Tensions run high as producer Lorne Michaels and a ferocious troupe of young comedians and writers prepare for the first broadcast of “Saturday Night Live” on Oct. 11, 1975.
Saturday Night is directed by Jason Reitman director of Juno (2007), Thank You For Smoking (2005), Men, Women & Children (2014), Tully (2018), Ghostbusters: Afterlife (2018) and a few others. Saturday Night is about the night of the 1975 premiere of NBC’s Saturday Night which later turned into Saturday Night Live.
Despite not watching Saturday Night Live in a very long time I was very open to the idea of making a film based on the night it premiered, unfortunately Saturday Night fails to say anything interesting about the show or sketch comedy in general.
There are positives however mainly from Gabriel LaBelle, Cooper Hoffman and Rachel Sennott. LaBelle and Hoffman have solid back and forth conversations throughout the movie that display their acting talent quite well, which end up being by far some of the movie’s best moments. There are some decent laughs to be had, while there isn’t anything that you are going to remember there is at the very least some level of charm that pops up every now and then.
The main issue that really hurts this movie is a lot of the performances focus far more on doing caricatures or impressions of Saturday Night Live cast members and celebrities rather than putting in good performances. Nicholas Braun is the worst offense, for some reason he plays both Andy Kaufman and Jim Henson both of which he does a terrible job at playing…I honestly couldn’t tell you which one he does a worse job at doing. A lot of these performances ultimately feel like easter eggs so the viewer watching can point at the screen and say “hey I know who that person is playing” that’s really the entire movie.
I get that the whole idea of the movie is it’s supposed to be scatterbrained and filled with chaos, which I’ll give credit where credit is due there are moments where this works well which is mainly the first act. Having that said the movie ultimately ends up hurting itself, it tries to fit in as many subplots as it can while not being able to balance them at all. None of which are particularly interesting or say anything that helps the movie in the long run, which is thanks to the severe lack of depth the movie gives these performances and the subplots.
Overall Saturday Night isn’t necessarily a terrible movie, it’s decently made and has some strong moments. But it’s severely lacking in depth and really misses out on expanding its own ideas.
Leaders of the world’s wealthiest democracies gather for the annual G7 summit to draft a provisional statement regarding a global crisis. They soon become spectacles of incompetence, contending with increasingly surreal obstacles as night falls in the misty woods and they realize they are suddenly alone
Rumours is directed by Evan Johnson, Galen Johnson and Guy Maddin all three of which have worked together over the years they have directed The Green Fog (2017). Guy Maddin has directed many films by himself such as Careful (1992), My Winnipeg (2007) and a few others.
Rumours is a very strange one, a giant brain ends up in the middle of the woods but the movie only gets stranger from there. While the movie does have a decent start the rest of the movie falls flat from very weak political satire mainly due to how the story ends up being structured towards the end.
The biggest highlight here is the acting, the performances are all pretty solid across the board especially Cate Blanchett who I do like seeing in absurd roles like this. The cast has solid chemistry with one another and there are moments where the dry humor shines particularly in the beginning of the movie, as I said before the first act is actually quite decent. We get a nice introduction to the characters and the setup is genuinely interesting, a bunch of world leaders discussing how to address a global crisis. It’s clearly a political satire on how incompetent world leaders can be which I think the movie does well at least at first.
As the movie goes on it begins to really get stale and the political satire begins to get squished into this mix of B-movie horror that ultimately doesn’t mesh well with the rest of the movie. The way the story is structured at this point becomes very repetitive and really does not do anything interesting with the political satire that it established at the beginning. It almost feels like the movie completely forgot about its own satire and decided to throw absurdist elements into the mix none of which really stick.
Overall I do like what Rumours is going for but the movie really suffers badly after the first act and never recovers after that. I do recommend taking a look at the movie even if I don’t think it’s great, I can see how someone can walk away liking this one.
Two criminal twin brothers, one trying to reform, embark on a dangerous heist road trip. Facing legal troubles, gunfights and family drama, they must reconcile their differences before their mission leads to self-destruction.
Brothers is directed by Max Barbakow director of Palm Springs (2020).
Brothers is the very definition of wasting a talented cast, what’s even more shocking is this is from the director of Palm Springs (2020) a film that was very likable and great as well. Brothers is the direct opposite and when you really boil down to it does not have a whole lot going on.
The performances are fine enough, Peter Dinklage, Josh Brolin, Brendan Fraser and Glenn Close all give the type of performances they are assigned. None of them are particularly good but they are still the best part about this movie. There’s actually a few particularly moments between Brolin, Dinklage and Close that are sweet even if the moments lack development.
The rest of the movie is filled with unfunny gags and a very uninteresting plot about collecting stolen emeralds from 30 years ago. It’s the type of action crime comedy movie we have seen a thousand times before it and we will most definitely see after it, if you have seen one of these movies before you could probably already guess what’s going to end up happening.
Really don’t have anything else to say here, Brothers is the very definition of a streaming movie that has a very talented cast but doesn’t bother to use them in an interesting way.
Soft-spoken actress Laura Franco’s life crumbles. She regains her voice after encountering a terrifying but oddly charming Monster living in her closet.
Your Monster is directed by Caroline Lindy which is her directorial debut.
What happens when you blend Old Hollywood and Broadway elements together? You get Your Monster a film before going in I heard was really great but honestly i definitely think that’s a huge understatement, I think this is quite honestly one of the best films of the year for quite a number of reasons from the performances, to Caroline Lindy blending so many genres perfectly together it’s all there.
Starting with the performances Melissa Barrera and Tommy Dewey are some of the best of the year. Melissa Barrera as Laura Franco is her best performance of her career so far, I think this role gave Melissa exactly what she needed to really put it out there and say “hey I’m here to stay” her character is hilarious, actually quite relatable and actually quite raw. The scenes of her letting all her anger out are filled to the brim with passion, you can absolutely tell Barrera went all in and absolutely nailed it. Melissa Barrera’s singing voice continues to impress here, it was already impressive with In The Heights (2021) but I would argue it’s displayed so much better here. Her singing “My Stranger” alone is just beautiful and is such a beautiful way to close the film as well. Melissa Barrera is able to adapt to the change of tone when needed, whether it’s a humorous, dramatic or even a musical one she’s able to turn every single scene into a blast. Something that a talented performance is able to do!
What I said about Melissa Barrera can easily be applied to Tommy Dewey, his character simply known as Monster is a ton of fun. The chemistry between Barrera and Dewey is honestly heartfelt and actually quite beautiful, the little moments of the two looking at each other in the eyes is truly mesmerizing and makes the viewer all the more invested in both of them. On his on Dewey plays a lot like The Beast from Beauty and The Beast (1991) but at the same time is a very different character and his character development goes on a different path as well. We learn about Monster over the course of the film and what his goals are, he bonds with Laura Franco over music, general talk and so on. Dewey just gives a phenomenal performance all around while doing this.
As I said at the beginning Your Monster combines Old Hollywood elements with Broadway elements. The Broadway elements are given, the music moments really capture the Broadway feel especially when Melissa Barrera sings “My Stranger” she has this powerful and clear voice that switches different moods that screams Broadway. The character’s mannerisms especially Laura Franco and Monster really do have Old Hollywood touches to them, the romantic scenes especially you get a lot of the mannerisms, speech and even character moments. Cinematography Will Stone is able to capture all of this perfectly especially when combined with the investing atmosphere throughout the film.
Finally director Caroline Lindy does such a masterful job in the director’s chair. She has an eye for engaging shots that really tell the viewer a little more about each of the scenes, there’s one scene in particular that really stands out that has both Melissa Barrera and Tommy Dewey just go all out. They both have a range of emotions during this moment that Lindy captures so well and brings so much passion as well. Combining all of this makes for a fascinating picture that you never want to stop looking at.
Overall Your Monster is one of the best films of the year. It’s hilarious, heartfelt and a ton of fun, Caroline Lindy is definitely a director to keep an eye on because this was incredible. If you haven’t checked this one out please do so.
Your Monster is in theaters and will be on VOD platforms tomorrow!
Anora, a young sex worker from Brooklyn, meets and impulsively marries the son of an oligarch. Once the news reaches Russia, her fairytale is threatened as the parents set out for New York to get the marriage annulled.
Anora is directed by Sean Baker director of Tangerine (2015), The Florida Project (2017), Red Rocket (2021) and many others.
Anora is yet another home run for Sean Baker, he’s a director that has shown over the years that he takes these stories he tells and shows them to the viewer in a very natural way. Letting them do the talking while you sit and watch, you get beautiful moments, upsetting moments and so on. Anora really feels like what Sean Baker’s career has been building up to, it’s very different from his previous work. It’s like he wanted to push himself further to see what he could create which the end result is arguably his best film yet.
Starting with the performances, Mikey Madison gives the performance of the year. Right from the beginning she gives such a raw and beautiful performance that immediately grabs your attention, Madison’s ability to constantly switch emotions during the roller coaster ride of a film is truly masterful and says something about her talent. Mikey Madison plays Anora/Ani so beautifully that really compliments this film’s absolutely bizarre nature, this is the type of performance where you can tell there’s a star being born. She lights up the film every single moment, even with the moments where she does not speak her body language and facial expressions tell everything she’s thinking. Madison does everything, kicking, screaming, punching, curses, pleads, cries, laughs it’s all there and each and every moment she gives one of the best performances of the 2020s so far, she works incredibly well with the rest of the cast which ultimately leads into chaos. Each and every scene Madison is commanding the scene masterfully, if Mikey Madison’s chaotic yet unforgettable performance is not a best actress nominating performance (or even winner) at the Oscars I’m not sure what is.
Mark Eydelshteyn, Yura Borisov, Karren Karagulian and Vache Tovmasyan are all fantastic, as I said before they work incredibly well with Mikey Madison. But they all also stand on their own very well, Eydelshteyn’s chemistry with Madison is a lot of fun. He is what sets up the roller coaster of the film and his character Ivan really matches the energy of what ends up unfolding. The moments we get to see Madison and Edyelshteyn together are truly fascinating, just the simple conversations they have between one another are truly investing and makes you but their chemistry.
Yura Borisov and Vache Tovmasyan play Igor (played by Borisov) and Garnick (played by Tovmasyan) two henchmen of Toros (played by Karagulian) what I love about these two is they have very different personalities and aren’t your typical movie henchmen. Garnick is a much more comedic character while Igor is much more quiet who does still have is comedic moments. But there’s one particular moment involving his character during the final moments of the film I’ll get to later. Combined together with the performance of Karagulian these three display some incredibly entertaining slapstick comedy, the three add to this film’s chaotic energy. The moment the three enter the film changes and does not hold back at all with its chaos. But between that chaos and slapstick comedy, these three are incredibly fun characters that do have development throughout the film.
As I’ve hinted at so far Anora is quite a chaotic film, but it’s truly fascinating in its execution. Characters talking over each other and constantly interrupting, the close up camera angles and such all combine to paint this bizarre picture that works in just about every single way possible. The 35mm cinematography from Drew Daniels captures this so well especially during the night scenes that are quite honestly some of the most beautiful shots from a film I’ve seen this year. The score is excellent and fits the tone of the film, there’s so many moments where the score does the talking and really lets the character’s actions speak for themselves. What I wasn’t expecting the film to be is funny, the film is actually quite hilarious. It balances flawlessly with the dramatic moments, powerful moments and the chaotic moments.
Finally there’s the ending of the film, which I won’t spoil but I will say before this the film was a roller coaster ride of emotions. As we come to the end of Ani’s journey the ending hits you like a truck it’s absolutely devastating to watch and will most certainly bring you to tears. Staying strong for that long only to be broken down when you think you can move on is one of the most powerful feelings that someone can feel and it’s portrayed flawlessly here. The acting from Yura Borisov and especially Mikey Madison is truly powerful and just one of the film’s many unforgettable moments.
Mikey Madison’s performance during these final moments of the film is something you are never going to forget, it’s a very realistic portrait of someone breaking down and showing vulnerability. This is a performance that broke me, made me immediately cry when I watch it. The camera remaining on Ani makes this all the more powerful and unforgettable.
Anora is the best film I’ve seen so far this year and quite honestly one of the best films of the decade. It’s a truly fascinating film that has everything and hits it out of the park with all of the different emotions the film uses. Sean Baker truly creates something special, something that’s going to be remembered for years to come.
Anora releases October 18th in select cities and goes wide in November!
A group of teens in the 1980s spend the day theater-hopping.
The 4:30 Movie is directed by Kevin Smith director of the Clerks trilogy, Mallrats (1995), Dogma (1999), the Jay & Silent Bob movies, Tusk (2014), Yoga Hosers (2016) and many others.
The 4:30 Movie is clearly a personal film for Kevin Smith and it’s hard to not be charmed by it, the whole idea of the movie being loosely based on Smith’s experiences sneaking into movie theaters as a teenager and his earliest romantic endeavors is really neat and for the most part works well.
The cast is quite fun, there aren’t really any stand out performances that really make this movie. But the cast still does a solid job with the material and even deliver some beautiful moments that are bound to bring the viewer into the movie. The earnestness and humor work well in the movie’s favor, while the meta jokes don’t work as well. The jokes from the fake trailers and the characters just interacting are a nice touch.
Despite only being 88 minutes long the pacing does feel a bit sluggish at times, particularly the middle of the movie where it hits a few bumps in the road from the writing not being quite up to par of what came before it. Having that said the movie does ultimately recover and sticks the landing decently well.
Overall The 4:30 Movie is pretty straightforward and it’s like a friend telling you this memory they had as a teenager, in this case Kevin Smith telling the viewer his memory as teenager. It’s a sweet and fun little movie that’s solid enough!
When a hitman is diagnosed with a terminal illness, he decides to take a hit out on himself. But when the very hitmen he hired also target his ex-girlfriend, he must fend off an army of assassin colleagues.
The Killer’s Game is directed by J.J. Perry director of Day Shift (2022).
The Killer’s Game is a bit more interesting than a lot of other terrible action comedies, however it still runs into some of the exact same problems.
Dave Bautista is at the very least pretty fun here, Ben Kingsley is always good, Terry Crews actually has some decent character work and charisma here that works. There’s some stylized action scenes that are admittedly a lot of fun, they might not do a whole lot for the movie narratively but they are entertaining enough to make the movie move smoothly.
Having that said, when you real boil down to it this is just another action comedy movie. The comedic elements are very weak in this case and quite honestly could have went without using, the movie clearly wants you to feel towards Joe Flood (played by Dave Bautista) who is diagnosed with a fatal disease. At some points it works and there’s some genuine moments, only to get slammed with some unfunny writing bits that try to be jokes.
The CGI blood does not help at all, it ruins what otherwise are some really neat kills. The mix of stylized action scenes and the CGI is incredibly distracting and noticeable, it attempts to go for this campy feel but never reaches the mark. Especially when the movie at certain points wants you to take it seriously.
Overall The Killer’s Game is ultimately forgettable, you can absolutely do far worse when it comes to action comedies. But it’s still a bit unfortunate this one did not deliver.
The Killer’s Game is available on all VOD platforms.
It follows a seemingly ordinary family with a dark secret: they are vampires. They choose not to drink blood despite their natural cravings, but their truth is revealed one day.
The Radleys is directed by Euros Lyn director of The Library Suicides (2016), Dream Horse (2020) and a lot of TV movies.
I really don’t have a whole lot to comment on about The Radleys. It’s a movie that attempts to mix in many genres such as comedy and horror but doesn’t do it all that well.
The performances from Damian Lewis and Kelly Macdonald are solid and give the movie it’s best moments, the blood is actually not too bad here especially for a movie that really has the look and feel of a made for TV movie. The set up I will say is decent enough, it has an interesting idea going and manages to grab your attention for the first 30 minutes or so.
However the movie quickly loses you from constantly switching tones that really don’t do much for the movie at all, it also does feel like a pilot for a TV show which isn’t a surprise considering a majority of director Euros Lyn’s work is TV work.
As far as a vampire story goes this is just okay, the lore behind it is definitely more interesting than the idea itself especially in execution. Despite that however there are moments where the acting does sell a few scenes decently well.
Overall The Radleys just sort of exists, it’s definitely not the worst vampire movie out there but it is one of the most forgettable.
Hired to cover up a high-profile crime, a fixer soon finds his night spiralling out of control when he’s forced to work with an unexpected counterpart.
Wolfs is directed by Jon Watts director of Marvel Cinematic Universe Spider-Man Trilogy, Clown (2014) and Cop Car (2015).
Wolfs is sort of a return to form for Jon Watts and while there are parts of it that succeed, there’s a lot of things holding this movie back from being anything of note.
George Clooney and Brad Pitt are basically holding this movie on its feet, the two do as much as they can with a bland script. The dialogue between the two has its moments and they most certainly give decent performances, the later half of the movie actually gives Clooney and Pitt far better material to work with that actually end up leading to decent moments.
The main issues here are the dialogue and characterizations they are way too basic. Pitt and Clooney can only help the movie so much until it starts to become incredibly repetitive, plus there’s really nothing interesting going on here narratively. It’s ultimately a bland chase movie with the occasional intriguing conversations, it’s really about as formulaic as you can really get.
I will give the movie this, the cityscapes combined with the cinematography does give the movie a solid look. It at the very least captures the atmosphere of what it’s trying to go for, particularly the snowy environment at night on the streets. It blends well with the movie’s atmosphere and actually does lead to some strong moments.
Overall Wolfs is ultimately a bit forgettable and really does not have a whole lot going for it, granted I can see why someone would enjoy this movie. It’s just not for me.
The members of a dysfunctional family find themselves mysteriously trapped in an antiquated furniture store when their elderly matriarch suddenly refuses to get up from one of the display couches. Reluctantly assembled, her three estranged children must figure out how to escape this bizarre predicament.
Mother Couch is directed by Niclas Larsson which is his directorial debut.
The interesting premise combined with the cast is what drew me into watching this movie and unfortunately it’s really nothing of note despite the very weird premise.
The cast is quite good which is mostly what saves this movie from being a mess. Ewan McGregor, Taylor Russell and Ellen Burstyn all contribute to the movie in their own ways that are at times entertaining. There’s actually a few heart filled moments for McGregor that works well enough which almost helps the movie stick the landing.
The one location being a furniture store is an interesting one, it leads to this absurdist family drama that is promising at first but falls off the more it goes on. The metaphors are there but ultimately don’t mean all that much until the kicker of the movie shows up, but by then it’s a bit too late as the movie has run it’s course and starts to repeat itself.
Not a whole lot else to say here, there’s some great acting bits and I do like the concept but the lacking execution is really holding this one back.
Jerome Reviews... 