Review: ‘Creed III,’ starring Michael B. Jordan, Tessa Thompson and Jonathan Majors

February 23, 2023

by Carla Hay

Michael B. Jordan, Tony Weeks and Jonathan Majors in “Creed III” (Photo by Eli Ade/Metro Goldwyn Mayer Pictures)

“Creed III”

Directed by Michael B. Jordan

Culture Representation: Taking place in the Los Angeles area in the early 2020s (with flashbacks to 2000 and 2015), the dramatic film “Creed III” features a predominantly African American cast of characters (with some white people and Latinos) representing the working-class, middle-class and wealthy.

Culture Clash: Retired boxing champ Adonis “Donnie” Creed comes out of retirement to fight his former childhood friend Damian “Dame” Anderson, who has a jealousy-fueled vendetta against Adonis. 

Culture Audience: “Creed III” will appeal primarily to people who are fans of the “Creed”/”Rocky” franchise, the movie’s headliners, and boxing movies that show the emotional toll of keeping dark secrets and the down sides of fame and fortune.

Michael B. Jordan, Mila Davis-Kent and Tessa Thompson in “Creed III” (Photo by Eli Ade/Metro Goldwyn Mayer Pictures)

“Creed III” serves up more of the franchise’s winning combination of family drama, boxing fights and friendship loyalty. The movie might disappoint viewers who are expecting more boxing scenes, but Adonis Creed’s complicated past gets a worthy spotlight. Michael B. Jordan, who stars as Adonis “Donnie” Creed, makes an impressive feature-film directorial debut with “Creed III,” a movie that is the most psychologically intricate movie in the “Creed” franchise so far. Fans of boxing movies should know in advance there’s a lot more talking than boxing action in “Creed III,” which has only three big boxing matches and several flashbacks to Adonis’ childhood.

The “Creed” franchise (a spinoff from the “Rocky” movie franchise) began with 2015’s “Creed” and continued with 2018’s “Creed II.” With “Creed III,” the filmmakers (including “Creed III” screenwriters Keenan Coogler and Zach Baylin) give a lot of screen time to Adonis’ backstory to explain why he is so conflicted when a former childhood friend shows up in Adonis’ life again after the friend spent 18 years in prison. It helps (but it’s not essential) to see the previous “Creed” movies before seeing “Creed III,” because these previous movies give better context to Adonis’ relationship with his loyal wife Bianca Creed (played by Tessa Thompson) and their daughter Amara Creed (played by Mila Davis-Kent), who both happen to have hearing disabilities.

“Creed III” (which takes place in the Los Angeles area) begins with a flashback to 2000, when 15-year-old Adonis (played by as Thaddeus James Mixson Jr.) was a foster kid getting caught up in a lot of shady activities. At the time, Adonis’ best friend was 18-year-old Damian “Dame” Anderson (played by Spence Moore II), whom Adonis admired immensely. Adonis and Dame have a younger brother/older brother type of relationship. But they both run with a rough crowd and spend a lot of time doing risky, illegal activities. Dame was the first person who taught Adonis how to be a boxer.

One night, Adonis sees a middle-aged man named Leon (played by Aaron Alexander) outside of a liquor store. Dame is somewhere nearby. Leon looks intoxicated and oblivious as he walks by Adonis, as if he didn’t really see Adonis at all. Adonis angrily says to Leon, “You don’t remember me, do you?” And the next thing you know, Adonis attacks Leon and starts beating him viciously.

What happened that night is shown in other flashbacks that eventually reveal the entire story. It’s enough to say that what happened that night drastically changed the courses of Adonis’ life and Dame’s life. And it’s something that Adonis wants to forget, but he will have to face it when Dame suddenly and unexpectedly comes back into Adonis’ life, after Dame (played by Jonathan Majors) has spent 18 years in prison. Dame reconnects with Adonis the week after Dame got out of prison.

As already revealed in the “Creed III” trailer, the reunion of Adonis and Dame becomes a rekindled friendship that turns sour and leads to Adonis and Dame facing off as enemies inside and outside the boxing ring. The rift in their rekindled friendship happens about halfway through the movie. People who see the “Creed III” trailer before seeing the movie might wonder why it takes so long to get to the conflicts between Adonis and Dame.

For better or worse, “Creed” (which has a total running time of 116 minutes) takes its time in exploring issues such as urban poverty, social class prejudices, and African American male experiences in friendships, rivalries and the criminal justice system. It’s a lot of issues to cover, in addition to bringing back previous “Creed” movie characters and their storylines, introducing new characters, and showing a different side of Adonis without fundamentally changing who he is. Fortunately, the writing, directing, and film editing (by Jessica Baclesse and Tyler Nelson) of “Creed III” blend everything together in a way that’s seamless but a little long-winded.

After “Creed III” begins with flashbacks to Adonis’ life in 2000 (when he was 15 years old), the movie shows a flashback to 2015, when a 30-year-old Adonis won his first heavyweight boxing championship. In 2023, Adonis is happily retired, wealthy, and running a boxing training center called the Delphi Academy with Tony “Little Duke” Burton (played by Wood Harris), who has a shared generational history with Adonis. Little Duke was Adonis’ former cornerman, just like Little Duke’s father Duke was a cornerman for Adonis’ father Apollo Creed, Rocky Balboa’s most famous boxing competitor from 1976’s Oscar-winning “Rocky” and 1979’s “Rocky II.”

When Dame comes back into Adonis’ life, Dame makes Adonis feel guilty for Adonis not keeping in touch with Dame while Dame was in prison. Before he was sent to prison, Dame was a Golden Gloves (amateur boxing) champ, and he’s bitter that his boxing career was cut short because of his prison sentence. Now in his early 40s, Dame is considered too old to try to become a professional boxer, but he tells Adonis that it’s his goal anyway. Dame convinces Adonis to let Dame train at Delphi Academy.

Two people are very wary and skeptical about Dame being back in Adonis’ life, because they don’t think that Dame can be trusted. The first skeptic is Little Duke, who thinks that Dame is a loose cannon who fights dirty in the ring. Little Duke also thinks it’s foolish to invest time and money in Dame’s training. Dame is unemployed and broke when he gets out of prison, so Adonis is essentially paying for all of Dame’s boxing expenses.

The other person who doesn’t trust Dame is Adonis’ stepmother Mary-Anne Creed (played by Phylicia Rashad), Apollo’s widow who took 23-year-old Adonis out of a detention center in 1998 and let him live with her in her Bel-Air mansion. Adonis’ biological mother, who died when he was a child, was Apollo’s mistress. As shown in the first “Creed” movie, Mary-Anne and Adonis became so close, she began to treat him like he was her own biological son, and he eventually started calling her his mother.

Mary-Anne knows about Adonis and Dame’s shady past together, and she thinks of Dame as a bad influence, then and now. Soon after Dame and Adonis reconnect, Dame asks Adonis if Adons received any of the letters that Dame wrote to Adonis during Dame’s prison term. Adonis said he never got the letters, which were sent to the mansion where he used to live with Mary-Anne. It’s very easy to figure out what happened to those letters.

Adonis is a mentor to the current world heavyweight boxing champ: Felix Chavez (played by Jose Benavidez), who is managed by his outspoken mother Laura Chavez (played by Selenis Leyva), who is as ambitious and hard-working as her son. Felix’s biggest challenger for the heavyweight title is Viktor Drago (played by Florian Munteanu), who was Adonis’ main opponent in “Creed II.”

Viktor has a small but pivotal role in “Creed III.” Viktor, the son of notorious Ivan Drago (who fought Rocky in 1985’s “Rocky IV”) is supposed to be face off with Felix in a high-profile world heavyweight championship boxing match. However, something happens that prevents Viktor from doing this boxing match. What happens after that changes the trajectory of Dame’s boxing career and leads to the downfall of his friendship with Adonis.

Jordan (who is also a producer of “Creed III”) gives his best performance so far as Adonis in a “Creed” movie. It’s a richly layered performance that looks authentic and well-earned, after years of Jordan portraying this character. Thompson is very good in her role as Bianca, but she has a lot less to do in “Creed III” than she did in “Creed” (which showed the Adonis/Bianca courtship) and “Creed II,” which showed the early years of their marriage and the birth of Amara.

As the troubled and emotionally wounded Dame, Majors brings realistic nuances to this role that don’t make him a typical “villain” in a boxing movie. Dame is a product of his poverty-filled environment and of his personality. He can be intensely loyal, but he can be intensely vengeful. He’s also a messy cauldron of angst, pride, sadness and vulnerability. On the one hand, Dame still wants a friendship with Adonis. On the other hand, he’s jealous of Adonis, who has the fame and fortune that Dame thinks could have been Dame’s too.

Both men have used boxing as a way to cope with tough circumstances and their life problems, but the movie shows how Adonis’ status as a celebrity millionaire does not protect him from his past or how he is viewed in the world as an African American man. Adonis is a role model now, but he knows that things could have turned out very differently under other circumstances. Meanwhile, Dame’s prison record as a convicted felon automatically makes him a society outcast in some ways, by making him unable to vote and get certain jobs.

Adonis and Dame started out with similar lifestyles, but their current social class divide (and Dame’s envy about it) is shown in telling scenes. Dame and Adonis have their first reunion meal at local diner in a low-income neighborhood that the two used to frequent when they were teenagers. Dame comments to Adonis, “I’m surprised you’re still here with the common folk.”

Later, Adonis invites Dame to the mansion were Adonis lives with Bianca and Amara. Dame seems both impressed by and jealous of Adonis’s privileged and happy life. It further fuels Dame into thinking that he was robbed of having this type of life because of what happened that fateful night in 2000. Dame insists that Adonis should help Dame get a shot at winning a boxing title.

As for Amara and Bianca, they’re not exactly sidelined, but their storylines in “Creed III” are secondary to what’s going on between Adonis and Dame. Amara is a singer/musician who has successfully transitioned from being a performer to being a music producer because of her partial hearing condition. Amara mentions how painful it was for her to give up performing on stage, but her feelings about this issue are never fully explored in “Creed III.”

Amara is a lively and intelligent “daddy’s girl,” who eagerly learns how to box and takes Adonis’ self-defense advice to heart. The movie has multiple scenes of Amara doing shadow boxing training with Adonis. It all seems like a blatant set-up for a future “Creed” movie about Amara when she’s an adult and inevitably becomes a boxer. Someone call Laila Ali (daughter of Muhammad Ali) for advice.

Amara’s fight skills cause problems when Amara punches a girl classmate who bullies Amara by stealing a drawing that Amara made and ripping up the drawing in front of Amara. A parent-teacher meeting about this fight shows the different parenting styles of Adonis (who doesn’t have a problem with what Amara did) and Bianca, who does have a problem with it. Bianca feels that she has to be the parent to teach Amara that throwing punches isn’t always the best way to resolve a fight.

There’s also friction between Bianca and Adonis later in the movie, because he won’t open up and tell her all the details about what happened in the incident that landed Dame in prison. This incident is the root cause of all the hard feelings between these two on-again/off-again friends. Previous “Creed” movies only hinted at Adonis’ difficult past. “Creed III” is a deep dive into it.

Is this a psychological drama or a boxing movie? It’s both. The boxing scenes are adrenaline-packed and thrilling, of course, but “Creed III” is also concerned with showing how fame and fortune can affect relationships but can’t change the past and can’t change how people fundamentally feel about themselves. It’s a hard lesson that Adonis has to learn, even if it comes at a painful cost of having a friend turn into an enemy. “Creed III” is by no means the end of the “Creed” franchise, but it does close a chapter on Adonis’ toughest fight of reconciling his past with his present.

Metro Goldwyn Mayer Pictures will release “Creed III” in U.S. cinemas on March 3, 2023.

Review: ‘The Pod Generation,’ starring Emilia Clarke and Chiwetel Ejiofor

February 23, 2023

by Carla Hay

Chiwetel Ejiofor, Rosalie Craig and Emilia Clarke in “The Pod Generation” (Photo by Andrij Parekh)

“The Pod Generation”

Directed by Sophie Barthes

Culture Representation: Taking place primarily in New York City, in an unspecified future, the sci-fi/comedy/drama film “The Pod Generation” features a predominantly white cast of characters (with some black people and Asians) representing the working-class, middle-class and wealthy.

Culture Clash: After some initial disagreements, a married couple decides to have a baby through a technological invention where an unborn child grows in a portable, egg-shaped pod until the child is born. 

Culture Audience: “The Pod Generation” will appeal primarily to people who are fans of the movie’s headliners, sci-fi movies that lampoon technology, and stories about expectant parents, but viewers should not expect anything particularly clever in this movie.

“The Pod Generation” is a futuristic satire about family planning that starts off very promising, but then the movie drags with repetition and fizzles out with an underwhelming ending. The talents of the cast members are squandered in this shallow film. “The Pod Generation” (which had its world premiere at the 2023 Sundance Film Festival) also raises many questions that the movie never bothers to answer.

Written and directed by Sophie Barthes, “The Pod Generation” takes place in an unspecified future in New York City. This future has some technology that already exists in the early 2020s, but this future has other technology that did not exist at the time this movie was made. For example, in this future shown in “The Pod Generation,” people use artificial intelligence (A.I.) programs similar to Alexa (from Amazon) and Siri (from Apple Inc.) for a variety of functions and tasks.

In “The Pod Generation,” the protagonists use a talking A.I. program called Elena for various information and duties that are similar to what a personal assistant would perform. Another talking A.I. program in the movie is called Eliza, which acts as a psychiatric therapist and counselor. Both of these A.I. programs are shown in the form of creepy-looking eyes.

Elena is a single white orb (about the size of a grapefruit) with a black pupil; the orb is attached to a small stand. Elena can also rotate while on this stand. Eliza is a two-dimensional eye that looks like a wall art that is large enough to take up an entire wall space. Eliza has a more psychedelic appearance than Elena, since Eliza’s iris/pupil area is surrounded by a pulsating kaleidoscope design.

As compelling as these A.I. programs are to look at in “The Pod Generation,” they still can’t make up for the weak narrative throughout the movie. The story centers on married couple Rachel Novy (played by Emilia Clarke) and Alvy Novy (played by Chiwetel Ejiofor), who are having disagreements about how to conceive their first child together. Rachel works as some kind of office employee at a corporate company called Folio. She has a higher income than Alvy, who is a botanist and a teacher of hologram plant design. Alvy wants them to conceive a child naturally, while Rachel is more open to using the latest technology to have a child.

The movie implies that in vitro fertilization treatments are not out of the question for this couple, but Alvy is adamant that he wants Rachel to carry the unborn child in her own womb, instead of using a surrogate. “The Pod Generation” doesn’t go into details about how long Alvy and Rachel have been trying to have a child together, or even how long they’ve been married. However, the implication is that it’s long enough where it’s reached a point that Rachel (who is in her mid-30s) is growing desperate, because she feels that time is running out for her to conceive and carry a child naturally.

Alvy is about 10 years older than Rachel, although they do not discuss their age difference in the movie. “The Pod Generation” has subtle and not-so-subtle ways of showing how a male perspective and a female perspective can be different from each other, when it comes to pregnancy and childbirth. Because of menopause, women have a “biological clock” where time runs out on when they can conceive and carry a child naturally. Men have no such time pressure and can be involved in natural conception as long as they have the right sperm count for it.

“The Pod Generation” clumsily addresses these gender issues in ways that grow increasingly frustrating, not just for the couple at the center of the story but also for viewers of this movie. “The Pod Generation” does not adequately explain the legal issues involved in the new technology that Rachel and Alvy (after many arguments) decide to use to conceive and carry a child to term. The general feeling that viewers will get is that “The Pod Generation” was a screenplay written with a lot of repetitive dialogue and a “make things up as you go along” approach in crafting this futuristic world.

In the first third of the movie, Rachel and Alvy do a lot of bickering and debating about how they want to conceive a child. A company called Pegazus offers an alternative for people who can’t or don’t want to have an unborn baby growing inside a human body. Instead, Pegazus offers a portable, plastic pod in the shape of a large egg to do all the “in utero” work. It’s technology that’s available to those who can afford it—and it doesn’t come cheap, which is one of the reasons why Alvy is dead-set against this option. He doesn’t want any of his or Rachel’s money to be spent on it.

But what a coincidence: Rachel has recently found out that Folio has added this Pegazus pod program to Folio’s health insurance plan for employees. Rachel is told this information when she has a meeting with a Folio human resources executive (played by Aslin Farrell), who doesn’t have a name in the movie. This HR executive makes a lot of cringeworthy and illegal comments to Rachel during a one-and-one meeting in the HR executive’s office. This nosy HR person says a lot of inappropriate things that she probably wouldn’t say to a man. It’s obvious that “The Pod Generation” filmmakers want viewers to notice this sexism.

Rachel is told that she is being considered for a job promotion at Folio. And then the HR executive asks her what Rachel’s husband does for a living. When Rachel tells her, the unprofessional HR executive then snootily says, “So, you’re the primary source of income.” Instead of Rachel balking at this line of illegal questioning, Rachel meekly says, “Yes.”

The questions and comments get worse. The HR executive asks Rachel: “Any plans on extending the family?” Someone with more common sense and self-respect would put a stop to these illegal questions, or at least point out to this odious HR person that Rachel’s family planning is not the company’s business, and it’s illegal to ask these questions when being considered for a job, raise, or promotion.

But apparently, Rachel is too ignorant or she just doesn’t have the courage to stand up for herself and point out these facts. Instead, she stammers this answer: “I’m sure we will at one point. Not in the near, near future, but not immediately.” The HR executive then makes another heinous comment disguised as a semi-compliment: “You’re having a great, great year. It’d be a pity to lose that momentum.” (In other words, what she’s really saying is: “Forget about the promotion if you’re going on maternity leave.”)

And that’s when the HR director mentions that Folio will now cover Pegazus costs in the Folio health insurance plan: “Should you go down that route, we can even help you with the down payment. It’s our hottest perk. We just want to make sure we maintain the best and brightest women.” (In other words, what she’s really saying is: “We don’t want to be reminded that women who get pregnant and give birth have the right to maternity leave, because we think women who take maternity leave are less productive than women who don’t take maternity leave.”)

It’s not spoiler information to say that Rachel eventually convinces Alvy to use the Pegazus way of pregnancy. Alvy and Rachel have the popular option to choose the gender of the child in advance, but they choose not to take that option. Rachel and Alvy also decide not to find out the child’s gender until the child is born. Their unborn baby gestates in a pod that provides all of the fetus’ needs in the same way as if the baby were growing inside a human womb. Just like a human womb, the pod can be part of ultrasound screenings, while the fetus inside can hear any sounds that are nearby. The pod is not supposed to be opened until the time of childbirth.

All of the computer technology connected to each pod is at the Pegazus womb center, which is essentially a pod control center. The pod can be left at the womb center, or the parent(s) of the unborn child can take the pod to pre-approved locations. It’s mentioned that a pod can be autonomous from the womb center for a maximum of 48 hours, in case the person with the pod needs to travel.

Rachel and Alvy attend orientation and counseling sessions with other couples and mothers who are using Pegazus pregnancy pods, but the movie doesn’t present the other people in these sessions as anything but anonymous extras. It’s a huge missed opportunity for more character development. In fact, almost everyone in contact with Rachel and Alvy are anonymous and generic, with a few exceptions.

Rachel has a talkative co-worker friend named Alice (played by Vinette Robinson), who had a Pegazus pod pregnancy with her husband Josh (played by Benedict Landsbert-Noon), who is the passive one in their marriage. Alice had the most influence on Rachel wanting to have a Pegazus pod pregnancy, because Alice is constantly raving about the experience. The Pegazus pre-natal orientation and counseling sessions are led by the Pegazus womb center director Linda Wozcheck (played by Rosalie Craig), who is a perky control freak.

The founder of Pegazus (played by Jean-Marc Barr) is one of many characters in “The Pod Generation” without a name in the movie. He is shown doing a TV or video interview, where he gives off a vibe of being like a combination of a cult leader and a smarmy salesperson. He’s a smooth talker who looks like he’s accustomed to convincing a lot of people to do what he wants them to do.

He says to the interviewer (played by Troy Scully) about Pegazus’ intentions: “At Pegazus, we want fulfilled mothers. We want them to pursue their careers and dreams. Let us do the heavy lifting while you enjoy your babies. We are highly scientific. We use intuition and heart where needed.”

Of course, anyone who’s seen enough of these sci-fi cautionary tale movies will notice that this mysterious Pegazus founder used the phrase “where needed” when talking about intuition and heart. Who gets to make that decision? Rachel and Alvy are supposedly educated professionals, but they never ask a lot of basic questions that people with any common sense would ask before they signed away the pre-natal caregiving rights for their unborn child to Pegazus. And that’s why watching “The Pod Generation” becomes increasingly irritating as it goes along.

This disappointing movie goes into superficial soap opera territory when Rachel doesn’t bond with the fetus in the pod as much as she thought she would, while Alvy bonds with the fetus in the pod more than he thought he would. Rachel starts to get the feeling that the unborn child likes Alvy more than the child likes Rachel. And she’s jealous about it, which leads to more arguments between Rachel and Alvy, as well as more relationship therapy sessions with A.I. program Eliza. (Alvy never completely trusts Eliza, because she is not a human being.)

Meanwhile, Rachel sometimes attaches the pod to her stomach to make it look like a real pregnancy underneath her clothes. It leads to brief moments of her feeling connected to this pregnancy. But then, Rachel gets a harsh lesson in pregnancy body shaming when she brings the pod to her office job. She gets weird looks from co-workers during a conference room meeting when she proudly brings the pod to the meeting.

After the meeting, Alice discreetly advises Rachel (when they’re alone together in an office room) to leave the pod in the employee break room where other expectant parents are keeping their pods. Alice also suggests that from now on, Rachel should leave the pod at the Pegazus womb center until the baby is born. Rachel hates the idea because she wants to spend as much time as possible with the pod. “You don’t want to be labeled ‘the distracted mom,'” Alice warns Rachel about how their co-workers might think of Rachel.

For a movie that has a lot to say about sexism against women (especially when it comes to pregnancy and family planning), none of the characters in “The Pod Generation” gives any pushback or stands up to this sexism. This lack of resistance to sexism from anyone in “The Pod Generation” looks as fake and hollow as one of the movie’s empty pods. Perhaps writer/director Barthes wanted to make some commentary about how this supposedly “progressive” tech-oriented society of “The Pod Generation” is actually socially backwards when it comes to treatment of women and complacent in how technology has taken over their lives.

However, it isn’t the technology that is sexist. The human beings are the ones being sexist, with their cutting remarks and attitudes that aren’t controlled by technology. If “The Pod Generation” is supposed to be a commentary about women losing control of their pregnancies to technology, the movie doesn’t really prove that point either, because Rachel is given access to the pod for most of the movie. “The Pod Generation” never shows the pregnancy journey of any other women except Rachel.

The middle of “The Pod Generation” is a boring rehash of Rachel and Alvy’s marital problems. You don’t need to be a couple’s therapist to see that this pregnancy is not going to solve these problems. And “The Pod Generation” fails to convince viewers why Rachel and Alvy (who aren’t very compatible) fell in love in the first place. Clarke and Ejiofor are perfectly fine in delivering their lines of dialogue, but they don’t have believable chemistry with each other as people who are supposed to be spouses.

Perhaps the biggest letdown of “The Pod Generation” is that it’s a “bait and switch” movie. The movie keeps dropping hints—the sexism, the increasingly controlling ways of Pegazus, the intrusive assumptions of the A.I. technology—that it’s all leading to something very big and very sinister. There is a suspenseful sequence toward the end of the film, but it’s misleading, if you take into consideration how the movie ends. And for a movie that the filmmakers have labeled a “comedy,” there isn’t really anything amusing (not even in a darkly comedic way) about “The Pod Generation.” The movie comes across as technically competent, but soulless—much like the A.I. technology that “The Pod Generation” is aiming to spoof.

UPDATE: Roadside Attractions and Vertical will release “The Pod Generation” in select U.S. cinemas on August 11, 2023.

Review: ‘Cocaine Bear,’ starring Keri Russell, O’Shea Jackson Jr., Alden Ehrenreich, Isiah Whitlock Jr., Margo Martindale, Jesse Tyler Ferguson and Ray Liotta

February 23, 2023

by Carla Hay

Keri Russell in “Cocaine Bear” (Photo by Pat Redmond/Universal Pictures)

“Cocaine Bear”

Directed by Elizabeth Banks

Culture Representation: Taking place in 1985, in Georgia (and briefly in Tennessee and in Missouri), the comedic action film “Cocaine Bear” (based loosely on a true story) features a predominantly white cast of characters (with some African Americans and Asians) representing the middle-class, working-class and criminal underground.

Culture Clash: After a drug smuggler dies while parachuting from a plane with large quantities of cocaine, a black bear in a forest area goes on a rampage after ingesting a lot of the cocaine.

Culture Audience: “Cocaine Bear” will appeal primarily to people who are interested in watching dark and violent action comedies that are intentionally absurdist.

O’Shea Jackson Jr., Ayoola Smart, Alden Ehrenreich and Ray Liotta in “Cocaine Bear” (Photo by Pat Redmond/Universal Pictures)

Just like the bear that’s on a cocaine-fueled rampage, the erratic and unpredictable “Cocaine Bear” aims to shake up people’s sensibilities. It’s a wild and uneven ride, where the movie’s surreal comedy works well, more often than not. If you’re easily offended by the thought of children and animals ingesting cocaine, then it’s best to avoid watching “Cocaine Bear.” If you’re open to watching an adult-oriented comedy that doesn’t take itself too seriously, then “Cocaine Bear” might be enjoyable, in a way that’s similar to how people enjoy going on amusement park rides that bring some terror to the entertainment.

Directed by Elizabeth Banks and written by Jimmy Warden, “Cocaine Bear” (which takes place in 1985) is very loosely based on true events. The majority of the movie is fiction. The basic facts that the movie keeps true are that a drug smuggler in his early 40s named Andrew Thornton II (played by Matthew Rhys), who used to be a narcotics police officer in Kentucky, died in Knoxville, Tennessee, after he jumped out of a small private plane with 70 to 75 pounds (or 31 to 34 kilograms) of cocaine, and his parachute malfunctioned. (It’s the opening scene of “Cocaine Bear.”)

Before jumping out of the plane, he had dumped duffel bags filled with several bricks of cocaine in the Chattahoochee–Oconee National Forest in Georgia. The most common theory is that Thornton had brought too much cocaine on the plane and unloaded some of his stash in the forest, with a plan to go back later and get the cocaine. However, in real life, a black bear got to the cocaine first and was found dead of an overdose. In the movie, the bear doesn’t die of an overdose but instead goes on a killing spree where humans are the main targets. All of the characters in “Cocaine Bear” except Thornton are fabricated for the movie. The “cocaine” seen in the movie is actually sugar or artificial sweetener.

An introduction statement in the movie explains that black bears usually don’t attack people unless it’s for reasons related to food, self-defense or invasion of a bear’s territory. “Cocaine Bear” doesn’t waste much time before the mayhem starts. At Chattahoochee–Oconee National Forest, two German-speaking tourists named Elsa (played by Hannah Hoekstra) and Olaf (played by Kristofer Hivju), who also goes by the name Kristoffer, are hiking and taking photos. They see a bear acting strangely, such as dry-humping a tree.

Elsa and Olaf/Kristoffer are intrigued and want to take photos of this bear, although he is more hesitant because he heard that black bears can be deadly. According to the “Cocaine Bear” production notes, the movie’s coke-fueled bear (which the cast and crew nicknamed Cokey) is actually a combination of visual effects and motion caption imagery with stunt performer Allan Henry. In the movie, tourists Elsa and Olaf/Kristoffer are the first people who have a very unlucky encounter with the bear. Only one of these tourists makes it out alive.

The first 20 minutes of “Cocaine Bear” jump around a lot from scene to scene, by quickly showing the other characters in the movie who will encounter the bear. In St. Louis, Missouri, an international drug smuggler named Syd (played by Ray Liotta) was responsible for getting the cocaine shipment that Thornton was supposed to deliver. In real life, the deceased Thornton was found with cocaine that was worth $15 million at the time. In the movie, it’s mentioned that the missing cocaine in the forest is worth about $7 million.

Syd comically has his headquartes at Four Pines Mall, where he likes to hang out with his small crew at O’Shaughnessy’s Burger Time restaurant. Syd’s two main henchmen are his son Eddie (played by Alden Ehrenreich) and Eddie’s best friend Daveed (played by O’Shea Jackson Jr.), who is the more risk-taking and tougher of the two pals. Thornton’s death has made the national news. Syd knows that he’ll be held responsible for any of the cocaine that’s still missing—and he’ll do whatever it takes to find this stash. Somehow, Syd knows that Thornton had dumped the rest of the stash in the Chattahoochee–Oconee National Forest.

Eddie is first seen literally crying over his drinks in a dive bar in St. Louis, because he’s grieving over the death of a friend/colleague named John. Eddie is babbling about how the person conducting the funeral service mistakenly called John the name Joan. It’s a rambling scene that didn’t really need to be in the movie, especially since Ehrenreich over-acts in this scene. Daveed comforts Eddie, but they won’t have much time to drown any more of their sorrows in a St. Louis bar, because Syd has ordered Eddie and Daveed to go to Georgia to find the missing cocaine in the Chattahoochee–Oconee National Forest.

Meanwhile, the Chattahoochee–Oconee National Forest is under the jurisdiction of a local police detective named Bob Springs (played by Isiah Whitlock Jr.), who knows that the forest is being used as a drug-smuggling hiding place for Syd and Syd’s “crime family.” Bob is determined to find a way to bust Syd and Syd’s cronies. Bob correctly assumes that there might be some of some of Thornton’s missing cocaine in the forest, and people in Syd’s crew will come looking for this drug stash.

“Cocaine Bear” gets a little sidetracked with some comedic details that don’t become very clear until later in the movie. For example, there are several minutes of screen time showing that Bob, who wants to adopt a dog, had a Maltese delivered to him instead of the Labrador Retriever that Bob originally wanted. Bob asks his police officer colleague Reba (played by Ayoola Smart) to temporarily look after the Maltese, which is a dog with long white fur that he thinks looks too high-maintenance and “fancy” for Bob. Viewers have to watch an epilogue scene in “Cocaine Bear” to see the reason why the movie keeps showing this Maltese.

Also in the Chattahoochee–Oconee National Forest area is a hospital nurse named Sari (played by Keri Russell), who is financially struggling and has to work extra shifts to help make ends meet. Sari is the mother of 13-year-old Dee Dee (played by Brooklynn Prince), who has dreams of becoming a painter artist. Dee Dee’s best friend is a slightly younger child named Henry (played by Christian Convery), who has a crush on Dee Dee and spends a lot of time trying to impress her.

Dee Dee and Henry are both playful and a little rebellious. They skip school one day so that Dee Dee can go to a place in the forest’s Blood Mountain, where there is a nearby waterfall that Dee Dee wants to paint so that she can use this painting to get accepted into a prestigious art camp. A big part of the movie is about Sari trying to find “missing” Dee Dee and Henry in the forest. Because Dee Dee and Henry have gone missing on the same day that the cocaine bear goes on a rampage, you can easily predict what might happen with these two kids.

The Chattahoochee–Oconee National Forest has a visitor center, where a no-nonsense park ranger named Liz Winters (played by Margo Martindale) works as a manager of sorts. (She’s the only employee of the visitor center who’s seen in the movie.) Liz tries to come across as being tough as nails, but she’s got a soft spot for an animal-rights activist named Peter (played by Jesse Tyler Ferguson, in a very fake-looking wig), who calls himself a “life inspection representative.” Peter is a regular visitor to make sure that no animals are being harmed in the forest.

Peter might be aware that Liz has a crush on him. The movie drops in some adult-oriented double entendre jokes. For example, Peter comments to bachelorette Liz about one of the taxidermy animals on display in the visitor center: “You’ve got a dusty beaver here, rancher.” Liz smirks and replies, “I’m working on it.” Later in the movie, two paramedics named Beth (played by Kahyun Kim) and Tom (played by Scott Seiss) arrive by ambulance to the visitor center in one of the movie’s most memorable scenes.

A group of troublemakers in their late teens and early 20s, who call themselves the Duchamps, have been robbing and assaulting people in the forest area. Only three of these gang members are shown in “Cocaine Bear,” and they only have nicknames in the movie. Kid (played by Aaron Holliday), also known as Stache, is the youngest and most likely to talk himself out of tough situations with an opponent. Ponytail (played by Leo Hanna) is the biggest bully in the group. Vest (played by J.B. Moore) is the most likely to get scared when things go wrong.

All of these characters encounter each other in one way or another during “Cocaine Bear.” There’s a lot of gruesome violence that looks straight out of a horror movie. However, “Cocaine Bear” is never really a horror movie because it stays consistently true to its intention of being an action comedy. The bear does some unrealistic stunts and has some human-like facial expressions that seem to be the filmmakers’ way of winking at the audience to show that “Cocaine Bear” is an absurdist fictional film.

In one of his last movie roles, Liotta (who died in his sleep in 2022, at the age of 67) seems to be having fun as the “Cocaine Bear” Syd character, which is a spoof of all the callous criminals that Liotta portrayed in his long acting career. Martindale, Ferguson and Jackson also have great comedic timing and understood that “Cocaine Bear” is meant to have a dark-but-wacky satirical tone in this story about humans versus a wild animal. The rest of the cast members are serviceable in their roles. The bear, without question, is the star of the show.

For a movie about a cocaine-fueled killer bear on the loose, “Cocaine Bear” occasionally disappoints when the movie becomes less suspenseful about when the bear is going to attack next. The adrenaline-packed momentum drags when the movie gets sidetracked with the some of the shenanigan-like conflicts between people who know about the bear.

“Cocaine Bear” also requires a huge suspension of disbelief that the local fire department (which is usually in charge of handling wild animals) wasn’t called as soon as it was known that a wild bear was killing people. Police detective Bob is the main government official on the scene for most of the movie. And there is no mention of the area being evacuated for safety after it’s known that a killer bear is on the loose, and more people get killed by the bear.

However, no one should be going to see “Cocaine Bear” for realism. Banks’ direction is solid but sometimes a little too busy and unfocused. The movie is hit-and-miss when it comes to the storytelling part of the narrative. And some of the main characters (such as Eddie and Sari) are not very interesting. But “Cocaine Bear” delivers the goods when it comes to viewer anticipation to see what this unhinged bear will do next. The movie is destined to become a cult classic for viewers who like this type of entertainment.

Universal Pictures will release “Cocaine Bear” in U.S. cinemas on February 24, 2023.

Review: ‘Shehzada’ (2023), starring Kartik Aaryan, Kriti Sanon, Paresh Rawal, Manisha Koirala, Ronit Roy and Ankur Rathee

February 22, 2023

by Carla Hay

Kartik Aaryan and Paresh Rawal in “Shehzada” (Photo courtesy of PVR Pictures)

“Shehzada” (2023)

Directed by Rohit Dhawan

Hindi with subtitles

Culture Representation: Taking place primarily in Delhi, India, the action film “Shehzada” (a remake of the 2020 Telugu-language film “Ala Vaikunthapurramuloo”) features an all-Indian cast of characters representing the working-class, middle-class and wealthy.

Culture Clash: An aspiring lawyer, who was raised in a working-class family, finds out that he is a wealthy heir who was switched at birth by the man whom he thought was his biological father. 

Culture Audience: “Shehzada” will appeal primarily to people who are fans of the movie’s headliners, “Ala Vaikunthapurramuloo” and movies that are too long and overload on ridiculousness.

Kartik Aaryan and Kriti Sanon in “Shehzada” (Photo courtesy of PVR Pictures)

“Shehzada” is a pointless and insipid movie remake that did not need to be made. It’s filled with stupid dialogue and ludicrous scenarios that relentlessly insult viewers’ intelligence. Kartik Aaryan’s smiling charisma isn’t enough make this film any good. “Shehzada” (which means “prince” in Hindi) is a remake of the 2020 Telugu-language film “Ala Vaikunthapurramuloo.” Perhaps the worst thing about “Shehzada” is how it changes the ending of the vastly superior “Ala Vaikunthapurramuloo” in a way that is not just unbelievable but it also makes everything in “Shehzada” look like even more of a complete waste of time.

Written and directed by Rohit Dhawan, “Shehzada” (which takes place primarily in Delhi, India) begins by showing how the lives of two men, who used to be close friends, have taken very different paths. Valmiki Upadhyay (played by Paresh Rawal) and Randeep Nanda (played by Ronit Roy) were pals who started their careers as clerks, working for a company owned by the wealthy Aditya Jindal (played by Sachin Khedekar). Randeep married Aditya’s daughter Yashoda (played by Manisha Koirala), nicknamed Yashu, so Randeep was promoted to a high-ranking position in Aditya’s company. Meanwhile, Valmiki remained in the company’s lower ranks.

By a sheer coincidence, Valmiki and Randeep had sons who were born on the same day in the same hospital. However, it looked like Randeep’s son died from breathing problems, according to a maternity ward nurse named Sulochana (played by Sharvari Lokhare). A sympathetic Valmiki decided to secretly switch his son with Randeep’s son, with the help of Sulochana. Conveniently for Valmiki and Soluchana, they are the only two people in the maternity ward when they make the switch.

However, Randeep’s son suddenly becomes conscious. Randeep and his wife Yasu have already seen the “switched” baby whom they think is theirs. Valmiki frantically goes to Soluchana and tells her that they have to switch the babies again, but she refuses, probably because she doesn’t want to get in trouble for her role in this scheme.

When Valmiki goes over to the cribs to switch the babies anyway, Soluchana tries to stop him. Valmiki and Soluchana have a tussle that ends with Valmiki accidentally pushing Soluchana off of a balcony. Valmiki runs away from the hospital in a panic.

After giving it some thought, Valmiki decides his biological son will be better off raised in a wealthy family. Valmiki raises Randeep’s biological son as his own, but Valmiki shows a lot of indifference and disrespect for this child. Valmiki, who is very jealous of Randeep, also gets a twisted sense of satisfaction about knowing this secret.

“Shehzada” then fast-forwards 25 years after the babies were switched. The son who was raised by Valmiki is named Bantu (played by Aaryan, one of the film’s producers), who is really Randeep’s biological son. The son who was raised by Randeep is named Raj (played by Ankur Rathee), who is really Valmiki’s son.

Bantu is confident and extroverted, while Raj is insecure and introverted. A great deal of “Shehzada” is about aspiring lawyer Bantu defending Randeep from a ruthless businessman named Sarang (played by Sunny Hinduja), who wants Randeep to give 50% of the company’s shares to Sarang.

What happened to Soluchana, the hospital nurse who is the only other person besides Valmiki who knows the secret about the babies being switched at birth? She’s been in a coma, ever since she fell from the balcony. However, the trailer for “Shehzada” reveals a huge turning point in the plot: Soluchana wakes up from the coma and tells Bantu this family secret about who his biological parents are, and that it was all Valmiki’s idea to switch the babies at birth.

This secret is revealed about halfway through the movie. And it’s the fault of the film’s marketing team that this big reveal is in the movie’s trailer. In “Shehzada,” the reveal looks very fake and awkward. Bantu happened to be in the same hospital as Soluchana, because he was visiting a severely injured Randeep, who had been attacked by Sarang’s thugs. Bantu just happened to be passing by Soluchana’s hospital bed, when she overheard him talking about his father Randeep, and she gasped out this family secret to Bantu.

In between doing acrobatic fight scenes that rely heavily on unrealistic visual effects, Bantu works as a law clerk at a law firm, where his boss is the strong-willed Samara Singh (played by Kriti Sanon), who at first is not very impressed with Bantu. Samara initially thought that Bantu was too immature to work at this law firm. Eventually, Bantu begins courting Samara, he wins her over, and they fall in love with each other. (All of these plot developments are also in the “Shehzada” trailer.)

Meanwhile, Raj (who is very much a secondary character in the movie) is away from home a lot because he has been studying to get his MBA. When he does come back to the palatial home owned by his parents, the morally corrupt Valmiki goes out of his way to be friendly to Raj, because Valmiki knows that Raj is his biological son. When Bantu finds out who his biological parents are, he is emotionally torn. Bantu doesn’t tell Randeep’s family this secret, but Bantu starts showing even more loyalty to Randeep.

And the most cliché thing happens in a movie about two quasi-rival men who were switched at birth: They both compete over the same love interest. Randeep thinks Samara would make an ideal wife for Raj in an arranged marriage. However, Bantu had been planning to propose marriage to Samara. We all know which suitor she will choose in the end.

“Shehzada” has a mindless comedic tone that cheapens the story, compared to the more serious tone of “Ala Vaikunthapurramuloo.” Unfortunately, “Shehzada” (whose total running time is an overly long 145 minutes) has the same pitfalls of many formulaic and forgettable Bollywood action movies: More time and effort were spent on musical sequences and over-the-top ridiculous fight scenes than on crafting a good story and interesting characters. The performances in “Shehzada” are as shallow as the film’s characters. And this movie remake’s atrocious new ending completely obliterates what little credibility that “Shehzada” hoped to have.

PVR Pictures released “Shehzada” in select U.S. cinemas on February 17, 2023.

2023 Critics Choice Super Awards: ‘The Batman’ is the top nominee

February 22, 2023

Zoë Kravitz and Robert Pattinson in “The Batman” (Photo by Jonathan Olley/DC Comics/Warner Bros. Pictures)

The following is a press release from the Critics Choice Association:

The Critics Choice Association (CCA) announced today the nominees for the 3rd Annual Critics Choice Super Awards, honoring the most popular, fan-obsessed genres across both television and movies, including Superhero, Science Fiction/Fantasy, Horror, and Action. Winners will be revealed via special announcement on Thursday, March 16, 2023.

“The Batman” leads this year’s film nominees, earning six nominations including Best Superhero Movie. Robert Pattinson, Paul Dano, and Colin Farrell each received nods for Best Actor in a Superhero Movie, while Zoë Kravitz is up for Best Actress in a Superhero Movie. Paul Dano could also take home the award for Best Villain in a Movie.

“Evil,” “House of the Dragon,” “The Boys,” and “What We Do in the Shadows” tied for the most television nominations, with each project garnering four nods. “Evil” and “What We Do in the Shadows” were both nominated for Best Horror Series, while “House of the Dragon” received a nomination for Best Science Fiction/Fantasy Series, and “The Boys” received a nod for Best Superhero Series. Mike Colter from “Evil” garnered a nomination for Best Actor in a Horror Series, while Katja Herbers will vie for Best Actress in a Horror Series, and Michael Emerson earned a nod for Best Villain in a Series. “What We Do in the Shadows” also has two actors, Matt Berry and Harvey Guillén, competing in the category of Best Actor in a Horror Series, while Natasia Demetriou is also up for Best Actress in a Horror Series. For “House of the Dragon,” Matt Smith garnered two nominations for both Best Actor in a Science Fiction/Fantasy Series and Best Villain in a Series, while Milly Alcock received a nod for Best Actress in a Science Fiction/Fantasy Series. For “The Boys,” Antony Starr received a nomination for Best Actor in a Superhero Series in addition to Best Villain in a Series, and Erin Moriarty is up for Best Actress in a Superhero Series.

The full list of nominees can be found below.

Follow the Critics Choice Super Awards on Twitter and Instagram @CriticsChoice and on Facebook/CriticsChoiceAwards.

About the Critics Choice Association (CCA)
The Critics Choice Association is the largest critics organization in the United States and Canada, representing more than 600 media critics and entertainment journalists. It was established in 2019 with the formal merger of the Broadcast Film Critics Association and the Broadcast Television Journalists Association, recognizing the intersection between film, television, and streaming content. For more information, visit:
www.CriticsChoice.com.

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FILM NOMINATIONS FOR THE 3RD ANNUAL CRITICS CHOICE SUPER AWARDS

BEST ACTION MOVIE
Bullet Train
RRR
Top Gun: Maverick
The Unbearable Weight of Massive Talent
The Woman King

BEST ACTOR IN AN ACTION MOVIE
Nicolas Cage – The Unbearable Weight of Massive Talent
Ram Charan – RRR
Tom Cruise – Top Gun: Maverick
Brad Pitt – Bullet Train
N.T. Rama Rao Jr. – RRR

BEST ACTRESS IN AN ACTION MOVIE
Sandra Bullock – The Lost City
Jennifer Connelly – Top Gun: Maverick
Viola Davis – The Woman King
Joey King – Bullet Train
Joey King – The Princess

BEST SUPERHERO MOVIE*
The Batman
Black Panther: Wakanda Forever
DC League of Super-Pets
Doctor Strange in the Multiverse of Madness
Thor: Love and Thunder

BEST ACTOR IN A SUPERHERO MOVIE*
Benedict Cumberbatch – Doctor Strange in the Multiverse of Madness
Paul Dano – The Batman
Colin Farrell – The Batman
Tenoch Huerta – Black Panther: Wakanda Forever
Robert Pattinson – The Batman

BEST ACTRESS IN A SUPERHERO MOVIE*
Angela Bassett – Black Panther: Wakanda Forever
Zoë Kravitz – The Batman
Elizabeth Olsen – Doctor Strange in the Multiverse of Madness
Natalie Portman – Thor: Love and Thunder
Letitia Wright – Black Panther: Wakanda Forever

BEST HORROR MOVIE
Barbarian
The Black Phone
Pearl
Smile
Speak No Evil
X

BEST ACTOR IN A HORROR MOVIE
Ethan Hawke – The Black Phone
Fedja van Huêt – Speak No Evil
Ralph Fiennes – The Menu
Rory Kinnear – Men
Justin Long – Barbarian

BEST ACTRESS IN A HORROR MOVIE
Jessie Buckley – Men
Aisha Dee – Sissy
Anna Diop – Nanny
Mia Goth – Pearl
Rebecca Hall – Resurrection

BEST SCIENCE FICTION/FANTASY MOVIE
Avatar: The Way of Water
Everything Everywhere All at Once
Nope
The Northman
Prey

BEST ACTOR IN A SCIENCE FICTION/FANTASY MOVIE
Colin Farrell – After Yang
Daniel Kaluuya – Nope
Ke Huy Quan – Everything Everywhere All at Once
Ryan Reynolds – The Adam Project
Alexander Skarsgård – The Northman

BEST ACTRESS IN A SCIENCE FICTION/FANTASY MOVIE
Karen Gillan – Dual
Stephanie Hsu – Everything Everywhere All at Once
Amber Midthunder – Prey
Keke Palmer – Nope
Zoe Saldana – Avatar: The Way of Water
Michelle Yeoh – Everything Everywhere All at Once

BEST VILLAIN IN A MOVIE
Paul Dano – The Batman
Mia Goth – Pearl
Tenoch Huerta – Black Panther: Wakanda Forever
Joey King – Bullet Train
Elizabeth Olsen – Doctor Strange in the Multiverse of Madness
Mark Rylance – Bones and All

* Superhero categories also include Comic Book and Video Game Inspired Movies

TELEVISION NOMINATIONS FOR THE 3RD ANNUAL CRITICS CHOICE SUPER AWARDS

BEST ACTION SERIES, LIMITED SERIES OR MADE-FOR-TV MOVIE
9-1-1
Cobra Kai
Kung Fu
Reacher
Tulsa King
Vikings: Valhalla

BEST ACTOR IN AN ACTION SERIES, LIMITED SERIES OR MADE-FOR-TV MOVIE
Kevin Costner – Yellowstone
John Krasinski – Tom Clancy’s Jack Ryan
Ralph Macchio – Cobra Kai
Alan Ritchson – Reacher
Sylvester Stallone – Tulsa King
William Zabka – Cobra Kai

BEST ACTRESS IN AN ACTION SERIES, LIMITED SERIES OR MADE-FOR-TV MOVIE
Angela Bassett – 9-1-1
Queen Latifah – The Equalizer
Olivia Liang – Kung Fu
Katherine McNamara – Walker: Independence
Helen Mirren – 1923
Kelly Reilly – Yellowstone

BEST SUPERHERO SERIES, LIMITED SERIES OR MADE-FOR-TV MOVIE*
The Boys
Doom Patrol
Ms. Marvel
Peacemaker
She-Hulk: Attorney at Law
Werewolf by Night

BEST ACTOR IN A SUPERHERO SERIES, LIMITED SERIES OR MADE-FOR-TV MOVIE*
John Cena – Peacemaker
Brendan Fraser – Doom Patrol
Grant Gustin – The Flash
Oscar Isaac – Moon Knight
Elliot Page – The Umbrella Academy
Antony Starr – The Boys

BEST ACTRESS IN A SUPERHERO SERIES, LIMITED SERIES OR MADE-FOR-TV MOVIE*
Danielle Brooks – Peacemaker
Michelle Gomez – Doom Patrol
Caity Lotz – Legends of Tomorrow
Tatiana Maslany – She-Hulk: Attorney at Law
Erin Moriarty – The Boys
Iman Vellani – Ms. Marvel

BEST HORROR SERIES, LIMITED SERIES OR MADE-FOR-TV MOVIE
Anne Rice’s Interview with the Vampire
Chucky
Dahmer – Monster: The Jeffrey Dahmer Story
Evil
The Walking Dead
Wednesday
What We Do in the Shadows

BEST ACTOR IN A HORROR SERIES, LIMITED SERIES OR MADE-FOR-TV MOVIE
Jacob Anderson – Anne Rice’s Interview with the Vampire
Matt Berry – What We Do in the Shadows
Mike Colter – Evil
Harvey Guillén – What We Do in the Shadows
Evan Peters – Dahmer – Monster: The Jeffrey Dahmer Story
Sam Reid – Anne Rice’s Interview with the Vampire

BEST ACTRESS IN A HORROR SERIES, LIMITED SERIES OR MADE-FOR-TV MOVIE
Jennifer Coolidge – The Watcher
Natasia Demetriou – What We Do in the Shadows
Katja Herbers – Evil
Niecy Nash-Betts – Dahmer – Monster: The Jeffrey Dahmer Story
Jenna Ortega – Wednesday
Christina Ricci – Wednesday

BEST SCIENCE FICTION/FANTASY SERIES, LIMITED SERIES OR MADE-FOR-TV MOVIE
Andor
For All Mankind
House of the Dragon
The Lord of the Rings: The Rings of Power
Star Trek: Strange New Worlds
Stranger Things

BEST ACTOR IN A SCIENCE FICTION/FANTASY SERIES, LIMITED SERIES OR MADE-FOR-TV MOVIE
Chiwetel Ejiofor – The Man Who Fell to Earth
Samuel L. Jackson – The Last Days of Ptolemy Grey
Diego Luna – Andor
Anson Mount – Star Trek: Strange New Worlds
Adam Scott – Severance
Matt Smith – House of the Dragon

BEST ACTRESS IN A SCIENCE FICTION/FANTASY SERIES, LIMITED SERIES OR MADE-FOR-TV MOVIE
Milly Alcock – House of the Dragon
Patricia Arquette – Severance
Morfydd Clark – The Lord of the Rings: The Rings of Power
Moses Ingram – Obi-Wan Kenobi
Fiona Shaw – Andor
Sissy Spacek – Night Sky

BEST VILLAIN IN A SERIES, LIMITED SERIES OR MADE-FOR-TV MOVIE
Ethan Hawke – Moon Knight
Brad Dourif – Chucky
Matt Smith – House of the Dragon
Hayden Christensen – Obi-Wan Kenobi
Antony Starr – The Boys
Michael Emerson – Evil
Jamie Campbell Bower – Stranger Things
Harriet Sansom Harris – Werewolf By Night

* Superhero categories also include Comic Book and Video Game Inspired Series

NOMINATIONS BY FILM FOR THE 3RD ANNUAL CRITICS CHOICE SUPER AWARDS

After Yang – 1
Best Actor in a Science Fiction/Fantasy Movie – Colin Farrell

Avatar: The Way of Water – 2
Best Science Fiction/Fantasy Movie
Best Actress in a Science Fiction/Fantasy Movie – Zoe Saldana

Barbarian – 2
Best Horror Movie
Best Actor in a Horror Movie – Justin Long

Black Panther: Wakanda Forever – 5
Best Superhero Movie
Best Actor in a Superhero Movie – Tenoch Huerta
Best Actress in a Superhero Movie – Angela Bassett
Best Actress in a Superhero Movie – Letitia Wright
Best Villain in a Movie – Tenoch Huerta

Bones and All – 1
Best Villain in a Movie – Mark Rylance

Bullet Train – 4
Best Action Movie
Best Actor in an Action Movie – Brad Pitt
Best Actress in an Action Movie – Joey King
Best Villain in a Movie – Joey King

DC League of Super-Pets – 1
Best Superhero Movie

Doctor Strange in the Multiverse of Madness – 4
Best Superhero Movie
Best Actor in a Superhero Movie – Benedict Cumberbatch
Best Actress in a Superhero Movie – Elizabeth Olsen
Best Villain in a Movie – Elizabeth Olsen

Dual – 1
Best Actress in a Science Fiction/Fantasy Movie – Karen Gillan

Everything Everywhere All at Once – 4
Best Science Fiction/Fantasy Movie
Best Actor in a Science Fiction/Fantasy Movie – Ke Huy Quan
Best Actress in a Science Fiction/Fantasy Movie – Stephanie Hsu
Best Actress in a Science Fiction/Fantasy Movie – Michelle Yeoh

Men – 2
Best Actor in a Horror Movie – Rory Kinnear
Best Actress in a Horror Movie – Jessie Buckley

Nanny – 1
Best Actress in a Horror Movie – Anna Diop

Nope – 3
Best Science Fiction/Fantasy Movie
Best Actor in a Science Fiction/Fantasy Movie – Daniel Kaluuya
Best Actress in a Science Fiction/Fantasy Movie – Keke Palmer

Pearl – 3
Best Horror Movie
Best Actress in a Horror Movie – Mia Goth
Best Villain in a Movie – Mia Goth

Prey – 2
Best Science Fiction/Fantasy Movie
Best Actress in a Science Fiction/Fantasy Movie – Amber Midthunder

Resurrection – 1
Best Actress in a Horror Movie – Rebecca Hall

RRR – 3
Best Action Movie
Best Actor in an Action Movie – Ram Charan
Best Actor in an Action Movie – N.T. Rama Rao Jr.

Sissy – 1
Best Actress in a Horror Movie – Aisha Dee

Smile – 1
Best Horror Movie

Speak No Evil –2
Best Horror Movie
Best Actor in a Horror Movie – Fedja van Huêt

The Adam Project – 1
Best Actor in a Science Fiction/Fantasy Movie – Ryan Reynolds

The Batman – 6
Best Superhero Movie
Best Actor in a Superhero Movie – Paul Dano
Best Actor in a Superhero Movie – Colin Farrell
Best Actor in a Superhero Movie – Robert Pattinson
Best Actress in a Superhero Movie – Zoë Kravitz
Best Villain in a Movie – Paul Dano

The Black Phone – 2
Best Horror Movie
Best Actor in a Horror Movie – Ethan Hawke

The Lost City – 1
Best Actress in an Action Movie – Sandra Bullock

The Menu – 1
Best Actor in a Horror Movie – Ralph Fiennes

The Northman – 2
Best Science Fiction/Fantasy Movie
Best Actor in a Science Fiction/Fantasy Movie – Alexander Skarsgård

The Princess – 1
Best Actress in an Action Movie – Joey King

The Unbearable Weight of Massive Talent – 2
Best Action Movie
Best Actor in an Action Movie – Nicolas Cage

The Woman King – 2
Best Action Movie
Best Actress in an Action Movie – Viola Davis

Thor: Love and Thunder – 2
Best Superhero Movie
Best Actress in a Superhero Movie – Natalie Portman

Top Gun: Maverick – 3
Best Action Movie
Best Actor in an Action Movie – Tom Cruise
Best Actress in an Action Movie – Jennifer Connelly

X – 1
Best Horror Movie

NOMINATIONS BY SERIES, LIMITED SERIES OR MADE-FOR-TV MOVIE FOR THE 3RD ANNUAL CRITICS CHOICE SUPER AWARDS

9-1-1 – 2
Best Action Series, Limited Series or Made-For-TV Movie
Best Actress in an Action Series, Limited Series or Made-For-TV Movie – Angela Bassett

1923 – 1
Best Actress in an Action Series, Limited Series or Made-For-TV Movie – Helen Mirren

Andor – 3
Best Science Fiction/Fantasy Series, Limited Series or Made-For-TV Movie
Best Actor in a Science Fiction/Fantasy Series, Limited Series or Made-For-TV Movie – Diego Luna
Best Actress in a Science Fiction/Fantasy Series, Limited Series or Made-For-TV Movie – Fiona Shaw

Anne Rice’s Interview with the Vampire – 3
Best Horror Series, Limited Series or Made-For-TV Movie
Best Actor in a Horror Series, Limited Series or Made-For-TV Movie – Jacob Anderson
Best Actor in a Horror Series, Limited Series or Made-For-TV Movie – Sam Reid

Chucky – 2
Best Horror Series, Limited Series or Made-For-TV Movie
Best Villain in a Series, Limited Series or Made-For-TV Movie – Brad Dourif

Cobra Kai – 3
Best Action Series, Limited Series or Made-For-TV Movie
Best Actor in an Action Series, Limited Series or Made-For-TV Movie – Ralph Macchio
Best Actor in an Action Series, Limited Series or Made-For-TV Movie – William Zabka

Dahmer – Monster: The Jeffrey Dahmer Story – 3
Best Horror Series, Limited Series or Made-For-TV Movie
Best Actor in a Horror Series, Limited Series or Made-For-TV Movie – Evan Peters
Best Actress in a Horror Series, Limited Series or Made-For-TV Movie – Niecy Nash-Betts

Doom Patrol – 3
Best Superhero Series, Limited Series or Made-For-TV Movie
Best Actor in a Superhero Series, Limited Series or Made-For-TV Movie – Brendan Fraser
Best Actress in a Superhero Series, Limited Series or Made-For-TV Movie – Michelle Gomez

Evil – 4
Best Horror Series, Limited Series or Made-For-TV Movie
Best Actor in a Horror Series, Limited Series or Made-For-TV Movie – Mike Colter
Best Actress in a Horror Series, Limited Series or Made-For-TV Movie – Katja Herbers
Best Villain in a Series, Limited Series or Made-For-TV Movie – Michael Emerson

For All Mankind – 1
Best Science Fiction/Fantasy Series, Limited Series or Made-For-TV Movie

House of the Dragon – 4
Best Science Fiction/Fantasy Series, Limited Series or Made-For-TV Movie
Best Actor in a Science Fiction/Fantasy Series, Limited Series or Made-For-TV Movie – Matt Smith
Best Actress in a Science Fiction/Fantasy Series, Limited Series or Made-For-TV Movie – Milly Alcock
Best Villain in a Series, Limited Series or Made-For-TV Movie – Matt Smith

Kung Fu – 2
Best Action Series, Limited Series or Made-For-TV Movie
Best Actress in an Action Series, Limited Series or Made-For-TV Movie – Olivia Liang

Legends of Tomorrow – 1
Best Actress in a Superhero Series, Limited Series or Made-For-TV Movie – Caity Lotz

Moon Knight – 2
Best Actor in a Superhero Series, Limited Series or Made-For-TV Movie – Oscar Isaac
Best Villain in a Series, Limited Series or Made-For-TV Movie – Ethan Hawke

Ms. Marvel – 2
Best Superhero Series, Limited Series or Made-For-TV Movie
Best Actress in a Superhero Series, Limited Series or Made-For-TV Movie – Iman Vellani

Night Sky – 1
Best Actress in a Science Fiction/Fantasy Series, Limited Series or Made-For-TV Movie – Sissy Spacek

Obi-Wan Kenobi – 2
Best Actress in a Science Fiction/Fantasy Series, Limited Series or Made-For-TV Movie – Moses Ingram
Best Villain in a Series, Limited Series or Made-For-TV Movie – Hayden Christensen

Peacemaker – 3
Best Superhero Series, Limited Series or Made-For-TV Movie
Best Actor in a Superhero Series, Limited Series or Made-For-TV Movie – John Cena
Best Actress in a Superhero Series, Limited Series or Made-For-TV Movie – Danielle Brooks

Reacher – 2
Best Action Series, Limited Series or Made-For-TV Movie
Best Actor in an Action Series, Limited Series or Made-For-TV Movie – Alan Ritchson

Severance – 2
Best Actor in a Science Fiction/Fantasy Series, Limited Series or Made-For-TV Movie – Adam Scott
Best Actress in a Science Fiction/Fantasy Series, Limited Series or Made-For-TV Movie – Patricia Arquette

She-Hulk: Attorney at Law – 2
Best Superhero Series, Limited Series or Made-For-TV Movie
Best Actress in a Superhero Series, Limited Series or Made-For-TV Movie – Tatiana Maslany

Star Trek: Strange New Worlds – 2
Best Science Fiction/Fantasy Series, Limited Series or Made-For-TV Movie
Best Actor in a Science Fiction/Fantasy Series, Limited Series or Made-For-TV Movie – Anson Mount

Stranger Things – 2
Best Science Fiction/Fantasy Series, Limited Series or Made-For-TV Movie
Best Villain in a Series, Limited Series or Made-For-TV Movie – Jamie Campbell Bower

The Boys – 4
Best Superhero Series, Limited Series or Made-For-TV Movie
Best Actor in a Superhero Series, Limited Series or Made-For-TV Movie – Antony Starr
Best Actress in a Superhero Series, Limited Series or Made-For-TV Movie – Erin Moriarty
Best Villain in a Series, Limited Series or Made-For-TV Movie – Antony Starr

The Equalizer – 1
Best Actress in an Action Series, Limited Series or Made-For-TV Movie – Queen Latifah

The Flash – 1
Best Actor in a Superhero Series, Limited Series or Made-For-TV Movie – Grant Gustin

The Last Days of Ptolemy Grey – 1
Best Actor in a Science Fiction/Fantasy Series, Limited Series or Made-For-TV Movie – Samuel L. Jackson

The Lord of the Rings: The Rings of Power – 2
Best Science Fiction/Fantasy Series, Limited Series or Made-For-TV Movie
Best Actress in a Science Fiction/Fantasy Series, Limited Series or Made-For-TV Movie – Morfydd Clark

The Man Who Fell to Earth – 1
Best Actor in a Science Fiction/Fantasy Series, Limited Series or Made-For-TV Movie – Chiwetel Ejiofor

The Umbrella Academy – 1
Best Actor in a Superhero Series, Limited Series or Made-For-TV Movie – Elliot Page

The Walking Dead – 1
Best Horror Series, Limited Series or Made-For-TV Movie

The Watcher – 1
Best Actress in a Horror Series, Limited Series or Made-For-TV Movie – Jennifer Coolidge

Tom Clancy’s Jack Ryan – 1
Best Actor in an Action Series, Limited Series or Made-For-TV Movie – John Krasinski

Tulsa King – 2
Best Action Series, Limited Series or Made-For-TV Movie
Best Actor in an Action Series, Limited Series or Made-For-TV Movie – Sylvester Stallone

Vikings: Valhalla – 1
Best Action Series, Limited Series or Made-For-TV Movie

Walker: Independence – 1
Best Actress in an Action Series, Limited Series or Made-For-TV Movie – Katherine McNamara

Wednesday – 3
Best Horror Series, Limited Series or Made-For-TV Movie
Best Actress in a Horror Series, Limited Series or Made-For-TV Movie – Jenna Ortega
Best Actress in a Horror Series, Limited Series or Made-For-TV Movie – Christina Ricci

Werewolf by Night – 2
Best Superhero Series, Limited Series or Made-For-TV Movie
Best Villain in a Series, Limited Series or Made-For-TV Movie – Harriet Sansom Harris

What We Do in the Shadows – 4
Best Horror Series, Limited Series or Made-For-TV Movie
Best Actor in a Horror Series, Limited Series or Made-For-TV Movie – Matt Berry
Best Actor in a Horror Series, Limited Series or Made-For-TV Movie – Harvey Guillén
Best Actress in a Horror Series, Limited Series or Made-For-TV Movie – Natasia Demetriou

Yellowstone – 2
Best Actor in an Action Series, Limited Series or Made-For-TV Movie – Kevin Costner
Best Actress in an Action Series, Limited Series or Made-For-TV Movie – Kelly Reilly

Review: ‘Of an Age,’ starring Elias Anton and Thom Green

February 20, 2023

by Carla Hay

Hattie Hook, Thom Green and Elias Anton in “Of an Age” (Photo by Ben King/Focus Features)

“Of an Age”

Directed by Goran Stolevski

Some language in Serbian with subtitles

Culture Representation: Taking place in Melbourne, Australia, in 1999 and 2010, the dramatic film “Of an Age” features a predominantly white cast of characters (with a few people of South Asian heritage) representing the working-class and middle-class.

Culture Clash: At 17 years old, a semi-closeted gay guy quickly falls for the older, openly gay brother of his female best friend, but this would-be romance is cut short because the brother is moving to South America the next day, and then the two men unexpectedly see each other again 11 years later.

Culture Audience: “Of an Age” will appeal primarily to people who are interested in watching LGBTQ love stories and movies about love, loss and possibly rekindled romances.

Elias Anton and Thom Green in “Of an Age” (Photo by Thuy Vy/Focus Features)

“Of an Age” is a compelling character study of love connections and the importance of timing in order for a relationship to grow. Elias Anton and Thom Green give memorable performances, but some viewers might not like how parts of the story remain untold. It’s a story that doesn’t fit a certain formula of what many people might expect in romantic dramas because of how the movie is structured. However, this unpredictability is the movie’s strength. By not following clichés, “Of an Age” offers something closer to real life than what most fictional movies about romance have to offer.

Written and directed by Goran Stolevski, “Of an Age” is a big departure from his previous film: the 2022 moody horror film “You Won’t Be Alone,” set in 19th century Macedonia, about a cursed woman who inhabits the bodies of various beings, while the witch who cursed her as a baby follows her to make sure that she does not experience love. In “Of an Age” (which takes place in 1999 and 2010 in Melbourne, Australia, where the movie was filmed), the protagonist is haunted by another type of curse: homophobia. This homophobia is the root cause of his shame about being gay, and it’s deprived him of having a love life up until he meets a man who gives him a liberating perspective. This perspective changes his attitude about his self-acceptance, his sexuality, and how honest he wants to be about himself to the people around him.

“Of an Age” begins on New Year’s Day 2010, when a gloomy-looking Nikola “Kol” Denić (played by Anton) makes a phone call to someone Ebony, who isn’t home, but the phone is answered by a woman who sounds like she lives with Ebony. Kol (whose nickname is pronounced “Cole”) is hesitant about this phone call. He tells the woman who answers the phone: “I was just thinking about her … I wasn’t thinking about her. Sorry.” He hangs up and takes a swig from a liquor bottle. Viewers later find out that January 1 is Kol’s birthday.

“Of An Age,” which is told in two parts, then flashes back to Part One of the story, which takes place over the course of 24 hours in December 1999. Part Two of the story takes place over a few days in 2010, about five months after Kol has made that mournful phone call. The movie has a non-traditional structure because Part One gets the majority (about 70%) of the movie’s screen time, whereas most two-part movies would be structured so that each of the two parts would get about the same amount of screen time.

In Part One of “Of an Age,” Kol is a 17-year-old aspiring dancer who is getting ready for the most important dance competition of his life so far: The Year 12 Ballroom Finals for an unnamed national Australian dance contest. His dance partner is his best friend Ebony Donegal (played by Hattie Hook), who has recently graduated from the same high school class as Kol. Ebony and Kol live in a working-class part of North Melbourne. Ebony is outgoing and rebellious. Kol is introverted and likes to play by the rules.

Ebony is also flaky and very temperamental. The movie shows that she has woken up on a beach, after a night of drug-induced partying with a male stranger she met the night before. Ebony has no idea where she is, and she barely remembers what happened the previous nught, but she knows that the dance competition starts in a few hours at the City Center in Melbourne. She desperately needs a way to get there in time.

After making some frantic phone calls and inquiries about where she is, Ebony has a meltdown when she calls Kol. She begs, cries and screams for him to come pick her up. Ebony—an aspiring actress who wants to go to the National Institute of Dramatic Arts—has a love/hate relationship with her single mother Fay (played by Verity Higgins), and refuses to call her mother for help. Ebony is often rude and demanding to the people close to her, but Kol puts up with it because Ebony is his only friend.

The problem with Ebony wanting Kol to give her car ride back home is that Kol doesn’t have access to a car. And he finds out that Ebony is too far away for him to pick her up and drive them to the dance contest in time. Ebony still needs a ride back home, so Kol enlists the help of Ebony’s visiting older brother Adam Donegal (played by Green), who has a car and meets Kol for the first time during this trip to pick up Ebony, who is disheveled, an emotional wreck, and quite the shrieking drama queen.

Even though there’s little to no chance that Ebony and Kol will make it in time to the competition, Ebony asks Kol to get her ballroom dance dress at the house that she shares with a friend named Jaya (played by Senuri Chandrani), who immediately picks up on the fact that Kol is gay, even though he’s not ready to admit it to anyone yet. When Jaya calls him “gay,” Kol acts slightly offended, but he’s really just embarrassed that Jaya has figured out his secret.

During the car drive to pick up Ebony in the rural area where she is, Adam and Kol have a sarcasm-fueled conversation that will change their lives. Adam is in his mid-20s and highly educated. He graduated from the University of Melbourne with a master’s degree in linguistics. As an undergrad, he majored in Spanish. And he’s about to get his Ph. D. degree.

Kol wants to impress this older man, so he tries to make Adam think that Kol is sophisticated. Even though the production notes for “Of an Age” say that Kol is 17, in the movie, Kol tells Adam that he is 18 and will turn 19 in a few weeks. Adam mentions early on in the conversation that he really likes South America. Adam is playing music from an Argentinian movie soundtrack in the car, so Kol pretends that he likes Argentinian movies too. When the subject turns to literature, Kol tells Adam that he has been reading the work of Jorge Luis Borges, an Argentinian short story writer.

However, Kol shows that he’s not very sophisticated at all when he mispronounces the name of supermodel Gisele Bündchen. Kol mispronounces her first name as “Jizzelly.” Bündchen’s name comes up when Adam says he chose Spanish as a major because he likes “South Americans—they’re just hotter.” Kol agrees and responds by saying (and mispronouncing) that South Americans are hot “like Gisele.” (Bündchen is from Brazil, where the national language is Portuguese, not Spanish.) At this point, Kol might be testing Adam’s reaction to see if Adam believes that Kol is sexually attracted to women. Adam doesn’t look entirely convinced.

Adam rolls and smokes a marijuana cigarette while driving. He offers a puff to Kol, who politely declines and says that he doesn’t smoke. Adam says of the dismal economic prospects of their working-class community: “You’re a good boy. Good boys make it out.” Later, when Adam asks Kol what his favorite book is, Kol says it’s Charles Dickens’ “Great Expectations,” while Adam says his favorite book is Malcolm Lowry’s “Under the Volcano.” Their choices in books say a lot about their personalities.

During this conversation that becomes increasingly filled with sexual tension and romantic attraction, Kol opens up about his family. He tells Adam that he and his family are originally from Serbia. They moved to Australia in 1991, “because of the war,” and Kol’s father died in 1994. Kol lives with Kol’s widowed mother, Kol’s aunt (played by Donna Dimovski Kantarovski) and Kol’s uncle (played by Slobodan Andonoski). Kol says of his home life: “I’m waiting for my uncle to die. He’s a psycho.” Later in the movie, Kol says he rarely sees his mother (played by Milijana Čančar), because she’s busy working at three different jobs.

At one point in the conversation in the car, Adam mentions having an “ex,” but he doesn’t say what gender the ex is. Not long after that, Adam says that a box of music cassette tapes and some other stuff in the back of the car belong to this ex-lover. When Kol accidentally knocks over the box of cassettes, Kol says, “Your ex is going to kill me.” Adam casually says, “He won’t.” It’s at that moment that Kol finds out that Adam is gay.

This revelation and the majority of the movie’s plot is shown in the trailer for “Of an Age.” It’s later revealed that Adam is the first openly gay man whom Kol has ever met. It scares Kol but also excites him because he and Adam have a mutual attraction that they cannot ignore. And then (as revealed in the movie’s trailer), Adam tells Kol that this is his last day in Australia, because he’s moving to South American to get his Ph.D. degree.

Over the next 24 hours, Kol and Adam act on their connection before saying a bittersweet and tearful goodbye. The connection between them is so strong, that they both instinctively know that they could have had a soul-mate romance if circumstances had not prevented them from being together. The “what ifs” about their would-be relationship will affect them for years to come.

The trailer for “Of an Age” already shows that after not seeing each other for years, Kol and Adam happen to end up in the same airport baggage claim area. This is in Part Two of the movie, which takes place in 2010. The movie trailer also shows that they have both arrived in Melbourne because of Ebony’s wedding. And it’s obvious that Kol and Adam are still very much attracted to each other.

What isn’t revealed in the trailer is what Kol and Adam will do about this attraction. Adam and Kol catch up on each other’s lives, as they tell each other what they’ve been doing in the 11 years since they saw each other. However, one of them has a big secret that will have an effect on any possible reunion. Because the trailer of “Of an Age” gives so much of the plot away, the only real question that viewers who’ve seen the trailer will have is: “Will Adam and Kol rekindle what they started 11 years ago?”

“Of An Age” would not be as emotionally touching if not for the stellar performances of Anton and Green, who both authentically portray the heartbreaking reality that sometimes true love can be found quickly but lost just as quickly. Adam is Kol’s first experience with romantic love as Kol’s true self. And so, it’s been harder for Kol to recover from this separation. That doesn’t mean Adam doesn’t care, but Adam had more dating experience than Kol at the time they met and shared this intense connection.

The movie gives vivid portrayals of the personalities of Adam and Kol. However, some viewers might be bothered by the 11-year gap in time that isn’t fully explained except in brief conversations between Adam and Kol when they see each other again in 2010. It’s also a little hard to believe that talkative loudmouth Ebony wouldn’t have told Adam ahead of time that Kol was going to the wedding. When Kol and Adam see each other at the airport, they are very surprised. It’s a small detail that doesn’t ring true in this movie.

“Of an Age” might bring up a lot of questions that the movie doesn’t answer. But there’s no doubt that the passion between Adam and Kol is real for both of them. Viewers will be intrigued by finding out how much Adam and Kol have changed in 11 years—or how much Adam and Kol might have stayed the same. And are they still right for each other 11 years after they have met? It’s a question that’s open to many different interpretations, which can be exactly what “Of an Age” intends for viewers.

Focus Features released “Of an Age” in select U.S. cinemas on February 17, 2023.

Review: ‘Emily’ (2022), starring Emma Mackey, Fionn Whitehead, Oliver Jackson-Cohen, Alexandra Dowling, Adrian Dunbar, Amelia Gething and Gemma Jones

February 19, 2023

by Carla Hay

Emma Mackey in “Emily” (Photo courtesy of Bleecker Street)

“Emily” (2022)

Directed by Frances O’Connor

Some language in French with subtitles

Culture Representation: Taking place in England (and briefly in Belgium), from 1841 to 1848, the dramatic film “Emily” features an all-white cast of characters representing the working-class and the middle-class.

Culture Clash: Aspiring writer Emily Brontë, who is perceived as a reclusive weirdo in her community, experiences love and loss before writing her first and only novel, “Wuthering Heights.”

Culture Audience: “Emily” will appeal primarily to people who are fans of Emily Brontë, British films that take place in the 1800s, and well-acted movies that have gothic tones and themes.

Fionn Whitehead and Oliver Jackson-Cohen in “Emily” (Photo courtesy of Bleecker Street)

Gorgeously filmed like an Emily Brontë novel come to life, “Emily” overcomes its occasionally dull moments with very good acting, led by a vibrant performance from Emma Mackey. This gothic drama perfectly captures the moody and eccentric personality of its author protagonist without turning her into a parody or caricature. It’s not a completely accurate biopic in the purist sense of the word, because much of the story is about a romance that was fabricated for the movie.

“Emily” is the first feature film from writer/director Frances O’Connor (also known for being an actress), who shows talent in casting choices, visual style and character development. However, “Emily” needed some improvement in the narrative structure: Some scenes look unnecessary because they don’t really go anywhere. Better choices could also have been made in the film editing for “Emily,” because the movie’s pacing sometimes drags. These are minor flaws that shouldn’t take away from the overall enjoyment of the movie.

“Emily” had its world premiere at the 2022 Toronto International Film Festival. For the 2023 British Independent Film Awards, the movie was nominated for four prizes: Best Lead Performance (for Mackey); Best Supporting Performance (for Fionn Whitehead); the Douglas Hickox Award, a prize given to a debut director (for O’Connor); and Best Ensemble. At the 2023 British Academy Film Awards, Mackey won the Rising Star Award.

“Emily” takes place mostly in England’s Yorkshire county, from 1841 to 1848. In 1841, Emily Brontë (played by Mackey) is a 23-year-old bachelorette who is shy, eccentric and reclusive. She has a vivid imagination and often seems to live in a fantasy world, but this personality trait also caused her to have a reputation in the community for being weird and an extreme daydreamer. Emily often talks out loud to the characters that she has created in her head.

She is also a poet who has been able to get her poems published under the alias Ellis Bell. It was very common for women writers at the time to send their work to publishers by using a man’s name as an alias, because they knew this gender switch would increase their chances of getting published. Unlike many women in her age group, Emily is not preoccupied with finding a husband, especially a man who has more money than her family does.

Emily lives in a rural parsonage in Haworth, England, with her widowed father Reverend Patrick Brontë (played by Adrian Dunbar), her younger sister Anne Brontë (played by Amelia Gething), her older brother Branwell Brontë (played by Whitehead) and her aunt Elizabeth Branwell (played by Gemma Jones), who is the sister of Emily’s deceased mother Maria. Emily has an older sister named Charlotte Brontë (played by Alexandra Dowling), who doesn’t live at home for most of the movie because Charlotte is away at college and then gets a teaching position at the school after she graduates.

All four of the Brontë siblings are aspiring writers, but the movie depicts Emily as the sibling who is the most consistently prolific. When Charlotte comes home for a visit from school, Charlotte mentions to Emily that she’s been too busy to write because of all of her schoolwork. Throughout the movie, there’s an unspoken rivalry between Emily and Charlotte—not just when it comes to any of their professional aspirations but also when it comes to their love lives. As the oldest of the four siblings, overachieving Charlotte expects to be the first of her siblings to accomplish great things and to be the sibling to get married first.

The Brontë family is grieving over the death of matriarch Maria, who died of cancer in 1821, when Emily was 3 years old. Maria’s absence has left a void that the siblings don’t really like to talk about with each other. What “Emily” doesn’t mention is that in real life, the family’s two eldest siblings (Maria and Elizabeth) died in 1824 from typhoid epidemic that plagued their school. Charlotte then became the eldest living sibling, which partially explains why she acts like both a sister and a mother to her younger siblings.

Emily is close to all of her living siblings, but she has a special bond with Branwell, who is only a year older than Emily. Branwell is fun-loving, rebellious and can usually make Emily laugh when she’s feeling depressed, which is apparently quite often. Unlike Charlotte, who is often judgmental of Emily and scolds Emily for being vulgar, Branwell accepts Emily for exactly who she is. He also has great admiration for her as a writer. And so does Anne, who is the kindest and friendliest of the four siblings.

Emily frequently joins Branwell for some of his mischief making, such as when they peek though neighbors’ windows unbeknownst to the neighbors, or when they indulge in taking drugs. Emily and Branwell secretly smoke marijuana together and take liquid opium stolen from their father, who keeps am opium stash for emergency medicinal purposes. This opium taking becomes a serious addiction for one of these siblings.

Whatever social life that Emily has is usually because of her more outgoing siblings. They sometimes frolic together in the nearby fields like giddy children. Things are much more serious at the church where their father is the chief clergyman.

However, the arrival of a curate named William Weightman (played by Oliver Jackson-Cohen), bachelor in his 30s, indicates that this church is about to undergo a transformation. William’s first sermon isn’t a typical stuffy lecture but is instead a personal tale with a rain theme. He talks about much he enjoys walking in the rain, and how rain is similar to a spiritual cleansing.

After the sermon, sisters Charlotte, Emily and Anne are gathered in the kitchen, where they are helping prepare meals for the visiting congregation. Charlotte and Anne are immensely charmed by handsome newcomer William, while Emily is not as impressed. And it’s at that moment that you know what Emily is going to fall in love with William.

Anne gushes, “He speaks with such poetry.” Emily replies, “Any man can speak, but what can he actually do?” Emily then says sarcastically, “I do wonder though: How does God squeeze Himself into all that rain. Does he get wet?”

At that moment, William walks in the kitchen to formally introduce himself. He knows that the sisters were talking about him, and there’s some awkwardness that he quickly diffuses with self-deprecating charisma. Emily doesn’t say much to William in this conversation, but her staring eyes show that she’s intrigued by him but doesn’t want to admit it to anyone just yet.

Over time, Charlotte and Anne openly express that they have a crush on William, as they giggle in his presence and seem awed by everything he says and does. For Valentine’s Day, William gives all three sisters friendly Valentine’s Day notes, but Emily is the only one of the sisters who reacts with seeming indifference. However, through a series of circumstances, (including William becoming Emily’s French tutor), Emily and William get to know each other better. And an attraction grows between them.

Up until this point, Branwell is the man who is closest to Emily. Branwell is aware of a growing attraction between Emily and William. Branwell seems jealous or threatened that another person could mean more to Emily than Branwell. And so, Branwell tells Emily that he doesn’t think William is the right person for her. William is cautious about having a love affair with Emily because it’s ethically questionable and because he doesn’t want to lose the trust of Emily’s father, who is William’s mentor.

Like any compelling gothic movie that mixes horror and romance, “Emily” has a few scenes that are literally haunting. One evening, the Brontë family is hosting a dinner, with William and a family friend in her 20s named Ellen Nussey (played by Sacha Parkinson) as the guests. Patrick brings out a white theater mask that he says was a wedding gift to him and Maria, but this gift was not accompanied by a card, so they never found out who gave them this mask. Patrick explains that his children would play with the mask when they were growing up, by someone putting on the mask and playing a character, while other people would have to guess the identity of the character.

After dinner, Emily, Charlotte, Anne, Branwell, William and Ellen gather in a room to play this game from the Brontë siblings’ childhood. At first, the game is lighthearted. But then, Emily puts on the mask and starts talking. To her siblings’ horror, they figure out that Emily is impersonating their dead mother. Suddenly, strong wind gusts whip through the room, as if an unseen ghostly spirit has appeared. People in the room have various reactions, but it unnerves most of the people who witnessed this spectacle.

“Emily” doesn’t turn into a ghost story, but the mask is a symbol for how much of the past the siblings want to hold on to, when it comes to their childhoods and how the death of their mother has affected them. At one point, one of the siblings buries the mask in the backyard, as if the mask also represents painful memories. The mask is later dug up and retrieved, as if to reclaim those memories to being positive and something that shouldn’t be feared.

The romance between Emily and William plays out exactly like it usually does in movies like “Emily,” with Mackey and Jackson-Cohen showing the typical combination of repressed lust and unleashed passion, depending on the scene. Mackey does a lot of terrific acting with her expressive eyes, so that observant viewers can deduce what Emily is thinking, even when Emily isn’t saying a word. The movie shows that, far from being bashful about expressing love, Emily is the one who initiates many of the overtures in this romance.

Whitehead also stands out in his role of complicated Branwell, who seems to be carefree on the outside, but Branwell is actually deeply insecure and troubled about himself and his place in the family. Whereas Emily has Charlotte as Emily’s biggest critic, Branwell has his father Patrick has Branwell’s biggest critic. Branwell can’t seem to change Patrick’s perception that Branwell is a “disappointment” to the family.

Because very little is known about the real Emily Brontë’s love life, the romance in the movie was created to spice up the story. Although the character of William is a composite of real people, according to the production notes for “Emily,” there is no evidence that Emily fell in love with someone who worked for her father. However, the movie correctly depicts that Emily briefly gave up writing when she decided to become a teacher.

The sibling rivalry between Emily and Charlotte is much more plausible. In real life, Charlotte Brontë also became a famous author because of her novel “Jane Eyre,” which was published in 1847, the same year that Emily Brontë’s “Wuthering Heights” was published. Both novels are centered on romance, but each book has a very different tone. “Wuthering Heights” has a darker tone that was considered more risqué at the time.

Because “Emily” is told from Emily’s perspective, very little is shown about Charlotte’s writing process. “Emily” speculates what could have motivated Emily to write her greatest and best-known work (“Wuthering Heights”) in her short life. The movie is both a fitting tribute and an imaginative portait of an enigmatic author whose work has stood the test of time.

Bleecker Street released “Emily” in select U.S. cinemas on February 17, 2023, with an expansion to more U.S. cinemas on February 24, 2023. The movie was released in the United Kindgom on October 14, 2022.

2023 BAFTA Awards: ‘All Quiet on the Western Front’ is the top winner

February 19, 2023

Felix Kammermer in “All Quiet on the Western Front” (Photo by Reiner Bajo/Netflix)

With seven awards, including Best Film, Netflix’s World War I drama “All Quiet on the Western Front” was the top winner for the 76th annual BAFTA Film Awards, which were presented at London’s Royal Festival Hall on February 19, 2023. The ceremony (hosted by Richard E. Grant and Alison Hammond) was televised in the United Kingdom on BBC and in the U.S. on BBC America. Eligible films were those released in the United Kingdom in 2022. With 14 nominations going into the ceremony, German-language “All Quiet on the Western Front” made BAFTA history as the non-English-language movie with the most BAFTA nominations. The BAFTA Film Awards are nominated and voted for by the British Academy of Film and Television.

In addition to winning Best Film, “All Quiet on the Western Front” won the BAFTAs for Best Director (for Edward Berger), Best Adapted Screenplay, Best Sound, Best Original Score, Best Cinematography, and Best Film Not in the English Language. Also winning multiple BAFTA Film Awards was Searchlght Pictures’ Irish comedy/drama “The Banshees of Inisherin” and Warner Bros. Pictures’ Elvis Presley biopic “Elvis,” which won four prizes each. “The Banshees of Inisherin” won Best British Film, Best Original Screenplay, Best Supporting Actor (for Barry Keoghan), and Best Supporting Actress (for Kerry Condon). “Elvis” took the prizes for Best Leading Actor (for Austin Butler), Best Casting, Best Costume Design, and Best Make Up and Hair. Cate Blanchett of “TÁR” won the prize for Best Leading Actress. Costume designer Sandy Powell was given the Fellowship Award, a non-competitive prize whose recipient is announced before the ceremony takes place.

Here is the complete list of winners and nominations for the 2023 BAFTA Film Awards:

*=winner

Best Film

“All Quiet on the Western Front”*
“The Banshees of Inisherin”
“Elvis”
“Everything Everywhere All at Once”
“TÁR”

Outstanding British Film

“Aftersun”
“The Banshees of Inisherin”*
“Brian and Charles”
“Empire of Light”
“Good Luck to You, Leo Grande”
“Living”
“Roald Dahl’s Matilda the Musical”
“See How They Run”
“The Swimmers”
“The Wonder”

Best Director

“All Quiet on the Western Front” – Edward Berger*
“The Banshees of Inisherin” – Martin Mcdonagh
“Decision to Leave” – Park Chan-wook
“Everything Everywhere All at Once” – Daniel Kwan, Daniel Scheinert
“TÁR” – Todd Field
“The Woman King” – Gina Prince-Bythewood

Best Leading Actor

Austin Butler, “Elvis”*
Colin Farrell, “The Banshees of Inisherin”
Brendan Fraser, “The Whale”
Daryl McCormack, “Good Luck to You, Leo Grande”
Paul Mescal, “Aftersun”
Bill Nighy, “Living”

Best Leading Actress

Cate Blanchett, “TÁR”*
Viola Davis, “The Woman King”
Danielle Deadwyler, “Till”
Ana De Armas, “Blonde”
Emma Thompson, “Good Luck to You, Leo Grande”
Michelle Yeoh, “Everything Everywhere All at Once”

Best Supporting Actor

Brendan Gleeson, “The Banshees of Inisherin”
Barry Keoghan, “The Banshees of Inisherin”*
Ke Huy Quan, “Everything Everywhere All at Once”
Eddie Redmayne, “The Good Nurse”
Albrecht Schuch, “All Quiet on the Western Front”
Micheal Ward, “Empire of Light”

Best Supporting Actress

Angela Bassett, “Black Panther: Wakanda Forever”
Hong Chau, “The Whale”
Kerry Condon, “The Banshees of Inisherin”*
Dolly De Leon, “Triangle of Sadness”
Jamie Lee Curtis, “Everything Everywhere All At Once”
Carey Mulligan, “She Said”

Best Adapted Screenplay

“All Quiet on the Western Front” – Edward Berger, Lesley Paterson, Ian Stokell*
“Living” – Kazuo Ishiguro
“The Quiet Girl” – Colm Bairéad
“She Said” – Rebecca Lenkiewicz
“The Whale” – Samuel D. Hunter

Best Original Screenplay

“The Banshees of Inisherin” – Martin McDonagh*
“Everything Everywhere All at Once” – Daniel Kwan, Daniel Scheinert
“The Fabelmans” – Tony Kushner, Steven Spielberg
“TÁR” – Todd Field
“Triangle of Sadness” – Ruben Östlund

Outstanding Debut by a British Writer, Director or Producer

“Aftersun” – Charlotte Wells (Writer/director)*
“Blue Jean” – Georgia Oakley (Writer/director), Hélène Sifre (Producer)
“Electric Malady” – Marie Lidén (Director)
“Good Luck to You, Leo Grande” – Katy Brand (Writer)
“Rebellion” – Maia Kenworthy and Elena Sánchez Bellot (Directors)

Original Score

“All Quiet on the Western Front” – Volker Bertelmann*
“Babylon” – Justin Hurwitz
“The Banshees of Inisherin” – Carter Burwell
“Everything Everywhere All at Once” – Son Lux
“Guillermo del Toro’s Pinocchio” – Alexandre Desplat

Cinematography

“All Quiet on the Western Front” – James Friend*
“The Batman” – Greig Fraser
“Elvis” – Mandy Walker
“Empire of Light” – Roger Deakins
“Top Gun: Maverick” – Claudio Miranda

Film Not in the English Language

“All Quiet on the Western Front” – Edward Berger, Malte Grunert*
“Argentina, 1985” – Santiago Mitre, Producer(S) Tbc
“Corsage” – Marie Kreutzer
“Decision to Leave” – Park Chan-wook, Ko Dae-seok
“The Quiet Girl” – Colm Bairéad, Cleona Ní Chrualaoí

Documentary

“All That Breathes” – Shaunak Sen, Teddy Leifer, Aman Mann
“All the Beauty and the Bloodshed” – Laura Poitras, Howard Gertler, Nan Goldin, Yoni Golijov, John Lyons
“Fire of Love” – Sara Dosa, Shane Boris, Ina Fichman
“Moonage Daydream” – Brett Morgan
“Navalny” – Daniel Roher, Diane Becker, Shane Boris, Melanie Miller, Odessa Rae*

Animated Film

“Guillermo del Toro’s Pinocchio” – Guillermo Del Toro, Mark Gustafson, Gary Ungar, Alex Bulkley*
“Marcel the Shell With Shoes On” – Dean Fleisher Camp, Andrew Goldman, Elisabeth Holm, Caroline Kaplan, Paul Mezey
“Puss in Boots: The Last Wish” – Joel Crawford, Mark Swift
“Turning Red” – Domee Shi, Lindsey Collins

Casting

“Aftersun” – Lucy Pardee
“All Quiet on the Western Front” – Simone Bär
“Elvis” – Nikki Barrett, Denise Chamian*
“Everything Everywhere All at Once” – Sarah Halley Finn
“Triangle of Sadness” – Pauline Hansson

Production Design

“All Quiet on the Western Front” – Christian M. Goldbeck, Ernestine Hipper
“Babylon” – Florencia Martin, Anthony Carlino*
“The Batman” – James Chinlund, Lee Sandales
“Elvis” – Catherine Martin, Karen Murphy, Bev Dunn
“Guillermo Del Toro’s Pinocchio” – Curt Enderle, Guy Davis

Best Costume Design

“All Quiet on the Western Front” – Lisy Christl
“Amsterdam” J.R. Hawbaker, Albert Wolsky
“Babylon” – Mary Zophres
“Elvis” – Catherine Martin*
“Mrs. Harris Goes to Paris” – Jenny Beavan

Best Make Up and Hair

“All Quiet on the Western Front” – Heike Merker
“The Batman” – Naomi Donne, Mike Marino, Zoe Tahir
“Elvis” – Jason Baird, Mark Coulier, Louise Coulston, Shane Thomas*
“Roald Dahl’s Matilda the Musical” – Naomi Donne, Barrie Gower, Sharon Martin
“The Whale” – Anne Marie Bradley, Judy Chin, Adrien Morot

Best Editing

“All Quiet on the Western Front” – Sven Budelmann
“The Banshees of Inisherin” – Mikkel E. G. Nielsen
“Elvis” – Jonathan Redmond, Matt Villa
“Everything Everywhere All at Once” – Paul Rogers*
“Top Gun: Maverick” – Eddie Hamilton

Best Sound

“All Quiet on the Western Front” – Lars Ginzsel, Frank Kruse, Viktor Prášil, Markus Stemler*
“Avatar: The Way of Water” – Christopher Boyes, Michael Hedges, Julian Howarth, Gary Summers, Gwendoyln Yates Whittle
“Elvis” – Michael Keller, David Lee, Andy Nelson, Wayne Pashley
“TÁR” – Deb Adair, Stephen Griffiths, Andy Shelley, Steve Single, Roland Winke
“Top Gun: Maverick’ – Chris Burdon, James H. Mather, Al Nelson, Mark Taylor, Mark Weingarten

Best Visual Effects

“All Quiet on the Western Front” – Markus Frank, Kamil Jafar, Viktor Müller, Frank Petzold
“Avatar: The Way of Water” – Richard Baneham, Daniel Barrett, Joe Letteri, Eric Saindon*
“The Batman” – Russell Earl, Dan Lemmon, Anders Langlands, Dominic Tuohy
“Everything Everywhere All at Once” – Benjamin Brewer, Ethan Feldbau, Jonathan Kombrinck, Zak Stoltz
“Top Gun: Maverick” – Seth Hill, Scott R. Fisher, Bryan Litson, Ryan Tudhope

British Short Animation

“The Boy, The Mole, The Fox and the Horse” – Peter Baynton, Charlie Mackesy, Cara Speller, Hannah Minghella*
“Middle Watch” – John Stevenson, Aiesha Penwarden, Giles Healy
“Your Mountain Is Waiting” – Hannah Jacobs, Zoe Muslim, Harriet Gillian

British Short Film

“The Ballad of Olive Morris” – Alex Kayode-kay
“Bazigaga” – Jo Ingabire Moys, Stephanie Charmail
“Bus Girl” – Jessica Henwick, Louise Palmkvist Hansen
“A Drifting Up” – Jacob Lee
“An Irish Goodbye” – Tom Berkeley, Ross White*

EE Rising Star Award (public vote)

Aimee Lou Wood
Daryl McCormack
Emma Mackey*
Naomi Ackie
Sheila Atim

Review: ‘Amigos’ (2023), starring Nandamuri Kalyan Ram

February 18, 2023

by Carla Hay

Nandamuri Kalyan Ram in “Amigos” (Photo courtesy of Mythri Movie Makers)

“Amigos” (2023)

Directed by Rajendra Reddy

Telugu with subtitles

Culture Representation: Taking place in India, the action film “Amigos” features a predominantly Indian cast of characters (with some black people) representing the working-class, middle-class and criminal underground.

Culture Clash: After a man meets two of his biologically unrelated look-alikes, he finds out that one of them is a notorious criminal who is a fugitive from authorities. 

Culture Audience: “Amigos” will appeal primarily to people who are interested in watching far-fetched action movies where everything is repetitive and predictable.

Nandamuri Kalyan Ram and Ashika Ranganath in “Amigos” (Photo courtesy of Mythri Movie Makers)

An action movie about unrelated look-alikes and mistaken identities usually has only two characters with this problem. “Amigos” has three characters who are unrelated look-alikes, which just makes this muddled story become increasingly doltish. And with a total running time of 137 minutes, “Amigos” is just too long for a movie with a very thin and silly plot.

“Amigos” is the feature-film debut of writer/director Rajendra Reddy, who copies so many other Bollywood action films in having the same soundtrack-blaring tone as characters have simple-minded conversations and go from one ridiculous scenario to the next, with some musical numbers thrown into the mix. “Amigos” is just more of the same mind-numbing regurgitation about doppelganger misadventures, with the only novelty being that it’s about three look-alikes instead of the usual two. The movie could have done a lot of interesting things with this concept. Instead, it’s just mindless mush that drags on until the very predictable end.

In “Amigos” (which takes place in various cities in India), a “regular guy” named Siddharth (played by Nandamuri Kalyan Ram), nicknamed Siddhu, works with his uncle (played by Brahmaji) in a family-owned land development business based in Hyderabad, India. Siddhu finds out about a popular website called GetDoppel.com, where people can find their biologically unrelated look-alikes. The movie has montages showing that it’s become a fad for people to post social media photos and videos of people meeting their look-alikes from around the world. Siddhu soon gets caught up in this fad, for better or worse.

The “better” part happens when he meets two men on GetDoppel.com who look exactly like him (except for their hairstyles and how they dress) but all three men have very different personalities from each other. Manjunath Hegde (also played by Ram) is a nerdy and brilliant software engineer/computer programmer from the city of Bangalore. Michael (also played by Ram), who likes to wear sunglasses and habitually smokes cigarettes, is a mysterious “tough guy” from the city of Kolkata. All three men meet in person in Goa and become fast friends.

The movie takes an awfully long time in showing montages of Siddhu, Manjunath and Michael going on adventurous trips together. While Siddhu and Manjunath tell each other that they feel like they are brothers, Michael isn’t as open about his feelings. He remains a little more emotionally guarded than the other two newfound pals. “Amigos” does a terrible job of creating suspense, because it’s obvious that Michael has secrets that he’s trying to hide.

“Amigos” spends a lot of time time on a subplot about how the three look-alikes use their physical resemblances to help Siddhu court a hard-to-please love interest named Ishika (played by Ashika Ranganath), who has a specific list of what she wants in a potential husband. Siddhu fulfills only part of her list of requirements. And so, Siddhu asks his look-alike new best friends to pretend to be him whenever he needs to impress Ishika in a specific way.

Ishika wants a highly intelligent man (which is where Manjunath comes in handy) and a man with great physical strength and bravado, which is where Michael is helpful. The Siddhu look-alikes pretend to be Siddhu when Ishika gives various tests to see if “Siddhu” meets her requirements. It’s really an idiotic scheme to deceive Ishika this way because Siddhu can only keep up the charade for a limited period of time, since his look-alikes can’t always be around to pretend to be him.

The “worse” part of this doppelganger get-together comes when Siddhu and Manjunath find out that Michael is really a ruthless arms dealer named Bipin Roy, who is a fugitive from the National Investigation Agency (NIA). (This isn’t spoiler information, because this real identity is revealed in the movie’s trailer.) And it doesn’t take a genius to figure out why he wanted to meet Siddhu and Manjunath: This criminal wants to steal their identities.

“Amigos” has these characters in chase scene after chase scene that don’t really further the story but just make the plot more tangled and ridiculous. The fight scenes aren’t believable at all. Some of the visual effects are adequate, but the rest of the visual effects are downright awful, because the cast members are obviously acting in front of a screen, not a real location.

Although he plays three different men in “Amigos,” Ram is mostly watchable as Siddhu. He portrays Manjunath in a bland and generic way. His depiction of Michael/Bipin is very cringeworthy as an over-the-top villain, including a very fake-sounding deep voice. The portrayal of Michael/Bipin is so terrible, viewers might be more likely to laugh at this character than feel like this character is menacing.

All of the other cast members give mediocre-to-bad performances, although Brahmaji seems to be doing the best he can in his comic relief role as Siddhu’s uncle. “Amigos” has the expected betrayals and fight scenes that all lead up to a very underwhelming and unimaginative ending. If “Amigos” were a baseball game, the mishandling of the “three look-alike friends” concept is not only fumbling the ball, but it’s also a complete “three strikes and you’re out” failure.

Mythri Movie Makers released “Amigos” in select U.S. cinemas and in India on February 10, 2023.

Review: ‘When You Finish Saving the World,’ starring Julianne Moore and Finn Wolfhard

February 17, 2023

by Carla Hay

Finn Wolfhard and Julianne Moore in “When You Finish Saving the World” (Photo by Karen Kuehn/A24)

“When You Finish Saving the World”

Directed by Jesse Eisenberg

Culture Representation: Taking place in an unnamed U.S. city, the comedy/drama film “When You Finish Saving the World” (based on the Audible podcast of the same name) features a predominantly white cast of characters representing the working-class and middle-class.

Culture Clash: A married mother, who works at a domestic violence shelter, tries to emotionally connect with her self-absorbed teenage son, who is an aspiring rock star, while mother and son try to make an impression on separate people whom they both admire. 

Culture Audience: “When You Finish Saving the World” will appeal primarily to people who are fans of stars Julianne Moore and Finn Wolfhard; writer/director Jesse Eisenberg; the Audible podcast on which the movie is based; and rambling movies about people who think their trivial personal problems are bigger than these problems really are.

Finn Wolfhard and Alisha Boe in “When You Finish Saving the World” (Photo by Karen Kuehn/A24)

How much viewers might like “When You Finish Saving the World” will depend how much they want to watch repetitive and emotionally hollow scenes of a mother and her teenage son who are desperate to impress people who live outside their home while ignoring the problems inside their home. This mother and son feel unsatisfied with their home lives because they really don’t want to pay much attention to each other. It’s a very staged-looking and dull dramedy about privileged and entitled people trying to make themselves look socially conscious. The movie’s tone starts off as cynical and ends in a sentimental way that looks phony and unearned.

“When You Finish Saving the World” is the first feature film written and directed by Jesse Eisenberg, who is known to most movie audiences as an actor who usually plays neurotic characters. (Eisenberg was nominated for a Oscar for his starring role as Facebook co-founder Mark Zuckerberg in 2010’s “The Social Network.”) “When You Finish Saving the World” is based on Eisenberg’s Audible podcast of the same name. It’s also the first movie from Fruit Tree, a production company co-founded by spouses Emma Stone and Dave McCary with their producing partner Ali Herting. (Stone and Eisenberg co-starred in 2009’s “Zombieland” and 2019’s “Zombieland: Double Tap.”) “When You Finish Saving the World” had its world premiere at the 2022 Sundance Film Festival.

Even though the movie has respected and talented creatives who used their clout to get this project made, “When You Finish Saving the World” still looks and feels lightweight and inconsequential. It’s a film that could have had a lot more to say and a better way to say it. What viewers will get are many scenes where the two central characters snipe at each other and whine a lot (especially when they’re at home), but they put their best selves forward when they become fixated on someone whom they want to impress. They try to come across as enlightened and virtuous to those people.

In “When You Finish Saving the World” (which takes place in an unnamed U.S. city but was filmed in New Mexico), the two main characters are Evelyn Katz (played by Julianne Moore) and her teenage son Ziggy Katz (played by Finn Wolfhard), who are frequently at odds with each other. Evelyn is a politically liberal, longtime activist who currently works as a manager at a domestic violence shelter called Spruce Haven. Ziggy, who’s about 16 or 17 years old, is a wannabe rock star, who plays (according to his description) “classic folk rock with alternative influences.”

Ziggy is the old child of Evelyn and her mild-mannered husband Roger Katz (played by Jay O. Sanders), who stays out of the squabbles that frequently happen between Evelyn and Ziggy. When this family of three have meals together, Roger often has to listen to Ziggy and Evelyn complain about whatever little things that are bothering Ziggy and Evelyn at the moment. When Roger tells Ziggy it’s “cultural appropriation” for white people to play blues music, Ziggy (rude as ever) yells at Roger, “Dad, just shut the fuck up!”

The Roger character had a much bigger role in the podcast, where Roger was a central character. In the “When You Finish Saving the World” production notes, Eisenberg explains why he made Roger a small supporting role this movie version: “Now he is almost a forgotten presence who can’t get anyone to pay attention to him.” Roger’s role in the movie is so small, it has almost no impact on the story. His most memorable line in the movie is when he truthfully says about his household: “Everyone around me is a narcissist.”

Evelyn is disappointed that Ziggy has turned into a self-centered brat who only seems to care about how many more followers he can get on social media. Ziggy currently has 20,000 followers on HiHat, a social media platform that was fabricated for this movie but is obviously supposed to be a lot like YouTube. The irony of Ziggy’s growing popularity on HiHat (where he can reach people virtually around the world) is that Ziggy is a social outcast at his high school where people can interact with him in person. Ziggy is upbeat and cheerful to his followers online, but in real life, he’s often moody and unfriendly.

Evelyn has a personality that can best be described as a combination of being bland and uptight. She had hoped that her only child would want to follow in her footsteps of pursuing a career that involves helping underprivileged and disadvantaged people. She’s asked Ziggy to volunteer at the shelter, but he refuses. Instead, Ziggy does things such as berate Evelyn when she goes in his room and inadvertently interrupts one of his livestream performances, where many of his followers pay to see Ziggy perform his original songs and cover tunes. Ziggy also does video chats directly with his followers.

As an example of how clueless Evelyn is about the Internet and how disconnected she is from Ziggy’s interests, she has no idea what a livestream is. To prevent any more interruptions during his livestreams, Ziggy angrily installs a red studio light outside the top of his bedroom door. He tells his parents that if the light is on, that means he’s doing a livestream—and under no circumstances can anyone go inside the room when the red light is on.

Evelyn thinks Ziggy’s music is a hobby. When Ziggy says that he’s going to be a professional musician, Evelyn asks him: “Have you thought about your end game?” This is Ziggy’s insolent response: “I’m going to be rich, and you’re going to be poor.”

Considering all the real problems in the world, this type of bickering in “When You Finish Saving the World” looks very petty and very much like “privileged people’s problems.” But this is the type of “family turmoil” that the movie is trying to pass off as heavy, when it’s just so trivial. Evelyn should consider herself lucky that she doesn’t have to listen to Ziggy’s off-key singing and tone-deaf guitar playing. (Emile Mosseri composed the music for the movie, including the two forgettable original songs that Wolfhard co-wrote under the alias Ziggy Katz.)

Evelyn and Ziggy clearly aren’t very happy in their lives or with each other. They will each meet someone who becomes a reason for Evelyn and Ziggy to try to project a more socially conscious and caring image in public. Observant viewers will notice that it’s just Evelyn’s and Ziggy’s way of distracting themselves from their problems at home. Evelyn and Ziggy are a lot more similar to each other than they would like to admit.

Evelyn’s “distraction” is a 17-year-old named Kyle (played by Billy Bryk), who arrives at the shelter with his feisty mother Angie (played by Eleonore Hendricks), after leaving their home because Angie’s husband/Kyle’s father has battered Angie. (This abusive man is never seen in the movie.) Kyle is in his last year of high school. Evelyn can’t help but notice that Kyle is everything that she wishes Ziggy could be: kind, respectful to his mother, and compassionate about other people’s problems.

Meanwhile, Ziggy develops a big crush on a classmate named Lila (played by Alisha Boe), who is a full-on stereotype of a progressive social justice warrior who is constantly preaching to other people about the politically correct way to live. The movie downplays the reality that Ziggy is most likely attracted to Lila because of her physical looks, not because he’s attracted to her emotionally or intellectually. At any rate, Ziggy suddenly wants to transform into being willfully ignorant about sociopolitical issues to being the type of sociopolitical activist that he thinks will impress Lila, who correctly suspects that Ziggy isn’t being genuine.

Evelyn’s interest in Kyle becomes an obsession that borders on being very creepy. She wants to treat him almost like a down-and-out family member, even though she barely knows him. One night, Evelyn goes to the shelter, just to give Kyle some leftovers from her family dinner. It’s a thoughtful gesture but also very condescending. Kyle looks uncomfortable with this offer, and he politely tells Evelyn that he’s already eaten dinner.

Evelyn also becomes determined to convince Kyle to go to Oberlin College, a liberal arts school in Oberlin, Ohio. She even goes as far as saying that she will recommend Kyle to someone she knows who is an Oberlin College admissions officer. But does Kyle really want to go to college?

The situation is complicated by the fact that Kyle worked in the auto body shop of his abusive father, who is apologetic about the domestic violence attack on Angie, and he wants Kyle to come back to work for him at the auto body shop. Angie, like many domestic violence victims, is conflicted about whether or not she should go back to her attacker. Evelyn thinks it’s a bad idea for Angie and Kyle to go back to live with their abuser.

However, the shelter only has limited time and space for those it helps. Evelyn isn’t exactly coming up with any real solutions for the issue of where Angie and Kyle can live after their time at the shelter expires. It’s a common problem for temporary residents of domestic violence shelters, but “When You Finish Saving the World” essentially ignores this problem.

One of the biggest issues that viewers will have with the way the movie portrays Evelyn is how she treats very serious and complicated issues with surface-level platitudes. The movie goes overboard in making Evelyn look out-of-touch and borderline incompetent in her job where she’s supposed to help victims and survivors of domestic violence. Sending Kyle to a college that Evelyn wants him to go to doesn’t directly address problems this teenager might have from being emotionally scarred or influenced by the domestic violence experienced in the home. Evelyn is the type of “activist” who is more about “talking” than “doing,” when it comes to real solutions for the people she wants to help.

The biggest problem with “When You Finish Saving the World” is that most viewers just won’t care much about any of the characters in this monotonous film. There’s nothing wrong with the acting in the movie, but all of the principal cast members have been better in other films. “When You Finish Saving the World” is the equivalent of forcing people to watch car wheels spin in the same place until the car starts moving too late. This 88-minute movie only starts to pick up steam in the last 15 minutes. But by then, viewer interest might have waned or disappeared altogether.

A24 released “When You Finish Saving the World” in select U.S. cinemas on January 20, 2023.

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