ANNIVERSARY (2025)

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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Posted by David Ferguson

BALLAD OF A SMALL PLAYER (2025)

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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Posted by David Ferguson

SPRINGSTEEN: DELIVER ME FROM NOWHERE (2025)

October 23, 2025

Greetings again from the darkness (on the edge of town). My connection to Bruce Springsteen’s music dates back more than 50 years and includes hitchhiking (from San Antonio) to a gig at the Armadillo World Headquarters in Austin. As much as I loved the early tunes from his first two albums, it was the 1975 release of the “Born to Run” album that spoke to me on a mystical level. His storytelling and anthems on that instant classic, as well as the next two albums, “Darkness on the Edge of Town” and “The River”, had a way of drawing us in for a pure escape. By 1981, Springsteen’s albums were huge and his live performances were legendary and exhilarating. It’s the time period just after that serves as the basis for this film from writer-director Scott Cooper, based on the 2023 book, “Deliver Me From Nowhere: The Making of Bruce Springsteen’s Nebraska” by Warren Zanes.

A black & white opening takes us to Bruce’s childhood (he’s played by newcomer Matthew Anthony Pellicano Jr) where we get a feel for his rocky home life with mom Adele (Gaby Hoffman, C’MON C’MON, 2021) and on-the-verge of violence dad “Dutch” (a terrific Stephen Graham, “Adolescence”). Cooper then cuts to the closing night of the 1981 tour in Cincinnati, where Jeremy Allen White (“Shameless”) as Bruce belts out “Born to Run” with the E Street Band (decent lookalikes). At this point, I found myself a bit deflated. It all felt too cliché and the song just wasn’t up to the standard I’d hoped. Fortunately, things were about to get much more interesting with a deep dive into the birth of “Nebraska”.

Bruce was 31 years old and on the verge of superstardom after his first true hit, “Hungry Heart” (which fortunately is mentioned but never heard). The record company is itching for the next round of hits, while Bruce is clearly dealing with some mixed emotions. His rented house in Colts Neck, New Jersey affords him the solitude he needs to obsess over Terrence Malick’s BADLANDS (1973) with Martin Sheen as a psychotic killer based on real life killer Charles Starkweather (the last name plays an interesting part of Springsteen trivia). Bruce fans know what happens next – in the sanctity of the home’s bedroom, and with the help of guitar tech Mike Batlan (Paul Walter Hauser, RICHARD JEWELL, 2019), he records the songs for the “Nebraska” album using low-tech equipment. His insistence on releasing the album in raw form sends the record company into a tizzy. Bruce also works in a few jam sessions at the infamous club, The Stone Pony, where we see him cut through Little Richard’s “Lucille” and John Lee Hooker’s “Boom Boom”.

It’s here where the deep friendship between Bruce and his agent, Jon Landau (a wonderful Jeremy Strong, THE APPRENTICE, 2004) becomes the heart of the film. Nope, it’s not the music that makes this story work … it’s the support of Landau for his friend, whom he also recognizes as a genius. During this dark emotional time, Bruce somehow begins a romance with Faye (Odessa Young, MOTHERING SUNDAY, 2021), a local single mom – who is also an amalgam of women in Bruce’s life at the time. This contributes to the complexities of Bruce’s mental state during this time, and helps us (and him) understand why this particular music is so necessary for him.

“I have seen rock & roll’s future and his name is Bruce Springsteen”. That’s a quote from a 1974 concert review by music writer Jon Landau. Yes, the same man who became Springsteen’s long-time manager and close friend. But this movie isn’t about Bruce Springsteen the rock icon. It’s a meditative and exploratory peek at a soulful artist during a dark and confusing time. He is sliced open to reveal someone still dealing with a less-than-joyous childhood while balancing the pressure of becoming an international sensation. This was the calm before the storm of “Born in the U.S.A.” … only it wasn’t anything near calm for Bruce. He was in pain – a true tortured soul working through the emotions of finding himself. It’s quite fascinating to watch, though most assuredly, a departure from the mainstream music biopics we have seen over the past few years.

Scott Cooper’s film, CRAZY HEART (2009) won Jeff Bridges an Oscar, and proved the director had a feel for angst in musicians. Warren Zanes wrote the book this film is adapted from, and as guitarist for the Del Fuegos and Tom Petty biographer, Zanes absolutely understands this life. It’s because of these two gentlemen and superb performance in Acts 2 and 3 by Jeremy Allen White and Jeremy Strong that this film never wallows in melodrama, despite the lead character suffering with depression and anxiety.  While we hear cuts from the Nebraska album, Springsteen fans should know this is not a concert film. The music is utilized precisely and purposefully, but the music does not drive this film. The exception might be White’s rendition of “Born in the U.S.A.” while in the studio. That’s the one time audience members might be tempted to yell: “BRRUUUUUCE!”

Opens wide on October 24, 2025

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Posted by David Ferguson

BLUE MOON (2025)

October 23, 2025

Greetings again from the darkness. Most everyone, especially lovers of Broadway musicals, knows the work of Rodgers and Hammerstein. And they should. Richard Rodgers and Oscar Hammerstein II are regarded among the most prolific musical production writers in history. Their projects include “The King and I”, “Carousel”, and “The Sound of Music”. Their first collaboration, “Oklahoma!” is at the center of this latest from acclaimed director Richard Linklater (his NOUVELLE VAGUE coming out this year) and writer Robert Kaplow (ME AND ORSON WELLES, 2008). Yet we can’t help but wonder why so few are familiar with the work of Rodgers and Hart. Together, composer Richard Rodgers and lyricist Lorenz Hart wrote more than one thousand songs, including “My Funny Valentine”, “The Lady is a Tramp”, and of course, “Blue Moon.”

An opening title card provides quotes made about Lorenz Hart. The first describes him as “fun”, while the second states, “he was the saddest man.” The contrast is startling. We first see Ethan Hawke as Lorenz Hart as he stumbles and collapses in a dark alley. We then flash back seven months to March 31, 1943, the opening night of “Oklahoma!” on Broadway. Hart leaves the production before it’s over and heads to Sardi’s, where he plants himself at the bar, conversing with Eddie (Bobby Cannavale), his favorite bartender. This kicks off one of the more dialogue-heavy movies we will likely ever see … fitting for a man who excelled at assembling words.

It takes little time for us to recognize Hart’s bitterness and envy towards his former partner’s (Rodgers) success with a new collaborator (Hammerstein). He’s alternatingly condescending and profane … until Richard Rodgers (Andrew Scott) shows up and Hart turns on the fake charm. For a single setting film (rare in movies, not so rare in live theater), this one is surprisingly complex. Hart’s sexuality is hidden much better than his alcoholism. In fact, Rodgers offers to work with him again for a revival of their “A Connecticut Yankee” – but only if Hart stops drinking and behaves professionally towards their work. These are the issues that previously divided them.

Adding yet another layer is the presence of Elizabeth Weiland (Margaret Qualley). She has charmed ‘Larry’, who claims to love her … although he states, “everybody loves her.” Their relationship is askew, as he adores her and likely wants more, while she wants him to introduce her to the great Richard Rodgers. Also in the mix is a terrific sequence between Hart and the “Charlotte’s Web” writer E.B. White (Patrick Kennedy). Their wordplay nears competition and ends with what would be a Stuart Little idea. Periodically drawn into the evening’s progression is Sardi’s house pianist (Jonah Lee), who idolizes the work of Rodgers and Hart. As if all that isn’t enough, we get interactions with future director George Roy Hill (David Rawle), whom Hart counsels to concentrate on friendships (i.e., Butch and Sundance), and an obnoxiously whip smart young theater protégé named Stevie (Cillian Sullivan as teenage Stephen Sondheim).

Seemingly an odd casting decision for a short, Jewish, alcoholic man who is both miserable and talented, Ethan Hawke is absolutely terrific as Lorenz Hart. Alcoholism may destroy a partnership, and true love may constantly elude him, yet Hawke allows us to see the genius within. Hart would be dead just a few months after this painful (for him) opening night of “Oklahoma!” … leaving little doubt that his all-time favorite line was fitting: “Nobody ever loved me that much.” (from CASABLANCA)

Opening nationwide on October 20, 2025

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Posted by David Ferguson

WHERE THE WIND BLOWS (2025)

October 23, 2025

Greetings again from the darkness. If the Hallmark Channel produced a Western Romance movie, it would likely look much like this one from writer-director John Schimke, who along with co-writer Mike Maden, adapted the 2009 novel from Caroline Fyffe for the silver screen. Filmed in Montana, there are some terrific landscape shots displaying the vastness of the 19th century frontier.

Chase (Trevor Donovan, “90201”) stops into a saloon with his buddy Nathan (C Thomas Howell). While Nathan seems right at home with the booze, women, and gambling, Chase heads up to his room alone, despite the temptations of the ladies. Awakened by shots fired, Chase finds Nathan lying in a pool of blood … the result of cheating at poker. Chase rides off to inform Nathan’s wife – although he softens the tale quite a bit.

As a widow, Jessie (Ashley Elaine) finds herself with a ranch in need of a man and herself in need of a ‘pretend’ husband so that she can finalize an adoption. It turns out that Chase is not only the hunkiest blond cowboy, he’s also the most upstanding and he agrees to help her. Chase also finds many reasons to go shirtless, and Jessie, who sports entirely too much make-up for a prairie woman, doesn’t mind one bit.

Jessie has a loyal friend in town named Mrs. Hollyhock (Michelle Hurd, “The Glades”), and she’s also being stalked by the required villain drifter (Rob Mayes) … a man who is quite the contrast to our hero, Chase.  There is little doubt where this one is headed, and there are few, if any, twists or surprises along the way. Only the visuals of the setting prevent this one from being total cornball, however, these days we should be thankful for any story about a decent man who treats others well.

In select theaters on OnDemand beginning October 24, 2025

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Posted by David Ferguson

THE SUMMER BOOK (2025)

October 20, 2025

Greetings again from the darkness. Watching this film is how I imagine it would be to view a poem. It’s meditative and slow … somehow calming us as we contemplate the topics broached. Director Charlie McDowell (THE ONE I LOVE, 2014) and screenwriter Robert Jones have adapted the 1972 novel by Tove Jansson. Granted, it’s an unusual set up for a film shown anywhere outside of a film festival, yet because it is poignant and relatable, it’s an easy one to recommend.

Nine-year-old Sophia (newcomer Emily Matthews) arrives by boat on an island in the Gulf of Finland with her father (Anders Danielsen Lie) and her grandmother (8-time Oscar nominee Glenn Close). The well-worn family cabin has clearly been an annual retreat, and a simple straw hat clues us in to the fact that Sophia’s mother has recently passed away. Dialogue is relatively minimal here as we watch these three go through each day. The few interactions that occur are quite meaningful. The father, an illustrator who spends his time focused on work, is grieving deeply over his wife. Sophia is frustrated and longing for his attention. She tells her grandmother, “He doesn’t love me since she died.” It’s a heartbreaking moment.

The film’s best scenes are those with Sophia and her grandmother, a woman trying to fill a gap while also dealing with the reality of her age (a failing memory and worsening health). Grandmother is wise and recognizes this is her moment to pass along life lessons. These include social graces (with neighbors) and the joy of quiet moments. The three chip in to cultivate a struggling poplar sapling – seemingly transformed into a tribute to the departed mother and wife. A man we assume to be Sophia grandfather drops off a box of fireworks for Midsommer, and though he’s a no-show for the festivities (and duds), his inclusion of a special surprise for Sophia is a hit.

Grandmother urges her emotionally distant son to show warmth to Sophia, as she (grandmother) won’t always be around. It’s a rare film that covers grief, growing old, and growing up … any one of these would be (and has been) a central theme for many movies and stories. McDowell’s film is not one for showoff acting performances, yet Glenn Close and young Emily Matthews are so natural together, that we realize this is something special. In keeping with the film’s tone, composer Hania Rani’s score is serene, while including some wonderful piano. There is a moment when Grandmother answers a question with, “Life is long, Sophia”. She could have added, ‘except when it isn’t’.

Available on all major VOD platforms beginning October 21, 2025

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Posted by David Ferguson

RE-ELECTION (2025)

October 20, 2025

Greetings again from the darkness. Real life doesn’t offer too many opportunities for ‘do-overs’. Fortunately, movies do. Dallas born-and-raised (now Los Angeles-based) Adam Saunders wears many hats for this film that was inspired by his own life. Mr. Saunders wrote the story, directed and produced the film, and takes the lead role.

Jimmy Bauer (Saunders) is what one might call a loser (although that description has been expanded so much in recent time that it’s probably not the right one to use here). Jimmy is 42 years old. He lives in a shed behind his dad’s (Tony Danza) struggling memorabilia shop where he works since he never finished high school. Use whatever descriptive label you prefer, but realize that none of that is his biggest personal flaw. Instead, that would be Jimmy’s hang-up that his life’s turning point was losing the Senior year Class President election to Manish Singh (Rizwan Manji). 

Manish not only won that election, he also became Governor of Texas and married Jimmy’s dream girl. See, Jimmy thinks Manish stole the life that he was meant for … and rigged 8-ball giveaways were a key. Now, 25 years later, he sees a do-over is possible by going back to high school and running (again) for Class President. His overly supportive sister Shawna (Patty Gugenheim) happens to be the school Principal. Jimmy is shocked with just how out-of-touch he is with today’s high schoolers. He knows very little about social media, technology, or gender-neutral bathrooms. In fact, he thinks throwing “a kegger” is a good idea to win voters.

Jimmy does find support from Noa (Bex Taylor-Klaus), a brilliant non-binary student, and Ama (Nathalie Kelly), a teacher and former classmate of Jimmy’s. She remembers him as being very kind to her. The whole campaign is quite a spectacle, and as you can imagine, Jimmy goes through some serious growing pains. As a psychological study, it’s interesting to note that ‘coming of age’ stories once revolved around teens and twenty-somethings. These days, it’s about a 42-year-old learning what it means to be an adult and a decent human being. There is a terrific message here about life and politics. Selflessness and service to others is what matters, and living with regrets is not a path to happiness. A famous Thoreau quote is used a couple of times during the film and is even on a poster in Stan’s shop. “What a man thinks of himself, that it is which determines, or rather indicates his fate.” Saunders’ film is a brisk 84 minutes of comedy and life lessons.

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Posted by David Ferguson

GROW (2025)

October 16, 2025

Greetings again from the darkness. I’m not sure if pumpkins get short-changed with most of their attention coming only during one season, or if perhaps they receive more attention than deserved during that season. Either way, pumpkins are rarely at the center of a cinematic event … despite having their moments during animated TV specials like “It’s the Great Pumpkin, Charlie Brown” and “Spookley, the Square Pumpkin”. Director John McPhail (the excellent ANNA AND THE APOCALYPSE, 2017) sets out to change that with a screenplay by a trio of writers: Nick Guthrie (MINI’S FIRST TIME, 2006), Ruth Fletcher (“Hawaii Five-O”), and Ruth’s husband and writing partner, Christos N. Gage.

Common sense tells us that if you are going to have a family-friendly, heartwarming story, then you best include a kid worthy of attention. When we first meet young Charlie Little (Priya Rose-Brookwell, “The Lazarus Project”), she’s trying to escape from a home for abandoned kids so that she can track down her mother … a mother who left her behind to pursue the bright lights of Hollywood. Instead of locating her mother, Charlie gets connected with her Aunt Dinah (Golda Rosheuvel, “Bridgerton”). It’s not a smooth transition because Charlie is a precocious child who wants to be loved, and Aunt Dinah is a very reserved woman trying to make ends meet on her struggling Little Farm.

Mugford, the local village, is known as the Pumpkin Capital of the World, and Charlie immediately dedicates herself to winning the cash prize at this year’s contest for the biggest pumpkin. See, Charlie is not just a spirited kid, she is also one with plants – she converses with them, and feels what they feel. Charlie and Dinah enlist the help of Arlo (Nick Frost, The Three Flavours Cornetto trilogy), a local with some past success in the contest. What’s surprising here is the nefarious activities of those involved with the contest – secrets, vandalism, and outright cheating. In other words, the pumpkin contest turns into a life lesson for young Charlie who always sees the best in others – even Toby the dog.

Charlie pampers ‘Peter’, her prize pumpkin, while we get riffs on PSYCHO and THE GODFATHER, and even a use for lion dung. Supporting work comes from Joe Wilkinson (“After Life”) as Dinah’s former farmhand, Jane Horrocks and Tim McInnerny as local pumpkin legends, and Jeremy Swift (“Ted Lasso”) as a lab technician under intense pressure. The film reminds me of some of the Disney movies from the 1960’s, as it’s charming and funny, and offers up some life lessons – complete with emotional depth as the relationship between Charlie and her Aunt Dinah develops. I don’t get many full-blown family films to review, and it’s nice to see one that works on multiple levels.

Opens nationwide on October 17, 2025

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Posted by David Ferguson

STEVE (2025)

October 3, 2025

Greetings again from the darkness. You know those days when it feels like you are being pulled in all directions, and nothing seems to go right? Welcome to 24 hours in the life of Steve, the headteacher at Stanton Wood, a reform boarding college for troubled/challenging young men. This is one of those days that feels like a week. Even before he walks through the front door, he’s already getting pulled this way and that – a minute here, a quick decision there, a request for a sidebar, a need to run something by him. It’s a relentless job, heightened by the presence of a BBC documentary crew.

Writer Max Porter adapted his 2023 novel “Shy” for the big screen, and the film reunites director Tim Mielants with Cillian Murphy (Oscar winner for OPPENHEIMER, 2023), his leading man from SMALL THINGS LIKE THESE (2024) and “Peaky Blinders”. Murphy is one of the few actors who is somehow just as effective when he’s not talking as when he is. It’s a skill that benefits this film which is … choose your preferred descriptive word … frenetic, chaotic, hectic.

These students are certainly energetic and that energy often slips into a combative mode. The faculty spends an inordinate amount of time diffusing these conflicts. We only see bits and pieces of academic teaching, leaving the bulk of time devoted to life lessons and behavioral advice. Emily Watson plays the school psychiatrist/therapist, Jenny, and as with all the adults working at Stanton Wood, her heart is in the right place – regardless of the immense frustration that goes with the job. Tracey Ullman, flashing some dramatic chops, is Steve’s most supportive co-worker – and quickly expresses her displeasure at his tendency to self-medicate. Lola (Little Simz) is the newest faculty member, and she has one particularly tense scene in the cafeteria … proving her mettle in this environment.

The source novel is entitled “Shy”, and although Steve is the focus of the film, the student named Shy (Jay Lycurgo, “Titans”) seems to be a special case for Steve, and Shy’s phone conversation with his mother is the most heartbreaking moment in the film. When it is announced that the school is too expensive to run and will be shut down in six months, the presence of a local official (Roger Allam) leaves little doubt that a political message is being delivered. A recurring element finds the documentary crew asking each participant to name three words that describe themselves. Steve’s response: “very, very, tired”. He looks it and we understand. Some nice camera work from cinematographer Robrecht Heyvaert gives us glimpses of a lovely world outside the walls of Stanton Wood, whereas inside the stress is palpable.

Premiering on Netflix on October 3, 2025

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Posted by David Ferguson

SHELL (2025)

October 3, 2025

Greetings again from the darkness. Every one of us wants to look good and feel good. But how far will we go? What if our livelihood depended on looking young? There is no denying that societal pressures favor those who are pleasing to the eye, and of course, Hollywood is the poster child for rewarding beauty and youth … and penalizing, or at least ignoring, the other end of the spectrum. The second film from director Max Minghella (his first was TEEN SPIRIT, 2018) features a screenplay from Jack Stanley (THE PASSENGER, 2023), and it likely pays a price for coming on the heels of last year’s THE SUBSTANCE (2024), a body horror film with a similar theme, but one that was far more extreme.

The film opens with a terrific sequence with the rarely seen Elizabeth Berkley (SHOWGIRLS, 1995) as Jenna Janero. The sequence firmly establishes that we’re in for a ‘body horror’ ride; although unfortunately, this is one of the best scenes for quite a while. We then meet Samantha Lake (Elisabeth Moss, “Mad Men”), a struggling actor who has hit the dreaded age of 40 – a poor ‘choice’ in Hollywood. Sam’s career peak seems to have passed her by and now she’s auditioning for roles against much younger actors – including Chloe Benson (Kaia Gerber, SATURDAY NIGHT, 2022), whom Sam babysat years ago.

After a professional nudge, Sam finds herself at Shell Corporation, a strange place that promises its clients vitality and the end of aging. The Director and face of the company is Zoe Shannon (Kate Hudson, ALMOST FAMOUS, 2000), a 68-year-old woman who doesn’t look a day over 40. Not surprisingly, delivering youth to women is extremely lucrative, and Zoe lives her luxurious lifestyle in a stunning mansion. Oh, there is a downside … some clients have to be ‘disappeared’ when the side effects pop up.

Dressed in a ridiculous oversized Columbo trench coat (supposedly to trick us into believing Ms. Moss is a hefty woman), Sam is a bit reluctant at first to join the Shell program. All it takes is handsome and smooth-talking Dr. Hubert (Arian Moayed, “Inventing Anna”) to ease her into the program. Soon Sam and Zoe are buddies and spending a great deal of time together, relishing their youthful looks and subsequent riches.

Of course, all fantasies must come crashing down at some point, and although her psoriasis is gone, the side effects cause the worst Vanity Fair interview in history, and lead to an extreme third act. Dr. Thadeus Brand (Peter MacNicol, “Ally McBeal”), the inventor of Shell returns for Sam’s debrief. His use of lobster enzymes comes into play, resulting in a sequence of splatter.

It’s a bit odd that the film never capitalizes on women taking power, or even taking control of their own life. Although Kate Hudson does nice work here, I couldn’t help but think that casting Gwyneth Paltrow would have added a touch of irony. Este Haim provides a bit of support work as Sam’s assistant and friend, and the focus pretty much remains on the obsession/pursuit of youth and beauty – at any cost. Director Max Minghella is best known as an actor (“The Handmaid’s Tale”) and as the son of Oscar winning director Anthony Minghella (THE ENGLISH PATIENT, 1996). It’s likely meant as satire, but the film strikes so close to today’s societal pressures, especially on women, that we can’t help but be a bit saddened by it. One thing’s certain … there was a missed opportunity for the B52’s “Rock Lobster”.

In Select Theatres & On Digital October 3, 2025

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Posted by David Ferguson

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