Review: ‘The Moment’ (2026), starring Charli XCX, Rosanna Arquette, Hailey Benton Gates, Jamie Demetriou, Kylie Jenner, Isaac Powell, Rachel Sennott and Alexander Skarsgård

January 30, 2026

by Carla Hay

Pictured in center: Mel Ottenberg and Charli XCX in “The Moment” (Photo courtesy of A24)

“The Moment” (2026)

Directed by Aidan Zamiri

Culture Representation: Taking place from September 2024 to October 2024, in England, the United States, and Ibiza, the comedy/drama film “The Moment” features a predominantly white cast of characters (with a few Asians, black people and Latin people) representing the working-class, middle-class and wealthy.

Culture Clash: In this mockumentary, British pop star Charli XCX gets stressed-out while preparing for an upcoming concert tour, and she gets caught in the middle of an escalating feud between her creative director and the director hired to film a concert documentary during the tour.

Culture Audience: “The Moment” will appeal primarily to people who are fans of Charli XCX and celebrity mockumentaries that are very shallow and aren’t very funny.

Charli XCX and Alexander Skarsgård in “The Moment” (Photo courtesy of A24)

“The Moment” is not funny enough to be a creatively successful mockumentary, and it’s not edgy enough to be a satirical film about ‘brat’ pop singer/party girl Charli XCX. It’s just a series of awkward conversations and some diva meltdowns. And in this mishandled movie about a pop star preparing for a concert tour, there is disappointingly not much footage of her actually singing. However, you’ll hear a lot of whining from the pop star and people in her sycophantic entourage.

Directed by Aidan Zamiri, “The Moment” is Zamiri’s feature-film directorial debut. His previous directing experience has mostly been as a music video director, with credits that include music videos for Charli XCX, Billie Eilish and FKA Twigs. Zamiri co-wrote “The Moment” with Bertie Brandes, based on a idea from Charli XCX. Zamiri’s music video background shows in the movie’s quick-cut editing and glossy-meets-gritty cinematography that’s common in modern music videos. “The Moment” had its world premiere at the 2026 Sundance Film Festival.

There’s really not much of a plot in “The Moment,” which is as shallow as almost every one of the characters in the movie. British pop star Charli XCX plays a version of herself in the movie, which takes place from September to October 2024, in various places, such as England, the United States, and Ibiza. “The Moment” was actually filmed in London, Mexico City, New York City, and the California city of Palm Springs.

In “The Moment,” Charli XCX is shown preparing for an upcoming world tour by rehearsing in East London’s Dagenham area. She’s worried that the success of her 2024 album “Brat” (her sixth studio album) might have pigeonholed her into a “brat” image that could become outdated—especially since the popularity of the album was fueled by the phrase “Brat Summer,” which is associated with Charli XCX’s image and attitude of unapologetic hedonism. Still, Charli XCX knows this Brat Summer persona is what her fans want at the moment, so she’s willing to ride this Brat Summer wave until the end of the tour.

Even though “The Moment” is intended for adult audiences, there’s barely any hedonism in the movie at all, which makes Charli XCX’s “brat” image and all the fuss about it look like phony and cynical marketing to fool the masses. There are a few quick mentions of cocaine in the movie. And actress Rachel Sennott (playing a version of herself) shows up for a few minutes in a backstage scene and accepts a small tray with lines of cocaine mixed with an unnamed substance.

But the movie doesn’t actually show anyone doing drugs. There are only suggestive hints of drug use. There’s no sex in the movie. And the closest thing that the movie has to rock’n’roll are a few of the songs on “The Moment” soundtrack, such as The Verve’s 1997 hit “Bitter Sweet Symphony.” There’s quite a bit of cursing in the movie, but it’s so tame compared to all the things “The Moment” could’ve shown about how decadent celebrities really live.

Instead, the entire plot of “The Moment” consists of Charli complaining about self-absorbed pop star problems that really aren’t very important, considering all the real problems in the world. The big “joke” in the movie is how she gets caught in the middle of an escalating feud between her creative director/longtime friend Celeste Moreau Collins (played by Hailey Benton Gates) and a pretentious film/music video director named Johannes Godwin (played by Alexander Skarsgård), who was hired by Charli’s record company (Atlantic Records) to direct a concert documentary about this upcoming tour. Amazon has inked a deal to show this documentary on Amazon’s Prime Video service.

Celeste and Johannes are equally stubborn in how they want to do things. Celeste wants to stick to the original plans for Charli’s stage show. Johannes wants to try new ideas. One of these new ideas is to have Charli perform at least one song in a giant cigarette lighter painted in the same lime-green shade of the “Brat” album and to have a real flame on top of this giant ciagrette lighter. Johannes gets his way with this idea, but Celeste hates his idea to have audience members hold lights that can throb in time to the music being performed on stage.

In the middle of this turmoil of bickering between Celeste and Johannes, Charli has a shouting tantrum while she’s in the back of a car with her spineless manager Tim Potts (played by Jamie Demetriou), who is the very definition of a “yes person.” Charli announces during her outburst that she wants to take a few days off to vacation in Ibiza because she needs the time to “reset” and get her thoughts together. Charli abruptly leaves for this vacation and throws the tour rehearsal schedule into chaos.

Charli XCX’s acting performance isn’t terrible in the movie, and she does have a certain amount of screen presence. However, she’s not really challenging herself as an actress when she plays a watered-down version of herself in her first starring role in a movie. The best mockumentaries hit very close to reality. “The Moment” just has too much airbrushing of reality to be entertaining.

One of the great things about a classic music mockumentary, such as 1984’s “This Is Spinal Tap,” is how the featured supporting characters are just as memorable as the main characters. Skarsgård as Johannes is the only cast member in “The Moment” who understands the mockumentary assignment. Skarsgård makes Johannes very memorable because of how irritating and controlling Johannes can be while Johannes pretends to be friendly to everyone. Johannes is also about 10 to 15 years older than most of the people in Charli’s social circle and Charli’s core fan base, so his way of trying to look “cool” to younger people is amusing because there are many showbiz people in real life who are a lot like Johannes.

All the other supporting characters in “The Moment” are as bland as bland can be. Charli’s personal assistant Ana de Courcey (played by Trew Mullen) seems to have a closer relationship with Ana’s phone and a clipboard than with Charli. Tammy Pitman (played by Rosanna Arquette) is a generic no-nonsense Atlantic Records executive based out of the company’s New York City headquarters. Lloyd Randall (played by Isaac Powell) is Charli’s social media manager, who is stereotypically neurotic. Molly Jean Bush (played by Kate Berlant) is Charli’s makeup artist and is barely in the movie. The same goes for Mel Ottenberg, who plays a version of himself as Charli’s stylist.

“The Moment” has a not-funny-at-all subplot about Atlantic Records doing a deal with Stirling Bank (a fictional United Kingdom banking corporation) to make Brat credit/debit cards. The credit/debit cards are supposed to be marketed to Charli’s loyal fan base of young people who are queer. Charli asks an obvious question to the executives that no one can answer: How is a banking company supposed to know customers’ sexualities when customers apply for a bank card?

There are too many missed opportunities where “The Moment” could’ve had some hilariously dark comedy, but this gutless movie just doesn’t take the leap. A perfect example of a joke that’s intended to be funny but ends up fizzling out is when Charli goes to Ibiza and gets a spa facial at the hotel where she’s staying. Her aesthetician is a haughty woman named Maria (played by Arielle Dombasle), who insists to Charli that Charli has damaged skin because Charli is unhappy on the inside. Charli vehemently disagrees and leaves the spa in a huff.

And to add to the movie’s rampant shallowness, reality TV star/beauty-product influencer Kylie Jenner depicts a version of herself and shares headline billing for this movie. Jenner’s screen time in “The Moment” consists of less than two minutes, in a superficial conversation that she has with Charli. Other celebrities who make even quicker appearances in the movie include actor/comedian Bowen Yang, his “Las Culturistas” podcast co-host Matt Rogers, and actress Julia Fox, who also portray versions of themselves.

The character of Charli in this movie prides herself on having an image of being a diva in control. But what’s really on display in “The Moment” is an insecure celebrity who runs away or lets other people make decisions instead of skillfully confronting issues and being in charge of solving her own problems. The way she ultimately handles the Celeste/Johannes feud is more “passive girl” than “boss lady.”

Whether or not “The Moment” is a reflection of what Charli XCX has experienced in real life, the movie makes it painfully obvious that the version of Charli in this movie is surrounded by people who probably wouldn’t give her the time of day if they weren’t making money from her and/or if she weren’t famous. There is no mention of Charli having any family members or real friends. (People on her payroll are not her real friends.) Maybe if she had more real friends, they would’ve advised her not to be in such a boring and empty movie that makes her pop star life look like more talk than action.

A24 released “The Moment” in select U.S. cinemas on January 30, 2026, with an expansion to more U.S. cinemas on February 6, 2026.

Review: ‘Him’ (2025), starring Marlon Wayans, Tyriq Withers, Julia Fox, Tim Heidecker and Jim Jefferies

September 18, 2025

by Carla Hay

Marlon Wayans and Tyriq Withers in “Him” (Photo courtesy of Universal Pictures)

“Him” (2025)

Directed by Justin Tipping

Culture Representation: Taking place in an unnamed U.S. state, the horror film “Him” features a racially diverse cast of characters (African American, white and a few Latin people) representing the working-class, middle-class and wealthy.

Culture Clash: An aspiring pro football player is mentored by his longtime idol (a celebrity quarterback), but the protégé finds out there’s something sinister about this football star and the people around him. 

Culture Audience: “Him” will appeal primarily to people who are fans of the movie’s headliners and horror movies with a sports angle, but “Him’s” weak narrative and tangled plot add up to a bunch of jumbled nonsense, most of which isn’t scary at all.

Maurice Greene and Tyriq Withers in “Him” (Photo courtesy of Universal Pictures)

Watching the atrocious horror movie “Him” is like being forced to watch someone’s wretched psychedelic fever dreams about making American professional football look demonic. This incoherent mess is embarrassing for all involved. If “Him” were a football team in a game, the team’s final score would be zero because of all of the team’s incompetent fumbles.

Directed by Justin Tipping, “Him” was written by Tipping, Skip Bronkie and Zack Akers. The movie seems to want to make a statement about people selling their souls to the devil for fame and fortune. The problem is that the story is told in a boring and witless manner. There is absolutely no suspense, but the irritation level from viewers who watch this dreck will increase as the movie lurches and stumbles to its terrible end.

“Him” begins by showing a boy named Cameron “Cam” Cade (played by Austin Pulliam), who’s about 9 or 10 years old, as he enthusiastically watches the LXVII Championship football game on TV. The real team names and logos for the National Football League (NFL) and the Super Bowl are not in the movie, presumably for legal reasons. However, “Him” depicts this story in the world of the “big leagues” of American professional football. It’s supposed to be the NFL without the movie actually saying it out loud or showing the words.

Cam is excited because his football hero Isaiah White (played by Marlon Wayans), the star quarterback for the San Antonio Saviors, is playing in the game. Cam’s father Cam Cade Sr. (played by Don Benjamin) is also cheering on Isaiah. Cam Sr. encourages Cam Jr. to admire Isaiah so much, Cam Sr. tells Cam Jr. that he expects Cam Jr. to be just like Isaiah.

The movie gets the title “Him” from a scene early in the movie where Cam Sr. and Cam Jr. are watching Isaiah on TV. Cam Sr. asks Cam Jr. who Cam Jr. wants to be like. Cam Jr. responds by looking at Isaiah on TV and shouting: “Him!”

While watching this championship game, superfan Cam Jr.’s elation turns to dismay when Isaiah gets seriously injured. However, Isaiah is able to recover. Cam Sr. comments to Cam Jr. about this injury that could’ve ended Isaiah’s career: “See that, Cam? That’s what real men do. They make sacrifices. No guts, no glory.”

“Him” then fast-forwards 14 years later. Cam Sr. is dead (the movie never says how he died), but Cam Jr. (played by Tyriq Withers) is a rising star quarterback who’s being hailed as “the next Isaiah White.” Cam is predicted to be a top pick for the upcoming Scouting Combine for the football league that shall not be named in the movie. But before that happens, one of Isaiah’s fanatical fans (played by Maurice Greene), who’s wearing in a ghoulish ram’s head as mask, attacks Cam with an axe while Cam is alone at night on a football field. This so-called fan is never caught.

Cam doesn’t die, but he has to get surgery that leaves noticeable stitches on his head. Cam is self-conscious about the injury and scar, but it doesn’t stop him from pursuing his longtime dream of being a star quarterback on a professional football team in America’s biggest football league. And that’s why Cam is extremely flattered and jumps at the chance when Isaiah personally invites Cam to train with Isaiah at Isaiah’s remote compound somewhere in a desert area. (“Him” was actually filmed in New Mexico.)

Cam has several people who also encourage Cam to go to this compound: his widowed mother Yvette (played by Indira G. Wilson), who’s also a football fanatic; his supportive girlfriend Jasmine (played by Heather Lynn Harris), who’s been his sweetheart since they were in high school; his older brother Drew (played by Geron McKinley); and Cam’s opportunistic agent Tom (played by Tim Heidecker), whose annoying personality is supposed to be the movie’s comic relief.

It should come as no surprise that Cam and his supporters expect him to be a quarterback for the San Antonio Saviors. Isaiah is still the star quarterback for the San Antonio Saviors, but he’s at an age when most professional football players retire or are very close to retiring. Isaiah’s invitation to train Cam seems to be a clear indication that Isaiah wants to groom Cam to be Isaiah’s successor.

Jasmine is a little possessive of Cam and says that she would be okay with him not playing professional football. But it’s a statement that’s hard to believe because Jasmine does things like tag along with Cam when he does interviews to make sure that the coverage mentions that Cam has a girlfriend. Jasmine already seems to be imagining her share of the fortune that she expects Cam to make as a pro football player.

“Him” repeatedly shows that Isaiah has a bizarre cult following of people who dress like they got lost on the way to an occult Halloween party. They wear masks that look like ram heads, or they wear garish clown makeup that would fit right in at an Insane Clown Posse concert. Isaiah’s most fanatical followers don’t want him to be replaced, which is an unrealistic belief because all professional football players eventually leave their leagues (voluntarily or not) and are replaced.

One fan in particular named Marjorie (played by Naomi Grossman) takes things to extreme: When Cam arrives by car at the compound, Marjorie and some other obsessed fans are standing on the side of the road that leads to the compound. Marjorie spits at the car window where Cam is and yells at him, “We don’t want you!” Marjorie is seen again later in a violent and degrading scene.

Even though “Him” is told in six chapters, it doesn’t make the movie more cohesive or interesting. Each chapter is just a series of dull, repetitive and/or nonsensical scenes. At the compound, Isaiah is hard-driving but also insecure about being an aging athlete. Does Isaiah really have an interest in helping Cam? Or is it a case of the old saying, “Keep your friends close and your enemies closer”?

As soon as Cam arrives at the compound, Isaiah tells Cam that Cam will be experiencing a “mini-boot camp” that has “radical detachment” from electronic devices. Cam’s phone gets taken away, and he’s told he can’t use any computers. However, Cam doesn’t really have a “radical detachment” from electronic devices because during his time at the compound, Cam uses other phones to call his loved ones. It’s one of many inconsistencies in the movie.

Cam eventually meets some creepy people in Isaiah’s inner circle, including Isaiah’s vixenish wife Elsie (played by Julia Fox), who’s a social media influencer with a vacant stare and an evil smirk. Elsie flirts with Cam in a way where you know it will eventually lead. She does things such as show up in the compound’s gym while she’s wearing a skin-tight metallic evening gown, just so she can lean over Cam as he’s lifting weights and he can get a good look at her body.

Also in Isaiah’s entourage is Isaiah’s sports doctor Marco (played by Jim Jefferies), who does something weird when Cam is taking an ice bath: Marco injects Cam with Isaiah’s blood without Cam’s consent. Marco tells a shocked Cam as Marco walks away: “Many religions would consider his blood holy.” This movie is not subtle at all.

Isaiah and Elsie have the same publicist, whose name is Adrienne (played by Tierra Whack), a vapid sycophant who doesn’t do much in the movie but tag along with Elsie. Other supporting characters are Isaiah’s trainer Malek (also played by Greene) and Cam’s close friend Murph (played by Akeem “Guapdad 4000” Hayes), who is also star-struck by Isaiah.

“Him” can’t even be clever when it comes to the movie’s cliché scenarios. There are scenes of Cam going through brutal athletic training, with Isaiah shouting at him like a tough coach. There are multiple scenes of Cam injecting steroids, as he feels pressure to be a better athlete than Isaiah. There’s the inevitable scene of Cam partying in a nightclub, as he’s surrounded by female strippers and other women who are ready to seduce him. And there are many scenes of Cam having nightmares and hallucinations, which are jump scares that go nowhere.

Oscar-winning “Get Out” screenwriter Jordan Peele is one of the producers of “Him.” Peele’s name is being prominently used in the marketing for “Him,” which is more proof that slapping Peele’s name on a project won’t guarantee that the project will be any good. Peele was once hyped as the next great horror filmmaker, but he hasn’t made a horror movie yet that is as Oscar-worthy as 2017’s “Get Out,” which was Peele’s feature-film directorial debut. Somewhere, M. Night Shyamalan is nodding in agreement.

Although there is some effort from Withers to make his Cam character more complex than Cam really is, the rest of the cast members in “Him” just coast by on the superficiality of how their characters were written. “Him” tries to make a grand statement about how wealthy owners of American football teams buy and sell athletes like prize horses, and the athletes are complicit in how they are dehumanized in these transactional deals. But this dreadful dud of a movie can’t even get that messaging right when it’s thrown in toward the end, where a final showdown is more “bloody bore” than “terrifying gore.”

Universal Pictures will release “Him” in U.S. cinemas on September 19, 2025. The movie will be released on digital and VOD on October 7, 2025. “Him” will be released on 4K UHD and Blu-ray on November 11, 2025.

Review: ‘Presence’ (2025), starring Lucy Liu, Chris Sullivan, Callina Liang, Eddy Maday, West Mulholland and Julia Fox

January 20, 2025

by Carla Hay

Callina Liang, Chris Sullivan, Eddie Maday and Lucy Liu in “Presence” (Photo courtesy of Neon)

“Presence” (2025)

Directed by Steven Soderbergh

Culture Representation: Taking place in an unnamed U.S. city, the horror film “Presence” features an Asian and white cast of characters (with one Latin person and one African American) representing the working-class, middle-class and wealthy.

Culture Clash: A married couple and their two teenage children move into a house, where the couple’s daughter senses that the house is haunted by a ghost.

Culture Audience: “Presence” will appeal mainly to people who are fans of director Steven Soderbergh and don’t mind watching a haunted house movie that is more of a psychological mystery than a typical supernatural horror film.

Callina Liang, Chris Sullivan, Eddy Maday, Lucy Liu and Julia Fox in “Presence” (Photo courtesy of Neon)

The horror film Presence is told from the point of view of a silent ghost in a haunted house, so the foreboding tone is more subtle than most other supernatural movies. Viewers need patience for the buildup to the movie’s impactful ending. Anyone expecting more action and constant jump scares might be bored with “Presence,” which is a unique and competently made film, but it’s not particularly outstanding.

Directed by Steven Soderbergh and written by David Koepp, “Presence” had its world premiere at the 2024 Sundance Film Festival and its Canadian premiere at the 2024 Toronto International Film Festival. The movie takes place in an unnamed U.S. suburban city. (“Presence” was actually filmed in Cranford, New Jersey.) Almost every scene in the movie is at the house where the haunting takes place.

“Presence” begins by showing a real-estate agent named Cece (played by Julia Fox) doing a quick walking inspection of various rooms inside an empty Cape Cod-style, three-story house that could be bought on a middle-class income. Cece is taking one last look before some prosepective buyers come over to see this house, which has recently been put up for sale. In fact, the people coming over the see the house will be the first since the house when on the market again. (Even though Fox shares headline billing, she’s only in the movie for less than 10 minutes.)

The people looking at the house are a family of four: Rebecca Payne (played by Lucy Liu), Christopher “Chris” Payne (played by Chris Sullivan) and their two teenage children: Tyler “Ty” Payne (played by Eddy Maday) and Chloe Payne (played by Callina Liang), who both attend Crawford High School. Tyler is about 17 years old. Chloe is about 16 years old.

Within a few minutes of the family’s arrival, it becomes obvious that Rebecca is the most dominant person in the family. The job occupations of Rebecca and Chris are not stated in the movie, but Rebecca works as some type of high-powered position at an unnamed company, and she has a higher income than Chris. After a tour of the house, Rebecca announces that she wants to buy the house, and she’s sure that whoever sees the house next will want to buy it too.

Whatever Rebecca wants, Rebecca gets. The Paynes buy the house and don’t take long to move into their new home. After they settle in, the family dynamics start to be seen. Tyler is Rebecca’s favorite child, while Chloe is Chris’ favorite child. Rebecca has an overly close and somewhat creepy relationship with Tyler. By contrast, Chris and Chloe have a healthy father-daughter relationship with the appropriate boundaries.

In a private conversation between Rebecca and Tyler in the kitchen, she tells Tyler how she feels about him: “I’ve never felt so close to anyone,” she says in a tone that’s more like how someone would talk to a lover than to a child. Tyler asks Rebecca: “What abut Chloe?” Rebecca answers dismissively, “That’s just different.”

Although Tyler and Chloe are never seen at school in this movie, it’s easy to see that Tyler is the more popular and more outgoing sibling among their peers. Chloe is more introverted and more sensitive than Tyler. Chloe is image-conscious but not as much a Tyler, who places a lot of importance on being perceived as one of the “cool kids” at school.

Tyler and Chloe don’t really get along with each other and have a tendency to argue and insult each other. It could be just normal friction between two teenage siblings. But conversations in the movie later reveal that Chloe is in a fragile mental state.

Part of it has to do with her grieving over the death of her best friend Nadia, who died in her sleep. It’s implied that her death was drug-related because Tyler insensitively calls Nadia a “drug addict” in one of his arguments with Chloe. Nadia’s death was recent and happened not long after another death of a teenage girl in the community, who died in a similar way.

At first, the ghost seems to observe the family and doesn’t want its presence to be known. But then, the ghost makes its presence known to Chloe. In one incident, while Chloe is taking a shower in the bathroom next to her bedroom, the ghost moves some books from Chloe’s bed to a dresser in the same room. When Chloe gets out of the shower, she immediately notices that the books were moved.

Chloe sees other signs that the house might be haunted. She confides in her parents about this fear. Predictably, Chris is more understanding than Rebecca. When the parents discuss Chloe’s troubled mental state, Chris says that Chloe should see a therapist. Rebecca disagrees and says, “Time is what we need.”

There’s another problem in the family that is hinted at throughout the movie. Chris is seen making secretive phone calls, asking advice from someone named Howard (who is presumably an attorney) about how much a spouse can get in trouble for knowing about the other spouse being involved in something illegal. Chris seems very conflicted about whatever is bothering him.

Meanwhile, Tyler has gotten closer to a new friend at school named Ryan (played by West Mulholland), who comes from an affluent and prominent family. Ryan comes over to the Payne family home with Tyler one day after school. Tyler introduces Ryan to Chloe. Ryan and Chloe have an immediate and growing attraction to each other.

The rest of “Presence” shows how certain relationships change and how the ghost reacts to those changes. Although some of the movie’s scenes are nothing but the ghost observing mundane activities in the house, “Presence” always has an underlying tension that doesn’t really let up, because this is a horror movie, and you know something bad is bound to happen.

As for the ghost, certain actions show that the ghost is not there to scare but to protect. But who needs protecting and why? Some viewers might figure out the answer long before it’s revealed in the movie. The ghostly activities become a big-enough concern to the Payne family that a psychic medium named Lisa (played by Natalie Woolams-Torres), who is Cece’s sister-in-law, eventually does a reading of the house. Lisa arrives at the house with her husband Carl (played by Lucas Papaelias), who does not have psychic abilities.

“Presence” is very dependent on its cinematography to make the movie be effective. And on that level, Soderbergh’s cinematography (he’s also the film’s editor) mostly succeeds, as the camera bobs and weaves like a silent observer who can float through space. At the same time, the camera from the ghost’s point of view can also make viewers feel slightly claustrophobic when the ghost is spying in a small room with a closed door.

Liu is convincing as steely Rebecca, who seems to care more about her job than her marriage. Chris is in love with Rebecca and tells her that he knows that she’s too good for him, which is a sad commentary on his self-esteem, because he doesn’t see his worth as the kind and loving spouse that Rebecca fails to be. Some of the acting performances from the younger cast members are little stiff and awkward, but Liang does an overall very good job of conveying Chloe’s vulnerability and insecurities.

“Presence” has touches of social commentary about how people can project a certain image that could be very different from their real selves behind closed doors in private situations. This is not a ghost story where viewers can expect to see demonic characters with ghoulish appearances. Rather, “Presence” is a chilling observation of monstrous danger that’s much more insidious because it looks harmless on the surface.

Neon will release “Presence” in U.S. cinemas on January 24, 2025. The movie will be released on digital and VOD on February 25, 2025.

Review: ‘PVT CHAT,’ starring Julia Fox and Peter Vack

February 9, 2021

by Carla Hay

Peter Vack and Julia Fox in “PVT CHAT” (Photo courtesy of Dark Star Pictures)

“PVT CHAT”

Directed by Ben Hozie

Culture Representation: Taking place in New York City, the erotic drama “PVT CHAT” features a predominantly white cast of characters (with some African Americans and Asians in small speaking roles) representing the middle-class and working class.

Culture Clash: An online gambler becomes obsessed with a webcam dominatrix, and she resists his attempts to meet her in real life.

Culture Audience: “PVT CHAT” will appeal primarily to people who are interested in a cheap sexploitation movie with a badly written plot and self-absorbed characters who act irrationally.

Julia Fox in “PVT CHAT” (Photo courtesy of Dark Star Pictures)

“PVT CHAT” desperately tries to be the type of edgy New York City movie that writer/director Vincent Gallo used to make in the late 1990s and early 2000s. Gallo’s gimmick of being provocative just for the sake of being provocative eventually turned off movie audiences because of his lazy screenwriting. If people want to watch softcore porn, they can watch softcore porn in any number of places that offer it. They don’t need to be misled by softcore porn trying to masquerade as creative “auteur” work.

For a movie that’s supposed to be a mainstream (in other words, non-porn) independent film, audiences expect a compelling story that’s unconstrained by the type of restrictions that a major studio film would have. Instead, “PVT CHAT” has a very flimsy plot that’s just an excuse to make the movie’s lead actors masturbate and simulate other sex acts on camera to distract from this time-wasting story. The unoriginal concept of “PVT CHAT” is that it’s about a guy who becomes obsessed with a woman he met on the Internet. Yawn.

Written and directed by Ben Hozie, “PVT CHAT” squanders the talent of Julia Fox, who was a standout in the award-winning 2019 drama “Uncut Gems,” where she portrayed the much-younger mistress of Adam Sandler’s gambling-addict character. In “PVT CHAT,” Fox plays another woman who’s the love interest of another gambling addict. Her “PVT CHAT” character is a webcam dominatrix in her 20s who uses the alias Scarlet. Her online persona is someone who’s like a modern-day BDSM version of a black-haired vixen from a Russ Meyer movie, such as 1965’s “Faster, Pussycat! Kill! Kill!”

One of Scarlet’s regular customers is a guy around her age named Jack (played by Peter Vack), who eventually becomes fixated on meeting Scarlet in person. To go from “Uncut Gems” to “PVT CHAT” is a big step down for Fox, who has a charismatic on-screen presence. She should probably re-evaluate whoever advised her to do this lowbrow, trashy movie that makes everyone in it look like an idiot.

Jack makes his living as an online gambler, playing mostly blackjack. The movie takes place in New York City, where Jack is barely getting by financially. As a small-time gambler, his income fluctuates. Before this movie takes place, Jack’s roommate died of a drug overdose, and Jack hasn’t found someone else to move in to help pay the bills. Jack is very late with his rent, and his landlord Henry (played by Atticus Cain) has just informed Jack that he’s not renewing Jack’s lease.

The only thing Jack looks forward to in his life is connecting online with his favorite “cam girl” Scarlet, who indulges in his fetish for Jack to masturbate while she simulates tapping ash from a cigarette on his tongue. This fetish for cigarette ash on a tongue is shown repeatedly during the movie. And it’s the first scene in “PVT CHAT.” This movie tries to pass itself off as “daring,” just because it has multiple sex scenes with full-frontal male nudity.

Scarlet has told Jack that she lives in San Francisco. Anyone watching this movie can tell that she’s lying, no doubt for her own protection against creeps like Jack. Meanwhile, Jack does some lying of his own, by telling Scarlet that he works as a tech developer. He says that he’s working on an app called C-Stream that will allow users to directly access other people’s thoughts through an Internet cloud. He explains that people would need to have their brains implanted with a chip in order to use this app.

Although this technology could exist in the future, “PVT CHAT” is not a science-fiction film and is supposed to take place when this technology doesn’t exist. But Scarlet believes Jack, who promises that she’ll be one of the first people he’ll give a discount to when this C-Stream app goes on sale. The people in this movie are so dimwitted that even if the C-Stream app existed, they would need the app to get other people’s brain power. When Jack later confesses to Scarlet that he lied about the C-Stream app, Scarlet is surprised, but viewers of this nonsensical movie shouldn’t be.

As time goes on, Scarlet opens up a little bit about her real career passion: painting abstract art. Eventually, Scarlet shows Jack some of her paintings during their online chats. Of course, he raves about her work and gives her effusive compliments about how talented she is. Scarlet tells Jack that he’s only saying that so he can have sex with her. Jack doesn’t deny it.

“PVT CHAT” then goes into an unnecessary detour to show Jack attending an avant-garde visual arts exhibit showcasing the work of his ex-girlfriend Emma KaVas (played by Nikki Belfiglio), who apparently still has feelings for Jack. At one point, Jack stays at Emma’s place, although it’s never really made clear why, because this movie so shoddily written.

Emma says to Jack as she looks around at her messy bedroom, “What did you do to my room?” She then tries to give a Jack a massage, but he’s not into it, and he brushes her off. It’s hard to see why Emma wants to get back together with Jack, because he’s got a sleazy, untrustworthy personality.

Jack’s only friend seems to be a goofy guy named Larry (played by Buddy Duress), and when they get together, they have a “frat bro” mentality. For example, at Emma’s pretentious art exhibit, Jack and Larry horse around and have a scuffle on the floor, as if they’re 10-year-olds on a playground. There are plenty of other scenes where Jack acts very immature and quite empty-headed.

One day, Jack wakes up to find that his landlord has hired a painter to repaint the walls of Jack’s apartment because the apartment’s next tenant will be moving there in the near future. At this point, Jack is in such dire straits that he has only a few weeks to move out, he’s almost broke, and he hasn’t found a new place to live. The painter is a middle-aged man named William, who also goes by the name Will (played by Kevin Moccia), and they strike up a friendly conversation.

Jack tells Will that he makes money through online gambling. Will is intrigued and asks Jack to show him how it’s done. So one night, Jack, Will and Larry meet up at Jack’s place to smoke some marijuana and gamble. Jack happens to have a winning streak where he wins a few thousand dollars.

Will is so impressed that he asks Jack to help him get $20,000 through gambling, because Will says he needs the money for his son’s college tuition. Jack says that he can probably do it if Will can come up with at least $10,000 to start. They agree to the deal. But of course, in a movie like this one, you just know something’s going to go wrong with that money.

Meanwhile, one night while Jack is walking through the streets of Chinatown in downtown Manhattan, he’s shocked to see Scarlet walking in front of him. She’s by herself, so he follows her into a deli and watches her as she buys some beer. He then follows her back to a building where she apparently lives. She has no idea that Jack saw her and was stalking her.

However, when Jack gets home, he logs on to his laptop computer and asks Scarlet this creepy question: “How’s the beer? Are you available for a session?” Scarlet ignores him but eventually connects with him again.

When they talk again, Jack tells Scarlet that he saw her in Chinatown and vividly describes what he saw her do in the deli. But she denies that Jack saw her and says that she’s never even been to New York. She insists that Jack must’ve seen someone who looks exactly like her.

Jack doesn’t really believe Scarlet, so he makes a bet with her: Jack says that if he can take a picture or video of her in person, she’ll have to agree to go on a trip to Paris with him. And he’s up front in telling her that he wants to have sex with her at some point when they meet in person. Jack tries to make it sound like the trip to Paris will be romantic, but any adult with a brain can see what his main motive is.

Scarlet’s real life is eventually shown in the movie. Not all of her secrets will be revealed in this review, but it’s enough to say that she has a shady boyfriend named Duke (played by Will Poulson), who knows about Scarlet’s webcam work. Duke not only knows about it, he expects Scarlet to financially support him, and he takes most of the money she earns so that he can open an off-Broadway theater. Jack finds out more about Scarlet’s personal life, and it leads to Jack doing some more lurid stalking.

“PVT CHAT” tries to make Jack look like a “good guy” by having him try to help Will with the college tuition money, but that generous gesture is overshadowed by how much of an obsessive scumbag Jack is when it comes to dealing with Scarlet. She’s no angel either. And between the two of them, there’s enough lying, cheating and stealing that it’s almost laughable that the “PVT CHAT” filmmakers want viewers of this movie to root for Jack and Scarlet to get together.

It’s all so pointless because Jack and Scarlet are the type of people who gravitate toward toxic relationships filled with dishonesty and manipulation. The movie by no means had to be romantic, but it tries to play into romantic sensibilities toward the end, and it all just comes across as very phony. Even without the issues of sex and relationships, “PVT CHAT” isn’t even an intriguing thriller. There’s an unconvincing plot development that’s sloppily presented in the last 20 minutes of the film.

As the mysterious character of Scarlet, Fox seems to be doing the best she can with a woefully inept script, while Vack is stuck with playing a very unsympathetic and annoying character. The sex scenes are joyless, boring and not sexy at all. And “PVT CHAT” doesn’t deserve extra praise, just because it goes against the norm by having the male actor in the sex scenes have more nudity (full-frontal) than the female actor.

In fact, the movie has a misogynistic tone to it because the only women with significant speaking roles in the movie are those who play a character who does webcam porn (like Scarlet) or has some other sexual connection to Jack, such as his ex-girlfriend Anna. Far from being a sexually liberating film, it’s actually very unimaginative and narrow-minded that “PVT CHAT” writer/director Hozie chose to not put any women in this movie in any other context, except to be sexually in service to a thoughtless lowlife like Jack. But then again, self-respecting people would want to steer clear of a dishonest creep like Jack in the real world. People looking for a quality movie should steer clear of “PVT CHAT” too.

Dark Star Pictures released “PVT CHAT” in select U.S. cinemas on February 5, 2021, and on digital and VOD on February 9, 2021.

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