Russell Crowe Archives

Review: ‘Nuremberg’ (2025), starring Russell Crowe, Rami Malek, Leo Woodall, John Slattery, Mark O’Brien, Colin Hanks, Wrenn Schmidt, Lydia Peckham, Richard E. Grant and Michael Shannon

November 22, 2025

by Carla Hay

Rami Malek and Russell Crowe in “Nuremberg” (Photo by Scott Garfield/Sony Pictures Classics)

“Nuremberg” (2025)

Directed by James Vanderbilt

Some language in German with no subtitles

Culture Representation: Taking place in Germany and Luxembourg (and briefly in Austria, the United States, and Italy) from 1945 to 1946, the dramatic film “Nuremberg” features an all-white cast of characters representing the working-class, middle-class and wealthy.

Culture Clash: American psychiatrist Douglas Kelley is summoned to Germany to evaluate Nazi leader Hermann Göring (who was Adolf Hitler’s second-in-command), before Göring goes on trial for war crimes.

Culture Audience: “Nuremberg” will appeal primarily to people who are fans of the movie’s headliners and historical dramas about what happened to Nazi war criminals after the end of World War II.

Richard E. Grant, Michael Shannon, Mark O’Brien and Rami Malek in “Nuremberg” (Photo by Scott Garfield/Sony Pictures Classics)

The 2025 drama “Nuremberg” won’t be considered a classic, but it’s a solid depiction of the prosecution of Nazi war criminal Hermann Göring and his evaluation by American psychiatrist Douglas Kelley. Good performances outweigh some phony-looking “only in a movie” moments and occasionally sluggish pacing. The “Nuremberg” cast is a little overstuffed with many key supporting characters who are underdeveloped. However, the movie offers a unique and well-acted angle of looking at the Nuremberg Trials from a psychological perspective.

Written and directed by James Vanderbilt, “Nuremberg” had its world premiere at the 2025 Toronto International Film Festival and made the rounds at several other film festivals in 2025, including the Zurich Film Festival and AFI Fest.” The movie is based on Jack El-Hai’s 2013 non-fiction book “The Nazi and the Psychiatrist.” The 2025 version of “Nuremberg” is one of several movies that cover some or all aspects of the Nuremberg Trials that began in Nuremberg, Germany, on November 20, 1945, and ended on October 1, 1946.

The Nuremberg Trials had 24 defendants accused of Nazi war crimes. “Nuremberg” focuses only on the prosecution and trial of Göring, who was the highest-ranking Nazi official after Adolf Hitler committed suicide on April 30, 1945. For the purposes of this review, the real people will be referred to by their last names, while the characters in the movie will be referred to by their first names. “Nuremberg” takes place in Germany and Luxembourg (and briefly in Austria, the United States, and Italy) from 1945 to 1946. The movie was actually filmed in Budapest, Hungary.

“Nuremberg” begins with a scene that takes place on May 7, 1945, in Austria, shortly after the end of World War II when Nazi Germany and other nations in the Axis forces were defeated. American soldiers are patrolling the area (one of the soldiers is seen urinating on an underground bunker trap door with a Nazi swastika symbol) when the soldiers stop a Mercedes that has the audacity to still have a Nazi flag on display. The soldiers stop the Mercedes as the car’s driver (played by Ádám Varga) waves a white piece of fabric (torn from the dress of a girl in the back seat), as a show of surrender.

There are two passengers in the car’s back seat: Hermann Göring (played by Russell Crowe) and Hermann’s 9-year-old daughter Edda Göring (played by Fleur Bremmer), but only Hermann gets out of the car. As an indication of Hermann’s arrogance, he doesn’t show any deference to the soldiers. Instead, he asks the soldiers to get his luggage.

Meanwhile, Robert H. Jackson (played by Michael Shannon), an associate justice of the U.S. Supreme Court, has come up with a unprecedented idea to prosecute Nazi war criminals: Put the accused in international trials prosecuted and judged by representatives from the Allied Forces that won World War II: the United States France, the United Kingdom, and Russia. There would be four international judges representing each nation.

Robert’s personal secretary Elsie Douglas (played by Wrenn Schmidt) is skeptical. “It’s a logistical nightmare,” Elsie says to Robert about this ambitious idea. Robert replies, “I know, but it has to be done.” Robert also wants these trials to be filmed for historical purposes: “The world needs to know what these men did.”

The U.S. government has already set plans in motion to prosecute these war criminals. However, the movie shows that Robert has to rally support for these groundbreaking trials so that the trials would not be considered violations of international laws. The movie depicts him as coming up with a clever strategy of getting an endorsement from Pope Pius XII (played by Giuseppe Cederna) to have these trials.

Robert goes to Vatican City to meet with the Pope, who says at first the he doesn’t want the Catholic Church to get involved in political matters. But then, Robert guilt trips the Pope by reminding him that the Catholic Church stood by and did nothing during most of the Nazi atrocities during the Holocaust. Robert tells Pope Pius XII that the Pope’s endorsement of the trials would be a chance for the Catholic Church to redeem itself and be on the right side of history. The Pope agrees and endorses the trials.

Meanwhile, Douglas Kelley (played by Rami Malek), a U.S. Army psychiatrist, is seen on a train going to Luxembourg. Douglas has been summoned for a top-secret assignment that he will get details about when he arrives in Luxembourg. While on the train, bachelor Douglas flirts with a bachelorette named Lila McQuaide (played by Lydia Peckham), who will cross paths again with Douglas later in the story.

Lila, who is a character fabricated for the movie, has a job that Douglas will find out later will directly impact his involvement in this top-secret assignment. Because the character of Lila is fictional, her purpose in the story looks a little too fake and contrived. Almost nothing is told about Doug and his personal life in this movie, which depicts him as someone who makes work his top priority.

When Douglas arrives at the train station, he is greeted by Howard “Howie” Triest (played by Leo Woodall), a German American sergeant in the U.S. Army. Howie is friendly and helpful when he tells Douglas that he will be Douglas’ German translator. Howie says he doesn’t have the authority to tell Douglas what Douglas has been summoned to do in this assignment.

Douglas and Howie go to the Grand Hotel Mondorf in Luxembourg. The hotel (whose code name is Ash Can) is the top-secret location where some of the worst Nazi war criminals are being imprisoned before they go on trial. Hermann is among these prisoners. The other Nazi prisoners featured in the movie are Dr. Robert Ley (played by Tom Keune), Karl Dönitz (played by Peter Jordan) and Julius Streicher (played by Dieter Riesle).

Douglas then finds out from gruff and stern U.S. Army colonel named Burton C. Andrus (played by John Slattery) that Douglas has been hired to do psychiatric evaluations of these war criminals. Burton will be Douglas’ supervisor. The movie shows the majority of Douglas’ psychiatric evaluations being done on Hermann, with brief montages of Douglas spending time with Robert, Karl and Julius.

Hermann is considered to be the craftiest and most manipulative of all the Nazi war prisoners. At first, Douglas isn’t sure he is the right person for this job of giving someone like Hermann a psychiatric evaluation. But after he meets with Hermann and sees the inevitable mind games that will take place, Douglas becomes excited about what type of impact his psychiatric work will have on this historical trial. Douglas also has a self-serving agenda: Douglas wants to write a book about this experience. He’s certain the book will be an international bestseller.

Douglas finds out that even though Hermann is very smug and cocky, Hermann has way of charming people to make himself seem less harmless than he really is. Hermann also a few weaknesses that Douglas uses to his advantage. First, Hermann is addicted to painkiller dihydrocodeine, a derivative of morphine. Second, Hermann is self-conscious about being overweight.

Before Douglas met Hermann, Douglas was told that Hermann cannot communicate in English and can only communicate in German. However, Douglas suspects that Hermann can understand English, so he tests this theory by saying to Hermann in English that the prison guards make derogatory comments about Hermann because the guards think Hermann is fat. Hermann flinches ever so slightly, which is a giveaway to Douglas that Hermann is only pretending to not know English. Douglas knows he really hit a vanity nerve with Hermann when Hermann begins doing vigorous exercises in order to lose weight.

Eventually, Douglas confronts Hermann about Hermann’s language deception. Hermann admits he knows English, and he subsequently communicates with Douglas in English and in German. Hermann admires Douglas’ obvious intelligence, but Hermann still thinks he’s smarter than everyone else.

Hermann is also convinced that he will be found not guilty during his trial, and he intends to testify at the trial. He has been charged with four major counts: (1) crimes against peace; (2) war crimes; (3) crimes of humanity; and (4) conspiracy to commit those crimes. Hermann’s “not guilty” defense (the same defense used by many of the Nazi war criminals on trial) was that he was just following orders like a German patriot. He claimed that he was not directly involved in the crimes that he was charged with for this trial.

Howie privately tells Douglas that he can barely contain his disgust when he’s around Hermann and the other Nazis. Howie is confused by how Douglas can treat Hermann with a certain amount of politeness. Douglas says it’s all a manipulation tactic so that Douglas can earn Hermann’s trust.

Douglas tells Howie to look at the big-picture goals of these psychiatric evaluations and why it relates to how the Nazis were able to create the Holocaust genocide: “If we can psychologically define evil, we can make sure that something like this can never happen again.” Later, Leo reveals a secret to Douglas about Leo’s personal history that changes Douglas’ perspective of Leo.

“Nuremberg” portrays Douglas as becoming obsessed with outwitting Hermann. He sometimes appears to get too chummy with Hermann, which makes many of Douglas’ colleagues uncomfortable. Douglas also has clashes with supervising colonel Burton, who thinks Douglas is often insubordinate.

Something unexpected happens (which won’t be revealed in this review) that is a setback to the prosecution, and Burton blames Douglas for it. As a result, Burton brings in Dr. Gustav Gilbert (played by Colin Hanks) to be a second psychiatrist to evaluate the Nazi prisoners. Predictably, Gustav and Douglas have conflicts because Douglas wants to be considered the lead psychiatrist, but Gustav wants to be treated as an equal.

“Nuremberg” is at its most fascinating in the private conversations between Douglas and Hermann. These conversations show depths and layers to these characters’ personalities, as well as skilled acting from Malek and Crowe, whose characters are also playing roles in this game of one man trying to outsmart the other. Hermann’s loving communications with his wife Emmy (played by Lotte Verbeek) and daughter Edda are examples of how many Nazis could lead double lives as kind and generous to their families but cruel and homicidal to people whom the Nazis want to destroy.

“Nuremberg” has a somewhat clunky transition to the courtroom scenes, where the character of Douglas takes a back seat during the trial of Hermann. Rudolph Hess (played by Andreas Pietschmann), a high-ranking Nazi official who was transferred from another prison for the Nuremberg Trials, makes a brief appearance in the movie. Hermann becomes the “star witness” of his own trial, which took place for 218 days, from November 1945 to March 1946. However, what has the most emotional impact in the movie is the real-life footage and photos of the suffering and genocide that took place at the Nazi-created death camps.

“Nuremberg” was made by American production companies. And it shows, because the focus is mainly on the prosecution team members from English-speaking countries, with the Americans being the portrayed as the most important prosecutors. The prosecution team depicted in the movie consists of Robert representing the United States; David Maxwell-Fyfe (played by Richard E. Grant), an assistant prosecutor from the United Kingdom; and John Amen (played by Mark O’Brien), a U.S. Army colonel who was the Nuremberg prison chief interrogator during the trials.

The real-life chief prosecutors representing Russia (Roman A. Rudenko) and France (François de Menthon, who was replaced in January 1946 by Auguste Champetier de Ribes) are diminished from this “Nuremberg” movie because these prosecutors get brief mentions but no significant speaking roles. To put it bluntly: The Americans are the biggest heroes in this movie. Although it’s a patriotic slant, it’s not entirely accurate because the Nuremberg Trials and the Allied Forces’ victory in World War II were truly international efforts and not just from English-speaking countries.

By sidelining the Douglas character during the courtroom scenes, “Nuremberg” gets a little disjointed. The trial performances are acted skillfully, with Crowe stealing every scene that he’s in during Hermann’s trial. But compared to the 1947 documentary “Nuremberg Trials” or the 1961 classic drama “Justice at Nuremberg,” the 2025 “Nuremberg” movie looks like an inferior Hollywood version. It doesn’t make “Nuremberg” a bad movie, but it doesn’t make it an outstanding movie either.

The movie’s total running time is 148 minutes, which really isn’t enough time to do a comprehensive depiction of what happened in real life. However, the last 15 minutes of “Nuremberg” are among the best moments in the movie because it shows what happened to Douglas after the Nuremberg Trials. This is the section of the movie that most viewers will be unfamiliar with because the real Dr. Kelley is not a well-known historical figure to most people in the general public. “Nuremberg” is a compelling story about a psychiatrist who delved into the twisted mind of a notorious Nazi, but it’s also a cautionary tale of what human atrocities can occur in the name of fanatical and hateful patriotism.

Sony Pictures Classics released “Nuremberg” in U.S. cinemas on November 7, 2025.

Review: ‘Land of Bad,’ starring Liam Hemsworth, Russell Crowe, Luke Hemsworth, Ricky Whittle and Milo Ventimiglia

February 21, 2024

by Carla Hay

“Land of Bad”

Directed by William Eubank

Culture Representation: Taking place in Southern Asia, the action film “Land of Bad” features a predominantly white and Asian cast of characters (with a few African Americans and Latinos) portraying U.S. military people and Asian terrorists.

Culture Clash: A four-man Delta Force team (a special unit of the U.S. Army) gets attacked by terrorists in a South Asian jungle, and a drone pilot in a far-away control room must guide them out of their predicament.

Culture Audience: “Land of Bad” will appeal primarily to fans of the movie’s headliners and mindless military films.

Russell Crowe in “Land of Bad” (Photo courtesy of The Avenue)

“Land of Bad” should’ve been titled “Land of Bad Filmmaking.” This woefully inept military action flick wants viewers to believe that remote voices from a portable device cannot be drowned out by massive explosions. Russell Crowe’s career has also devolved into doing awkward comedy in terrible non-comedy movies. Much of the movie’s ludicrous action relies entirely on showing people running for their lives in a jungle with bombs or guns going off around them while still being able to chat on walkie-talkie audio levels with someone who can see everything on a drone video monitor in a far-away control room.

Directed by William Eubank, “Land of of Bad” was co-written by Eubank and David Frigerio. The movie is just one fake-looking scene after another, with juvenile dialogue that is just plain embarrassing if it’s supposed to represent the U.S. military. There are shallow video games that are better than this “Land of Bad” dreck.

“Land of Bad” has this captioned statement in the introduction: “Currently, the Sulu Sea is home to some of the most violent extremist groups in Southern Asia. Intelligence agencies from around the world work together in a global struggle where men and women put their lives on the line every day. We are in a war … we just don’t know it.”

First of all, there are no “intelligence agencies from around the world” working together in this movie. The only “heroes” and “rescuers” are from the U.S. military. It’s an example of shoddy screenwriting that this introductory statement doesn’t match what’s actually in the film.

Second, the movie has a running “joke” that most of the U.S. military people who are supposed to look out for the “people who put their lives on the line” in this story would rather watch a basketball game on TV and ignore potential emergency phone calls in their control center instead of doing their jobs. It’s pathetic.

“Land of Bad” begins by showing the four-man Delta Force squad that is being sent to an unnamed jungle area in Southern Asia, where they are on a vague mission to capture terrorists. (“Land of Bad” was actually filmed in Queensland, Australia.) And by the way, as the squad leader mentions in an offhand manner, a Joint Special Operations Command (JSOC) asset has been captured in this jungle, so if they have time, they might as well find him too. Too bad the filmmakers of “Land of Bad” didn’t take the time to make a good movie.

The four men in the squad are:

JJ Kinney (played by Liam Hemsworth), a 27-year-old former U.S. Air Force sergeant, who is new to the U.S. Army because he left the Air Force due to “stomach problems,” he tells the other guys. Don’t expect further details.
John “Sugar” Sweet (played by Milo Ventimiglia), a master staff sergeant, who is the no-nonsense squad leader.
Sergeant Abell (played by Luke Hemsworth, an older brother of Liam Hemsworth in real life), a wisecracking jokester who doesn’t have a first name in the movie.
Sergeant Bishop (played by Ricky Whittle), who is stern and judgmental and doesn’t have a first name in the movie.

Monitoring this operation in a control room on a military base is a cynical grouch named Eddie Grimm, nicknamed Reaper (played by Crowe)—as in, “grim reaper” (wink wink, nudge nudge)—a captain who is a drone operator watching their every move on video screens. If the squad finds the terrorist hideout that the U.S. military is looking for, there is a plan to launch a missile bomb at this hideout. At one point in the movie, Reaper mentions that he could’ve been a fighter pilot in the U.S. Air Force, but he mouthed off too much to his commanding officers, so his military career stalled.

Reaper still mouths off a lot, which is supposed to be the movie’s “comic relief,” but his jokes fall flatter than a military buzzcut. Here’s an example of one of the so-called jokes: Reaper complains to JJ that Reaper’s wife is a strict vegan. Reaper says to JJ, “How do you know someone is vegan?” JJ replies, “I don’t know.” Reaper says, “They will tell you.”

During the course of this ludicrous movie, because of all the self-absorbed yakking that Reaper does, viewers will hear more than they need to know about Reaper’s personal life and almost nothing about the squad members whose lives are in danger. Reaper has been married and divorced three times and is married to his fourth wife Lucy, who is pregnant and due to give birth at any moment. (Lucy is never seen in the movie.) The baby will be his ninth child. His eight other children are from his previous marriages.

Reaper has a loyal military sidekick named Nia Branson (played by Chika Ikogwe), a staff sergeant who is the only military woman in this movie. Nia has invited Reaper to her upcoming wedding. Later, when the mission becomes a life-and-death situation for the squad, Nia is by Reaper’s side in helping with drone video monitor duties.

This is JJ’s first Tier One (highly secretive) mission. Abell is friendly and welcoming to JJ. By contrast, Bishop gives JJ a hard time over JJ’s lack of experience in this type of work and is openly skeptical that JJ has what it takes to successfully complete the mission. And as soon as Bishop shows that he underestimates JJ, you just know who’s going to be the main “hero” of the story.

Bishop snarls at JJ: “Do me favor: Keep up. And don’t fuck up. The last thing we need in this ops is to save your ass.” For reasons that are never explained or shown, JJ has been given the nickname Playboy. However, in the beginning of the mission, JJ gets worried because he can’t find his mini-box of Fruit Loops cereal, so Bishop somewhat taunts JJ by calling him Fruit Loop instead of Playboy.

The four men parachute into the jungle. It isn’t long before they get in a shootout with terrorists who have beheaded some people. It’s enough to say that the squad members get separated, and not everyone in the squad makes it out alive. At least one of the squad members gets captured, and it’s up to the “hero” squad member to come to the rescue. This person manages to escape explosions and shootouts with hardly any wounds for most of the movie.

Meanwhile, back in the military base control room, most of the people on duty are watching a basketball game on a TV in the break room. The people who are watching the game include Colonel Duz Packett (played by Daniel MacPherson), who is hardly seen doing any real work. Reaper clashes with Duz (who is Reaper’s commanding officer) because Duz thinks Reaper is being too uptight for yelling at the guys in the room because they turned down the volume on the landline phone in the room. Duz says they need to be able to hear the phone in case his wife Lucy calls when she goes into labor. Later, there’s another big reason why the phone needs to be heard when someone calls.

“Land of Bad” has a very generic terrorist as the main villain. His name is Saeed Hashimi (played by Robert Rabiah), and he doesn’t have most of his scenes until the last third of the movie. That’s because “Land of Bad” spends a mind-numbing amount of time showing JJ by himself in the jungle. Reaper bonds with JJ over their remote chats when Reaper finds out that they’re both from cities that are only a few miles apart in Ohio. (Reaper is from Brook Park. JJ is from Middleburg Heights.) The only other tidbit of personal information that is revealed about JJ is that his father recently died.

When JJ is not dodging bullets and bombs, he’s hiding out in the jungle with potential captors nearby. Even when JJ is supposed to be hiding in silence, Reaper keeps yapping away on the remote communications device that JJ has. Somehow, Reaper’s voice can be heard by JJ during the loud explosions and gunshots (even though JJ is not wearing hearing devices), but then when Reaper talks during moments where JJ has to be quiet because enemies are close enough to find him, somehow these enemies can’t hear these voice sounds coming from JJ’s communications device. That tells you all you need to know about how stupid “Land of Bad” is and how stupid the movie expects viewers to be when watching this junk.

The Avenue released “Land of Bad” in U.S. cinemas on February 16, 2024.

Review: ‘The Pope’s Exorcist,’ starring Russell Crowe, Daniel Zovatto, Alex Essoe and Franco Nero

April 13, 2023

by Carla Hay

“The Pope’s Exorcist”

Directed by Julius Avery

Some language in Italian, Spanish and Latin with subtitles

Culture Representation: Taking place in 1987, in Italy and in Spain, the horror film “The Pope’s Exorcist” (based on a real person) features a predominantly white cast of characters (with a few Latinos and black people) representing the working-class and middle-class.

Culture Clash: Catholic priest Gabriele Amorth defies a cardinal’s orders not to perform exorcisms, and the priest is sent by the Pope to do an exorcism on a boy at an abbey in Spain that has a connection to the priest’s past.

Culture Audience: “The Pope’s Exorcist” will appeal primarily to people who are fans of star Russell Crowe and exorcism horror movies, but the movie’s frequently ludicrous plot and oddly placed comedy make it a substandard horror flick.

Pictured clockwise, from upper left: Peter DeSouza-Feighoney, Russell Crowe, Daniel Zovatto and Alex Essoe in “The Pope’s Exorcist” (Photo courtesy of Screen Gems)

In “The Pope’s Exorcist,” Russell Crowe hams it up as an Italian priest who performs exorcisms. But the jokes aren’t funny enough to make “The Pope’s Exorcist” a comedy, and the exorcisms aren’t scary enough to make it an effective horror movie. It’s just a loud and incoherent mess. The demon-fighting, alcohol-guzzling priest portrayed by Crowe comes across more like a drunk who’s a failed stand-up comedian than a formidable clergy person who is skilled at exorcism.

Directed by Julius Avery, “The Pope’s Exorcist” clearly wanted to make the movie’s title chararacter someone who isn’t a typical exorcist. But all the mediocre and often-cheesy jokes in the film just undermine the scenes that are supposed to be deadly serious. It’s a movie that tries to be amusing and terrifying and ultimately fails at being either or both. Michael Petroni and Evan Spiliotopoulos wrote the disjointed screenplay for “The Pope’s Exorcist.” The screenplay is based on 1990’s “An Exorcist Tells His Story” and 1992’s “An Exorcist: More Stories,” two of the memoirs of real-life controversial Catholic priest Gabriel Amorthe, who was the official exorcist for the Diocese of Rome, from 1986 to 2016. Amorthe died in 2016, at the age of 91.

“The Pope’s Exorcist” opens with a scene taking place in June 1987, when Father Gabriele Amorth (played by Crowe) visits a family at a farmhouse in Tropea, Italy, in order to perform an exorcism. (“The Pope’s Exorcist” was actually filmed in Ireland.) Father Amorth is accompanied by an assistant named Father Gianni (played by Alessandro Gruttadauria), who mostly just stands by while Father Amorth does the talking and exorcism rituals. The family has a son in his late teens named Enzo (played by River Hawkins), whom they think is possessed by the devil.

When Father Amorth and Father Gianni arrive at the farmhouse, Father Amorth saunters in and takes his time before he gets around to attending to the hissing and convulsing Enzo, who’s in a nearby bedroom. Father Amorth barely says anything to terrified parents Carlos (played by Jordi Collet) and Adella (played by Carrie Munro), who don’t say much to him either. Instead, Father Amorth zeroes in on the couple’s unnamed daughter (played by Laila Barwick), who’s about 7 or 8 years old.

Father Amorth asks the girl if she knows any prayers. She says she knows the Lord’s Prayer. Father Amorth tells her that she needs to keep repeating the Lord’s Prayer during the exorcism. The first thing that might go through some viewers’ minds is, “Why would a priest require a child this young to be involved in something this disturbing and possibly dangerous?” Most parents also wouldn’t want to put their child through the trauma of watching an exorcism.

But “The Pope’s Exorcist” wouldn’t exist if people acted realisitically in the movie. Even in the movie’s context of religious faith being more important than facts, too many people do things that look mindless and illogical. At any rate, the exorcism of Enzo looks like an unintentional parody of exorcisms, with the usual snarls and body contortions that are always seen in these types of movies. The expected “demon voice” is heard also coming from the possessed teen.

When Father Amorth asks the demon what its name is, demon replies: “I am Legion. I am Satan.” (The acting in this scene is horrendous.) Father Amorth than taunts the demon by saying if the demon is so powerful, the demon should be able to possess anyone in the room.

And what does the demon choose to do? The demon takes possession of an unlucky wild boar that’s in the room. Carlos quickly shoots the boar. The demon miraculously goes away. Enzo is no longer possessed. And that’s the end of that exorcism. Father Amorth is satisfied that he has completed another successful exorcism.

But not so fast. Father Amorth is later seen going to a stern meeting before a panel of five Catholic clergymen in July 1987. It’s a formal hearing in Rome, where Father Amorth is being reprimanded for performing that exorcism of Enzo in Tropea, because the exorcism was not officially authorized by the Vatican. Father Amorth also has to answer for other unauthorized exorcisms that he performed.

Father Amorth is a wisecracking “rebel” who tries to use prickly jokes and sarcasm to get himself out of contentious situations. He explains to the panel that 98% of the exorcisms he’s called to do aren’t real exorcisms. “They just need a little conversation … and a little theater.” Father Amorth says that 98% of the people he is told are possessed by the devil are people he refers to psychiatrists.

And what about the remaining 2% of those people? Father Amorth dodges answering that question. Most of the panel doesn’t say anything while Father Amorth defends himself. The person who does the most talking on the panel is Cardinal Sullivan (played by Ryan O’Grady), who is in his late 20s and is openly hostile to Father Amorth.

Father Amorth’s only real ally on the panel is Bishop Lumumba (played by Cornell John), who defends Father Amorth. Days before this meeting, Bishop Lumumba told Father Amorth in a private conversation: “Don’t worry, I will defend your faith.” Father Amorth replied, “My faith does not need defending.”

Cardinal Sullivan announces with a smirk that the Catholic Church will formally vacate the position of exorcist. In other words, Cardinal Sullivan is telling Father Amorth that he’s being fired as the Catholic Church’s chief exorcist for Rome. Father Amorth doesn’t accept that decision. Before the meeting is over, Father Amorth gets up and defiantly tells the panel, “If you have a problem with me, you talk to my boss.” Father Amorth then storms out of the room in a huff.

Meanwhile, an American family of three are driving to a dilapidated abbey in Castilleja, Spain. Julia Vasquez (played Alex Essoe) is a widow who inherited the abbey from her late husband Roberto Vasquez IV (played by Santi Bayón, briefly seen in a flashback), who died in a car accident a year ago. The abbey had been in Roberto’s family for years. In the car with Julia are her two children: rebellious daughter Amy Vasquez (played by Laurel Marsden) is about 15 or 16 years old, while obedient son Henry Vasquez (played by Peter DeSouza-Feighoney) is about 11 or 12 years old.

Conversations in the movie reveal that Julia is financially broke and has no income. The only thing that Roberto left for her in his will was the abbey. Julia has decided to relocate herself and the kids to Spain to refurbish the abbey and sell it, hopefully at a profit. It’s a move that Amy sulks and complains about in the movie, as Amy does things to annoy her mother, such as smoke a cigarette inside the church, flirt with the construction workers, and climb up on unsafe places in the abbey.

Julia is apparently so broke, she can’t afford to stay at a hotel, so she is staying with the kids in the priests’ living quarters at the abbey. It doesn’t take long for spooky things to start happening in the abbey, especially at night. A construction worker is severely burned by lighting a flare near a gas valve. (That’s not supernatural. That’s just stupidity.) This injury is enough for the foreman to have his construction crew quit working on the abbey.

And then the inevitable happens: One of the kids gets possessed by a demon. The unfortunate victim is mild-mannered Henry, who has been mute, ever since his father Roberto died. Henry was in the car during this fatal accident, and he witnessed his father get impaled.

But as soon as the demon possesses Henry, the boy begins to talk. And after being silent for a year, the first words out of Henry’s mouth are: “You’re all going to die.” And then he drags his fingernails hard on his face, leaving deep and bloody scratch marks.

Henry is possessed by a foul-mouthed and lecherous demon. While Henry is possessed, not only are his rants filled with curse words and threats, but he also sexually attacks his mother Julia, by grabbing and fondling her breasts without her consent. The demon yells through Henry: “This baby is hungry, you fat cow! You never breastfed me!”

The demon also demands, “Bring me the priest!” When a priest is brought to the possessed Henry, the priest is thrown across the room, as possessed Henry snarls: “Wrong fucking priest!” We all know which priest this demon wants for a showdown.

Somehow, the Pope (played by Franco Nero) finds out about this demon possession. And before you can say, “silly exorcism movie,” Father Amorth is seen having a one-on-one meeting at the Vatican with the Pope. (In 1987, Pope John Paul II was the leader of the Catholic Church. The Pope in “The Pope’s Exorcist” doesn’t act or sound like Pope John Paul II and has only a slight physical resemblance.)

In this private meeting, the Pope sends Father Amorth to the abbey in Spain to investigate this report of a boy being possessed. The Pope warns Father Amorth that this particular abbey has been problematic in the past for the Catholic Church. “Be careful,” the Pope tells Father Amorth. “This demon sounds dangerous.”

In Spain, Father Amorth meets the family and the young local priest who has been asked to help: Father Esquibel (played by Daniel Zovatto), who appears to be very pious and well-respected. Father Amorth sees for himself that Henry is indeed possessed. When Father Amorth asks the demon what its name is, the demon snarls, “My name is Blasphemy. My name is Nightmare.” Father Amorth quips, “My nightmare is France winning the World Cup.”

Father Amorth does a lot of zipping around on motor scooters, as if he’s some kind “on the go” exorcism delivery boy. Father Amorth is seen driving his Lambretto scooter for the trip from Italy to Spain. Apparently, the Catholic Church apparently doesn’t want to spend money on planes and trains for Father Amorth’s exorcism business trips. And when he’s not on his motor scooter, Father Amorth is gulping down drinks from his ever-present flask of alcohol.

“The Pope’s Exorcist” attempts to give the story some depth by showing that Father Amorth has a dark past that includes the death of a young woman named Rosaria (played by Bianca Bardoe), who is a sore subject for Father Amorth. The Rosaria character is in the movie, just to show another “supernatural force” on the attack against Father Amorth. As shown in flashbacks, there are other things that haunt this unconventional priest, including his experiences when he was in military combat as a young soldier in World War II.

Most of the action scenes in “The Pope’s Exorcist” are poorly staged and sloppily edited. Priests get thrown around and fall from tall heights in satanic brawls, but these priests emerge with no fractures or broken bones, which would surely happen in fights that are this violent. “The Pope’s Exorcist” is overly enamored with its adequate visual effects as being enough to make this movie terrifying. But it’s difficult to feel any terror when the exorcist is walking around cracking jokes.

“The Pope’s Exorcist” also seems to be making up exorcism rules as it goes along. Father Amorth says that he tells jokes because “The devil doesn’t like jokes.” In another part of the movie, he says the only way to get rid of a demon is to find out its real name. But that contradicts the earlier exorcism scene of Enzo being “cured” of demon possession because the demon possessed a boar that was quickly shot to death. And that exorcism doesn’t make sense either, because the demon spirit could still escape from a dead body and possess something or someone else nearby.

As the sardonic Father Amorth, Crowe seems fully game to lean into the wisecracking tone of “The Pope’s Exorcist.” The problem is that the rest of the cast members act like they’re in a life-or-death, grim horror film. Some of the supporting actors over-act and are just not believable in many of their scenes. “The Pope’s Exorcist” might give audiences some chuckles, but it’s the type of absurd horror movie that’s so bad, viewers are more likely to be laughing at it than laughing with it.

Screen Gems will release “The Pope’s Exorcist” in U.S. cinemas on April 14, 2023.

Review: ‘Thor: Love and Thunder,’ starring Chris Hemsworth, Christian Bale, Tessa Thompson, Taika Waititi, Russell Crowe and Natalie Portman

July 5, 2022

by Carla Hay

“Thor: Love and Thunder”

Directed by Taika Waititi

Culture Representation: Taking place on Earth and other parts of the universe (including the fictional location of New Asgard), the superhero action film “Thor: Love and Thunder” features a predominantly white cast of characters (with some African Americans, Latinos and Asians) representing the working-class, middle-class and wealthy.

Culture Clash: Nordic superhero Thor Odinson, also known as the God of Thunder, teams up with allies in a battle against the revengeful villain Gorr the God Butcher, while Thor’s ex-girlfriend Jane Porter has her own personal battle with Stage 4 cancer.

Culture Audience: Besides appealing to the obvious target audience of comic book movie fans, “Thor: Love and Thunder” will appeal primarily to people who are fans of the movie’s headliners and action movies that skillfully blend drama and comedy.

Christian Bale in “Thor: Love and Thunder” (Photo courtesy of Marvel Studios)

“Thor: Love and Thunder” could also be called “Thor: Grief and Comedy,” because how of this superhero movie sequel balances these two themes with some results that are better than others. The movie goes big on showing bittersweet romance and the power of true friendships. Some of the movie’s subplots clutter up the movie, and any sense of terrifying danger is constantly undercut by all the wisecracking, but “Thor: Love and Thunder” gleefully leans into the idea that a superhero leader can be a formidable warrior, as well as a big goofball and a sentimental romantic.

Directed by Taika Waititi, “Thor: Love and Thunder” is also a commercial showcase for Guns N’Roses music. It’s the first Marvel Studios movie to blatantly shill for a rock band to the point where not only are four of the band’s hits prominently used in major scenes in the movie, but there’s also a character in the movie who wants to change his first name to be the same as the first name of the band’s lead singer. The music is well-placed, in terms of conveying the intended emotions, but viewers’ reactions to this movie’s fan worship of Guns N’Roses will vary, depending on how people feel about the band and its music. The Guns N’Roses songs “Welcome the Jungle,” “Paradise City,” “Sweet Child O’ Mine” and “November Rain” are all in pivotal scenes in “Thor: Love and Thunder.”

“Thor: Love and Thunder” picks up where 2019’s blockbuster “Avengers: Endgame” concluded. What’s great about “Thor: Love and Thunder” (which Waititi co-wrote with Jennifer Kaytin Robinson) is that the filmmakers didn’t assume that everyone watching the movie is an aficionado of the Marvel Cinematic Universe (MCU), nor did they assume that everyone watching “Thor: Love and Thunder” will know a lot about the Nordic superhero Thor Odinson (played by Chris Hemsworth) before seeing the movie. Near the beginning of the movie, there’s a montage summary (narrated cheerfully by Waititi’s Korg character, a rock-like humanoid who is one of Thor’s loyal allies) that shows the entire MCU history of Thor up until what’s about to happen in “Thor: Love and Thunder.”

The movie’s opening scene isn’t quite so upbeat, because it gets right into showing that grief will be one of the film’s biggest themes. In a very barren desert, a man and his daughter (who’s about 8 or 9 years old, played by India Rose Hemsworth) are deyhdrated, starving, and close to dying. The girl doesn’t survive, and the man is shown grieving at the place where he has buried her. Viewers soon find out that this man is Gorr the God Butcher (played by Christian Bale), who is the story’s chief villain. But he didn’t start out as a villain.

After the death of his daughter, a ravenously hungry Gorr ends up a tropical-looking, plant-filled area, where he devours some fruit. Suddenly, a male god appears before Gorr, who is pious and grateful for being in this god’s presence. Gorr tells the god: “I am Gorr, the last of your disciples. We never lost our faith in you.”

The god scoffs at Gorr’s devotion and says, “There’s no eternal reward for you. There’ll be more followers to replace you.” Feeling betrayed, Gorr replies, “You are no god! I renounce you!” The god points to a slain warrior on the ground and tells Gorr that the warrior was killed for the Necrosword, a magical sword that can kill gods and celestials. The Necrosword levitates off of the ground and gravitates toward Gorr.

The god tells Gorr: “The sword chose you. You are now cursed.” Gorr replies, “It doesn’t feel like a curse. It feels like a promise. So this is my vow: All gods will die!” And you know what that means: Gorr kills the god in front of him, and Thor will be one of Gorr’s targets.

Meanwhile, Thor is seen coming to the rescue of the Guardians of the Galaxy, who need his help in battling some villains on a generic-looking planet in outer space. All of the Guardians are there (except for Gamora, who died at the end of “Avengers: Endgame”), and they see Thor as a powerful ally. However, the Guardians are worried that Thor has lost a lot of his emotional vitality. Thor (who hails from Asgar) is grieving over the loss his entire family to death and destruction.

Thor is also still heartbroken over the end of his romantic relationship with brilliant astrophysicist Jane Foster (played by Natalie Portman), who was in 2011’s “Thor” and 2013’s “Thor: The Dark World.” Viewers will find out in a “Thor: Love and Thunder” flashback montage what really happened that caused the end of this relationship. Jane and Thor are considered soul mates, but their devotion to their respective work resulted in Thor and Jane drifting apart.

Guardians of the Galaxy leader Peter Quill, also known as Star-Lord (played by Chris Pratt), tries to give Thor a pep talk, because Star-Lord can relate to losing the love of his life (Gamora, played by Zoe Saldana), but the main difference is that Thor has a chance to see Jane again because she’s still alive. As shown in the trailer for “Thor: Love and Thunder,” Jane will soon come back into Thor’s life in an unexpected way, when she gains possession of Thor’s magical hammer, Mjolnir, and she reinvents herself as the Mighty Thor. As an example of some of the movie’s offbeat comedy, Korg keeps getting Jane Foster’s name wrong, by sometimes calling her Jane Fonda or Jodie Foster.

The Guardians of the Galaxy section of “Thor: Love and Thunder” almost feels like a completely separate short film that was dropped into the movie. After an intriguing opening scene with Gorr, viewers are left wondering when Gorr is going to show up again. Instead, there’s a fairly long stretch of the movie with Thor and the Guardians of the Galaxy

After spending a lot of meditative time lounging around in a robe, Thor literally throws off the robe for the battle scene with Thor and the Guardians of the Galaxy, as the Guns N’Roses song “Welcome to the Jungle” blares on the soundtrack. After the battle is over (it’s easy to predict who the victors are), Thor’s confident ego seems to have come roaring back. He exclaims with a huge grin: “What a classic Thor adventure! Hurrah!”

As a gift for this victory, Thor gets two superpowered goats, which have the strength to pull space vessels and whose goat screaming becomes a running gag in the movie. The visual effects in “Thor: Love and Thunder” get the job done well enough for a superhero movie. But are these visual effects groundbreaking or outstanding? No.

The Guardians’ personalities are all the same: Star-Lord is still cocky on the outside but deeply insecure on the inside. Drax (played by Dave Bautista) is still simple-minded. Rocket (voice by Bradley Cooper) is still sarcastic. Mantis (played by Pom Klementieff) is still sweetly earnest. Groot (voiced by Vin Diesel) still only has three words in his vocabulary: “I am Groot.”

Nebula (voiced by Karen Gillan), who is Garmora’s hot-tempered adopted sister and a longtime Guardians frenemy, is now an ally of the Guardians. Guardians associate Kraglin Obfonteri (played by Sean Gunn) makes a brief appearance to announce that he’s gotten married to an Indigarrian woman named Glenda (played by Brenda Satchwell), who is one of his growing number of his wives. It’s mentioned in a joking manner that Kraglin has a tendency to marry someone at every planet he visits.

With his confidence renewed as the God of Thunder, Thor decides he’s ready to end his “retirement” and go back into being a superhero. He says goodbye to the Guardians, who fly off in their spaceship and wish him well. Little does Thor know what he’s going to see someone from his past (Jane), whom he hasn’t seen in a long time.

Sif (played by Jaimie Alexander), an Asgardian warrior who was in the first “Thor” movie and in “Thor: The Dark World,” re-appears in “Thor: Love and Thunder,” but she now has a missing left arm and has to learn to re-adjust her fighting skills. Sif’s presence in this movie isn’t entirely unexpected. It’s a welcome return, but some viewers might think that Sif doesn’t get enough screen time.

Meanwhile, as shown in “Avengers: Endgame,” Thor gave up his King of New Asgard title to his longtime associate Valkyrie (played by Tessa Thompson), who’s finding out that being the leader of New Asgard isn’t quite as enjoyable as she thought it would be. She’d rather do battle alongside her buddy Thor instead of having to do things like attend dull council meetings or cut ribbons at opening ceremonies. New Asgard is a fishing village that has become a tourist destination that plays up its connection to Thor and his history.

The stage play recreation of Thor’s story was used as a comedic gag in 2017’s “Thor: Ragnarok” (also directed and written by Waititi), and that gag is used again in “Thor: Love and Thunder,” as this play is staged in New Asgard, but with an update to include what happened in “Thor: Ragnarok.” Making uncredited cameos as these stage play actors in “Thor: Love and Thunder” are Matt Damon as stage play Loki (Thor’s mischievous adopted brother), Luke Hemsworth as stage play Thor, Melissa McCarthy as stage play Hela (Thor’s villainous older sister) and Sam Neill as stage play Odin (Thor’s father). This comedic bit about a “Thor” stage play isn’t as fresh as it was in “Thor: Ragnarok,” but it’s still amusing.

One of the New Asgard citizens is a lively child of about 13 or 14 years old. His name is Astrid, and he announces that he wants to change his first name to Axl, in tribute to Axl Rose, the lead singer of Guns N’Roses. Axl (played by Kieron L. Dyer) is the son of Heimdall (played by Idris Elba), the Asgardian gatekeeper who was killed by supervillain Thanos in 2018’s “Avengers: Infinity War.” As fans of superhero movies know, just because a character is killed on screen doesn’t mean that that character will never be seen again. And let’s just say that “Thor: Love and Thunder” makes it clear that people have not seen the last of Heimdall.

Jane has a poignant storyline because she has Stage 4 cancer, which is something that she’s in deep denial about since she wants to act as if she still has the same physical strength as she did before her cancer reached this stage. Jane’s concerned and loyal assistant Darcy Lewis (played by Kat Dennings) makes a brief appearance to essentially advise Jane to slow down Jane’s workload. Jane refuses to take this advice.

The way that Jane gets Thor’s hammer isn’t very innovative, but she finds out that the hammer gives her godlike strength and makes her look healthy. It’s no wonder she wants to explore life as the Mighty Thor. (Her transformation also includes going from being a brunette as Jane to being a blonde as the Mighty Thor.)

And where exactly is Gorr? He now looks like a powder-white Nosferatu-like villain, as he ends up wreaking havoc by going on a killing spree of the universe’s gods. And it’s only a matter of time before Gorr reaches New Asgard. With the help of shadow monsters, Gorr ends up kidnapping the children of New Asgard (including Axl) and imprisoning them in an underground area. Guess who’s teaming up to come to the rescue?

After the mass kidnapping happens, there’s a comedic segment where Thor ends up in the kingdom of Greek god Zeus (played by Russell Crowe), a toga-wearing hedonist who says things like, “Where are we going to have this year’s orgy?” Zeus is Thor’s idol, but Thor gets a rude awakening about Zeus. Thor experiences some humiliation that involves Thor getting completely naked in Zeus’ public court. Crowe’s questionable Greek accent (which often sounds more Italian than Greek) is part of his deliberately campy performance as Zeus.

“Thor: Love and Thunder” packs in a lot of issues and switches tones so many times, it might be a turnoff to some viewers who just want to see a straightforward, uncomplicated and conventional superhero story. However, people who saw and enjoyed “Thor: Ragnarok” will be better-prepared for his mashup of styles that Waititi continues in “Thor: Love and Thunder,” which has that same spirit. “Thor: Love and Thunder” tackles much heavier issues though, such as terminal illness and crushing heartbreak.

The movie’s cancer storyline with Jane could have been mishandled, but it’s written in a way that has an emotional authenticity among the fantastical superhero shenanigans. “Thor: Love and Thunder” also goes does fairly deep in exposing the toll that superhero duties can take on these superheroes’ love lives. Thor and Jane have to come to terms with certain decisions they made that affected their relationship.

The movie also provides a glimpse into the personal lives of supporting characters Korg and Valkyrie. In a memorable scene, Valkyrie and Korg are alone together in an area of Thor’s Viking ship, and they have a heart-to-heart talk about not finding their true loves yet. They are lovelorn cynics but still show some glimmers of optimism that maybe they will be lucky in love. It’s in this scene where Korg mentions that he was raised by two fathers, and Valkyrie briefly mentions having an ex-girlfriend. A scene later in the movie shows that Korg is open having a same-sex romance.

All of the cast members do well in their roles, but Hemsworth and Portman have the performances and storyline that people will be talking about the most for “Thor: Love and Thunder.” The ups and downs of Thor and Jane’s on-again/off-again romance are not only about what true love can mean in this relationship but also touch on issues of power, control, trust and gender dynamics. It’s a movie that acknowledges that two people might be right for each other, but the timing also has to be right for the relationship to thrive.

Bale does a very solid job as Gorr, but some viewers might be disappointed that Gorr isn’t in the movie as much as expected. That’s because the first third of “Thor: Love and Thunder” is taken up by a lot of Guardians of the Galaxy interactions with Thor. In other words, Gorr’s villain presence in “Thor: Love and Thunder” is not particularly encompassing, as Hela’s villain presence was in “Thor: Ragnarok.”

The movie’s final battle scene might also be somewhat divisive with viewers because one member of Thor’s team is not part of this battle, due to this character being injured in a previous fight and being stuck at a hospital. Fans of this character will no doubt feel a huge letdown that this character is sidelined in a crucial final battle. Leaving this character out of this battle is one of the flaws of “Thor: Love and Thunder.”

The mid-credits scene and end-credits scene in Thor: Love and Thunder” show characters who are supposed to be dead. The mid-credits scene also introduces the family member of one of the movie’s characters, while the end-credits scene teases the return of other characters who exist in another realm. Neither of these scenes is mind-blowing. However, they’re worth watching for MCU completists and anyone who likes watching all of a movie’s credits at the end.

What “Thor: Love and Thunder” gets right is that it shows more concern than many other MCU movies about how insecurities and isolation outside the glory of superhero battles can have a profound effect on these heroes. Saving the universe can come at a heavy emotional price, especially when loved ones die. Whether the love is for family members, romantic partners or friends, “Thor: Love and Thunder” acknowledges that love can result in grief that isn’t easy to overcome, but the healing process is helped with loyal support and some welcome laughter.

Disney’s Marvel Studios will release “Thor: Love and Thunder” in U.S. cinemas on July 8, 2022.

Review: ‘Unhinged’ (2020) starring Russell Crowe

August 21, 2020

by Carla Hay

Russell Crowe in “Unhinged” (Photo by Skip Bolden/Solstice Studios)

“Unhinged” (2020)

Directed by Derrick Borte

Culture Representation: Taking place in an unnamed U.S. city, the dramatic action film “Unhinged” features a predominantly white cast (with a few African Americans) representing the middle-class.

Culture Clash: A woman becomes the stalking target of a stranger who wants deadly revenge after they were involved in a road rage incident.

Culture Audience: “Unhinged” appeals primarily to people who like formulaic “stalking” movies that often have unrealistic and illogical scenes.

Caren Pistorius in “Unhinged” (Photo by Skip Bolden/Solstice Studios)

The dramatic action film “Unhinged” is the type of movie that wants people to turn off their logic and common sense and just go along for the chaotic and often-ludicrous ride of this story’s demented stalking. “Unhinged” could be considered a horror film, but the tone is more about being suspenseful than being scary. The way that “Unhinged” was made is as if it’s a Lifetime drama movie made for people who want manic, testosterone-fueled action with cars.

Directed by Derrick Borte and written by Carl Ellsworth, “Unhinged” shows right from the opening scene that the movie’s title describes the story’s villain. This deranged antagonist doesn’t have a name in the movie (although he uses the alias Tom Cooper later in the story), and he’s played by Russell Crowe, an Oscar-winning actor who should be doing higher-quality movies than this awful dreck. For the purposes of this review, we’ll call the villain Unhinged Man.

The movie begins with Unhinged Man parked outside a house on a quiet residential street on a rainy night in an unnamed U.S. city. (“Unhinged” was actually filmed in the New Orleans area.) He’s sitting in his pickup truck, he pops a pill, and then lights a match before the match extinguishes. He then takes a hammer, goes up to the house he’s been watching, and uses the hammer to break down the front door.

He then viciously murders a man and woman inside the house with the hammer while the house’s door is open. The murder victims can be heard screaming as they’re being attacked. After he kills them, he sets the house on fire before calmly driving away.

All of this loud mayhem would definitely get the neighbors’ attention in real life, but as Unhinged Man drives away, there are no signs of neighbors even knowing what just took place. No lights go on in the surrounding houses, no neighbors go outside or peek through their windows to see what’s happening. It’s the first sign that this movie is going to have some dumb scenes set up so that Unhinged Man can brazenly commit murder in front of numerous potential witnesses and get away with it for as long as possible.

During the movie’s opening credits, there’s a montage showing TV news footage or viral videos about how angry people are in America and how that rage is turning into random acts of violence. This montage is intended to get viewers in the state of mind that Unhinged Man is one of those people who will violently lash out at strangers, so whoever becomes his next target better watch out.

As for the people he murdered in that house, the movie never reveals who they are and why they were murdered. It’s one of many loose ends and plot holes in “Unhinged.” The identities of these murder victims seem to be kept deliberately anonymous as a metaphor for how anyone could be a target for Unhinged Man, and he can have very petty reasons for wanting to murder.

So who will be his next unlucky victim? It’s hair stylist Rachel (played by Caren Pistorius), who’s about to have a very bad day. (Most of the action in “Unhinged” takes place during a 24-hour period.) Rachel, who is in her 30s, is also going through some tough times. She’s in the middle of a contentious divorce that has reached a point where her estranged husband now wants to have the house where she lives with their son Kyle (played by Gabriel Bateman), who’s about 13 or 14 years old.

Also living in the house is Rachel’s younger brother Fred (played by Austin P. McKenzie), who’s in his early 20s and unemployed, but he says he has some great business ideas. In other words, he’s a freeloader. Fred has a girlfriend named Mary (played by Juliene Joyner), who might or might not live there too. The movie doesn’t make it clear where Mary lives, but she has a serious-enough relationship with Fred that she’s often at the house.

Rachel’s divorce lawyer Andy (played by Jimmi Simpson) happens to be her best friend, as he’s described later in the movie. One morning, before Rachel is about to drive Kyle to school, Andy calls to tell Rachel the bad news that her soon-to-be ex-husband Richard (who’s never seen on camera) is going to put up a big fight to get the house. Rachel is already running late for an appointment with her most important client Deborah Haskell (played by Anne Leighton), and she’s also in a rush to get Kyle to school.

Before they drive off, Rachel and Kyle debate on which route she should take to get him to school: Should they take the freeway or surface streets? Either way, they’re going to be in rush-hour traffic but they have to guess which might be the faster way. They take the freeway and run into a traffic jam, so Rachel decides to get off the freeway and drive on the streets.

These driving scenes have increasing tension, because during this car trip, Rachel gets two phone calls with bad news. Richard calls to let Kyle know that he has to cancel their upcoming father/son get-together for a sports game, because Richard just started a new job that is requiring him to do some work that conflicts with the game schedule. And then, Deborah calls Rachel in frustration over Rachel’s tardiness. Deborah tells Rachel that not only is she canceling the appointment but she’s also firing Rachel.

It’s during this phone call that Deborah mentions another setback that Rachel went through not too long ago: Rachel used to own her own hair salon, but she lost that business. The movie doesn’t reveal exactly when or why Rachel lost the salon, but this business failure is brought up as another example of how Rachel is under tremendous financial pressure. Losing her most important client has just made things worse.

Therefore, by the time Rachel encounters Unhinged Man, she’s feeling very stressed-out and anxious. While waiting at an intersection at a stoplight, she notices that the pickup truck in front of her won’t move after the light turns green. She loudly honks her horn, but the driver still won’t move. Finally, she decides to pass the truck and gives the driver a dirty look as she passes. The driver is Unhinged Man, of course.

Rachel hits another traffic jam on the streets, where she notices that Unhinged Man has followed her. He eventually drives up next to Rachel’s car, where Kyle (who’s in the back seat) has the window next to him rolled down. Fearing that she could be dealing with a nutjob, Rachel tells Kyle not to talk to the stranger. And it just so happens that when Kyle tries to close the window with the automatic button, there’s a malfunction and the window is stuck.

Unhinged Man has his window rolled down. He starts a conversation where he asks Rachel why she had to lean hard on her car horn instead of giving it a polite tap. She tells him that it was justified because he wouldn’t move while the light was green. Rachel also says that she’s in a hurry and she’s having a bad day. Unhinged Man then apologizes and asks Rachel to apologize too, but she refuses.

His demeanor then becomes menacing as he tells Rachel, “I don’t think you even know what a bad day is. But you’re going to find out. You’re going to fucking learn.”

And this heated exchange sets off the stalking and chase scenes in the movie, which includes numerous car crashes and some more people who end up murdered. The worst things about the movie are how many unrealistic things happen and how Rachel is written as a dimwit who makes horrible decisions.

For example, there’s a scene in the movie where Unhinged Man is chasing after Rachel while they’re in their cars. Rachel finds out that her phone is missing (for reasons that are shown in the movie), and she frantically tries to go through her purse to look for her phone while she’s driving. When she sees that her phone isn’t there, instead of going somewhere to get help and use a phone, she keeps driving.

There’s another scene where Unhinged Man goes after Rachel and he traps her in a packed fleet of cars that are locked in a traffic jam. Unhinged Man then acts like he’s at a monster truck derby and starts ramming cars. And yet, there’s no sign of people in any of the cars getting on their phones to call 911.

Unhinged Man also causes mayhem at a diner in another unrealistic scene. Unhinged Man just casually does what he does and stays too long in places where he knows that the cops are going to show up any minute. Let’s just say that the police take too long to arrive in many scenes in this movie.

And there’s another scene where after the cops show up, the people who were brutally attacked by Unhinged Man aren’t even taken to a hospital. The cops just take the report and then leave. The movie’s sloppy screenwriting also includes Rachel coming up with an illogical and unnecessary idea to lure Unhinged Man to the nursing home where her mother lives. Whether or not she goes through with the idea is shown in the movie.

But the biggest illogical thing about the movie is how, during all of this madness, Rachel doesn’t go to a police station. Instead, she wastes a lot of time making stupid decisions while she’s being chased by Unhinged Man. Crowe’s performance is almost campy, because there are some scenes where he literally growls as he gets angry. The rest of the cast don’t do anything particularly noteworthy in their roles, because their characters are written as fairly generic.

There are hints that Unhinged Man is someone with a troubled past. It’s revealed that he has problems holding on to a steady job (he was fired after just a month on his most recent job) and it’s implied that he went through a painful divorce. Based on how he reacts when he finds out that Rachel is in the middle of a divorce, it seems as if Unhinged Man felt he was the “victim” in his own divorce and he’s extremely bitter about it.

“Unhinged” essentially takes a trope that’s common for a Lifetime movie (a woman in peril) but with male rage given more weight in the story. The high-octane chase scenes and car crashes are meant to appeal to people who like “bang ’em up” action and don’t really care about the reasons for why this destruction is happening. Don’t expect to get a lot of insight into why these characters behave as illogically as they do. Viewers who get to the end of this movie will feel like they were trapped in a badly structured video game where only the chase scenes matter and the characters are as hollow and mindless as they can be.

Solstice Studios released “Unhinged” in U.S. cinemas on August 21, 2020.