2018) is informed by his mother Mary (Jeanine Serralles, INSIDE LLEWYN DAVIS, 2013), “You’re always going to be good.” She says it so matter-of-factly that John takes it to heart, hoping never to disappoint her. In fact, he so wants to please her that he follows her mandate of taking Eucharist Minister Training at the Parochial School where she has registered him.

On his first day at the school, he locks eyes with Lilith (Skye Alissa Friedman) and it seems their paths intersect a few times as if the universe is forcing them together. It would be easy to say opposites attract here. John is a bit shy and naïve, while Lilith is rebellious and adventurous. However, they also have common ground. John has a controlling mom, while Lilith has a controlling dad.

This relationship of oddballs develops in a strange way. The two exchange notes with Lilith tasking John with ever more daring stunts to earn the next level of sexual fun/experimentation. Lilith is one of those big talkers whose public façade hides the same insecurities as every other kid. Of course, John is too green to notice and fights every urge he has to continue following her directions. Brother Phil (Michael Oloyede) runs the ministry program and sees right through John, and Angelo (Miles J Harvey) is John’s friend who adds to the peer pressure and cover-up of teen insecurities.

Jake Ryan is superb here, and plays John in the manner of a subdued Jason Schwartzman; however, it’s relative newcomer Skye Alissa Friedman who is the standout performer here. She brings a depth to the role that most actors would have likely missed, capturing the strain and confusion of the age. Together, the two make us care about teenagers that aren’t our own … quite impressive. Filmmaker Merola uses extreme close-ups quite often, sometimes making things a bit uncomfortable (in an intentional way). We look forward to his next project.

World premiere at Tribeca Film Festival on June 5, 2025

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Posted by David Ferguson

SISTER MIDNIGHT (2025, India)

May 21, 2025

Greetings again from the darkness. London-based Indian artist Karan Kandhari chooses a misfit couple’s arranged marriage as the basis for his debut feature film. As writer and director, Kahdhari delivers a psychological comedy that goes a bit dark at times, yet the abundance of creativity and a terrific lead performance keep us anxious to see what happens next.

Uma (Radhika Apte) and Gopat (Ashok Pathak) are obvious misfits as spouses as evidenced by their first night as husband and wife. Uma is eager to consummate the marriage, but Gopat either has no interest or is so intimidated by his assertive and forward-acting bride that he prefers to ignore her – other than asking her, “Why can’t you just be normal?” With no sexual activity, and the inability to cook or clean, Uma becomes bored and frustrated, resulting in her proclaiming sarcastically, “I’m a domestic Goddess”. This leads her to take ‘wife’ lessons from her neighbor Sheetal (Chhaya Kadam). It’s here where we learn that husbands will eat any dinner if enough chili and salt is added, and more insightfully, “men are dim.”

Ms. Apte brings a physicality (as well as deadpan mastery) to her terrific performance and her wide eyes convey much of her thoughts, especially as her transformation takes place. She admits, “This is just how God painted my face”, yet as time rolls on, she’s clearly not well physically or emotionally. This causes Gopat to step up, while also allowing filmmaker Kandhari to infuse some stop-motion animation as the level of bizarreness jumps. Cinematography from Sverre Sordal and film editing by Napoleon Stratogiannakis perfectly enhance the oddity, as does the choice of music … including songs by The Stooges, Buddy Holly, Marty Robbins, Howlin’ Wolf, and even The Band’s “The Weight”.

Between the stifling heat and the less-than-elegant accommodations, it’s doubtful Mumbai’s Tourism Bureau appreciates the setting, but for movie lovers, there is significant entertainment value with this one as it exposes the misery of being trapped. Just be careful with that cookie tin.

Opens in NYC May 16, LA May 23, nationwide May 30, 2025

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Posted by David Ferguson

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