Oscar Restrepo’s obsession with poetry brought him no glory. Aging and erratic, he has succumbed to the cliché of the poet in the shadows. Meeting Yurlady, a humble teenager, and helping her cultivate her talent brings some light to his days, but dragging her into the world of poets may not be the way.
A Poet is directed by Simón Mesa Soto director of Amparo (2021).
A Poet is the story about a man who is hated by just about everyone in his life and fails to confront as to why. But over the course of the film we slowly see him starting to try to be a better person and finding himself through poetry. The writing combined with some very solid performances makes for a wonderful character study driven film that is bound to leave the viewer impressed.
Ubeimar Rios’s performance is quite excellent here, there is a lot of depth to his character Oscar. We see early on in the film how he has completely lost himself, he’s self-sabotaging his life and even his failure as a father. Rios does such a wonderful job of making you dislike Oscar at first but then slowly turning the ship around for him as a character where you start to root for him to change. There’s character moments here that capture the theme of wanting change in this raw way which in turn helps the viewer connect with Oscar. The little moments of Oscar finding himself through poetry is incredibly rewarding to the viewer as you feel like you have been on this journey with him.
Rebeca Andrade as Yurlady is also fantastic, every scene with Andrade and Rios interacting is where the film is at its best. It’s worth noting that both Rios and Andrade are not professional actors, which only makes their presence all the more natural during the mentor scenes. It also helps that we get insight into the lives of their characters Oscar and Yurlady almost serving as this daily life sort of feel. We don’t get as much information about Yurlady as we do about Oscar (which is to be expected the film revolves around him.) but we do get just enough to piece everything together.
The writing is very well done, the theme of change is present throughout the film and it works perfectly with this comedic yet sad atmosphere that is felt throughout the experience. The script is able to capture the complexities of Oscar as a character, he’s both frustrating and fascinating at the same time. Oscar is discomforting to watch yet also gripping, there is such a wonderful balance that’s thrown into the mix that makes the film all the more effective.
Overall A Poet is a really interesting story that is told in this balanced and fascinating way that sticks with the viewer. The performances help keep the story moving along and leaves on a very worthy end.
When their evil enemy resurfaces after 16 years, a group of ex-revolutionaries reunite to rescue the daughter of one of their own.
One Battle After Another is directed by Paul Thomas Anderson director of Hard Eight (1996), Boogie Nights (1997), Magnolia (1999), Punch-Drunk Love (2007), There Will Be Blood (2007), The Master (2012), Inherent Vice (2014), Phantom Thread (2017) and Licorice Pizza (2021).
Paul Thomas Anderson continues to show why he is a master at his craft with One Battle After Another, a film that right out the gate immediately hooks the viewer into the film with its suspenseful and rich atmosphere, its sneaky score that creeps on you and its characters who truly make the film’s world feel complete. The beginning moments of the film start off with such a high note that the film keeps that note high as we get deeper and deeper into the film, which ultimately leads to a truly thrilling and powerful experience.
The performances are all fantastic here, each of the cast are able to bring something to the table that makes the film shine incredibly brightly. Especially when it comes to how perfectly the cast bounces off of each other when it comes to the dialogue. We get louder moments, we get humorous moments and we get a ton of quiet moments that are filled to the brim with tension.
Leonardo DiCaprio turns in a phenomenal performance, he plays Pat Calhoun/Bob Ferguson a member of the French 75. DiCaprio does a phenomenal job of playing this washed-up former member of this revolutionary group while also trying to be the best father he can be for Willa Ferguson (played by Chase Infinti), there are tons of wonderful moments between the two that are truly powerful. DiCaprio already being a phenomenal actor especially helps, because a role like Bob Ferguson is a bit demanding. There is this balance of humorous and suspense that needs to be captured in order to fully work and luckily that is the case for DiCaprio, underneath more humorous moments there’s a bit of pain that Bob displays and it’s noticeable to the viewer throughout the film. This is a very different performance from DiCaprio’s last couple of roles and he absolutely nails it.
Although Teyana Taylor sort of disappears from the film during the second half, her presence and what her character Perfidia does to help set up the film is felt throughout the experience. Teyana Taylor gives a powerhouse performance that instantly brings the viewer into the film’s world. The body language and her dialogue during the film’s intimidating moments with Steven J. Lockjaw (played by Sean Penn) shows another example of how much of a fantastic actress Taylor really is. The way she captures fear, determination and such really brings together on just how raw her performance really is.
Sean Penn is terrifying there is no other way to describe his performance, sure there are moments where the film is clearly making fun of him and a far right group known as “The Christmas Adventure Club” but make no mistake Steven J. Lockjaw is terrifying and truly evil, when he says lines that are meant to be comedic you feel this strong case of ire and hatred in his voice that never leaves your mind. The way Lockjaw escalates situations and how they can go from bad to worse just by Lockjaw entering the frame is truly haunting. Sean Penn is really great here and especially delivers scene in particular with Chase Infiniti.
Benicio del Toro and Regina Hall are both excellent here as well, Benicio del Toro gives a very likable and quite entertaining performance as Sergio St. Carlos, he gets one of the film’s most memorable scenes that feels like a large in scale thrilling atmosphere nuke that hits the film and makes it even more fascinating. Benicio del Toro also works incredibly well with Leonardo DiCaprio, the whole scene with the hidden passage that Sergio helps Bob to try and escape Lockjaw’s men is absolutely thrilling and filled to the brim with this scale that Benicio brings perfectly. Regina Hall only has a handful of scenes but does have one particularly strong moment that is incredibly memorable and very well acted, it can be argued that we did not get enough about her character Deandra but from what we got she contributed to the film’s story and world in this subtle and beautiful fashion.
Lastly there is Chase Infiniti who gives a star making performance, Infiniti plays Willa Ferguson who the film really puts us in the eyes of. Yes Bob is the main character of the film and we follow him the most out of everyone, however this very much feels like Willa’s story. It’s a story of where this ruined world is like hereditary being passed down until it reaches Willa’s generation and Infiniti does such a fascinating job of showing the pain and body language of someone who was caught up in the middle of everything. Willa’s bond with Bob evolves over the course of the film and sticks the landing due to how raw Infiniti’s acting really is, there is so much power put into her performance. One particular scene with Sean Penn is truly fantastic and captures this sense of survival in her eyes that is truly mesmerizing. We are going to be seeing a whole lot more of Chase Infiniti because this performance was truly something special.
The writing is fantastic, the film takes a horrifying world and scenario that has plenty of genuinely terrifying moments. Yet is able to add humor and hopeful moments is truly beautiful at the same time, the character writing in particular is so well done here. Each of the characters as I’ve described earlier are given something to contribute to make the film feel complete and they all succeed, there’s also this depth we get from each of them that is truly meaningful. Even if we physically don’t see Perfidia or Deandra for a number of scenes their presence is still felt and on its own gives them this character development. It’s a truly fascinating technique that not many filmmakers, writers and such can master but in the case of One Battle After Another mastery is all over the place.
Finally there is the technical parts of the film, the cinematography from Michael Bauman brings the film’s most memorable scene which some simply call it “The Hill scene” it’s a thrilling and a quiet yet explosive scene that captures the film’s atmosphere in a matter of seconds. The score from Jonny Greenwood is wonderfully done and truly paints the thrilling picture in a number of these scenes, some tracks start quietly and eventually keep growing in this subtle and careful way that creeps on the viewer. The large in scale nature of the film combined with the atmosphere works effortlessly, there’s so many moments where you are just looking around in the background of the film, there’s so much to explore in this giant painting that only adds more and more.
Overall One Battle After Another is a fantastic film and one of the year’s best, it’s an incredible experience that brings the viewer in almost immediately and never lets you go.
One Battle After Another is available on all VOD platforms
After a tragic event, a woman finds herself alone while everyone else continues with their lives as if nothing had happened.
Sorry Baby is directed by Eva Victor which is their directorial debut.
Sorry Baby is one of the most authentic films of the year, tackling the topic of sexual assault and the struggles of depression that comes with it is already a challenging task. But what Eva Victor does here is truly something special, not only do they tackle this in a way that’s incredibly real and flat out honest. But there is so much empathy and the film never loses track of its heart and soul, the humor is done in this clever way that brings these characters to life. Combining all of this makes for a unique watch that is unforgettable.
Eva Victor as Agnes is one of the best performances of the year hands down, the moment we are introduced to Agnes we get this raw feel. A woman who’s living her everyday life just like the average person, Victor does an excellent job of portraying this especially when it comes to having conversations with the rest of the cast. When the sexual assault eventually takes place, Victor’s performance becomes devastating. We can see the trauma eating away Agnes and showing trauma evolves over time and never really goes away. Underneath all of that however is shining heart that is Eva Victor’s performance, there’s this certain beauty and moving element that remains throughout this film.
One huge moment is Agnes having a conversation with Pete (played by John Carroll Lynch), the acting from Eva is truly fantastic here and the way they are able to constantly switch from many different feelings so effortlessly is truly incredible. Eva Victor captures depression in this way that everyone can identify and there were parts where I did see myself in Agnes. Agnes is a real character going through a terrible situation that happens to so many people and the way Victor portrays Agnes is truly magnificent.
The supporting cast is also fantastic here, Naomi Ackie, Lucas Hedges and John Carroll Lynch especially. Ackie and Hedges give very raw performances and capture the friend role perfectly. John Carroll Lynch has a huge moment towards the end that really fills in this type of person who is the kind of nice at a certain moment that you need. It’s an honest and beautiful performance that is one of the film’s many highlights.
The writing from Eva Victor is exactly what you would think of when someone says “a film that tackles its subject matter in a very grounded way.” The film starts out as any normal day and then quickly gets into its subject matter that so many people unfortunately went through. As I said before Victor tackles this in a very honest way, Victor shows the very real aftermath of sexual assault. It’s horrifying and we see Agnes trying to make sense of what happened. The film does not show the sexual assault instead the camera has this still frame outside of the house, we see it turn from day to night and that’s when Agnes emerges from the house with a silent track home. It’s an incredibly effective decision that gets the point across to the viewer effectively.
Yet underneath all of this as I said before there’s this light, Victor mixes in some humor, there are moments of beauty in small yet effective actions of humaneness. There are moments of healing, there is a small moment of a stray cat that Agnes finds and decides to take in. It’s a beautiful moment that tells the viewer a lot about Agnes as a character with only her actions. The theme of moving forward is also present here, the film does not really have an answer as to what moving on exactly is. That’s the sort of thing that varies from person to person, however the film does leave the viewer on a hopeful note one that is truly meaningful and powerful.
Sorry Baby is a powerful film that will leave the viewer with this certain level of beauty in its impact. The film manages to be funny, painful and loving all at the same time. Eva Victor’s level of attention to detail with the character writing of Agnes plus their direction is truly remarkable. Eva Victor is a name we are going to be seeing and hearing for a very long time.
Abruptly laid off after 25 years at the same company, a desperate man goes to extreme lengths to eliminate the competition for the job he wants.
No Other Choice is directed by Park Chan-wook director of Sympathy for Mr. Vengeance (2002), Oldboy (2003), Lady Vengeance (2005), The Handmaiden (2016), Decision To Leave (2022) and many others.
No Other Choice is yet another masterful piece of work from Park Chan-wook, it’s a film that captures so many different sort of themes all in one quiet yet effective film that gets progressively more and more absurd as it goes on with several different exploration points to bring this wonderful film together.
The performances are all phenomenal, each of the cast bring their own effective style into the film that matches the clever atmosphere. Lee Byung-hun as Yoo Man-su is a prime example of this, he brings this relatable and believable character who has this complex antihero traits. He has the worry, frustration and sadness of losing a job all of which combined together leads to the film’s very absurd moments that feel all too real, Lee Byung-hun captures all of this masterfully and even captures the film’s dark humor when the film requires the actors to do so. His subtle performance that combines humor with beautiful and striking quiet moments lead to Lee Byung-hun to give one of the best performances of 2025.
Son Ye-jin who plays Lee Mi-ri, Man-su’s wife is another huge part of why this film works so well. Much like Lee Byung-hun, Son Ye-jin gives this effective performance that captures the atmosphere almost immediately, her interactions with Lee Byung-hun feel incredibly raw and have this beautiful support to it that really feels like a wife who deeply cares about her husband. There are so many beautifully done moments with Lee Mi-ri that it’s truly fascinating. Her subtle facial expressions and discussions she has with the rest of the characters truly shines through.
The writing is masterful work, that is not a huge surprise given how excellent of a writer Park Chan-wook is, however he goes for something very different here. While there are bound to be comparisons to Bong Joon Ho’s Parasite (2019), No Other Choice is going for something very different and even goes about the whole theme in different ways. The main theme here is the loss of a job, what happens when you put all of your time and energy into your job. When you are compared, visible only when you need to be exploited, what happens when all of that time and energy you put into your job was taken due to the higher ups. You are suddenly fired, you have this built up rage inside of you that you want to release badly. No Other Choice explores all of this in great detail and truly brings it all together masterfully, it all feels very raw and brutal that truly brings the film to another level.
The film’s dark comedy is an added bonus that helps make the film not become way too dark, there’s a beautiful balance here that is subtle, careful and leads to some genuinely funny moments. A lot of the comedy comes from the body language of the characters and how they express their words, it is not done in this over the top way. They are done in this relatable reactions that feel quick and straight to the point, there is so much layers to the film’s comedy that is truly fascinating.
Overall No Other Choice is a fascinating film that truly captures its themes and delivers with its characters!
No Other Choice releases in theaters December 25th!
Famous movie star Jay Kelly and his devoted manager, Ron, embark on an unexpectedly profound journey through Europe. Along the way, both men confront the choices they’ve made, relationships with loved ones, and the legacies they’ll leave behind.
Jay Kelly is directed by Noah Baumbach director of Frances Ha (2012), While We’re Young (2014), The Meyerowitz Stories (2017), Marriage Story (2019), White Noise (2022) and a few others.
After the disappointing White Noise (2022), I was hoping Baumbach would come back with something much stronger. He sort of did, Jay Kelly is not one of Baumbach’s absolute best films but it does admittedly have heart. There is something here that works perhaps it’s lines such as “All my memories are movies” or it’s the beautifully done supporting performances that really push the film into this beautiful area. Jay Kelly is definitely flawed but there is still so much to like about it.
George Clooney it’s solid here, it’s by far one of his better performances as of late. Clooney gives this very wounded performance of a famous actor who is constantly reflecting on his life choices, relationships and even his legacy. There are a lot of quiet moments that really set the scene and let them play out, Clooney takes it from there and gets to show off just how great of an actor he really is. Although not every single element of Jay Kelly’s (played by George Clooney) full comes together, there is still so much thought put into it here that you can’t help but love what’s being done.
The supporting cast is doing quite a lot of heavy lifting here, particularly Adam Sandler, Billy Crudup and Riley Keough. Adam Sandler is very strong here due to his character Ron Sukenick is often the one that who the viewer gravitates towards the most. The character writing for Ron is quite impressive, the film explores his character and his bond with Jay Kelly in this grounded way that really feels sincere. Sandler himself gives this subtle and heartwarming performance that shows he can juggle both dramatic and comedic moments expertly.
Riley Keough is the emotional part of the film, even if she does not get a whole lot in terms of character writing. There is this sense of meaning with her dialogue, some of the most powerful moments of the film come from her scenes with Clooney, there is this blend of independence, anger and resentment that builds up due to the cost of Kelly’s consuming career. She remembers the loss of family time and how it affected her, it’s these devastating moments that really help build the film.
Billy Crudup plays Timothy a former classmate of Kelly’s who is an actor that did not make it big, Crudup’s biggest comes from inside a restaurant where he has this monologue of reading food items. That may sound silly which while at first it is, however once Crudup escalates with emotion and vulnerability that’s when the viewer gets pulled in. What Crudup does here is nothing short of excellence, there is so much meaning, hurt and vulnerability in his voice that you really start to feel for Timothy as a character. How he is able to turn such a simple task such as reading off a food menu into something so devastating is truly remarkable.
The writing is solid here, while there are definitely some hiccups (especially during the first act) the film does eventually find its ground and hits the viewer with plenty of strong moments that display greatness. The whole theme of reflecting on your past choices and your relationships is truly a powerful one, something a lot of people have done and will continue to do. While the writing absolutely could have been a bit stronger with some of the exploration, I do think with what was given here was strong enough to push the film to the finish line.
Overall Jay Kelly is a solid film that does have some pacing and writing issues at times. However due to the performances and direction, this film works well enough to give this one a go!
In an afterlife where souls have one week to decide where to spend eternity, Joan is faced with the impossible choice between the man she spent her life with, and her first love, who died young and has waited decades for her to arrive.
Eternity is directed by David Freyne director of The Cured (2017) and Dating Amber (2020).
Eternity is one of those rare modern romantic comedies that strikes that sweet spot when it comes to making both its romance and comedy work so incredibly well with one another. While it is a bit on the predictable side and may have some extra padding here and there. The film works wonderfully due to its fun cast, creativity and the dreamlike atmosphere and filming.
Each of the performances are quite excellent and bring something to the table. Elizabeth Olsen, Miles Teller and Callum Turner all bring their own special charm to the film. Olsen going back and forth of who she wants to spend eternity with feels very real and at times even gets the viewer to participate by making decisions with her. It helps that Olsen in general is a fantastic actress and here is no exception, Teller and Turner are both very fun here and the constant back and forth they have with each other is always entertaining. Their chemistry with Olsen is beautiful and with Olsen delivering a lot of the emotional moments, Teller and Turner do a great job of supporting said moments.
Da’Vine Joy Randolph and John Early are also quite great, they are definitely the film’s comedic weapons but serve that role perfectly. Randolph is a stand out among the cast, she steals each and every single scene she’s in as well as bringing the fun and creative energy to the atmosphere whenever possible. Randolph has an undeniable amount of charm here that really blends well with the rest of the cast, her moments with Miles Teller are some of the film’s absolute best.
I have always been interested in films that have different ideas of what happens after life and Eternity is no exception. In fact this is by far one of the most interesting ideas in quite a while, the writing brings this creative, heartfelt and humorous feel to the film that truly captures its playful mindset. There’s this realness to the dialogue and even some strong character moments, the whole memory archive idea leads to some genuinely beautiful scenes that help build Larry, Joan and Luke as characters. There is the perfect balance of comedy and romance, they don’t outweigh one another to a degree where it becomes distracting.
The cinematography from Ruairí O’Brien is done in this dreamlike state that perfectly captures what you would imagine what the afterlife would look and feel like if it was a film itself. The atmosphere shines perfectly with its soft yet beautiful presence, there is times where the atmosphere almost feels like it’s trying to give you a big warm hug and you can’t help but accept it. There’s so much attention to detail with the different eternities or “worlds” that we see, the use of color and light is always quite beautiful to explore with your eyes.
Overall Eternity is a beautifully done film that really shines through, it might be simple at times and as I said it can feel like it’s padding a bit. However the positives absolutely shine and are truly a blast.
Struggling to find purpose, an American actor lands an unusual gig with a Japanese agency to play stand-in roles for strangers. As he immerses himself in his clients’ worlds, he begins to form genuine bonds that blur the lines between performance and reality. Confronting the moral complexities of his work, he soon rediscovers purpose, belonging, and the quiet beauty of human connection.
Rental Family is directed by Hikari director of Tsuyako (2011), A Better Tomorrow (2013), Where We Begin (2015) and 37 Seconds (2019).
Rental Family is the very definition of a crowd pleaser, at times that does hold the film back from going deeper with its themes. However there is no denying on how charming the whole package really is, the performances are excellent, the emotional beats are strong and the humor is genuinely funny at times.
Brendan Fraser fits like a glove with his performance as Phillip, he provides this mixture of bumbling and kindhearted vulnerability that is constantly shown throughout the film. His conversations with the rest of the cast always has something beautiful and meaningful within them, whether it be smaller moments or bigger ones. Fraser’s body language and manner of speaking is truly beautiful that pains such an honest picture that is genuinely beautiful.
The supporting cast particularly Mari Yamamoto and Akira Emoto are very strong here. Yamamoto has some great scenes with Fraser, I do wish there was a bit more exploration with her character Aiko. We do get a bit around the halfway point of the film and for what it is there is some solid character work. Emoto’s performance gives us plenty of hilarious, beautiful and genuinely heartbreaking moments. Emoto’s character Kikuo Hasegawa has a character arc that is on the predictable side of things, but it ultimately still works given the context of Phillip and Kikuo’s conversations they had with one another. These moments in particular are some of the film’s strongest due to just how natural and caring the conversations really feel.
The writing is solid, the scenes with Phillip and Mia (played by Shannon Mahina Gorman) having this father and daughter bond are genuinely beautiful and gut wrenching at the same time. While they are super sweet underneath it all is an unfortunate lie, not done in a malicious way. Her mother Hitomi (played by Shino Shinozaki) felt Mia needed a father figure, which is ultimately devastating since Mia believes her father has truly come back. The Rental Family business brings happiness yet can also bring sadness this being a prime example. There are moments where it admittedly does feel like we are missing some exploration with Hitomi and the bond between Phillip and Mia. However the film explores just enough to make these scenes worth it in the end.
The film almost has this side quest like feel with a lot of the many people Phillip means, this is not particularly a bad thing as the film does a good job of telling these stories. Even if the focus needed a bit more power to it, there truly is some genuine moments in all of them that make the stories simple yet beautiful at the same time.
Overall Rental Family is a satisfying little film that you can’t help but leave with a smile on your face, it might be a bit too much of a crowd pleaser for some. However the film’s earnestness and kind nature manages to make this one work.
When his punk-rock neighbour asks him to take care of his cat for a few days, New York City bartender Hank Thompson suddenly finds himself caught in the middle of a motley crew of threatening gangsters who all want a piece of him.
Caught Stealing is directed by Darren Aronofsky director of Pi (1998), Requiem For A Dream (2000), The Fountain (2006), The Wrestler (2008), Black Swan (2010), Noah (2014), Mother! (2017) and The Whale (2022).
Darren Aronofsky has always been one of my favorite filmmakers, his ability to bring out transformative or flat out incredible performances from a lot of actors is just fascinating. While I’m always going to prefer Aronofsky’s more dramatic work, It’s always nice to see Aronofsky have a lot of fun and go for something completely different here.
Austin Butler is oozing with charisma and almost immediately captures the atmosphere that the world of the film demands. Every single moment you feel this gravitational pull towards his character Henry “Hank” Thompson and the world around him. Butler’s performance only gets more and more electrifying as the film goes on especially with the film’s tone that quickly becomes more brutal and darker. Butler gives one of the best performances of the year, this is the type of performance of what makes an actor so interesting especially sensing the confidence within the performance.
The supporting performances are just as fantastic, Zoë Kravitz’s chemistry with Butler is captivating and even if her part is not as massive, the time she does have she uses well and brings this passionate bond the film shows through Butler and Kravitz’s chemistry. Matt Smith and Regina King are both fantastic here as well, both capture the energy and atmosphere of their respective roles. Smith being more chaotic and King bringing her strength and pedigree. Tonic the cat is also a fun addition to the film who does a fantastic job with the film’s more comedic moments.
The writing is atmospheric, thrilling and genuinely funny at times. It’s a nice balance between the three, none of which completely overwhelm one another. The writing has moments of brutality which is where the depth for these characters comes from, we explore a bit about them. Even if at times there is a bit of surface level information, what we do learn is admittedly fascinating which keeps the viewer in for the ride. The comedic elements are on the black comedy side of things, but are effectively used sparingly and do not take away from the more dramatic ones.
Aronofsky does a fascinating job of capturing this 1990s New York landscape, he invests a ton of energy in creating this beautiful feel that you can’t help but look around. This is definitely one of Aronofsky’s bigger in scale films, perhaps his biggest since Noah (2014). But unlike Noah (2014) where it felt very overwhelming and a giant mess in general, Caught Stealing is a lot more focused and has a lot more interesting elements happening on screen. You have the chaotic nature of the cast and their characters, the brutality of the film, the film’s black comedy and the strong cinematography from Matthew Libatique.
Overall Caught Stealing is such a chaotic and fun ride from beginning to end, that Aronofsky does such a fascinating job of capturing the crazed experience.
Caught Stealing is available on all VOD platforms.
In the midst of her whole life falling apart, Kennedy attempts to somehow reconnect with her dead father, searching for permission to live her own life within a wild pool-hopping escape through the elaborate estates of her college town.
Pools is directed by Sam Hayes which is his directorial debut.
Pools is a coming of age film that may not exactly do anything brand new, however there is this theme of being young and having to grow up and how life can uppercut you that quickly connects to the viewer and it’s done in a way that feels very natural. Combine that with some strong performances, camerawork and direction you have yourself a charming little film.
Odessa A’zion has quickly become a rising star and this is yet another showcase of how great of an actress she really is. She plays her character Kennedy incredibly well and in this natural way that quickly gets the viewer invested into her character, she adds so many layers and depth to Kennedy. She has her own personal issues underneath it all and the way the film goes about exploring these issues is interesting and really shows how talented A’zion is as an actress.
The rest of the cast is quite great, while the character writing is not as strong for the rest of the cast. They all still turn in great performances, particularly Ariel Winter and Mason Gooding both of which I’m not exactly crazy about as actors. But I will admit that they do a pretty solid job here especially in one particular scene that shows some sort of depth for these characters.
The technical aspects of the film are surprisingly pretty solid, the cinematography from Ben Hardwicke has this summer vibe going on here which matches with the film quite well. The editing and camerawork which includes some zoom ins make for some decently funny visual language. The atmosphere also has this laid back summer feel that mixes well with the film’s more dramatic moments.
The writing has plenty of raw moments that helps these characters explore their issues in their personal lives, the humor can be a bit of a hit or miss and as I said before Pools is not exactly groundbreaking. However the film has this charming message and wonderfully funny atmosphere that you cannot help but enjoy.
Overall Pools is a fun little coming of age film that is backed by its cast, direction and technical elements.
This is the story of Godard making “Breathless”, told in the style and spirit in which Godard made “Breathless”.
Nouvelle Vague is directed by Richard Linklater director of Dazed And Confused (1993), The Before Trilogy (1995-2013), Boyhood (2014), Hit Man (2023), Blue Moon (2025) and many others.
Nouvelle Vague is the second of Richard Linklater’s films to release this year, while I do think Blue Moon is the better film by quite a lot. Nouvelle Vague is still a pretty decent film that accomplishes what it’s set out to do. Nouvelle Vague follows the shooting of Jean-Luc Godard’s film Breathless which was one of the first feature films of the Nouvelle Vague era of French cinema in 1959.
The performances are solid, I think a part of what makes Nouvelle Vague work as well as it does is a lot of the cast are either newcomers who are starting their career (which is kind of really neat in this context) or actors you will probably not recognize. It makes the film feel a bit more natural especially given that the film is about one of the first feature films of the Nouvelle Vague era.
Guillaume Marbeck does a fantastic job as Jean-Luc Godard, he gives this confident and striking performance that’s filled with passion, humor and this fun energy. There’s some scenes that are so well done from Marbeck, there are definitely a few hiccups as the film sometimes does get lost with its writing that feels uneven which in turn does hurt Marbeck’s performance just a tad. But it’s not nearly enough from him delivering such an interesting portrayal of a masterful director.
The black and white cinematography is quite effective, combined with the reconstruction of 60s Paris displays the amount of attention to detail that went into Nouvelle Vague. Richard Linklater clearly has a lot of love for this era of cinema and did his research, this does not feel like it was placed here for nostalgic reasons. This feels far more In line with an appreciation route, not only with the sets but with the people as well. Although not incredibly well written, we see vulnerabilities, actions and personalities of the people in this intimate detail that is striking.
The writing does have its issues with being uneven and some jokes not landing all that well. However there is an undeniable amount of charm here that does capture the time period quite well, even if the film’s pay off is incredibly predictable and follows a lot of the usual biopics about making art beats. Linklater adds personality here that puts this one ahead.
Overall Nouvelle Vague is a decent film that celebrates such a masterful director and film, if you know the story already you are not going to walk out of this film knowing anything new. However you will be satisfied enough with solid portrayal of the events.
Jerome Reviews... 