WENT UP THE HILL (2025)

August 15, 2025

Greetings again from the darkness. In the Mother Goose nursery rhyme, Jack and Jill not only went up the hill together, they also tumbled down. This latest from writer-director Samuel Van Grinsven and co-writer Jory Anast spin a Jack and Jill yarn that’s not nearly as cutesy, yet does involve some emotional tumbling … and one creepy spirit.

Horror film aficionados are accustomed to possession-themed stories, where someone from beyond takes over the body of one still living. The twist here … and it’s a good one … is that the spirit of Elizabeth actually (and regularly) switches between not one, but two characters who are both important to her. Elizabeth was a renowned artist who opted for a way out, leaving behind her two great loves – her wife Jill (Vicky Krieps, PHANTOM THREAD, 2017) and their stunning mountain lake home (the Southern Alps of New Zealand).

On the day of the funeral, Jack (Dacre Montgomery, very good in the upcoming WHAT WE HIDE, 2025) shows up, claiming Jill invited him by phone. It’s clear Jill has no idea who he is, or that Jack is Elizabeth’s only child – one given up many years ago for reasons that aren’t clear until much later. Elizabeth’s sister, Helen (a terrific Sarah Peirse) has kept the family secret all this time.  Jill invites Jack to stay at the house, despite Helen making it obvious his presence is not appreciated.

Speaking of presence … we never see Elizabeth, but we know she’s there (and there). Jill sleeps next to the coffin, and every time she and Jack fall asleep, Elizabeth’s spirit does her thing. Mood and atmosphere are key here, and everyone (including Jack, Jill, and us viewers) is confused as to what the spirit of Elizabeth is trying to accomplish. Does the spirit want Jack and Jill to have the relationship that mom and son never did? Or is the spirit focused on having her beloved wife, and possibly the long lost son as well, join her in her new locale? The goal isn’t always clear, but it is always a bit creepy … which is good for the movie.

Cinematographer Tyson Perkins likely had a blast working with the combination of skilled actors, a stunning modern house, and the geographic terrain which could be both beautiful and treacherous – although the number of ‘eyeball shots’ were a bit eerie. A not so minor complaint is in regard to the low-level dialogue, which was exceptionally difficult to hear at times. Still, the acting here is superb, as is the piano-based score from composer Hanan Townshend (TO THE WONDER, 2012), and kudos to a horror movie that’s neither slasher, sequel, nor re-tread.

Opening in theaters on August 15, 2025

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Posted by David Ferguson

EAST OF WALL (2025)

August 15, 2025

Greetings again from the darkness. Kate Beecroft’s first feature film as writer-director can be accurately described as a biographical-drama, yet we can’t help but wonder if a straight documentary could have been equally interesting. In no way is that meant as a criticism of the film, it’s just that most of the cast (with only a couple of exceptions) is made up of non-actors playing versions of their real-life selves … and each one of them holds our attention, leaving us wanting to know even more.

Tabatha Zimiga is a tough-looking mom who runs a 3000 acre horse farm near the Badlands of South Dakota. She’s a horse trainer and trader, and is known as a ‘horse whisperer’ (her abilities are so renowned, some even jokingly refer to her as a witch). The auction prices on her horses have dropped recently, adding stress to Tabatha’s existence. Not only did her husband die, leaving her to run the farm, but she’s also the one who welcomes local kids to live at her place when things don’t go well at their own home. As noted by the signs of blight in the area, poverty is commonplace, and some folks can’t handle the added burden of kids. In fact, Tabatha currently has seven teenagers and her own three-year-old son to care for – so the reduced price for horses puts many in peril.

One of the teenagers is Tabatha’s fourteen-year-old daughter, Porshia, a champion rider who markets the horses on TikTok … while also going through the moods of a teenager who no longer has her dad. Also on the farm are Tabatha’s mother Tracey (played by the always excellent Jennifer Ehle, SAINT MAUD, 2019) and Tabatha’s boyfriend Clay. Tracey seems best suited to smart-aleck remarks as she brews her own moonshine. Tabatha calmly and firmly runs the show, knowing full well how dependent the kids are on her.

After one of the auctions, Roy Waters (Scoot McNairy, A COMPLETE UNKNOWN, 2024), a cocky rancher from Fort Worth, Texas makes an offer to Tabatha. He will buy the ranch and allow her and the kids to continue living and working there to build the horse trading business. He recognizes the value in having a horse whisperer of Tabatha’s caliber. One can imagine how angry this makes Porshia, as it’s the only home she’s ever known, and the farm carries all memories of her late father. It’s here where the film slips a bit, as the interaction between Tabatha, Porshia, and Roy seems a bit clunky, leaving us to fill in a few too many gaps.

Cinematographer Austin Shelton does a terrific job at capturing the unique terrain of the area, as well as the near chaos of the energetic kids. Periodically, the music is a bit too strong for the scene, but there is something true and honest here as we ask ourselves, “what makes a family?” It certainly seems like Tabatha knows.

The film opens on August 15, 2025

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Posted by David Ferguson

ANGELHEADED HIPSTER: THE SONGS OF MARC BOLAN & T. REX (2025, doc)

August 12, 2025

Greetings again from the darkness. Is it possible to be a rock star that no one has heard of? Well, in a way, that’s what happened to Marc Bolan. In Great Brittain, Bolan and his band T. Rex drew huge crowds and had a massive fan base, whereas in the United States, they had only a small cult following (which meant very little record sales or radio airtime). Ethan Silverman (he of previous short films and music videos) conceived of this record album/documentary combination, and in 2020 set out to make the project come to life.

This may be the only ‘making of an album’ documentary that doesn’t feature a single complete song being recorded. Instead, Silverman treats us to a revolving studio door of musicians who have come to pay tribute to the influential Bolan by recording one of his songs. The lineup includes such artists as U2, Nick Cave, Joan Jett, Beth Orton, Maria McKee, The Orwells, Macy Gray, Snarky Puppy, Lucinda Williams, Kesha, and the multi-talented John Cameron Mitchell. Unfortunately, missing from the action is David Johansen (passed away earlier this year), whose version of “Bang a Gong” is an album highlight, and whose band New York Dolls were assuredly influenced by Marc Bolan.

What really makes this a gift for us Marc Bolan fans is the stream of archival interviews and concert clips, many of which we’ve never seen before. Glitter band, glam-rock, or androgyny – however you choose to describe it, there is no denying Marc Bolan was a pioneer. He, along with David Bowie, brought a new look and feel to music … turning rock concerts into theatrical productions. Bolan and Bowie were colleagues, friends, and rivals and Silverman plays clips of each discussing the complicated relationship and respect the two shared. They set the stage for acts like Alice Cooper, KISS, Queen, Def Leppard, and even R.E.M. It’s also mentioned how Bolan’s understanding of production led him to take full advantage of color TV, which was then entering mainstream.

The concert clips are undeniable proof of Marc Bolan’s charisma, showmanship, and talent. The feedback and tributes from other artists make his songwriting excellence clear to the rest of us. We even get a concert clip of young Elton John playing keyboard with T. Rex, and Ringo Starr discussing Bolan’s influence on “Back Off Boogaloo”, Ringo’s 1972 hit single. Bolan’s partner, singer Gloria Jones, is the mother of his son Rolan. She provides some memories, while Rolan sings backup on some recordings prior to showing us his family photo album. There is a terrific clip of Marc Bolan (as TV host) introducing a hot new band, Generation X featuring Billy Idol, who also contributes his own recollection of Bolan.

The 25-song album was produced by Hal Willner, whose career touched so many artists (Marianne Faithful, Lou Reed, Lucinda Williams). Willner passed away in 2022, and he’s a steady studio presence throughout the film. A musical highlight here is Nick Cave’s moving version of “Cosmic Dance”, allowing his haunting voice to capture those lyrics. Marc Bolan died in a car crash in 1977 at age 29. The album has been available, and Silverman’s documentary is now beginning a rolling theatrical run.

A tiered theatrical release begins August 8, 2025, opening in various cities each week through September 13, 2025. It will become available on Digital beginning September 5, 2025.

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Posted by David Ferguson

Book Review: READY FOR MY CLOSE-UP – THE MAKING OF SUNSET BOULEVARD AND THE DARK SIDE OF THE HOLLYWOOD DREAM (2025)

August 11, 2025

“READY FOR MY CLOSE-UP”, author David M Lubin

The Shark Movie. The Wicked Witch Movie. The Prison Escape Movie. The Jury Room Movie. The Holocaust Movie. The Angel Gets His Wings Movie. Most every movie lover can name these from the rudimentary description, and for his latest book, author David M Lubin selected yet another instantly recognizable film … The Swimming Pool Movie, officially known as SUNSET BOULEVARD (1950). That opening scene with the body floating face down in the swimming pool of a gothic mansion is instantly seared into the mind of all who watch.

When setting out to write a book about a 75-year-old classic movie, the writer must know that their own passion for the project will be matched (and possibly eclipsed) by those in the limited prospective audience – those obsessed with the movie and with Hollywood lore. As one who falls into that category, it is with immense pleasure that I report author Lubin delivers the goods to satisfy any and every cinephile. All fans of SUNSET BOULEVARD will most assuredly be fascinated by, and appreciative of, the exhaustive research required to pull this off.

Lubin chooses an unusual structure for the book. It’s not told in storybook form, but rather in chapters – sometimes seemingly unrelated – that blend to take us behind the scenes, as well as profiling those involved with the production. This serves as a history lesson plus a character study, and also as a glimpse of the movie-making process. As a result, we better understand what went in to producing this stellar feature, while also self-reflecting on what we as viewers have taken from the film. What did it mean to us? How do we interpret the characters’ actions and motivations? There is a distinct possibility that your views might shift a bit after taking in all the book offers.

A significant chunk is dedicated to the film’s co-writers, six-time Oscar winner Billy Wilder (who also directed) and three-time Oscar winner Charles Brackett (who also produced) and D.M. Marshmann Jr. The three men shared the Best Writing Oscar for the film, while Wilder and Brackett were frequent collaborators on other classic films like NINOTCHKA (1939) and THE LOST WEEKEND (1945). Lubin excels in diving into this complicated professional relationship between two men who couldn’t have been more different from one another, yet who also brought out each other’s best work.  They even argued about that now iconic opening swimming pool sequence.

Of course, many movie lovers care most about what goes on in front of the camera, so Lubin provides, in absorbing detail, much about William Holden, Erich von Stroheim, and the amazing Gloria Swanson. When this film is discussed, many enjoy noting the similarities between Ms. Swanson’s actual career and that of her Norma Desmond. Viewers often describe Norma as a relic of the past. It should be noted that Ms. Swanson was fifty years old during production, and as contemporary comparisons, Sandra Bullock is now 61, Nicole Kidman is 58, Julianne Moore is 64, while Naomi Watts and Julia Robers are both 57. Turning 50 in 2025: Charlize Theron, Kate Winslet, and Angelina Jolie. Perhaps Ms. Swanson deserves even more accolades for her performance. Yes, Hollywood and societal judgments have shifted when it comes to middle-aged women, and we are much the better for it. Author Lubin does not make these contemporary comparisons, but his writing motivated me to do so.

Also deserving of the expansive write-up in the book is Erich von Stroheim. Few have combined success behind and in front of the camera like von Stroheim. He even directed Gloria Swanson in his 1929 silent film QUEEN KELLY … this more than thirty years prior to portraying her dedicated and enabling valet, Max Von Mayerling. Erich von Stroheim’s background and career could carry its own book, and Lubin does a terrific job painting a portrait of this proud man. William Holden gets the expected coverage, but as with his struggling screenwriter (and narrator) Joe Gillis, he’s overshadowed by the more colorful and intriguing characters. Even renowned filmmaker Cecil B DeMille (Oscar winner for THE GREATEST SHOW ON EARTH, 1952) is given his due for portraying a gentile version of himself. Others receiving brief coverage include Nancy Olson (now 97 years old), Fred Clark, Jack Webb, (famed Hollywood columnist) Hedda Hopper, and one of the all-time greats, Buster Keaton.

Lubin details the difficult search for the perfect mansion, and even once they found it, a swimming pool had to be constructed. The challenges in creating the script make for fascinating reading, and for anyone who believes filmmaking is a precise science, this book cracks the façade known as the magic of Hollywood. Movies are made by humans and humans are flawed … perhaps Hollywood humans more so than average. Lubin goes head-on with the theory that this classic film bashes the Hollywood system for what it does to those whose lives are intertwined with it. Through his meticulous research and many pointed observations, Lubin challenges us to re-think our interpretation of the film. What more could one ask from a book on ‘The Swimming Pool’ movie?

The book releases on August 12, 2025

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Posted by David Ferguson

SHE RIDES SHOTGUN (2025)

August 1, 2025

Greetings again from the darkness. “A gritty thriller” is a frequently used description that, when heard or read, typically elicits red flags from this movie watcher. However, exceptions to the rule are welcome and writer-director Nick Rowland (CALM WITH HORSES, 2019) has delivered just that with this adaptation of Jordan Hopper’s 2017 novel. The screenplay is co-written by SUPER DARK TIMES (2017) collaborators Ben Collins and Luke Piotrowski.

Eleven-year-old Polly (a remarkable Ana Sophia Heger, “Life in Pieces”) is lounging in the park, waiting for her beloved mother to pick her up after school. The minutes roll by until the final teacher departs, leaving Polly with no way home. Polly’s observant and intense blue eyes follow a speeding car as it pulls up near her. She recognizes the father she hasn’t seen over the years he’s been in prison. He exerts pressure on her to get in the car, despite her reticence. Nathan (Taron Egerton, ROCKETMAN, 2019) has a buzzed head, a chiseled physique, and a tatted-up body. His appearance is unquestionably frightening to the young girl.

Polly notes the car is stolen and that Nathan is wearing her stepdad’s hoodie. When they check into a motel, we all assume she’s been kidnapped. As dad naps, Polly sees a TV news report depicting the murder of her mother, her own kidnapping, and the key suspect … dear old dad. There is plenty of familiar territory covered as the two go on the lam, trying to avoid the police and ‘Steel’, the Aryan faction that is seeking revenge on Nathan’s disloyal actions in prison. A “Green Light” (hit) has been issued for Nathan and his family, including Polly. It turns out Nathan is actually trying his best to protect her.

Cinematographer Wyatt Garfield (A DIFFERENT MAN, 2024) works wonders with the New Mexico landscape, as well as the intimate scenes that follow. We feel the tension and danger thanks to the camera work and the developing bond between Nathan and Polly. There’s the mandatory car chase scene and at least three shootouts, the last of which is quite impressive. We also get good cop versus bad cop. Crusading detective John Park (Rob Yang, THE MENU, 2022) wants nothing more than to shut down the local meth lab known as Slab Town, while corrupt and menacing Sheriff Houser (FARGO’s John Carroll Lynch playing against type) relishes his opportunities to torture and wield power.

Despite the familiar territory covered … and the similarity in style to the outstanding Taylor Sheridan film, HELL OR HIGH WATER (2016), there is plenty here to keep our attention and justify the ‘gritty thriller’ description. Redemption is often beyond reach for some, but the effort means a great deal.

Opens August 1, 2025

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Posted by David Ferguson

HELLCAT (2025)

July 26, 2025

Greetings again from the darkness. Make sure you have your popcorn ready because there’s no warmup for this one. It starts quickly. Lena awakens in the back of a trailer that’s speeding down the road. She’s battered and disoriented. I’ll admit to not being familiar with writer-director Brock Bodell or lead actor Dakota Gorman prior to watching this, yet both left excellent impressions.

Gorman plays Lena, a character who experiences a wild emotional and physical ride – most of it in the back end of that trailer. Any real spoilers for this one would be inexcusable, so I’ll tread lightly. A jolted Lena regains her bearings and ends up communicating with the driver through a device hidden in a mounted wolf’s head. The driver, Clive (Todd Terry) tells her (more than once), “I’m a good man. An honest man. A hunter.” It’s like his mantra, and we later learn the origin.

Clive informs Lena that she’s been “infected”, and he’s her only hope of getting to the hospital in time for treatment. She experiences periodic flashes of memory, but can’t quite place where she was or what she was doing prior to waking up in the trailer. She just knows she’s pregnant and being held captive in a claustrophobic moving vehicle by an unseen driver.

The twists that occur expose Clive’s beliefs and the reason their destination is ‘Golly World’ (definitely different from Wally World of FAMILY VACATION fame). It does take most of the runtime for us to comprehend the reasons for his actions, as well as the identity of the other girl Lena discovers hidden away in the trailer. An encounter with a local law enforcement officer (Jordan Mullins) does little to improve Lena’s situation, but does act as a reminder that extremists are everywhere these days.

The radio talk show host (with listeners of a particular ilk) has the film’s best line … “This ain’t exactly NPR” … a statement all too relevant given the recent de-funding by the government. The evening’s full moon plays a role as Clive, the would-be hunter, pulls off one true shot. Dakota Gorman delivers an impressive physical and emotional performance, while filmmaker Brock Bodell shows a knack for twists and tension.

World Premiere at Fantasia International Film Festival on July 25th

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Posted by David Ferguson

LAST SWIM (2025)

July 25, 2025

Greetings again from the darkness. What a downer this one is! That may seem a harsh thing to say about a movie, but it’s actually a compliment to writer-director Sasha Nathwani on his first feature film, co-written by Helen Simmons. Few films take on the reality of life that can sometimes be cruel or even savage. This film, and the young(ish) performers never shy away from the tough stuff, and the result is a film that’s not a pleasure to watch in the traditional sense, but quite so from a human perspective.

Ziba (the stunning Deba Hekmat, HOARD, 2023) is dealing with a serious (and unspecified) medical issue that requires medication and regular blood tests. The doctor needs her to come in to learn the latest results – the kind that won’t be revealed over the phone. Instead, it’s A-level results day, where students receive their final term grades. This is followed by a group of friends gathering to hang out and chill. Ziba is Iranian-British and her grades, her friends, and her instructors all recognize her as a brilliant student … yet she alone carries this secret.

Ziba and her best friends and fellow students: Tara (Lydia Fleming), the rambunctious one; Shea (Solly McLeod), the somewhat self-conscious tough guy; and Merf (Jay Cycurgo), the mysterious one, are joined for the day by Malcolm (Denzel Baidoo), a footballer who just learned that he’s been cut by his team. This is the first meeting between Ziba and Malcolm, and everyone senses the immediate attraction.

The day proceeds as the group hangs out and chats. Ziba tosses out a big question, “Are you a good person?” Confessions and self-reflection take over as the group goes down the line. By this time, the others have noticed something is amiss with Ziba. She continues to speak of her future at UCL (University College of London), yet her goody-two-shoes reputation takes a hit or two. It’s her love of astrophysics that inspired her to fill out the night section of the day’s schedule with the rare celestial event (meteor shower) that will wow the group.

An overall pretty good day leads to a shocking turn and has Ziba questioning the last entry on the day’s schedule … one that only appeared on her copy. Above all, filmmaker Sasha Nathwani captures the power and intimacy of close friends, and how this support is so crucial to life’s decisions (even the secret ones).

Available on VOD beginning July 25, 2025

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Posted by David Ferguson

OH, HI (2025)

July 25, 2025

Greetings again from the darkness. One of the benefits of watching so many movies each year is the exposure to various generations negotiating their way through a variety of genres. That ‘benefit’ can sometimes be painful, as in this latest from writer-director Sophie Brooks (THE BOY DOWNSTAIRS, 2017). Despite cringing at the trailer, I agreed to watch this because I’m a fan of the two lead actors.

Iris, played by the film’s co-writer, Molly Gordon (“Animal Kingdom”, SHIVA BABY, 2020) and Isaac, played by Logan Lerman (“Hunters”, THE PERKS OF BEING A WALLFLOWER, 2012), are a couple heading to a rented farmhouse for a romantic weekend getaway. On the drive, each takes the appropriate part (Dolly and Kenny) as they harmonize to “Islands in the Stream”. It’s a typical rom-com moment for a (so-far) typical rom-com couple. An odd encounter at a roadside strawberry stand puts us on notice, without making anything too obvious. The farmhouse is quaint with a beautiful view … a perfect setting for the couple to initiate intimacy on the sofa, in the pond, and even in bed.

After Isaac prepares a romantic dinner, including scallops, the two head upstairs to toy around with the actual toys hidden in the closet. Soon Isaac is cuffed to the metal frame bed and the two are arguing quite fiercely about the ground rules for their relationship. In fact, Isaac doesn’t believe it’s an actual relationship, while Iris argues that he made scallops, so things must be serious! This is where filmmaker Brooks takes a mighty swing, and some will say it’s an absurd whiff, while others might view this as maximum creativity. Either way, it’s a narrative risk that borders on preposterous.

Iris leaves Isaac cuffed to the bed and tries to bargain for time to convince him that they are the perfect couple and deserve a chance. The next development certainly makes defending the film even more difficult. Iris calls her friend Max (Geraldine Viswanathan, BLOCKERS, 2018) and her beau, Kenny (John Reynolds, “Search Party”) to join her in this crime of captivity. When her friends agree to support Iris, soon a witch’s spell is conjured in hopes of finding a way out of the crime that Kenny’s obsession with “Law & Order” has detailed.

Personally, I prefer my rom-coms with a twist and a dose of dark comedy. I’m not sure what to call this or how to support the efforts. Isaac may not be a great communicator as a partner, and Iris may have some type of mental disorder, but the arrival of friends should have taken this down a different path. Kudos for attempting to salvage the ending, but mostly I would recommend caution when serving scallops for dinner.

Releasing on July 25, 2025

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Posted by David Ferguson

EDDINGTON (2025)

July 17, 2025

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

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

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

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

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

Opens in theaters on July 18, 2025

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Posted by David Ferguson

SORRY, BABY (2025)

July 17, 2025

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

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

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

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

Opening in theaters on July 18, 2025

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Posted by David Ferguson

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