Year: 2025

October 16, 2025 · Watch the official trailer

There’s a feeling audiences get in the opening moments of Kathryn Bigelow’s film that rarely goes away over the course of two hours.

It’s an intense feeling of impending dread that evokes an inevitable climax, which will be more or less appreciated by viewers depending on their level of engagement with the film, which is limited theatrical release before its debut on Netflix this Friday.

From a screenplay by Noah Oppenheim, Bigelow makes her return to cinemas for the first time in eight years, “A House of Dynamite,” part political thriller, part psychological drama, and overall, a treatise on morality in what could easily become an apocalyptic world. The film follows numerous characters across different levels of the American military and government after an intercontinental ballistic missile appears on radar screens heading for the U.S.

The Oscar winning director behind “The Hurt Locker” and “Zero Dark Thirty,” Bigelow’s direction gives Oppenheim’s unique take on the narrative structure the vibrancy and urgency it desperately requires, though the clever hook he weaves into his script loses its luster over the course of two hours. The film is constantly propelled by an immersive, electrifying score from Volker Bertelmann that gives “A House of Dynamite” that edge-of-your-seat energy the screenplay doesn’t fully provide.

The film’s large and talented ensemble cast does exceptional work to bring the world of “A House of Dynamite” to life. However, Oppenheim as screenwriter – and to a certain extent, Bigelow as director – is less interested in their individual circumstances than in using a plethora of characters to make a larger moral observation.

This truly shortchanges some of the terrific work going on in the film, especially early on from “Hamilton” star Anthony Ramos as a military official seeking to track the missile and Rebecca Ferguson as an intelligence operative working in the White House strategy team. Equally baffling is the decision to leave Idris Elba’s presidential character confined to a black Zoom call box for more than half the length of the film.

Talented character actors like Tracy Letts, Jason Clarke and Jared Harris bring unique depth and gravitas to each segment of “A House of Dynamite, as well, fitting a bit better in the ensemble driven nature of the film.

Oppenheim’s insistent screenplay limits Bigelow’s ability to showcase conversations between characters effectively.

This isn’t to say that the screenplay or narrative is necessarily lacking in any regard. “A House of Dynamite” is something that will benefit from subsequent viewings to understand the film’s frequent perspective changes with greater narrative context.

The quick, staccato pace of the film as a whole does lend itself to a heightened level of suspension of disbelief that similar films in this genre probably wouldn’t achieve. “A House of Dynamite” feels like the pilot episode to a limited series from the streaming service that produced it, as there is a clear Netflix sheen that doesn’t fade away when seen on the big screen.

Bigelow’s tense political thriller is likely to be a major Oscar player come awards season, despite the number of other Netflix titles the studio will have to balance marketing budgets for, with the George Clooney led “Jay Kelly” and Guillermo del Toro’s “Frankenstein” also seeing their own contender status.

This could be the rare film that is nominated for Best Picture and Director with zero acting nominees, as none of the ensemble cast has enough screen time to merit consideration and the supporting actor categories are far too crowded for such an ensemble film.

On the whole, “A House of Dynamite” probably isn’t something cinephiles would have to rush out to see on the big screen, given its ease of accessibility on Netflix’s streaming service. However, viewers wanting a fast-paced, dialogue-heavy political thriller would be well-served to check this film out when it releases on the streamer next weekend.

October 9, 2025 · Watch the official trailer

Exploring the duality of good and evil, light and dark, has a long history in moviemaking.

Yet it’s in the most unexpected of places that writer-director Derek Cianfrance finds inspiration for his latest film, “Roofman,” a lighthearted, comedic, yet inquisitively sensitive biopic dramedy that contains just enough truth to make the surreal feel instantly emotionally resonant and relatable.

Based on the wild tale of a real-life escaped convict, “Roofman” follows ex-soldier Jeffrey Manchester as he struggles to provide for his family after leaving military service, opting to use his unique skills to rob fast food restaurants. These decisions ultimately led him to prison and his surreal escape, where he seeks refuge in a North Carolina Toys-R-Us to wait out the cops in pursuit.

While such a premise could easily be played for strictly comedic hijinks or seek to vilify the protagonist as an irredeemable criminal element, “Roofman” finds authentic humanity within Jeff’s story in an almost antihero sense. The writer/director behind character driven dramas like “Blue Valentine,” “The Place Beyond the Pines,” and “The Light Between Oceans,” Cianfrance is able to capture the unique blurring of moral right and wrong in Jeff’s character in a refreshingly poignant, altruistic way.

For such a unique film, perfect casting of its protagonist is required to allow audiences to plausibly suspend their disbelief, and the quintessential “girl dad” energy that Channing Tatum brings to the role – while also maintaining layers of boyish charm, a sense of purpose, and meticulous calculation without being cold to the world – makes Tatum the ideal choice to play Jeff.

Much of “Roofman” is spent with Jeff in isolation from the outside world, observing things at a distance and leaving the camera solely focused on Tatum’s performance, with no room to hide. The way Tatum credibly balances Jeff’s overwhelming empathy with his desire to maintain his freedom keeps the overall project from feeling too far-fetched or running off the rails entirely.

Though it’s clear that he has deep love and affection for those around him, the only genuine connection in Jeff’s life is found in the relationship he makes as a fugitive with the slightly naïve, morally altruistic Leigh played by Kirsten Dunst. Tatum’s ability to bring out Jeff’s desire for human connection in kindred spirits is matched by Dunst’s very subtle work as a single mom whose faith in the decency of others comes from fervent Christianity and her relentless positive energy.

While some audiences might write her turn off as a touch one-note, Dunst is far from the “manic pixie dream girl” persona she developed in Cameron Crowe’s 2005 dramedy “Elizabethtown” and the lengths Cianfrance goes to in the screenplay to share Leigh’s family and church life with Jeff anchors their connection to each other as well as enhances her ability to draw the audience in to events from Leigh’s perspective.

Talented character actors like LaKeith Stanfield as Jeff’s fellow soldier turned criminal Steve, Peter Dinklage as Leigh’s boss at the Toys-R-Us and Ben Mendelsohn as the local pastor have limited supporting roles that add context and flavor to the world of “Roofman,” but leave audiences often wanting further exploration of their backgrounds as well.

Cianfrance grounds the film in late 1990s style, shooting “Roofman” on 35 mm film to give a hazy, lived in feel to visuals and production design that took an actually abandoned Toys-R-Us store and rebuilt it from scratch filled with period accurate toys like Tickle Me Elmos, early Playstation video games and action figures, allowing Tatum to explore a fully stocked store for the holiday season and adding layers of authenticity to the film.

While it’s unlikely to garner much awards consideration, “Roofman” is an exceptionally well balanced film with genuinely rich characters and crowd-pleasing heartfelt comedy that audiences will be glad they checked out either in theaters or at home viewing later this year.

October 6, 2025 · Watch the trailer

Actors are frequently lauded for stepping outside their comfort zones to reveal aspects of themselves they hadn't before, or to discover something new in their repertoire.

This is often achieved through a great physical or emotional transformation that is meant to show how far the actor is willing to go in striving for greatness. Most of the time, these singular efforts elevate a film’s overall quality and box office returns.

Yet, there’s something a bit off about “The Smashing Machine,” the first film from director Benny Safdie away from his brother, Josh. The film finds Dwayne Johnson actively trying to change everything audiences know and assume about him with a turn that would normally be considered Oscar bait but means much more for an aging action star entering the latter half of his career.

Heavily inspired by the verité documentary of the same name, “The Smashing Machine” is a slice-of-life portrait of early mixed martial arts star Mark Kerr as he grapples with opioid addiction and a volatile personal relationship outside the ring, while simultaneously being an unstoppable force inside the squared circle.

At the end of the day, the only major thing cinephiles will likely remember from “The Smashing Machine” is the amount of effort Johnson put into the role. A former pro wrestler himself, Johnson added another 30 pounds of muscle – and perhaps a pound or two of prosthetics – to change his appearance as much as possible to become the hulking Kerr. Though there’s just enough of Johnson in the visual that audiences will still recognize him, everything about Johnson’s performance here feels deliberate and considered.

Johnson pays special attention to Kerr’s physicality, as well as his unique speaking cadence and slightly pitched vocal tone. It’s a strong, engaging performance that speaks to Johnson’s capability of being a much better actor than his filmography might suggest, and to the promise that he could give with better material.

However, Safdie and Johnson are so focused on the singularity of Kerr and an overly textual commitment to the original documentary that much gets lost in the world of “The Smashing Machine.”

As Kerr’s girlfriend Dawn, Emily Blunt has a strong conviction and presence that far exceeds the thinly written character she’s forced to portray, who could easily be viewed as the film’s primary antagonist. For the only real female character in the entire film to come off as increasingly shrill, Blunt does a terrific job of giving some humanity to the character though Safdie is less interested in viewing Kerr and Dawn as a couple than the simple effect she has on his psyche.

Ryan Bader is the film’s breakout star, often stealing scenes from both Johnson and Blunt with his calm, humble demeanor as Kerr’s closest friend and training partner Mark Coleman and there’s a genuine authenticity to the dramatic work he delivers that is practically unfathomable from someone acting for the first time.

For many audiences, Johnson’s performance in “The Smashing Machine” seems to be hiding the significant narrative flaws and shortcomings of the film. There’s little actual forward momentum or character development over the course of the three years of Kerr’s life that the movie explores, and Safdie’s insistence on touching on so many different aspects of Kerr’s personal and professional life ultimately shortchange each of these.

While there are clearly attempts to weave Kerr’s addictions into the tumultuous relationship he has with Dawn, audiences never see enough of their relationship or chemistry to buy into their connection. How quickly “The Smashing Machine” pivots away from opioid addiction after a strong first act leaves the entire project feeling flat and empty.

Visually, Safdie leans into the verité, fly-on-the-wall cinematography style that gives his project a distant, documentarian approach with action sequences shot from entirely outside the ring to maintain this pseudo-voyeuristic approach.

Oscar prospects for “The Smashing Machine” appear rather limited outside of a potential Best Actor run for Johnson, though the stronger performance in Bader is unlikely to break into a significantly tougher Supporting Actor category.

Cinephiles hoping to see a different, more subtle side to a larger-than-life actor may want to seek out “The Smashing Machine” theatrically, but there isn’t quite enough to the overall film to warrant a rush to the box office ahead of its inevitable at-home streaming release.

September 26, 2025 · Watch the official trailer

Paul Thomas Anderson doesn’t really work in the modern era for his exacting style of filmmaking.

There’s a vintage, lived in quality to his feature films – from “Boogie Nights” and “The Master” to his masterpiece oil drama “There Will Be Blood” – set in various points in the past that only peripherally speak to what’s happening in the current societal landscape.

But one might not be able to tell that simply from the auteur’s tenth major directorial effort, the star-studded revolutionary thriller dramedy, “One Battle After Another,” an adaptation of Thomas Pynchion’s 1990 novel “Vineland,” that speaks with conviction and presence to the division and isolation of modern times.

The film follows burnout ex-revolutionary Bob and his daughter Willa hiding conspicuously in the sanctuary city of Baktan Cross from an eccentric, obsessive military official hellbent on tracking them down.

As Bob, Leonardo DiCaprio is a perfect extension of the recent character evolution that he began with the self-righteous mania of Jordan Belfort in "The Wolf of Wall Street," through the outlandish goofiness of Rick Dalton in "Once Upon a Time in Hollywood," to the alcoholic buffoon he portrays here.

While there are broad comic moments in his performance, DiCaprio grounds Bob with core principles of morality that stem from his revolutionary roots and unrelenting loyalty to family, most notably his daughter, Willa, played astonishingly well by relative newcomer Chase Infiniti. Audiences are transported through the world of “One Battle After Another,” largely through DiCaprio's bloodshot eyes and there's a deep, rich, layered texture to his work that is far more nuanced and considered than it might appear at first glance.

Sean Penn is perhaps the best he’s been in decades as the film’s primary antagonist – a morally repugnant and deeply conflicted version of Brian Dennehy’s sheriff from “First Blood” and General Ripper from “Dr. Strangelove.” The hyper-vigilant stoicism and militarism that Penn exudes in his performance is perhaps the most audacious of his entire career, with the actor building a textured performance from an overly chiseled and unmoving jaw, as well as a ridiculously over-the-top walking gait where his Lockjaw always maintains perfectly squared shoulders.

The film’s ensemble cast – likely to earn “One Battle After Another” an Oscar nomination for the debuting Best Casting category – enhances the world Anderson seeks to create in every single moment of the film, from major stars playing secondary roles to relative unknowns coming in with truly mesmerizing and often terrifying portrayals.

Oscar winner Benicio del Toro provides boundless levity in the film’s “Midnight Run”- inspired second act as a Zen sensei keeping a paranoid Bob from completely going off the rails, while Teyana Taylor’s brash, relentlessly self-confident turn as leader of the revolution Perfidia wonderfully sets the stage for the mania to come.

It is almost impossible to separate the social commentary this film makes from the horrific events of political violence happening in the real world. “One Battle After Another” does little in its first hour to lessen the discourse.

From a purely cinematic perspective, however, Anderson remains at the top of his game, both in narrative and visual aesthetic, bringing his elegant, sophisticated, and exacting eye to the world of modern action thrillers with a movie that truly looks the part of a pristine drama.

One climactic car chase scene is relatively straightforward, yet the intensity created by camera placement – as cars go up and down California’s rolling hills set to the beat of Jonny Greenwood’s impactful score – is beyond next-level moviemaking.

Using 35 mm film with vintage VistaVision camera that feels as if it is shot using almost entirely natural light, “One Battle After Another” is a tapestry of visual cinematic artistry, as Anderson teams with the cinematographer Michael Bauman to create the world of the film with a robustness that is more than meets the eye.

Moment by moment, frame by frame, Anderson and the cinematographer elevate individual scenes far beyond what’s on the page, using a constantly changing frame that showcases Anderson’s deliberate intentionality in giving the audience perspective – or keeping them from it.

The filmmaker makes the most out of every second of the nearly three-hour running time, slowly building visual and emotional moments of foreboding anticipation, with scenes demonstrating the organic, methodical ways the revolutionaries are hunted down.

Much like 2025’s sleeper hit “Warfare,” “One Battle After Another” demonstrates an intense grasp of place and geography within the context of each scene, and the fluidity of the camera motions, cuts, and editing reinforces a foreboding presence of what’s right around the corner. Viewers are literally taken within layers and layers of hallways and corridors to visually showcase the depths characters go to maintain secrecy.

This is a film that will be at the front of mind for Oscar voters come awards season with “One Battle After Another” being a likely frontrunner for Best Picture, Director, Adapted Screenplay and Score among others. DiCaprio and Penn seem virtually assured nominations for their performances, though Warner Brothers will have a difficult decision choosing between Taylor and Infiniti to campaign in Supporting Actress.

While the film will undoubtedly be polarizing from a narrative perspective, the technical and visual mastery that Anderson showcases in “One Battle After Another” puts it at a level far superior to anything audiences might have experienced thus far in 2025 and though it may not be necessary to see in IMAX, ardent cinephiles should definitely catch what can easily be considered an upper-tier entry into the filmography of both DiCaprio and Anderson and one of the year’s best films.

September 19, 2025 · Watch the official trailer

There’s a small niche of cinema where the third film from director Kogonada fits perfectly. And it’s not the fun and frivolous romantic comedy one might expect from the movie’s more whimsical trailers.

Deep emotions, melancholy, and self-reflection are at the heart of “A Big Bold Beautiful Journey,” a film more in conversation with its audience about dating philosophy than romance.

This strangely eccentric and avant-garde dramedy perhaps considers itself more profound than it actually is. Yet, there’s something so charming about the ride that Kogonada takes audiences on, which could prove fruitful for the right discerning cinephile.

“A Big Bold Beautiful Journey” finds Colin Farrell as a middle-aged man, wandering aimlessly through life. When a series of unlikely events – which could be described as fate, destiny, or some other unexplained predetermined circumstances – places him in the world of an equally charming yet emotionally distant woman played by Margot Robbie, they find themselves at the wedding of mutual friends.

Following the directions of an all-knowing GPS system, these two strangers are taken on the titular ride of their lives. “A Big Bold Beautiful Journey” relies heavily on suspension of disbelief to keep viewers engaged, and there is a wonderfully lighthearted charm to the film’s premise and overall narrative structure. However, it can easily be viewed as overindulgent and melancholic throughout.

What holds the film together are the emotionally resonant performances from its Academy Award-nominated leads.

Farrell’s tightrope act of brooding self-pity mixed with the self-reinforcing, hopeless romantic persona his character adopts to get through life gives his David a tender balance between earnest simplicity and emotional complexity that works far better than the film perhaps deserves credit for.

The genuine emotion at the heart of David comes shining through in a truly affecting performance that often works best when Farrell is pensively alone on screen or opposite the film’s secondary characters.

Robbie is equally compelling as Sarah, who could easily and reductively be described as a modern twist on the classic manic pixie dream girl persona that many romantic comedies saddle their female characters with.

Yet, Robbie’s ability to mine a much richer character arc in the film’s secondary storylines gives Sarah much-needed relatability and emotional sympathy from audiences. This really ties the film together, balancing Sarah and David on an equal playing field.

One of the best parts about “A Big Bold Beautiful Journey” is Kogonada’s unique eye for camera placement and production design, which creates a world grounded just enough in reality to allow the fantasy elements of the narrative to truly shine.

Like many other successful films in this genre, color palette and background placement are uniquely important in furthering the storytelling and providing a visual throughline. The film’s bright, bold contrasting colors help reinforce character and emotion, working terrifically in tandem with the decision to have rainfall become almost a secondary character in the film itself, representing the external forces at work bringing these two strangers together.

The biggest issue with the film, however, is the lack of romantic chemistry generated in the screenplay from writer Seth Reiss, who never really develops a compelling reason for David and Sarah to be paired by fate and the lackluster wrap-up of this part of the narrative in the film’s final moments falls flat.

While it might not be a commercial or critical success, movie lovers who enjoy fanciful wanderlust and non-traditional romance might find “A Big Bold Beautiful Journey” something worth checking out at home when it hits a streaming service later this fall, though there isn’t enough depth to this middling dramedy to make it a must-see in theaters.

September 15, 2025 · Watch the trailer

Comedic, so-called mockumentaries have examined the world of office life, small-town government, and, most recently, the newspaper industry.

But the foundations of the TV comedy genre have their roots in cinematic spoofs, led by the irreverent tale of fictional heavy metal rockers Spinal Tap.

Some four decades after director Rob Reiner debuted on the big screen as a fictional filmmaker making a documentary about a fledgling rock and roll band seeking to hold onto their former glory, an unanticipated sequel to the 1984 comedy classic “This Is Spinal Tap” returns to the big screen with little fanfare in “Spinal Tap II: The End Continues,” reuniting Reiner with original film stars Christopher Guest, Michael McKean, and Harry Shearer.

“Spinal Tap II” finds documentarian Marty DiBergi revisiting this British band for their latest – and seemingly final – reunion concert, more than 15 years since any of the three key members have spoken, working with the daughter of their late manager to find yet another new drummer and stage a stadium show in a two-week window.

This very loose narrative framework is firmly in keeping with the original, as the four leads improvise almost the entirety of “Spinal Tap II,” with only a minimal structure binding the scenes together. Reiner finds himself more in the forefront in the sequel, as his character takes more time for one-on-one interviews with each band member, as well as with other team members and guests like Paul McCartney and Elton John.

There’s a definite decision to modernize this iteration, expanding Reiner’s on-screen role to reflect the sort of contemporary documentary style.

Reiner becomes an on-screen narrator and a stand-in for the audience, interjecting himself more into the subject matter than in the original – as if he’s almost the de facto fourth member of the band. While the trio of talented comedians who play the band members worked seamlessly together in the 1984 original, “Spinal Tap II” allows each actor to find their own creative beats and through-lines outside the framework of the band.

McKean, who’s often easily mistaken for a Mick Jagger clone as brash and outgoing frontman David, has a much different dynamic with Guest’s Nigel in this iteration, as the actors are far more open in allowing the unresolved issues and bitterness of David and Nigel’s relationship to ebb and flow with just the tiniest amount of drama in a largely comic film.

What’s so smart about the way these two craft the relationship between former bandmates who used to be like brothers is just how identifiable it would be to the rock and roll community or industry – especially for bands whose careers have lasted as long as Spinal Tap’s.

While it’s always clear that audiences are engaging with overtly dry comedy, the through-line of very subtle yet specific commentary on the music industry and the ways in which it’s captured on film resonates throughout the entire movie.

Though Shearer often played background to the more outlandish, sheer, and highly comic guests, “Spinal Tap II” allows his Derek to have a bit more introspective and thoughtful analysis on the band’s history, and his ability to create Derek’s point of reflection on the band’s history perfectly wraps up key moments in the latter half of the film, giving this sequel far more heart than one might anticipate.

Music also plays a much stronger role in this iteration, as audiences are brought into the world of these performers’ real artistry, watching rehearsal sessions play out in real time with extended musical moments that confirm these comedians have actually created a real band.

The sound mixing and production design surrounding the musical moments are spectacularly authentic for a comedy with such cult indie roots. What stands out most about the entire film is just how clear it is that Spinal Tap has immense respect for the music industry and musicians have an equally deep love for the original mockumentary, which has impacted their careers and how they perceive themselves as musicians.

Newer moviegoers who don’t know the history of Britain’s most outrageously fictional rock band might be a bit lost out the gate, but cinephiles and ardent fans of the cult classic will find themselves utterly entertained in the brisk 83-minute running time of “Spinal Tap II: The End Continues,” which turns things up just close enough to 11 to recapture most of the magic.

September 8, 2025 · Watch the official trailer

“Splitsville” is the kind of movie that cinephiles are going to discover on a streaming service a year and a half from now and wonder, “Why was this movie never released in theaters?”

Yet, in the doldrums of late August and early September at the cinema, this quirky twist on the modern romantic comedy staggers onto the big screen with almost zero marketing, despite having an A-list actress like Dakota Johnson at the forefront.

Written by two of the film's leads and directed by one of them, “Splitsville” is an off-kilter, antagonistic yet quirky rom-com centered around Carey, a man seemingly at the peak of his life when his wife of a year suddenly asks for a divorce. He quite literally runs to his married best friends, whose revelation set the stage for an increasingly implausible sequence of events that will turn the lives of everyone involved upside down.

From the opening moments, audiences are almost forcefully pushed into rallying behind Carey, played by Kyle Marvin, as his wife makes a last-ditch, sexually charged effort to save their marriage only to ask for a divorce moments later.

The surreal and bizarre nature of the film's exceptionally ridiculous plot further nudges viewers towards Carrie's side, though it’s unclear whether it’s Marvin’s work in the film or the structure of the screenplay that’s responsible for generating so much sympathy for Carey’s plights.

Marvin himself leans into the lightly dense and naïve aspects of Carey with aplomb and there’s definitely genuine emotion shown in the more tender moments of “Splitsville,” especially in Carey’s mentorship of Russ, Paul and Julie’s pre-teen son who attends the school Carey coaches at.

The film’s biggest narrative issue, however, is that Marvin fails to generate believable chemistry with “Hit Man” star Adria Arjona as Carey’s wife Ashley, nor Dakota Johnson’s Julie, which heightens the implausibility of the situation, bordering on breaking the suspension of disbelief that viewers have when they sit down in theaters.

As each outlandish moment reveals itself, there is a unique balance of shocking disbelief and surprising humor that elevates this indie flick above other similar antithetical romantic comedies.

While it might not seem unique to have Carey run away as soon as divorce is put on the table, the extended sequence that becomes the film's opening credits has a quirky vibrancy to it that truly sets the tone for what is to come over the next 90 minutes.

What's truly lacking about “Splitsville,” perhaps mostly due to its two male co-writers, is that its leading ladies are so thinly written in supporting roles that there's almost an amateurish nature to their turns.

Johnson does come across as mildly sympathic as Julie, a woman whose loneliness from the emotional distance Paul keeps her at forces her to cross boundaries with other men, though the screenwriters are far more focused on pushing the comedic envelope than giving Julie’s internal conflict true weight in the same ways that Johnson’s far better work with similar characters in films like “Cha Cha Real Smooth” and “Materialists” did.

Arjona disappears for major sections of “Splitsville” to return as a shoddily conceived riff on Kim Cattrall’s promiscuous Samantha on “Sex and the City,” whose character motivations change wildly in the final third of the film seemingly on a whim.

Yet despite the frustratingly shallow take on modern romance, “Splitsville” does earn most of its highly outrageous comedic bits, leaning heavily on Marvin’s nice guy persona and properly leveraging the good will he’s established early in the film to maintain balance when the screenplay starts to go over the rails.

Michael Angelo Covino does a far better job behind the director’s chair than with his loathsome Paul, with his ability to make uniquely inventive and rich cinematic decisions when shooting dialogue a welcome surprise for independent level comedies.

“Splitsville” is a strangely perfect double feature pairing with the thematically identical remake, “The Roses,” which also mines the world of impending divorce in a more linear manner. Cinephiles who prefer more eccentric, uncomfortable comedy should make an effort to seek out this truly original take on marriage and relationships in theaters before its inevitable early exit from cinemas.

August 28, 2025 · Watch the official trailer

The line between love and hate can be so razor-thin sometimes that just one simple action can completely change the course of a relationship forever.

First the premise of a 1981 novel by Warren Adler and later a 1989 film, director Jay Roach and screenwriter Tony McNamara have revisited this same thought exercise with their biting dramedy simply titled “The Roses,” which released in theaters this weekend. While not simply a remake of the Michael Douglas and Kathleen Turner original “The War of the Roses,” this iteration does paint with the same broad strokes.

Benedict Cumberbatch and Olivia Colman star as a couple thrust into a relationship by happenstance, and while it's not completely clear why the two have fallen in love, their characters do feel like an authentic, if rough, replication of fragile, only partially stable relationships.

Though the film spans nearly two decades of their relationship, much of the focus of “The Roses” is centered on just how this seemingly perfect pair has crumbled and fallen apart. Roach and McNamara go to great lengths to reflect the fragile nature of relationships, showcasing the same fragility in other relationships depicted in the film.

Oscar winner Colman is right at home with the absurd, sardonic, and cutting banter that McNamara has crafted for her, as her performance feels the most natural she's been since her 2018 Academy Award-winning turn in "The Favourite."

Her ability to be unflappably charming at one moment and brazenly, almost comically flustered at the next is a perfect match for her character Ivy and the ease at which Colman relishes every syllable of her sharp, witty dialogue makes for the film’s most engaging throughline.

For his part, Cumberbatch is equally engaging in the exasperated melancholy his character seems almost destined to experience. The ever-shifting nature of the couple's chemistry is delicately balanced in both performances, highlighting the fragile nature of their relationship. While not as demonstrative in his cadence as Colman, Cumberbatch softly wields the verbal daggers well in this banter repartee and more than holds his own in the more combative moments.

“Saturday Night Live” alumni Andy Samberg and Kate McKinnon provide some of the film's most overt comedic moments, yet both are adept enough to soften the usual bombastic nature of their work to match the tone here. McKinnon especially relishes each bit of dialogue that allows her character to playfully blur the lines between monogamy and hedonism.

For a relationship dramedy of this sort, "The Roses" leans a bit more heavily on crude sexual innuendos and terse language than one might expect from the film's trailer although McNamara is finessed enough to keep the screenplay from leaning too vulgar. Most of the brazen parts of “The Roses” are left to McKinnon’s deft performance that teeters just on the edge of raunch but never falls completely over into the sort of banal camp that one might expect from a more sophomoric take on the subject matter.

From the director's chair, Roach takes a largely hands-off approach that allows his lead performances to shine. The rich tapestry of the film's production design and food-indulgent cinematography lean into the more elevated prestige style that casting leads like Cumberbatch and Coleman provide.

Those with sentimental attachment to the Douglas and Turner classic that this adaptation is so clearly inspired by may find themselves a tad off-put by some of the decision-making, especially in the third act, that sets "The Roses" apart from its namesake.

However, moviegoers ready to settle into the dry, cutting nature of the film's comedy and drama as well as exceptional turns from its stars might be well-served to take a chance on seeing "The Roses" in theaters.

August 24, 2025 · Watch the trailer

Very few B-movies are released in theaters anymore.

The smaller budgets and genre-focused nature of these films – second features that might have appeared at a double feature screening in the 1950s or 1960s – have now relegated them to streaming services, where they populate streamers with new releases every weekend.

In his time apart from his brother and directing partner Joel, Ethan Coen has been experimenting with his own subgenre of B movies, first with 2023’s “Drive-Away Dolls” and now with his latest film, “Honey, Don’t,” a twist on film noir featuring far more compelling characters than its haphazard narrative might suggest.

Margaret Qualley stars as the titular Honey O’Donahue, a street-smart private investigator looking into the mysterious death of one of her potential clients, only to stumble upon a world of drugs and cult figures hidden within her small town.

Ripe with the same charisma she displayed in “Drive-Away Dolls,” Qualley is magnetic on screen as Honey – a witty woman whose sexual orientation is a matter-of-fact part of her everyday life, coloring her interactions with others, especially the men she encounters.

Her dry, often sardonic tone is a perfect fit for the screenplay by Coen and Tricia Cooke, and Qualley’s composure radiates off the screen, providing a “Dick Tracy”-like energy that flips the film noir genre on its head.

While the recent reboot of the “Naked Gun” film franchise seeks to be more direct with its comedic spoofs on the genre,” Honey, Don’t” – especially through Qualley’s performance as the lead – takes a more practical approach and is smarter with its comic and more sincere dramatic moments.

Her chemistry opposite Aubrey Plaza as a police officer adds a unique dynamic to the film. Honet gets entangled in a romantic relationship that provides a bit of sexual sizzle, enhancing the uniqueness of "Honey Don't" and reinforcing the modern take on film noir that Cohen and Cook are aiming for.

Chris Evans steals scenes but is largely underutilized as a cult leader who uses religion for his own gratification although the one fleeting interaction between Evans and Qualley's characters leaves much to be desired in the overall structure of the film.

“It’s Always Sunny in Philadelphia” star Charlie Day also provides good comic relief as a police detective who can't take the hint that Honey is not interested in him, though the rest of the ensemble cast doesn't have enough going on to be memorable after leaving the theater.

Aside from the strength of Qualley's individual performance, what stands out most about "Honey Don't" is the film's sun-kissed cinematography and production design that feel both postmodern and vintage simultaneously.

From the opening sequence, it's clear that Coen has a distinct vision for what his film intends to be, and there is potential in this mashup of Clark Gable and "Californication" mixed with a movie sensibility that could work if the narrative were fleshed out better. Everything from a costuming and makeup perspective is on point, with bright colors offsetting pastels and demonstrable click-clacking heels, giving off a "Working Girl" meets "Nine to Five" vibrancy.

The weak link and ultimate downfall for "Honey Don't" is the film's lacking narrative structure and middling screenplay from Coen and Cooke, who seem to interchange and drop plot lines at the drop of a hat in almost non-sequitur fashion.

The abruptness of events leading into the concluding third act jolts audiences out of whatever comfort they may have with the movie's core characters and makes the entire project feel disjointed.

For a film released in the doldrums of August, "Honey Don't" is an original idea that art and cinephiles and fans of either Coen or Qualley might enjoy on a trip to the cinema, though it's not so outstanding that viewers couldn't wait for its inevitable release on a streaming service later this fall.

August 17, 2025 · Watch the trailer

August releases are often a time for movie studios to dump the films in which they have the least confidence, or sometimes simply disappointingly, studios release movies that they simply don’t know what to do with.

After acquiring first-time director Tony Tost’s Western drama “Americana” out of the 2023 South by Southwest Film Festival, Lionsgate let it sit on a shelf for the better part of a year and a half, despite having marketable stars like Sydney Sweeney and Paul Walter Hauser, as well as musician Halsey taking a turn on the big screen.

This modern-day anthology, which evokes both the Coen brothers and Quentin Tarantino, should have had fervent box office potential for adult audiences who will flock to theaters this fall for heavier dramatic fare.

Yet, “Americana” stumbles into theaters as children head back to school, with little to no marketing or buzz.

The film follows a series of seemingly unrelated parties, all in pursuit of a rare Native American artifact known as a ghost shirt, which is associated with violence wherever it goes. Set in a rural stretch between Montana and Wyoming, “Americana” is played out in six parts that, while largely sequential, refocus the audience from a new perspective each time, as one might find in a traditional novel.

The film’s two main leads, Hauser and Sweeney, are paired together in one of the primary plot threads: a perpetually single man looking for marriage as soon as possible and a diner waitress with a stutter who pulls him into a quest for the shirt to raise money so she can head to Nashville to pursue her singing dreams.

While the chemistry between the two may seem slightly stilted and offbeat, this is probably part of the intended quirks that Tost has written into his screenplay, and both Hauser and Sweeney are individually exceptional in their performances.

Hauser routinely brings a sheepish yet jovial charm, much in the same way that John C. Reilly might, and his character Lefty Ledbetter continues this strong trend with a plain, simple manner that’s easy for audiences to rally behind.

Sweeney, for her part, is well adept at playing doe-eyed ingénue Penny Jo, yet the movie’s Western motif and the ways in which her staccato delivery affects moments in a scene never feel overwhelming or mean-spirited toward those with speech disabilities is quite remarkable.

In her first major film performance, Halsey is surprisingly solid and able to hold her own against an assortment of capable veteran ensemble actors. The relative unease that her character has relating to her deadbeat boyfriend, played by Eric Bana, and her little brother Cal played by Gavin Maddox Bergman reflects her character’s apprehensive view of the world.

While her motivations are unclear for much of the two-hour running time, once Tost’s screenplay unravels, the depths of Halsey’s character work and decision-making become readily apparent and elevate her early work in the film in retrospect.

The supporting cast led by Simon Rex and Christopher Kriesa also deliver strong performances, adding authenticity and emotional depth to the interwoven stories.

The anthology nature of “Americana” lends itself to the Western genre of cinematic storytelling.

It’s clear that in writing the screenplay, Tost was more interested in framing specific moments around his characters and weaving the story around key moments, rather than building a framework first and creating characters to fit – as in the way a “Mission: Impossible” movie might be built around action sequences with a story to fit. Tost’s film chooses moments of character work and builds around these sequences using an anthology frame style to sew the whole thing together.

Visually, “Americana” revels in a rustic, vintage 1970s-era haze in its camerawork, which feels as if there’s just a little bit of dust on the lens. This helps add contour and texture to the modern Wild West motifs and setting for the film.

While it’s unlikely to be a film at the end of most cinephiles’ best of 2025 list, there’s absolutely no reason ardent moviegoers shouldn’t take a chance and head out to theaters to catch this unique and original modern Western drama with a terrific ensemble cast.