ALL OF YOU (2025)

September 26, 2025

Greetings again from the darkness. This plays like a spin on the old Verizon commercials: Do you love me now? Writer-director William Bridges and co-writer/ lead actor Brett Goldstein deliver one of the more frustrating and cringey romantic movies I’ve seen in a while. There are a couple of character references to situations feeling too “adult”, and I kept thinking, why don’t any of these grown-ups act like an adult?

Simon (co-writer Goldstein, “Ted Lasso”) and Laura (Imogen Poots, THE FATHER, 2020) have been best friends since their days at university. Their bond is so close, they seem one step from having their own secret language. As the opening credits play, we are inundated with advertisements for Soul Connex. The ads claim all it takes is “a simple eye test” to find your forever soul mate. Now, in real life, it’s possible that two people as connected as Simon and Laura might recognize the soul mate sharing inside jokes with them, but in this movie, complications are mandatory.

Laura decides to take the test, while Simon adamantly refuses. He prefers to let nature take its course (a rare toaster analogy), while she prefers to charge his credit card for her test. She’s certain they will remain friends, which contrasts with his line, “I’ll miss you every day”. Sure enough, Laura finds her match in Lukas (Steven Cree, “Outlander”), while Simon becomes a periodic third wheel. She loves Lukas and they have a kid together, while Simon wanders through the forest of potential mates … periodically meeting up with his old BFF as sparks are re-ignited.

There is a major shift when Laura’s dad dies, and the film becomes one of the most maddening scenarios that any movie has dared present. The settings are often stunning, and the people are quite pleasant to look at, but the recurring situations defy all rational romance and true love preferences. It becomes something we have no interest in participating in, and frankly, turns these two previously pleasant and easily likable characters into quasi-villains that we no longer care for in the least.

Typically, I can find something positive to latch onto in a movie, regardless of however much negativity I feel towards the rest. All I can say here is that both lead characters need to realize it’s time to be an adult – and that means doing the right thing (or at least it used to).

The film will be released in select theaters and on Apple TV+ on September 26th, 2025

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Posted by David Ferguson

ONE BATTLE AFTER ANOTHER (2025)

September 25, 2025

Greetings again from the darkness. My immediate reaction after viewing this film was that it represented the highest level of filmmaking – including superb acting, a complex story that fits today’s narrative, and the most varied and diverse score I can recall from many years of moviegoing. After a couple of days to mull it over, I believe it’s possible that my initial reaction somehow underrated this instant classic. High praise should be no surprise since the film is the work of writer-director Paul Thomas Anderson – the man behind such cinematic gems as LICORICE PIZZA (2021), PHANTOM THREAD (2017), THE MASTER (2012), THERE WILL BE BLOOD (2007), PUNCH DRUNK LOVE (2002), MAGNOLIA (1999), BOOGIE NIGHTS (1997), and HARD EIGHT (1996).

Anderson has been nominated for eleven Oscars over the years, and here he adapts the 1990 Thomas Pynchon novel “Vineland”. While the novel is set in the 1980’s, Anderson structures his film in such a manner that much post-viewing conversation will focus on its synchronicity to our current political landscape/battlefield. Remarkably, Anderson has delivered a film that features stunning action sequences, cutting political satire, and touching personal drama. It’s almost too much to ask of any one movie, and is very likely a bit too much for some movie goers.

As the film opens, a resistance movement called French 75, led by Perfidia Beverly Hills (powerhouse Teyana Taylor) is doing their thing with help from explosives expert Pat (Leonardo DiCaprio). With the excitement of fulfilling their mission, Perfida and Pat fall for each other – a shared cause can do that. Mucking up the movement and the relationship (unbeknownst to Pat) is a militant with the memorable name of Colonel Steven Lockjaw (Sean Penn). Lockjaw is laser-focused on stopping the resistance – in fact, the only thing that can stop him is a creepy attraction to Perfida, who uses his weakness to her advantage.

A jaw-dropping visual occurs as we see a (very) pregnant Perfida firing an automatic weapon during target practice. Soon after the baby is born, Perfida (not the mothering type) takes off, and Pat, now underground and known as Bob Ferguson, is left to raise the child. Flash forward 16 years, and teenage Willa (the terrific movie debut of Chase Infiniti) and her father are living a quiet life. She’s a tough, but normal high schooler with friends, while he has dulled his mind and outlook with drugs and alcohol … unable to remember the secret password when Colonel Lockjaw tracks him down. French 75 loyalist Deandra (Regina Hall) finds a safe house for Willa, as Bob frantically bounds around town until Willa’s Sensei (Benecio Del Toro) offers to help him. This sensei also hides his own secrets, as Del Toro sprinkles in his patented one-liners.

There is so much going on here, and I’m only now getting to the Christmas Adventurers Club – a clandestine group of white supremacists motivated by racism and lust for power and purity. It’s a club Col Lockjaw desperately wants to be admitted to. In fact, racism hovers over much of the film, with the resistance attempting to defy it through radicalism and extremism … although which side is the most radical or extreme could (and has) carried debates for quite a while.

Three Oscar winning actors are featured here: DiCaprio, Penn, and Del Toro. All three are excellent, but it’s Sean Penn’s Lockjaw that will likely stick with you. Delving into caricature at times, Penn employs many stereotypes, a distinct strut, and a few facial ticks to go with his one weakness in creating a character that we can’t help but laugh at, while also being a bit frightened of his persona. DiCaprio’s Pat/Bob runs the gamut from revolutionary to a Lebowski-type fleeing in his ratty bathrobe. His look varies throughout with varying hairstyles and wardrobes. His father-daughter relationship is truly the heart of the film, and is exceptional drama.

The supporting cast is excellent and includes Alana Haim, Shayna McHayle, Tony Goldwyn, Kevin Tighe, DW Moffett, John Hoogenakker, and Jena Malone … many familiar faces and a great deal of talent. Cinematographer Michael Bauman (back with Anderson after LICORICE PIZZA) delivers the action sequences, the dramatic moments, and a couple of car chases … one which will live on in infamy. Filmed in VistaVision (I saw it in IMAX), there is a mesmerizing car chase through and over and down a hilly desert highway. It’s unlike any car chase I’ve seen, and had me leaning forward in my seat trying to get a look ahead.

This is a story that covers quite a few years and just about as many topics as you’d like to associate with it. There is a nod to THE BATTLE OF ALGIERS (1966), which was another film about the fight for freedom. One note that I’m unsure how to address is the score from frequent Anderson collaborator Jonny Greenwood (Radiohead guitarist). It’s simply fantastic the way Greenwood melds diverse music with the numerous shifts in tone of the characters and story. As for filmmaker Paul Thomas Anderson, it’s subjective as to whether he has outdone his previous stellar work, yet I can confidently label this one as both bleak and funny, while also thrilling, chilling, and timely.

Opens in theaters on September 26, 2025

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Posted by David Ferguson

ELEANOR THE GREAT (2025)

September 25, 2025

Greetings again from the darkness. You’ve likely heard the old saying that you can’t put the genie back in the bottle. Well, the same goes for a lie … and sometimes even an innocent lie takes on a life of its own and begins to wreak havoc. This happens to Eleanor, and yet we somehow empathize with her in this film that is not just the first screenplay from Tory Kamen, it’s also the first feature film directed by Scarlett Johnansson.

When we first meet Eleanor (June Squibb, fresh off her lead role in THELMA, 2024) and Bessie (Rita Zohar, AMADEUS, 1984), the two elderly ladies are best friends who have lived together for fifteen years or so in Florida. They spend their days regaling each other with stories over coffee, at the beach doing bench exercises, and at home around the kitchen table. We see how much they appreciate and value each other’s friendship. As happens with old friends, Bessie passes away, and 94-year-old Eleanor moves back to New York to live with her daughter Lisa (Jessica Hecht, DAN IN REAL LIFE, 2007) and grandson Max (Will Price, “Goosebumps”).

Despite her age, or perhaps emboldened by it, Eleanor’s sharp tongue too often hits hard, especially when criticizing Lisa. It’s a trip to JCC that erroneously misdirects Eleanor into a support group of Holocaust survivors. Whether she’s embarrassed or just lonely for company, Eleanor doesn’t come clean and instead begins telling Bessie’s stories as if they were her own. One of the group’s observers that day is Nina (Erin Kellyman, THE GREEN KNIGHT, 2021), a university journalism student, who is so moved by Eleanor’s stories that she pesters her to sit for an interview.

Remember that whole thing about a lie taking on a life of its own? Well, Nina and Eleanor become friends, and Eleanor’s wisdom helps Nina deal with a particularly emotional period. Oh, and Nina’s dad, Roger Davies (Chiwetel Ejiofor, 12 YEARS A SLAVE, 2013), is a local TV journalist who sees the potential of taking Eleanor’s stories to a wider audience. It’s truly a mess that Eleanor finds herself in, and if/when the truth comes out, so many could be hurt from her break in trust.

It’s June Squibb’s remarkable performance that elevates this film to one that many will find emotional. Ms. Squibb turns 96 years old this year and now has a couple of strong lead roles to her credit after a terrific career as a character actor (NEBRASKA, 2013). Here, it’s Eleanor’s bond with Nina that’s the heart of the story, and a reminder that sometimes good people do bad things – and those bad things may be driven by good intentions … or even grief. Additionally, we must now recognize Scarlett Johnansson as a filmmaker who can handle complex stories and characters, and deliver entertainment for an audience.

Opens in theaters on September 26, 2025

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Posted by David Ferguson

DEATH OF A LADIES’ MAN (2025)

September 25, 2025

Greetings again from the darkness. For a film that takes its title from a 1977 Leonard Cohen album and includes (I counted seven) songs from the icon throughout the film, we can expect something other than a light-hearted rom-com. And that’s before we discover that the leading character is diagnosed with a brain tumor. Writer-director Matt Bissonnette’s film was well received on the festival circuit in 2021 and is now being released VOD.

Gabriel Byrne (brilliant, as usual) stars as Samuel O’Shea, a twice-divorced professor based in Montreal and spending entirely too much time with drink(s) in hand. Samuel begins experiencing hallucinations … all too real hallucinations. Initially these include the Frankenstein monster at the pub, and a bizarre, choreographed hockey ice dance at his son’s (Antoine Olivier Pilon) game. From there, the visions get even stranger – often including lip-synching to a Leonard Cohen song. One exception is the recurring vision of his late father (Brian Gleeson), who died as a young adult. These interactions are ‘normal’ conversations, often filled with fatherly advice.

Once he receives the fatal diagnosis, Samuel does what anyone would do – he heads to the family cottage in Ireland in order to take stock of his life. He also decides to write the novel that he’s always wanted to write. This stage of life (waiting to die) and writing the novel can both take many shapes. In fact, Samuel’s novel is about his life, his regrets, and about whether a late-life romantic relationship can work. Charlotte Lafleur (Jessica Pare, “Mad Men”) enters, having a significant impact on Samuel, his outlook, and his writing.

Younger viewers may find this one a bit difficult to connect with; however, I expect many of those over age 50 will relate very well to what Samuel goes through. The film was well received on the festival circuit in 2021 and is only now getting streaming distribution. It’s not perfect, yet it’s a creative view of what one experiences after being told their time is limited.

Releasing on VOD beginning September 26, 2025

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Posted by David Ferguson

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

SWIPED (2025)

September 18, 2025

Greetings again from the darkness. Successful businesspeople always intrigue me – especially visionary founders and true entrepreneurs – those who actually bring something new to the market. Henry Ford, Steve Jobs, Bill Gates, and Elon Musk all fit the description … although to clarify, I do not assume their business acumen translates into moral integrity or empathetic humanity. Writer-director Rachel Lee Goldenberg and writer Bill Parker (previous collaborators on UNPREGNANT, 2020) and writer Kim Caramele take on the somewhat tricky project of profiling Whitney Wolfe.

Ms. Wolfe, played here by Lily James (CINDERELLA, 2015; BABY DRIVER, 2017) was the brains behind two successful dating apps, Tinder and Bumble. While the story is “inspired by actual events”, telling Whitney’s story is complicated by the fact that she remains under the terms of a Tinder NDA … the filmmakers weren’t even allowed to speak with her. Instead, reading the lawsuit documents and researching interviews from those who were around as she made her mark provided the outline of this talented, ambitious woman who rose to the top in a sea of Tech Bros.

The film opens in 2012 Los Angeles when Whitney first crossed paths with Sean Rad (Ben Schnetzer, 7 DAYS IN ENTEBBE, 2017), the founder of Hatch Labs/Tinder. Her ingenuity and creative mind helped Tinder explode in popularity by taking the app directly to the college students she identified as the initial target market. We feel the energy in the room as the Tinder team watches their success literally click off on a digital counter mounted in the office. That euphoric energy is soon replaced by a much different vibe for Whitney and the other female co-workers.

One of the best features of the film is how it portrays Whitney and her experience with the male-dominated Tech Bros. Sexual harassment, misogyny, and a straight-faced mentor who lies to her face lead to her anxiety and paranoia. Even other women in the company are frustrated that she hasn’t used her power – in fact, Whitney has a collision between ambition and wanting to do things the right way. When is the line crossed for toxic behavior? What to ‘let slide’ and when to ‘stand up’ is the dilemma facing Whitney and scores of other women.

When the breakdown finally occurs and Whitney is recruited by Badoo founder Andrey Andeev (Dan Stevens with a Russian accent). Her perfect scenario of creating an app that shifts dating dynamics from a work environment that rewards proper behavior and quality of production is nearly shattered by a repeat of past evils. However, we see how Whitney has grown as a person and takes responsibility for ensuring things are done correctly in her environment. It ends up as a feel-good story of redemption.

An excellent supporting cast also consists of Clea DuVall, an excellent Myha’la, Jackson White, and Pierson Fode. The main criticism would be with the camera work. The bouncing handheld technique is overused for a story that creates its own energy. It would be a mistake to wave this off as a “Me Too” film, despite it fitting squarely in the space. More importantly, it’s a reflection of real-life workspaces and how one trailblazer found the right path and became the youngest female self-made billionaire … certainly a story worth telling.

20th Century Studios’ SWIPED releases on Hulu on 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

QUEEN OF MANHATTAN (2025)

September 18, 2025

Greetings again from the darkness. I recently watched NAKED AMBITION, a documentary on Bunny Yeager – a woman who excelled as a pinup in front of the camera as well as a photographer behind it. This film from writer-director Thomas Mignone (best known for his music videos) made for the perfect follow-up. While Bunny Yeager refused to join in to the shift towards more extreme content in the 1970’s and 1980’s, Mignone’s subject, Vanessa del Rio, not only carved out a career, she also became quite famous for her erotic and explicit films of the era.

Vivian Lamolle (“Grease: Rise of the Pink Ladies”) portrays Vanessa del Rio and works hard to capture her charm and spirit. Filmmaker Mignone kicks things off by stating it’s 1981 and the film is “based on true events … allegedly”. The director conducted many hours of interviews with the real Ms. Del Rio (now in her 70’s), and much of what’s in the film stems from those conversations. By the time the film begins, Vanessa is well-established and well-known as an adult actress. Two of her film sets are referenced here, DRACULA EROTICA and FOXHOLES, making it clear that Vanessa was fully aware of the expectations and embraced this as career.

Supporting work comes from some familiar faces. Drea de Matteo plays Dominique, the club manager, and David Proval plays club owner Mickey. Both are alums of “The Sopranos”. Esai Morales plays Vanessa’s dad in flashbacks to 1960 Cuba, while Taryn Manning (“Orange is the New Black”) and Jesse Metcalf (“Desperate Housewives”) have key roles.  Dita Von Teese also appears. Vanessa became legendary in an industry most of us can’t really relate to, and as you might guess, the expected timeline of popularity is a bit short for most performers.

The grittiness of the era and of New York City specifically is quite clear, as is the demanding pace of work and unfair distribution of revenue. It’s interesting to note that the film presents adult entertainers as real folks – some struggling to make ends meet, while others become marquee names. This is not a documentary, but does profile Vanessa’s career – including her advocacy for sex workers’ rights. The AIDS epidemic (and the accompanying misinformation) of the 1980’s convinced her to end her film career, yet it’s noted that she made over 200 movies in a twelve-year span.

The film will be released IN SELECT THEATRES on September 19th and On Demand October 14th. 

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Posted by David Ferguson

BANG BANG (2025)

September 11, 2025

Greetings again from the darkness. There is no obvious explanation for my connection to and appreciation of Tim Blake Nelson on the big screen … well … other than his talent. He certainly doesn’t possess the traditional attributes of a movie star, yet that’s exactly what he is. Not only is he one of the most dependable character actors around (see O BROTHER WHERE ART THOU and MINORITY REPORT), but he’s also terrific in lead roles (see OLD HENRY and ASLEEP IN MY PALM). With this latest film, director Vincent Grashaw and screenwriter Will Janowitz (who also has a role in the film) benefit from the actor’s audacious and fearless performance.

Bernard “Bang Bang” Rozyski (Tim Blake Nelson) is a bitter man. He’s also an alcoholic. As a former boxer, he appears to be in a race to the bottom with the area of Detroit in which he lives. Both man and city are crumbling and to add insult, the former boxing rival that Bernard views as the reason for his decline is running for Mayor. Darnell Washington (Glenn Plummer) became rich peddling juicers (not countertop grills) and now holds himself up as a guiding light for a city that needs a reason to exist … not unlike Bernard.

Bernard’s estranged daughter (Nina Arianda) surprises him with a knock on the door and a request to watch her son Justin (Andrew Liner) while she gets settled with a new job in a new city. Justin’s ankle monitor prevents him from going with mom until he fulfills his community service. He also shows little interest in Grandpa’s philosophical meanderings … until he learns boxing can lead to money and girls. Bernard begins training him with the help of an old friend (Kevin Corrigan), and it’s at this point when we wonder if Bernard’s new path is one of redemption or revenge.

While the reasoning may be initially unclear, we have no doubt that Bernard is haunted by the past – and he understands this very well. Fighting, family, and his former house all play a role in his bitterness and frustration. We also understand that things don’t tend to get better for a guy like ‘Bang Bang’. Although the film covers familiar ground with some recognizable tropes, Tim Blake Nelson’s performance and the raw aesthetic of the film keep us fully engaged. His final confrontation with Washington may go a bit over the top, but it reminds us that while a hammer sees everything as a nail, a fighter may very well view everything as a fight … or at least as the only way to resolve conflict.

The film opens in select theaters on September 12, 2025 (NYC, LA, Detroit, with additional markets TBA), following its premiere at the Tribeca Festival.

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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

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