December 7, 2025
Greetings again from the darkness. Watching so many movies each year usually raises my defense mode against cinematic emotional manipulation. However, all hope is not lost for me as the best filmmakers and talented writers and top notch actors can still get to me, as evidenced by this latest from writer-director Chloe Zhao (two Oscars for NOMADLAND, 2020; plus the underappreciated THE RIDER, 2017) and novelist-screenwriter Maggie O’Farrell (her 2020 novel is the source material).
The actors who manage to elevate this extraordinary work to new heights are two of the best actors working today: Jessie Buckley (highly recommend WILD ROSE, 2018) and Paul Mescal (AFTERSUN, 2022). Mr. Mescal plays Will Shakespeare as a tutor at a rural school. He aspires to be a writer (spoiler alert: he succeeds). Ms. Buckley plays Agnes, a local who is labeled as a child of the forest witch, and she actually possesses the spirit of nature and healing. The meet-cute of Will and Agnes is anything but. Spotting Agnes out the window as she carries her pet hawk back to the barn, Will abandons his students and rushes outside to meet her. Yada-Yada … she’s pregnant … the families are not happy … the young couple begins their life together.
Even in the late 16th century, succeeding as a playwright was no easy task. Will often took leave from his family to travel to London for work. A second pregnancy for Agnes bore twins, including daughter Judith who was weakened, and son Hamnet. All in all, this was a close-knit family who experienced joy together despite the challenges – quite a contrast from Will’s family where his dad called him “useless”.
It should be noted that this does not come across as the story of the great William Shakespeare. Instead, it’s the story of a family whose heart is Agnes, and it’s told from her perspective. We are informed that names of the time often had various spellings, so you might be more familiar with Agnes as Anne Hathaway, and son Hamnet as Hamlet, the inspiration for one of Shakespeare’s greatest works. To say more on this would be a spoiler I’m unwilling to provide. You should know that son Hamnet is played by Jacobi Jupe (PETER PAN & WENDY, 2023) and the stage character Hamlet is played by his real-life brother Noah Jupe (FORD V FERRARI, 2019). Emily Watson and Joe Alwyn also have supporting roles.
To be or not to be … a tearjerker … is no question. Director Zhao is a master and Mr. Mescal and especially Ms. Buckley cut right to the heart of a story that will have quite an impact on most every viewer. Grief is such a powerful emotion, and the contrast in how a couple handles it … even a couple deeply in love … makes for a story and a film that is surely one of the year’s best.
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Drama | Tagged: Chloe Zhao, Emily Watson, Jacobi Jupe, Jessie Buckley, Joe Alwyn, Maggie O'Farrell, Noah Jupe, Paul Mescal | 
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Posted by David Ferguson
November 20, 2025
Greetings again from the darkness. Is there such thing as an ordinary life? If so, what does it look like? Writer-director Clint Bentley and co-writer Greg Kwedar have collaborated twice before – first on the underrated JOCKEY (2021), and then on SING SING (2023), the latter of which they received Oscar nominations for writing. For this latest, they have adapted the late Denis Johnson’s 2011 novella for the big screen, and the result is one of the most soulful films we’ve seen.
The story follows Robert Grainier, and evolves into a character study running cradle to grave. After a rough childhood, though not one necessarily unusual for the late 1800’s, the adult Robert is portrayed by Joel Edgerton (a career best performance). Robert is a quiet man who works as a logger. We see him on crews that clear forests, build bridges, and lay railroads for a country that is rapidly developing. His jobs during logging season take him away from home for extended periods of time. This is never an issue until he meets Gladys (Felicity Jones). These two fall deeply in love and are clearly soul mates. A terrific scene finds the giddy and hopeful couple laying rocks on a riverbank to map out the foundation of the log cabin home they are to build. The two in love become three when baby Kate arrives. Robert’s extended time away from home becomes more challenging, yet he manages since he now has a reason to return.
Although Robert rarely speaks while on jobs, narrator Will Patton and the individual scenes tell us much about him and the interesting folks he works alongside. William H Macy plays Arn Peeples, an old-timer who is not only the dynamite expert, he’s also the on-site philosopher (acting as a life mentor to Robert). Other standout supporting characters include Clifton Collins Jr as an unfortunate soul, Paul Schneider as a bad luck apostle, John Diel as one who teaches us the importance of boots nailed to a tree, and Kerry Condon as a forester who shares a sense of loss with Robert. It’s Robert’s loss that becomes the heart of the story and sticks with him for the balance of his years.
Tragedy turns Robert into a hermit, a heartbroken hermit. His titular dreams sometimes have a hallucinogenic feel as they come in flashes. Some of this revolves around his regret for not doing more to stop the mistreatment of a Chinese man, Fu Shang (Alfred Hsing) on the railroad crew. He’s haunted by that event. Of course, Robert’s other dreams take him back to childhood or recall Gladys and Kate. When it seems that Robert can’t sink any lower, a local Native American store owner named Ignatius Jack (Nathaniel Arcand) selflessly offers support, kindness, and friendship. The sequence reminds us of the humanity that exists in all of us … and that there’s a fine line between offering kindness and needing it.
This beautiful film will undoubtedly remind many of the works of Terrence Malick, mostly thanks to the connection between life and nature. One of the messages conveyed is that the deeper one loves, the more painful loneliness can be when it arrives. Life and death make up the cycle as evidenced by majestic trees being cut down to build houses and bridges. Kerry Condon’s character has the film’s best line, “The dead tree is as important as the living one.” Beauty and harsh reality are as connected as art and tragedy. Cinematographer Adolpho Veloso uses creative framing throughout the film, while composer Bryce Dessner perfectly captures the essence – with an assist from Nick Cave’s song, “Train Dreams”. For those seeking emotional depth and philosophical meanderings, this film from Clint Bentley is tough to beat. And if that’s not your thing, just enjoy the beauty of nature.
Begins streaming on Netflix on November 21, 2025
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Leave a Comment » | Drama | Tagged: Adolpho Veloso, Alfred Hsing, Bryce Dessner, Clifton Collins Jr, Clint Bentley, Denis Johnson, Felicity Jones, Greg Kwedar, Joel Edgerton, John Diehl, Kerry Condon, movies, Nathaniel Arcand, Nick Cave, Paul Schneider, Will Patton, William H Macy | Permalink
Posted by David Ferguson
November 14, 2025
Greetings again from the darkness. Like most who obsess over cinema, I went through my French New Wave phase. Actually, binge is likely more accurate since the phase has yet to end. I’ll always make time for Truffaut, Godard, Chabrol, Rohmer, Varda, and Demy. American director Richard Linklater clearly shares this fondness as he releases this homage on the heels of BLUE MOON, his other superb 2025 release. Co-writers on this film are Holly Gent, Laetitia Masson, Vincent Palmo Jr, and Michele Petin … two of whom have previous collaborations with Linklater.
While Linklater shows us the many faces and names of those behind the movement, most of this story focuses on Jean Luc Godard and his quest to make BREATHLESS (1960). Godard is played by relative newcomer Guillaume Marbeck and the trademark sunglasses. Godard is a film critic turned writer turned director. In fact, we hear him repeat, “I have to direct”, seeing as his goal to direct his first feature by age 25 has already been missed. He talks reluctant and skittish producer Georges de Beauregard (Bruno Dreyfurst) into financing the film by claiming Francois Truffaut (Adrien Rouyard) and Claude Chabrol (Antoine Besson) had co-written the script. Both men had successful films under their belts with THE 400 BLOWS and LE BEAU SERGE, respectively, so the producer viewed his risk as minimal.
Already a star at age 21, Jean Seberg (a terrific Zoey Deutch) finally agrees to join the cast, as does amateur boxer and new actor Jean-Paul Belmondo (Aubry Dullin). Linklater does a nice job in recreating the haphazard manner in which Godard worked. Of course, there was no script … other than what he wrote each morning over breakfast. He was after spontaneity, and this caused a clash with Seberg. Much of how he worked would be considered guerilla filmmaking, and it’s interesting to see how the cast and crew react to Godard’s ‘genius’.
Along with the music, Linklater and cinematographer David Chambille capture the authentic look and feel, and it serves as a tribute to the era, including ever-present cigarettes. The French New Wave, and especially Godard, offered a new vision for cinema. Their impact on future filmmakers cannot be overstated, and Linklater’s passion for the movement for cinema is obvious. He surely hopes the film inspires others to explore the revolutionists from the Wave that shook the foundation of cinema … even if “it’s no CITIZEN KANE”. Just keep in mind what Godard says, “All you need for a movie is a girl and a gun.”
Releasing on Netflix on November 14, 2025
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3 Comments | Drama, World Cinema/Foreign | Tagged: Adrien Rouyard, Antoine Besson, Aubry Dullin, Bruno Dreyfurst, David Chambille, Guillaume Marbeck, Holly Gent, Laetitia Masson, Michele Petin, movies, Richard Linklater, Vincent Palmo Jr, Zoey Deutch | Permalink
Posted by David Ferguson
November 14, 2025
Greetings again from the darkness. We don’t see the fire. There is no need. We see the aftermath right along with Dusty as he takes a deep breath and surveys what’s left of his multi-generational ranch. We are also there as he auctions the cattle that he can no longer tend to. Without the assistance of any significant early dialogue, writer-director Max Walker-Silverman (A LOVE SONG, 2022) ensures we understand the man that Dusty is.
We can’t help but feel the pain when we see another person suffering, yet when they are dealing with total devastation and the loss of everything they own, we are simply at a loss as to how to react or help. Josh O’Connor has turned into one of the finest actors working today, as evidenced by his roles in “The Crown”, EMMA (2020), and CHALLENGERS (2024). In what may be his finest work yet, he perfectly captures Dusty, a quiet, proud man soul-searching for a way forward.
Dusty’s ex-wife Ruby (Meghann Fahy, “The White Lotus”) looks for a way to help him re-connect with their young daughter Callie Rose (Lily LaTorre, RUN RABBIT RUN, 2023), while Callie Rose’s grandmother Bess (Amy Madigan) understands the proud man’s pain and offers strength and support while she can. Watching Dusty and Callie Rose together is quite moving, and we find ourselves mentally urging things to work out.
Finally allowing himself to accept some assistance, Dusty moves into a FEMA trailer and takes a temporary job on a highway crew holding a traffic sign. He mostly ignores the neighbors … a small community of those who have also lost everything … until one of these neighbors, Mila (Kali Reis, CATCH THE FAIR ONE, 2021) manages to draw Dusty into the group. It turns out misery really does love company, and these neighbors offer support to each other while bonding over a devastation that we all hope to never experience.
Wi-fi at the local library, a blue barn, a job in Montana, a family death, a fizzled bank loan, and the high-severity burn that means no crops for up to 10 years make up the harsh reality of Dusty’s situation. Walker-Silverman includes a few memorable lines of dialogue (this is not a big talky movie), ensuring that we viewers are deep in thought. Beginning again is terribly difficult, and these folks merely try to find moments of joy amidst the sadness. What they never lose sight of his hope … and hope sometimes appears in something as simple as a sprig of growth. The film’s subdued approach acts to make it all the more impactful.
In select theaters November 14 and opening wide November 21, 2025.
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Leave a Comment » | Drama | Tagged: Amy Madigan, Josh O'Connor, Kali Reis, Lily LaTorre, Max Walker-Silverman, Meghann Fahy | Permalink
Posted by David Ferguson
November 7, 2025
Greetings again from the darkness. For those who think of Sydney Sweeney as just an attractive model for blue jeans or eye-candy on the red carpet, this is a movie that will change your mind. She plays tough. OK, not as tough as boxing champ and domestic violence survivor Christy Martin, whom she portrays here … but tough, nonetheless.
In a perfect world, writer-director David Michod (ANIMAL KINGDOM, 2010) and co-wrtiers Mirrah Foulkes (also Michod’s spouse) and Katherine Fugate would tell the uplifting story of the first great female boxer of the 1990’s and the first female boxer to make the cover of “Sports Illustrated” and fight on Mike Tyson’s undercard. While they do tell that part of the story, there is also the much darker aspect of Christy’s life. It’s actually a story of survival – and honestly, since I was not a boxing fan at the time, it’s the 2010 headlines of her surviving a vicious attack by her husband that come to mind when I hear her name. Michod and his cast handle both aspects very well.
It’s 1989 in rural West Virginia. Christy gets her first taste of boxing and takes to it immediately. However, her mother (Merritt Weaver, “Godless”) and meek father (Ethan Embry, “Sneaky Pete”) are humiliated by the rumors that Christy is hanging out with Rosie (Jess Garbor “Shameless”), a lesbian. When they threaten to send her to a priest for curing, Christy seizes the chance to pursue boxing. Trainer Jim Martin (Ben Foster) initially wants nothing to do with her, but he quickly realizes she could be his ticket to the big time.
The story follows Christy’s rise in boxing, while at the same time showing us the dark side of a relationship. Jim is an expert manipulator and controller, and Foster’s searing blue eyes deliver his patented icy and intimidating stare (in spite of that awful haircut) on more than one occasion. Shadowboxing in legendary promoter Don King’s (Chad Coleman, “The Wire”) office gives Christy the opportunity she needs in 1995. He labels her “The Coal Miner’s Daughter” and her pink outfits become a trademark.
Christy’s story has many parallels with the tragic Dorothy Stratten story. Her time as a Playboy model and violent fallout with her scumbag husband became the basis for Bob Fosse’s film STAR 80 (1983). In this film, when Michod finally shows the despicable act of Jim Martin on Christy, it’s stunning and memorable. We can’t help but think how unfortunate and tragic it was for Christy to battle both her husband and mother. Towards the end, we see the actual Christy Salters (she took back her maiden name) as a security guard who fist bumps the fighter on the way to the ring. It’s a nice touch. And kudos to Sydney Sweeney for taking on such a challenging role (physically and emotionally).
In theaters beginning November 7, 2025
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Leave a Comment » | Drama | Tagged: Ben Foster, Chad Coleman, Christy Martin, Christy Salters, David Michod, Ethan Embry, Jess Garbor, Katherine Fugate, Merritt Weaver, Mirrah Foulkes, movies, Syndey Sweeney | Permalink
Posted by David Ferguson
November 6, 2025
Greetings again from the darkness. For the sake of her friends, family, and self, I do hope Lynne Ramsay’s movies do not reflect her real-life persona. Don’t get me wrong … she’s an extraordinary filmmaker, but to put it mildly, her films are not what we would label ‘uplifting’. Proof of these two descriptions can be found in WE NEED TO TALK ABOUT KEVIN (2011) and YOU WERE NEVER REALLY HERE (2017), and now again in her latest. The 2017 English translated novel by Ariana Harwicz has been adapted by Ms. Ramsay, Enda Walsh (HUNGER, 2008) and Alice Birch (THE WONDER, 2022). It’s an absorbing film featuring what is likely the year’s best and most haunting performance.
When we first meet Grace (Oscar winner Jennifer Lawrence) and Jackson (Robert Pattinson), they are a wild and free couple who dance to the Pinky & Perky (not Alvin and the Chipmunks) version of “Let’s Twist Again.” Jackson has inherited a rundown house in rural Montana from his recently deceased uncle, and they fix up the place enough to move in. Sex and laughter fill their days right up until the baby is born. Postpartum depression has been conveyed in other movies, yet I don’t believe it’s ever been as visceral as what we witness here. Grace clearly loves her baby, while everything else about her own existence seems to anger and disappoint her … the house, the dog, and especially Jackson.
Grace sinks to a level we don’t often witness. It’s so painful and uncomfortable to watch, and Jennifer Lawrence is fearless in her portrayal of Grace’s downward spiral. Robert Pattinson plays Jackson as a normal guy who loves his wife, while having no clue how to handle the situation. Therein lies the power of this story. We could know Grace and Jackson, and we could be the folks at the party trying so hard to say the right things … those things that turn out to be the worst things to say. We could also be that spouse willing to give the other enough space to find themselves.
Thanks to superb cinematographer Seamus McGarvey, the film has a gritty 1970’s look and feel to it, and excellent (though limited) supporting work is provided by (Oscar winner) Sissy Spacek, rarely seen Nick Nolte, and the always interesting LaKeith Stanfield. The soundtrack is unusual and fascinating, including songs by such diverse artists as Elvis, Toni Basil, Cocteau Twins, Peggy Lipton, Nick Lowe, and Cream. As a bonus, the film features the best ever use of John Prine and Iris Dement singing “In Spite of Ourselves”, a perfect fit. Mental health issues and depression are serious topics, and have rarely (if ever) been more accurately portrayed than what we see in this latest from filmmaker Lynne Ramsay. Despite the brilliant filmmaking and memorable performance, it’s not an easy movie to recommend. It’s only for those who can appreciate the magic within the dark clouds.
Opening in theaters on November 7, 2025
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Leave a Comment » | Drama | Tagged: Alice Birch, Ariana Harwicz, Enda Walsh, Jennifer Lawrence, John Prine, LaKeith Stanfield, Lynne Ramsay, movies, Nick Nolte, Robert Pattinson, Seamus McGarvey, Sissy Spacek | Permalink
Posted by David Ferguson
November 6, 2025
Greetings again from the darkness. Skipping the many films based on and around WWII and the Holocaust is understandable. Even the uplifting stories of heroism and survival are unsettling and tough to watch. However, so many lives lost in the name of a power-hungry madman means these stories must continue to be told – as a reminder to folks how dangerous and tragic it can be to blindly follow an authoritarian. Writer-director James Vanderbilt’s (TRUTH, 2015) second time directing is based on the writing of Jack El-Hai in “The Nazi and the Psychiatrist”.
Vanderbilt opens the film by stating it’s “based on the accounts of those who lived through it and those who didn’t”. It’s May 7, 1945. Hitler and many other Nazi officers are dead from suicide. The last day of the war finds Reichsmarschall Hermann Goring (Oscar winner Russell Crowe) surrendering to Allied troops. We are immediately struck by Crowe’s ability to create an air of superiority around Goring, even as he surrenders. Goring is imprisoned at Nuremberg, and what happens next is a reminder of how crucial humanity and justice are, even in times of war and in the face of atrocious activities by others.
While many want Goring and any remaining Nazi officials immediately executed, Supreme Court Justice Robert H Jackson (Michael Shannon) believes a tribunal and public trial are crucial for the allied nations to send the message that justice matters, no matter how heinous the crimes (or the criminals). A U.S. Army psychiatrist, Dr. Douglas Kelley (Oscar winner Rami Malek) is charged with interviewing Goring to ensure he is capable of being tried in court. It turns out that Goring is more than capable and we are drawn in watching the verbal and psychological duel play out between Goring and Kelley. These scenes (Crowe and Malek) are mesmerizing, and Crowe delivers a towering performance – his best in years, and certainly worthy of Oscar consideration. Sgt Howie Triest (Leo Woodall) is present as a translator, though his place carries more weight later in the story.
Prior to the trial, another excellent scene plays out at the Vatican as (now) lead prosecutor Jackson strong arms the Catholic church into supporting the trial. Unlike Stanley Kramer’s fantastic 1961 film, JUDGMENT AT NUREMBERG, most of this one takes place outside of the courtroom. However, once it moves to trial, Jackson and co-counsel Sir David Maxwell-Ffyfe (Richard E Grant) find going toe-to-toe with Goring is every bit as challenging as Kelley had reported. Devastating concentration camp footage is shown to display the shock of those seeing it for the first time. The last bit of the story is about Kelley and his book centered on his sessions with Goring. Overall, the historical accounts have been scaled back for accessibility and brevity (despite the film’s 148-minute run), yet we never lose sight of the importance of the trials.
Opens in theaters on November 7, 2025
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Leave a Comment » | Drama, War | Tagged: Colin Hanks, Jack El-Hai, James Vanderbilt, John Slattery, Leo Woodall, Lotte Verbeek, Mark O'Brien, Michael Shannon, movies, Rami Malek, Richard E Grant, Russell Crowe, Wrenn Schmidt | Permalink
Posted by David Ferguson
November 6, 2025
Greetings again from the darkness. “How was your day?” It’s a question we have each asked and been asked thousands of times. In 1974, writer Linda Rosenkrantz thought the answer to the question would make a fascinating book … considering her plan was to talk to her New York City artist friends. She had already written her best-selling book “Talk” (1968), and her idea with this new project was to discover how people fill up their day.
Director Ira Sachs (LITTLE MEN, 2016) opens the film with a note explaining that the recorded tapes of the conversation between Linda and famed photographer Peter Hujar on December 19, 1974, were misplaced. It wasn’t until 2019 when the typed transcript of their conversation was recovered that the idea of publication and a dramatized film version gathered strength. Ben Whishaw (WOMEN TALKING, 2022) plays Peter Hujar and Rebecca Hall (CHRISTINE, 2016) portrays Linda. These two, along with a tape recorder and Linda’s apartment, are the key characters in what, perhaps even more effectively, could have been a stage presentation. Although it’s not textbook cinema to film two characters having a long conversation, there is no denying the artistry to this film.
Still, this is a full run of two friends basically hanging out as one recounts the minutiae of his previous day. With Hujar being a well-known photographer, his name-dropping is probably more impressive than yours or mine. Susan Sontag and William Burroughs come up, and Hujar’s contract with the ‘New York Times’ to photograph Allen Ginsburg takes up much of the day’s energy. Whishaw’s take on Hujar’s oversharing can be interesting to watch – especially when he loses his train of thought and Hall’s Linda is there to rein him back in. The film surely works best as a time capsule of 1970’s artsy NYC, but tell me more about this “Topaz Caucasian”.
Opening in NYC and Los Angeles on November 7, 2025
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Leave a Comment » | Drama | Tagged: Ben Whishaw, Ira Sachs, Linda Rosenkrantz, movies, Peter Hujar, Rebecca Hall | Permalink
Posted by David Ferguson
October 29, 2025
Greetings again from the darkness. Brace yourself for one of the first films to take on the societal and political changes occurring within the United States. This is an exceptionally well-made film with a stellar cast and an eye-opening cautionary message from writer-director Jan Komasa (Oscar nominated for the excellent CORPUS CHRISTI, 2019) and co-writer Lori Rosene-Gambino. It features a deep and talented cast and would make a formidable double-feature with last year’s CIVIL WAR (directed by Alex Garland).
While the acting is top notch, the brilliance of the film is in the storytelling. Rather than a blatant attack on political extremists, this is presented as a type of thriller – the story of how one family is slowly, meticulously, and deliberately torn apart through ideology and by revenge. The film opens as Paul and Ellen Taylor (Kyle Chandler and Diane Lane) are throwing a 25th wedding anniversary party at their home. Their family has joined in the celebration: daughter Cynthia (Zoey Deutch, THE OUTFIT, 2022) and her husband Rob (Daryl McCormack, GOOD LUCK TO YOU, LEO GRANDE, 2022); rebellious daughter Anna (Madeline Brewer, “The Handmaid Tale’s”); and youngest daughter Birdie (Mckenna Grace, WHAT WE HIDE, 2025). Also attending are their son Josh (Dylan O’Brien, SATURDAY NIGHT, 2024) and his new girlfriend Liz Nettles (Phoebe Dynevor, INHERITANCE, 2025).
It’s the presence of that girlfriend that rocks Ellen, a university professor. Liz Nettles was a disruptive former student and the history between the two was not pleasant … but we watch as present day devolves into something much worse. Paul attempts to calm Ellen by telling her that “People change”. Ellen replies, “No, they don’t.” This ‘perfect family’ full of intelligent and creative folks is headed for a ride no one can prepare for. Two years later, the family reunites for a holiday meal, and Liz’s latest radical book now sits atop the best-sellers list, and she’s turned into a spokesperson for a movement.
The film and the story and the characters perfectly capture just how divisive politics have become – even, or maybe especially, between loved ones. The acting here is as good as anything we will see all year. Ms. Dynevor and Ms. Grace are certainly headed towards stardom. There are a few really powerful scenes, and the most chilling occurs when the ‘census workers’ interview Paul and Ellen. By this point, nerves and relationships are frayed, and the targeting of ‘non-changers’ is in full mode, leading societal change. A father-son conversation between Paul and Josh leads to the most important line in the film: “We are the keepers of our own souls.” The conclusion revolves around the 30th anniversary party for Paul and Ellen, ensuring all viewers understand just what has happened over five short years. This film hits hard due to the real-world synchronicity and concerns.
In theaters October 29, 2025
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Leave a Comment » | Drama, Thriller | Tagged: Daryl McCormack, Diane Lane, Dylan O'Brien, Jan Komasa, Kyle Chandler, Lori Rosene-Gambino, Madeline Brewer, Mckenna Grace, movies, Phoebe Dynevor, Zoey Deutch | Permalink
Posted by David Ferguson
October 29, 2025
Greetings again from the darkness. It’s not Las Vegas. It’s not Monte Carlo. Somehow even more gamblers head to Asia, specifically the gambling capital of Macau … and that’s where this film from director Edward Berger (Oscar nominated for CONCLAVE, 2024) is set. Rowan Joffe (son of Roland Joffe, who directed THE KILLING FIELDS, 1984) has adapted the 2014 novel by Lawrence Osborne. That may be the last part of this that makes any sense.
Colin Farrell stars as Lord Doyle, a gambling addict laying low in his swanky hotel suite as he dodges those from whom he’s run up massive debts ($350k to the hotel). Lord Doyle presents himself as a high-roller aristocrat, but we quickly note he’s little more than a fraudster both in identity and wealth. A casino floor manager named Dao Ming (a lovely Fala Chen) takes pity on him as a ‘lost soul’ for no apparent reason, but it significantly impacts his direction. Hot on his trail is a Private Investigator named Cynthia Blithe (Oscar winner Tilda Swinton), hired by a woman whom Lord Doyle (under his real Irish name) bilked out of a large sum of money.
“All I need is one big score”. How many times have we heard a gambling addict state this? It’s a cliché, yet there are a few elements here that seem interesting and unusual. For some reason, the film seems to hit and run to the next point without ever giving us what we need. In other words, the structure is as messy as the constant rain on the streets of Macau. On the other hand, cinematographer James Friend (Oscar winner for Berger’s ALL QUIET ON THE WESTERN FRONT, 2022) turns Macau into a kaleidoscope of color and texture and beauty and danger. There are even a few times that the film tends to mirror the iconic visual style of director Wes Anderson.
For a guy that thrives on scamming folks, Lord Doyle’s choice of baccarat never makes any sense. Why choose a game that’s purely a game of chance/luck? As we struggle along with Doyle to keep up with the loose ends, a supernatural element appears, causing a shift in tone. It’s like dinner and dancing really did lead to an arrangement – only we weren’t present for it. The frantic pace is something Colin Farrell works very well. As I’ve stated in other reviews, he’s turned into a terrific actor who elevates every project. And though she’s underutilized here, Tilda Swinton continues to be an actor worth watching in any role. Watching the movie is entertaining enough, yet at its conclusion, we feel a bit cheated. Many that’s fitting after following Lord Doyle for 101 minutes.
Begins streaming on Netflix on October 29, 2025
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Leave a Comment » | Drama, Thriller | Tagged: Colin Farrell, Edward Berger, Fala Chen, James Friend, Lawrence Osborne, movies, Rowan Joffe, Tilda Swinton | Permalink
Posted by David Ferguson
Movie Reviews from the Dark 