Amber Midthunder Archives

Review: ‘Opus’ (2025), starring Ayo Edebiri, John Malkovich, Juliette Lewis, Murray Bartlett, Amber Midthunder, Stephanie Suganami, Young Mazino and Tatanka Means

March 14, 2025

by Carla Hay

John Malkovich and Ayo Edebiri in “Opus” (Photo by Anna Kooris/A24)

“Opus” (2025)

Directed by Mark Anthony Green

Culture Representation: Taking place in New York City and in Green River, Utah, the horror film “Opus” features a predominantly white group of people (with some African Americans, Native Americans and Asians) representing the working-class, middle-class and wealthy.

Culture Clash: A music journalist and several other people are the targets of deadly terror when they go to an exclusive listening party at the isolated compound of a mysterious pop star, who says he’s coming out of a 30-year retirement.

Culture Audience: “Opus” will appeal primarily to people who are fans of the movie’s headliners, but this horror movie fails to do anything interesting or clever.

Murray Bartlett, Ayo Edebiri, Juliette Lewis and Melissa Chambers in “Opus” (Photo courtesy of A24)

“Opus” starts with an unoriginal horror movie concept of people experiencing terror in an isolated area. It goes downhill from there. Yet another campy and weird performance from John Malkovich (as a reclusive pop star) cannot save this misguided movie. “Opus” seems to want to make bold statements about the dangers of obsessive celebrity worship, but it’s really just a substandard slasher flick that takes too long to get to the horror part of the movie.

Written and directed by Mark Anthony Green, “Opus” is his first feature film. “Opus” had its world premiere at the 2025 Sundance Film Festival. The movie takes place mostly in Green River, Utah, and partially in New York City. (“Opus” was actually filmed in New Mexico.) Several characters are introduced and then are left underdeveloped. And there are too many plot holes to ignore. “Opus” is like a song that spends too much time on an intro, pretends to be original, but is really just a slipshod ripoff of better previously released work from other creators.

“Opus” begins by showing a snippet of a concert performed by music superstar Alfred Moretti (played by Malkovich), who goes by the name Moretti. His face is not revealed until later in the movie. As the movie’s opening credits roll on screen, individual concertgoers are shown in slow-motion as they dance and look ecstatic. The movie has visual effects that make it look like Moretti’s most star-struck fans have glints in their eyes like glowing stars.

The movie’s first scene with dialogue takes place in the New York City headquarters of an unnamed print magazine whose specialty is music coverage. During a staff meeting in a conference room, 27-year-old journalist Ariel Ecton (played by Ayo Edebiri) pitches an idea to do a feature article on the possible comeback of a legendary singer named Tamara Camden, whose two most recent albums have been flops.

Ariel’s editor boss Stan Sullivan (played by Murray Bartlett) rejects the idea. But then, he quickly changes his mind and assigns the story to a male writer. Ariel is hurt by this rejection because this type of snub has happened to her before at this magazine where she has worked for the past three years.

Ariel is then seen having lunch with her friend Kent (played by Young Mazino) and complaining that she’s not respected at her job. Ariel wants to do articles about celebrities because she thinks that will bring more attention to her. She has yet to be assigned this type of article. Kent tells her with brutal honesty that Ariel probably isn’t respected at the job because she comes across too average, too boring and too inexperienced in life.

Kent bluntly says to Ariel: “You’re middle as fuck,” meaning that she’s too “middle-of-the-road.” This is the only scene where anything is mentioned about Ariel’s personal history. She grew up in a stable, middle-class home with her two married parents. And she has a hard time letting anyone get close to her. These are all things that Kent says out loud to Ariel.

When Ariel goes back to the office, her co-workers are abuzz because Moretti’s flamboyant publicist Soledad Yusef (played by Tony Hale) has posted an online video announcing that Moretti is coming out of a 30-year retirement to release his 18th studio album, titled “Caesar’s Request.” A select number of people (about 50 to 75 guests) from around the world will get invitations to an exclusive listening party for the album, with each guest getting an all-expenses-paid trip to the party. Moretti is hosting the party at his sprawling compound in a very remote desert area in Green City, Utah.

It’s explained that before Moretti “disappeared” into retirement, he was the biggest pop star of the 1990s. He had 38 No. 1 singles and the highest-grossing concert tour of all time. His retirement was abrupt. He has not done any interviews since his retirement. And he has rarely been seen in public. However, he still has a devoted fan base.

The trailer for “Opus” already reveals that Ariel and Stan are two of the people who received invitations to the listening party. Arrangements are made for them to get flown by private jet to Green City. When Ariel and Stan arrive in Green City, they are greeted by Moretti’s chief assistant Jorg (played by Peter Diseth), who is welcoming but has an intensity about him that is unsettling. Jorg dresses like he was given throwaway clothes from “Star Trek.”

Ariel and Stan are then told that they will go on a tour bus called The Debutante to go to Moretti’s compound. The other people on the bus are tabloid TV host Clara Armstrong (played by Juliette Lewis); paparazzi photographer Bianca Tyson (played by Melissa Chambers); social media influencer Emily Katz (played by Stephanie Suganami); and an entertainment journalist named Bill Lotto (played by Mark Sivertsen), who is a competitive rival to Stan. Later, it’s revealed that Moretti has a grudge against Bill for a very petty and uninteresting reason.

On the way to the compound, these six guests see Moretti fans who weren’t invited to the party but are camped out as close to the compound entrance as they can get. When the guests arrive at the compound, a tall and imposing staffer named Najee (played by Tatanka Means) tells the guests that they are required to hand over their phones during the trip. Later, Ariel finds out that her laptop computer was taken without her consent from her guest room. A note is left behind, saying that her laptop computer was taken to “ensure your comfort,” with the promise that she will get her computer back at the end of the trip.

Once at the compound, Moretti makes his big entrance (his wardrobe is a combination of 1970s Elton John and New Age guru) and almost everyone does some type of celebrity worship of Moretti. Ariel gets caught up in it too, but not to the extent that she sees other people excessively fawning over Moretti. She notices that Jorg and other Moretti employees refer to themselves and Moretti’s other devoted fans as Levelists, with each person having to attain different levels to get closer to Moretti.

Stan mostly ignores Ariel because he is more interested in schmoozing with Clara and seeing if he can be the first person to interview Moretti at this party. And so, at the first big group dinner, where everyone is seated at long tables, Ariel is by herself when she is approached by a friendly girl named Maude (played by Aspen Martinez), who is about 8 or 9 years old. Maude invites Ariel to sit next to her at the dinner.

Maude is one of the few children in this group of people. Who is Maude and why is she there? Don’t expect any answers to that question. Later, Moretti is seen holding Maude’s hand like a parental figure. There is no mention of Moretti being a parent to Maude. Where are Maude’s parents? Don’t expect the movie to answer to that question either.

In another scene, Jorg tells Ariel that Jorg used to be a music teacher in Charlotte, North Carolina, but he suddenly left it all behind when he got a surprise phone call from Moretti, who asked Jorg to work for him. Jorg tells Ariel, “I was on the plane the next day.” Jorg says part of his job is to teach music theory to Maude, but whatever musical skills Jorg might have are never shown in the movie.

Ariel sees many other indications that Moretti is the leader of a cult. People obey his orders, no matter how strange they are. All of the people at the first group dinner are expected to eat from the same loaf of bread by biting into the bread loaf. By the time the loaf gets to Ariel, it’s lumpy and sticky from other people’s saliva. She hesitates to take a bite, but she gives in to peer pressure and does it anyway. The guests are also given specific schedules for their activities during this trip.

Later, Ariel and the other guests are each assigned a “minder,” who is supposed to keep them under surveillance, 24 hours a day. Ariel’s minder is a scowling Levelist concierge named Belle (played by Amber Midthunder), who follows Ariel almost everywhere. Ariel is given some privacy (Belle stays outside Ariel’s room when Ariel is in her room), but the movie never explains how Belle can really watch Ariel 24 hours a day, as if Belle doesn’t need to sleep. (“Opus” is not a science-fiction movie where the Levelists are really surprise non-human creatures.)

There’s too much build-up and not much payoff happening in “Opus.” At least half of the movie is about showing Ariel getting increasingly uncomfortable about being at the compound. Something that really raises alarms for her is the fashion/beauty makeover that she and the other guests are required to have before the listening party. It has already been decided for all the guests exactly what their makeovers will entail.

An employee Levelist named Rachel Malick (played by Tamera Tomakili), whose perky personality seems very fake, oversees Ariel’s makeover. And let’s just say that the grooming is too close for Ariel’s comfort. Rachel tries to shame Ariel into thinking that Ariel is being too uptight if she refuses any part of this makeover. “Opus” repeatedly makes the point that people will overlook and excuse a lot of uncomfortable weirdness if it mean pleasing someone who’s rich and famous.

One of the biggest failings of “Opus” is that it tells nothing about who Clara, Bianca, Emily and Bill really are, even though they are all put in the same group as Ariel and Stan for various activities at the compound. Clara gets the most dialogue with Ariel and Stan, but Clara is ultimately shallow and has nothing interesting to say. Bianca’s presence in the movie is unnecessary because Bianca has absolutely no bearing on the story.

For most of “Opus,” Ariel just exists to react to the bizarre things that she experiences, including witnessing extreme oyster shucking in a sweat-lodge tent; hearing Moretti tell a weird story about Chuck Norris and Muhammad Ali competing with each other backstage at a 1980s Mortetti concert to see who could slice up a mosquito the most with his bare hands; and watching an offbeat puppet show called “The Tragedy of Billie” about Billie Holiday. (Rosario Dawson has a voice cameo role as Billie Holiday.) As a journalist, Ariel has lousy investigative skills and not much common sense. But then again, horror movies often rely on characters to make less-than-smart decisions. Edebiri gives a serviceable performance as Ariel, who is likable but dull.

Malkovich’s performance as demented creep Moretti might get mild chuckles from viewers, but Moretti is not scary enough or funny enough to be an outstanding villain. As for Moretti’s songs, they are mediocre electro-pop tunes written by Grammy-winning writers/producers Nile Rodgers and The-Dream. If you waited your whole life to see Malkovich gyrate to bland pop while pretending to be a pop star, then “Opus” is the movie for you.

Most horror movies are not expected to be masterpieces. But the best horror movies should get viewers interested enough to care what happens to the main characters. Unfortunately, “Opus” fails to deliver, in terms of characters and a story that can be engaging. The last awful 15 minutes of “Opus” drag like a strand of toilet paper clinging to a toilet bowl before being flushed down the toilet. And that’s probably the best way to describe how this derivative flop film wasted a lot of opportunities to be a better movie.

A24 released “Opus” in U.S. cinemas on March 14, 2025. The movie will be released on digital and VOD on April 1, 2025.

Review: ‘Novocaine” (2025), starring Jack Quaid, Amber Midthunder, Ray Nicholson, Betty Gabriel, Matt Walsh, Lou Beatty Jr., Van Hengst, Conrad Kemp and Jacob Batalon

March 8, 2025

by Carla Hay

Jack Quaid in “Novocaine” (Photo courtesy of Paramount Pictures)

“Novocaine” (2025)

Directed by Dan Berk and Robert Olsen

Culture Representation: Taking place in San Diego, the action film “Novocaine” features a predominantly white cast of characters (with a few African Americans and Asians and one Native American) representing the working-class and middle-class.

Culture Clash: An assistant bank manager, who has a rare medical condition where he cannot feel pain, turns into a vigilante who goes on a dangerous mission to rescue his co-worker/love interest, who was kidnapped by bank robbers.

Culture Audience: “Novocaine” will appeal mainly to people who are fans of the movie’s headliners and action movies where a “common man” turns into a brave vigilante.

Jack Quaid and Amber Midthunder in “Novocaine” (Photo courtesy of Paramount Pictures)

The likable action comedy “Novocaine” is anything but numbing. Jack Quaid delivers a knockout performance as a mild-mannered man, who can’t feel pain and who turns into a vigilante to save a kidnapped love interest. The movie’s breezy comedy is adeptly blended with its cartoonish violence.

Directed by Darn Berk and Robert Olsen and written by Lars Jacobson, “Novocaine” excels because of its talented cast, adrenaline-packed stunts and an uncomplicated story that doesn’t take itself too seriously. As ridiculous as many of the fight scenarios are, the characters in the movie remain believable, thanks to skilled acting from the “Novocaine” cast members.

In “Novocaine,” Quaid plays 30-year-old Nathan “Nate” Caine, a socially awkward nerd who works as an assistant manager at San Diego Trust Credit Union, a bank in San Diego. (“Novocaine” was actually filmed in Cape Town, South Africa.) It’s later revealed in the movie that when he was a student, people at Nate’s school gave Nate the unflattering nickname Novocaine because he was born with a rare medical condition that makes him immune to pain, much like the drug novocaine is used as a way to numb pain. Nate also can’t feel changes in temperature.

Because of this medical condition, Nate’s overprotective parents (who are now deceased) raised him to be a very sheltered child. For years, Nate was told that he couldn’t eat solid food, in order to prevent him from accidentally biting his tongue off while eating. He was also taught to stay indoors as much as possible, which has caused Nate to be a loner as an adult.

At home, Jacob spends most of his free time playing online video games. His closest “friend” is someone he hasn’t met in person yet: another avid online video gamer named Roscoe (played by Jacob Batalon), who is as confident as Nate is insecure. Nate also has a friendly acquaintance (in person) with a local hardware store owner named Earl (played by Lou Beatty Jr.), an elderly man who gets help from Nate when Earl’s store is close to getting out of business.

Most of the story takes place during the late December holiday season. Nate is feeling lonely because he has no family members or friends to be with for the holidays. Because of his extremely sheltered upbringing, Nate is inexperienced in dating. Fairly early on in the movie, it becomes obvious that Nate is a virgin who’s never had a steady girlfriend.

That doesn’t mean that Nate is asexual. He’s attracted to a co-worker named Sherry (played by Amber Midthunder), who works as a bank teller at San Diego Trust Credit Union. Sherry, who is an aspiring painter artist, knows that Nate has a crush on her, so she’s the one who approaches him and asks him out on a date.

Nate and Sherry’s first date is at local diner, where Nate tells Sherry about his medical condition. Sherry convinces Nate to eat some of the pie that she has ordered. Nate overcomes his fear of eating solid food, eats some of the pie, and finds out to his delight that the pie tastes great, and nothing bad happened to him when he ate the pie.

This pie experience is the icebreaker that brings Sherry and Nate closer together on this date. Sherry (who is originally from Tucson, Arizona) opens up to Nate about her troubled past: She spent much of her childhood in foster homes until she was adopted into an abusive home. Amber tells Nate up front that she’s in therapy. It’s later revealed that Amber is in recovery for being a self-harming cutter.

Nate and Sherry continue their date at a local bar, where an unnamed bully (played by Tristan de Beer) from Nate’s past approaches Nate and teases him about being nicknamed Novocaine. Nate is embarrassed but tries not to let it show to Sherry. When the bully starts to flirt with Sherry, something happens that proves Sherry is not interested in this jerk. Sherry assertively tells Nate that she wants to spend the night with Nate.

The day after their sleepover date is Christmas Eve. Sherry and Nate (who has already fallen hard for Sherry) both have to work that day, which turns into a nightmare. Three armed bank robbers, who are all disguised as Santa Claus, storm into the bank. They don’t just want the cash that’s in the registers were the bank tellers are. The robbers want whatever is in the bank vault that’s locked in the back.

The leader of the robbers is Simon (played by Ray Nicholson), a sadistic psychopath who doesn’t hesitate to shoot and kill. Simon’s accomplices are two brothers: Andre (played by Conrad Kemp) and Ben (played by Evan Hengst), who is the younger brother. Ben is the lookout and getaway driver.

Things go horribly wrong during the robbery. Bank manager Nigel (played by Craig Jackson) sees what Simon’s face looks like without the disguise. And you can easily guess what happens to Nigel. Nate is then forced to open the bank vault because he’s the only other person in the bank who knows how to unlock the vault.

Police arrive, and there’s a massive shootout that leaves several people wounded and a few people dead. Before the robbers make their getaway, they take Sherry as a hostage. Nate impulsively takes the gun and police car of a wounded cop (played by Keeno Lee Hector), so that Nate can chase after the kidnappers/robbers because he wants to rescue Sherry. Nate thinks that the police won’t act fast enough.

The two police detectives in charge of the investigation are Barbara Mincy (played by Betty Gabriel) and her cop partner Detective Coltraine (played by Matt Walsh), who soon arrive at this crime scene. Barbara immediately suspects that Nate is in cahoots with the kidnappers/robbers. Detective Coltraine is a little more willing to give Nate the benefit of the doubt.

The rest of “Novocaine” is about Nate haphazard rescue attempt, as Nate is being hunted by police. The movie gets repetitive in showing how many painful injuries that Nate sustains, but the scenes have so much playfully intense energy, these scenes don’t really drag. Each injury sems to make Nate emotionally stronger, if not more confident, as he shows an unrelenting determination to save the person he believes could be the love of his life.

“Novocaine” has above-average stunt work and makeup design (for the fight injuries) that give some realistic-looking aspects of an intentionally absurd film. Much of the comedy comes from Nate getting himself in situations where he has no idea what he’s doing, but he has to make quick-thinking decisions along the way. Some of these decisions turn out to be mistakes, so Nate has to find a way to get out of any mess that he created.

The appeal of “Novocaine” is centered mainly on Quaid’s dynamic performance as Nate, who evolves from being timid to being courageous, while still remaining a “nice guy.” “Novocaine” has a lot of brutal violence, but the heart of the movie is really mushy sentimentality about the extremes that people will go to for love. Somehow, that mushiness works well because it’s wrapped up in a movie that expertly mixes engaging action with charismatic comedy.

Paramount Pictures will release “Novocaine” in U.S. cinemas on March 14, 2025, with sneak previews on March 3 and March 8, 2025. The movie will be released on digital and VOD on April 8, 2025. “Novocaine” will be released on 4K Ultra HD, Blu-ray and DVD on June 24, 2025.

Review: ‘The Wheel’ (2022), starring Amber Midthunder and Taylor Gray

August 22, 2022

by Carla Hay

Amber Midthunder and Taylor Gray in “The Wheel” (Photo courtesy of Quiver Distribution)

“The Wheel” (2022)

Directed by Steve Pink

Culture Representation: Taking place in California, the dramatic film “The Wheel” has a racially diverse cast of characters (Native American, white, Asian and multiracial) representing the working-class and middle-class.

Culture Clash: A married couple, contemplating divorce after eight years of marriage, will decide if they will split up or stay together during a getaway retreat.

Culture Audience: “The Wheel” will appeal primarily to people who are interested in authentic-looking relationship dramas with characters who are neurotic.

Nelson Lee and Bethany Anne Lind in “The Wheel” (Photo courtesy of Quiver Distribution)

“The Wheel” thinly stretches the “will they or won’t they break up” dilemma for the movie’s central married couple, until the movie’s very last scene, which is the best part of the film. This relationship drama is mostly well-acted but very repetitive. Despite its shortcomings, “The Wheel” at least realistically depicts people and relationships as sometimes messy and flawed.

Directed by Steve Pink and written by Trent Atkinson, “The Wheel” had its world premiere at the 2021 Toronto International Film Festival. The movie’s title could be inspired by the pivotal last scene, which takes place when the two spouses have an emotionally charged conversation on a Ferris wheel. However, the title of “The Wheel” could also refer to the seemingly endless cycle of dysfunction and anguish that can happen if people fail to communicate properly in relationships.

That’s why this question is presented throughout the film: “Will anyone in this couple want to stay in this marriage, which keeps going around in circles of arguments and misunderstandings?” The movie’s opening scene shows married couple Albee (played by Amber Midthunder) and Walker (played by Taylor Gray) having just such an argument.

Albee and Walker, who are both about 24 years old, live in California, where the movie was filmed on location in Angelus Oaks and Malibu. Albee is an aspiring actress, while Walker’s job is not stated in the movie. Walker and Albee later tell someone that they got married at age 16, and have been married for eight years.

Why did they get married so young? Walker and Albee, who are both originally from Texas, both grew up fast in the foster-care system. They no doubt married each other to feel like they could have some kind of stable family life that they didn’t have as foster kids.

And now, the marriage of Albee and Walker has reached a critical point. The movie’s opening scene shows Albee telling Walker that she’s irritated by him when they are somewhere outdoors. Walker says he doesn’t know why she’s angry with him, but that he’s sorry for whatever he did.

This apology just makes Albee even more upset, because she thinks Walker should know what made her angry in the first place. Albee doesn’t want to explain it all to Walker. She thinks part of the problem is that he’s completely unaware of what he did to offend her. The argument continues when Albee and Walker are seated at a table in a diner.

Eventually, Albee and Walker call a tentative truce in this argument. However, this argument is an indication of how Albee and Walker interact with each other for most of the movie. Albee expects Walker to read her mind and know instinctively how to make her happy. Walker wants to make Albee happy, but she doesn’t express to him that she loves him as much as he loves her.

Walker is an optimist about love and wants to save the marriage. Albee is a pessimist and is more reluctant to stay married to Walker, but she’s also afraid of being alone and getting hurt by divorce. Albee gives Walker the impression that she’s possibly fallen out of love with him, while he’s still in love with Albee and wants to bring back the romantic passion in their marriage.

Eventually, Albee and Walker decide to go to a getaway retreat, by renting a cabin in the woods. Before taking this trip, Walker and Albee agree that they will decide the fate of their marriage during this retreat. They also vow to be completely honest with each other, regardless if what they have to say is good or bad. Walker has recently bought a relationship self-help book, and he wants to use the book’s advice with Albee during this trip.

Albee and Walker have rented the cabin through Airbnb. The cabin’s Airbnb hosts are an engaged couple in their 30s named Carly (played by Bethany Anne Lind) and Ben (played by Nelson Lee), who are staying at a nearby cabin and at first seem to have an idyllic relationship. Soon after Walker and Albee arrive at the cabin, they both meet Carly, who welcomes Albee and Walker in a friendly manner. However, Carly can’t help but notice the tension between Walker (who is polite to Carly) and Albee (who is standoffish to Carly) as soon as Carly meets them.

Carly mentions that she hopes that Albee and Carly will find the cabin ambience to be romantic during the couple’s stay, but Albee comes right out and tells Carly that Albee and Walker have taken this getaway trip to decide if their marriage is worth saving. It’s an awkward moment, but it sparks curiosity in Carly to try to help Albee and Walker. Carly takes it upon herself throughout most of the story to be an unofficial relationship counselor to these two strangers.

Albee is immediately annoyed when she finds out that the cabin has no WiFi service, and she can’t get a signal on her cell phone. She goes outside and is elated when she’s able to get a phone signal. Walker can’t help but notice that Albee has been excitedly communicating with someone by text when she begins using her phone. It’s eventually revealed who this mystery person is.

On the first night that Albee and Walker stay at the cabin, she smokes a marijuana joint in a sauna and seems skeptical when Walker says, “If we can get through these last few months, we can get through anything.” Albee asks, “We’ll be okay though, right?” Walker senses Albee’s lack of interest in talking about their relationship in a meaningful way, so Walker leaves the room without answering the question.

Later, Albee rebuffs Walker’s advances to be sexually intimate. She tells a dejected Walker, “I’m not there. Sorry.” Walker says, “That’s okay. Sleep tight.” The movie keeps showing over and over that Walker wants to offer love, respect and passion to Albee, but she keeps rejecting him at every turn.

Carly has noticed this imbalance in the relationship too. On the first night that Albee and Walker are in the cabin, Carly tells Ben what was her first impression of Albee and Walker. Carly says that Walker seems nice, but Carly thinks that Albee is the kind of woman who thinks she’s too good for her partner. And so, when Ben meets Albee and Walker later, Ben already has a negative impression of Albee.

Albee (who is often rude and sarcastic to people) and Ben (who is laid-back and equally sarcastic) end up clashing with each other and insulting each other. Carly tries to be a peacemaker in arguments between Albee and Walker. And there are several arguments and sullen silences between Albee and Walker in this movie. After a while, these marital spats and refusals to talk to each other get a little tiresome. About halfway through this 83-minute movie, you’ll probably wish that Albee and Walker would just make up their minds already if they’re going to stay together or go their separate ways.

And why is Carly so personally invested in these two strangers and so ready to meddle in their marriage? It turns out that Carly and Ben are having some relationship issues too. Carly is excited to make wedding plans. As for Ben? Not so much. Carly thinks it has to do with men typically not being as heavily involved in wedding planning as women are.

After a while, it becomes obvious that Carly wants to be like an unofficial relationship counselor to Albee and Walker because Carly feels that she’s losing control of her own relationship. Carly is a die-hard romantic who thinks she can “fix” things in relationships if she just shows enough compassion. She even goes as far as asking Ben to surprise Albee and Walker by offering them a portable table of breakfast food so that Albee and Walker can eat breakfast in bed. He reluctantly goes along with the idea.

Ben feels almost the exact opposite way as Carly does in dealing with Albee and Walker. Ben thinks that he and Carly should mind their own business when it comes to Albee and Walker’s marriage, and Albee and Walker are better off figuring things out on their own. Ben also believes some relationships are doomed, no matter how much counseling is done. And he thinks Albee is very annoying, because Ben says that Albee reminds him of the women he used to date for the past 20 years in previous bad relationships.

As the couple struggling with the decision to break up or stay together, Midthunder and Gray give riveting performances, although at times there’s a little bit of overacting between the two of them. Lind and Lee, as the less-volatile couple Carly and Ben, are adequate in their roles, with Lee’s acting skills being a little stitled and wooden in a few scenes. Pink’s direction of “The Wheel” builds up enough tension for viewers to be curious about what will happen to these couples, but the movie tends to drag in some areas. Expect to see multiple scenes of pouting Albee and melancholy Walker staring off into space during the moments when they’ve decided to stop talking to each other.

Carly and Ben serve as a counterpoint to Albee and Walker, because both couples are unraveling in their own ways. Carly and Ben are lot quieter about their problems than Albee and Walker are, because Albee and Walker put their marital discord on public display. Albee (who is fickle, abrasive and often very selfish) will undoubtedly be considered the character in the movie who’s the most difficult to like, but “The Wheel” isn’t about making all of the characters “likable.”

People who are like Albee are usually very emotionally damaged for any number of reasons. The movie skillfully shows that people who are like Albee have such low self-esteem, they don’t think they deserve love. And when someone offers true love to these deeply insecure people, they often want to push that person away, or hurt that person first, in order to avoid getting hurt. In many respects, “The Wheel” is a fascinating portrait of love, patience and forgiveness. It’s also about having the courage to navigate relationship minefields, as well as having the courage to walk away when a relationship isn’t worth saving.

Quiver Distribution released “The Wheel” on digital and VOD on July 22, 2022.

Review: ‘Prey’ (2022), starring Amber Midthunder, Dakota Beavers, Stormee Kipp, Michelle Thrush, Julian Black Antelope and Dane DiLiegro

August 3, 2022

by Carla Hay

Amber Midthunder and Dane DeLiegro in “Prey” (Photo courtesy of 20th Century Studios/Hulu)

“Prey” (2022)

Directed by Dan Trachtenberg

Some language in Comanche and French with no subtitles

Culture Representation: Taking place in North America’s Nothern Great Plains in 1719 (in the area now known as Canada), the sci-fi horror film “Prey” features a cast of predominantly Native American characters (with some white people) portraying people from the Comanche Indian tribe and white French trappers.

Culture Clash: A teenage girl from the Comanche tribe must prove her worth as a hunter when people doubt she can do it because she’s a female, and she encounters the deadly Predator from outer space.

Culture Audience: “Prey” will appeal primarily to people who are fans of the “Predator” franchise and anyone who doesn’t mind watching predictable, boring and idiotic horror movies.

Cody Big Tobacco, Harlan Kywayhat, Stormee Kipp, Dakota Beavers and Amber Midthunder in “Prey” (Photo courtesy of 20th Century Studios/Hulu)

“Prey” is a dull and lousy rehash and not a real origin story for “The Predator” franchise. Expect to see more of the same types of killings that are in other “Predator” movies, except that “Prey” takes place in 1719. This mindless horror flick clumsily panders to gender politics by having the theme that women are underestimated as hunters. The movie’s female protagonist literally says so in the movie, in order to explain why the Predator beast hasn’t attacked her yet.

Directed by Dan Trachtenberg and written by Patrick Aison, “Prey” is shamefully a wasted opportunity to explore and educate viewers on the Comanche Nation tribe of Native Americans, who are the primary characters in this movie’s story. Instead, the movie uses the same old tired and generic stereotypes of Native Americans in frontiers of North America (before the United States and Canada existed as nations), with “Prey” providing little to no insight on what makes the Comanche tribe special from other Native American cultures. Yes, some of the movie’s language is spoken in Comanche, but that’s about it.

Instead, “Prey” pounds viewers over the head with the concept that only one female in this tribe is brave enough to want to be a hunter alongside the men. Her name is Naru (played by Amber Midthunder), who gets constant reminders from the male members of her tribe that she’s not “good enough” to be their equal. Naru (who looks to be about 16 or 17 years old) and her tribe live in the Northern Great Plains of an area that is now part of Canada. (“Prey” was filmed on location in Alberta, Canada.)

Even though she is the focus of the movie, Naru doesn’t have anything that resembles a true personality. She’s just a combination of predictable and over-used clichés about teenage heroines who do action scenes. And that’s not a good sign when this character is supposed to be the central character in what should have been a compelling horror movie but instead is just a lackluster imitation of the worst “Predator” movies.

The first third of the movie consists of Naru trying to tell skeptical members of her tribe that there’s a predatory and deadly creature that’s not a bear or a lion. She doesn’t know what this creature is, but she’s not believed by the members of her tribe. Naru’s older brother Taabe (played by Dakota Beavers), who’s in his 20s, is one of the people who doubts Naru’s hunting abilities and what she is saying.

One of the more insulting depictions about Native American culture that “Prey” perpetuates is that it depicts Native Americans of this era as not being capable of having anything but simplistic conversations. Therefore, viewers will get mind-numbing dialogue in “Prey” such as a conversation between Naru and her disapproving mother Sumu (played by Stefany Mathias), who is barely in the movie. (Sumu’s screen time is less than 10 minutes.)

In this conversation, Sumu says to Naru: “My girl, you are so good at so many other things. Why do you want to hunt?” Naru replies, “Because you all think that I can’t.” All of the cast members are serviceable in their roles (which are hindered by the terrible screenwriting), but no one in the “Prey” cast does a great performance either.

People familiar with the “Predator” franchise already know that the Predator is a deadly mutant creature from outer space. The Predator’s standing height is about 7 to 8 feet tall, and its muscular body has human-like arms and legs. Instead of fingernails, the Predator has elongated talons. This creature has the ability to be invisible. The Predator also has vision similar to an X-ray. And the Predator doesn’t speak or give any indication for why it kills.

The way that the Predator (played by Dane DiLiegro) suddenly appears in “Prey” is an example of the movie’s tacky and cheap-looking visual effects. An origin story is supposed to explain why and how a saga started. It’s not supposed to rehash storylines that were already seen in other stories in the franchise. And that’s why, as an origin story, “Prey” is an utter and pathetic failure.

The middle and last third of “Prey” are just a series of soulless killings that have been seen in other “Predator” movies, with the only difference being that the people in the Comanche tribe and some scruffy-looking Frenchmen trappers are now the targets. The supporting characters in “Prey”—including a sexist Comanche warrior named Wasape (played by Stormee Kipp), a tribe woman named Aruka (played by Michelle Thrush) and the tribe’s Chief Kehetu (played by Julian Black Antelope)—are written as utterly forgettable or bland characters.

“Prey” is so lazy when it comes not bothering to come up with enough original ideas, it recycles the famous line uttered by Arnold Schwarzenegger’s character named Dutch in 1987’s “Predator” movie: “If it bleeds, we can kill it.” In “Prey,” Taabe says these same words to Naru. It might be the “Prey” filmmakers’ way of paying tribute to this very first “Predator” movie, but it comes across as a corny throwaway line of dialogue because no one on the “Prey” filmmaking team could think of anything better. And for people who are fans of 1987’s “Predator,” re-using this line of dialogue is just a reminder of how much of a better movie “Predator” is to “Prey.”

Naru encounters the Predator several times but manages to escape in several badly edited scenes. As Naru tells her brother Taabe, the Predator isn’t attacking her because the Predator doesn’t see her as a threat. Since when does the Predator care about the gender of its victims? Apparently, in “Prey,” the Predator somehow thinks that any female human is somehow “not a threat” and therefore less likely to be a target of the Predator. It reeks of sexism and going overboard to pander to some idea of feminism when a female comes along to challenge the Predator.

This ludicrous storyline in “Prey” is in fact the opposite of female empowerment, because the “Prey” filmmakers have now made it look like this notorious horror villain from outer space thinks female humans aren’t smart enough or strong enough to kill it. And only one female from the tribe has the courage to possibly do so. It’s the worst type of female tokenism that “Prey” takes to idiotic levels.

It should come as no surprise that Naru and the Predator do indeed have a showdown, but that doesn’t really happen until the last 15 minutes and only after Naru feels justified to do something out of “revenge.” Don’t expect anything resembling a coherent plot in this terrible movie. It’s easy to see why the movie studio decided to release “Prey” directly to streaming services instead of in theaters first, because a lot of people who would see this ripoff horror flick in cinemas would probably want a refund.

Hulu will premiere “Prey” on August 5, 2022. Outside the U.S., “Prey” will premiere on Star+ in Latin America, and Disney+ under the Star banner in other territories on August 5, 2022.