Thandiwe Newton Archives

Review: ‘Anaconda’ (2025), starring Paul Rudd and Jack Black

December 30, 2025

by Carla Hay

Jack Black and Paul Rudd in “Anaconda” (Photo by Matt Grace/Columbia Pictures)

“Anaconda” (2025)

Directed by Tom Gormican

Some language in Portuguese with subtitles

Culture Representation: Taking place in Brazil’s Amazon Rainforest (and briefly in Los Angeles and in Buffalo, New York), the action comedy film “Anaconda” (inspired by the 1997 horror film “Anaconda”) features a white and Latin cast of characters (with a few black people) representing the working-class, middle-class and wealthy.

Culture Clash: A group of four American former schoolmates travel to Brazil’s Amazon rainforest to film a scripted reboot of the 1997 film “Anaconda,” and they become targets of a giant killer anaconda.

Culture Audience: “Anaconda” will appeal primarily to people who are fans of the movie’s headliners and the 1997 “Anaconda” movie, but this tribute-styled “Anaconda” is just a series of mostly idiotic jokes and poorly conceived scenarios.

Thandiwe Newton, Steve Zahn and Paul Rudd in “Anaconda” (Photo by Bradley Patrick/Columbia Pictures)

The action comedy “Anaconda” tries to be a satirical “movie within a movie” tribute to 1997’s campy horror flick “Anaconda,” but the results are like a toothless snake that frequently misses its target. The jokes and slapstick scenarios mostly fall flat, while the movie’s main characters are mostly witless and annoying. The 1997 version of “Anaconda” is actually funnier than this limp and scatter-brained mess.

Directed by Tom Gormican (who co-wrote the 2025 “Anaconda” screenplay with Kevin Etten), the 2025 version of “Anaconda” relies too heavily on jokes that assume that viewers have already seen 1997’s “Anaconda” (directed by Luis Llosa and starring Ice Cube, Jennifer Lopez and Jon Voight), a deliberately cheesy flick about people trapped in Brazil’s Amazon Rainforest with a giant killer anaconda. There are several forgettable “Anaconda” sequels. The main “joke” concept of the 2025 version of the movie is that the people making an “Anaconda” reboot end up experiencing the same type of terror from another giant killer anaconda while making the reboot. Don’t expect an explanation for why this monster exists. There is no explanation.

The 2025 version of “Anaconda” begins in Brazil’s Amazon Rainforest. (This movie was actually filmed in Australia.) A mysterious young woman named Ana Almeida (played Daniela Melchior) is being chased through the jungle by two men. Ana hops on a motorbike and speeds through the forest, while the two men try to follow her by going on a boat in the river. One of the men is killed by an underwater creature that is not seen on screen, even though it’s very obvious what this creature is, considering the movie’s title and subject matter.

“Anaconda” (which has sloppy editing) then quickly cuts to Los Angeles, to show actor Ronald “Griff” Griffin Jr. (played by Paul Rudd) getting fired for flubbing his lines during a guest appearance on a TV medical drama series. Griff is a struggling actor who is only able to get small speaking roles in movies and in television. Later, Griff (a never-married bachelor with no kids) complains about having to live in a small apartment with a roommate who’s 74 years old.

Meanwhile, Griff’s best friend from high school and college is Doug McCallister (played by Jack Black), who is also dissatisfied with his career. Doug (who lives in Buffalo, New York) is happily married to a generically written wife named Malie (played by Ione Skye), and they have a generically written son named Charlie (played by Sebastian Sero), who’s about 12 or 13 years old. Doug is a horror movie fanatic who has always wanted to be a filmmaker. But for now, Doug makes a living as a wedding videographer.

Doug is first seen in a meeting with an engaged couple (played by Anna Francesca Armenia) and Jarred Blakiston) and the groom’s parents (played by Lisa Kay and John Voce) to discuss what type of wedding video that Doug will make for the newlyweds. Doug tries to pitch a horror-themed short film, but these clients don’t like the idea and want a traditional wedding video. This scene is as boring and unfunny as it sounds.

Later, Malie throws a surprise birthday party for Doug at their home. Doug’s three closest friends from high school and college are at the party: Griff, who has traveled from Los Angeles to be at this event; Claire Simons (played by Thandiwe Newton), an attorney who is going through a divorce from her estranged husband, who left Claire for his dental hygienist; and Kenny Trent (played by Steve Zahn), who is in semi-recovery from alcoholism and other substance addiction issues. Kenny used to work with Doug, but Doug fired him when an intoxicated Kenny knocked over a wedding cake during a wedding that they were hired to film.

At Doug’s birthday party, Griff surprises Doug with a gift that’s a blast from their past: a VHS tape of a film that the four pals made when they were 13. The film, titled “The Quatch,” is about a Big Foot/Sasquatch-type monster that causes terror in a wooded area. Teenage filmmaker Doug (played by Jack Waters) wrote, directed and co-starred in the movie, which also featured Griff (played by Romeo Ellard), Claire (played by Aimee Bah) and Kenny (played by Reagan George) in the movie’s small cast.

Watching this movie brings back nostalgic memories to the four pals and reignites Griff’s interest in making a movie with Doug. It’s a dream that Griff and Doug had for years as students. Griff is also a horror enthusiast and has always wanted to star in a horror movie. However, sometime after college, Doug backed out of their plan to move to Los Angeles and decided to stay in Buffalo.

When the four friends are having lunch at a local diner the day after the birthday party, they start talking about 1997’s “Anaconda” movie, which was released when they were all in college. Griff then announces that he has the rights to “Anaconda” and says they should all make an independent film that’s an “Anaconda” reboot. Doug and Claire are skeptical but are eventually persuaded to do this project.

Doug is writing, directing, and editing the movie, which will also be called “Anaconda.” Griff and Claire (who used to be romantically involved when they were teenagers) will star in this reboot. Griff has the role of a snake tracker. Claire has the role of a woman whose family was killed by the anaconda. Kenny is the movie’s cinematographer.

And faster you can say, “flimsy movie idea,” the four friends are off to Brazil’s Amazon Rainforest to make this movie on a budget of less than $50,000. The first person they meet in Brazil is Santiago Braga (played by Selton Mello), who has been hired to be the movie’s snake handler. Santiago (who is eccentric and comes across as a Brazilian version of Rainn Wilson) has an anaconda named Heitor, whom Santiago describes as more than a pet. Heitor is also Santiago’s close friend, he says.

Ana, the woman seen being chased through the forest in the beginning of the movie, crosses paths with this motley film crew when she steals a boat named the Benedita, which was rented by Griff and his pals for this film production. Ana pretends to be the daughter of the boat’s owner and reluctantly agrees to take the crew to the Amazon Rainforest, which fits into her plan to go into hiding from the people who are trying to find her.

Ana’s backstory and a subplot about illegal gold miners are awkwardly shoved into the main plot about this hapless and haphazard film production. The film shoot is interrupted by the giant anaconda, which appears in random places when the film crew least expects it. (The movie’s visual effects are mediocre.) Far from being suspenseful, 2025’s “Anaconda” is a cowardly film because it uses the gimmicky trick of faking certain people’s deaths. (A mid-credits scene reveals one of these fake deaths.)

The performances in 2025’s “Anaconda” might gets some laughs, but the stars of the movie are doing the same types of characters they’ve done in many other movies. Rudd is the “neurotic guy with big ideas.” Black is the manically energetic “loose cannon.” Newton is the logical “voice of reason.” Zahn is the goofy sidekick who isn’t very smart.

The funniest scene in 2025’s “Anaconda” is a chase scene involving a boar that’s used as a decoy, but that scene isn’t enough to save a movie that spends too much time on dull “meta” jokes that are intended to lampoon Sony Pictures and greed in making “cash grab” movies from intellectual property. And don’t be surprised to see a “surprise” cameo appearance or two from certain people who were in the 1997 “Anaconda” cast. The problem with the 2025 version of “Anaconda” is it wastes so much time trying to poke fun at 1997’s “Anaconda” with stale jokes, it fails to come up with an original story that is genuinely and consistently entertaining.

Columbia Pictures released “Anaconda” in U.S. cinemas on December 25, 2025.

Review: ‘Mufasa: The Lion King,’ starring the voices of Aaron Pierre, Kelvin Harrison Jr., Tiffany Boone, Mads Mikkelsen, John Kani, Preston Nyman, Thandiwe Newton and Lennie James

December 21, 2024

by Carla Hay

“Mufasa: The Lion King”

Directed by Barry Jenkins

Culture Representation: Taking place in Africa, the animated film “Mufasa: The Lion King” (a prequel to “The Lion King” movies) features a cast of characters portraying talking animals.

Culture Clash: The origin story of future lion king patriarch Mufasa is told, including how he battled a pride of lion invaders and was betrayed by his adoptive brother.

Culture Audience: “Mufasa: The Lion King” will appeal mainly to people who are fans of “The Lion King” franchise and animated films that are formulaic and don’t do anything innovative.

Kiros (voiced by Mads Mikkelsen) in “Mufasa: The Lion King” (Image courtesy of Disney Enterprises Inc.)

The animated musical “Mufasa: The Lion King” delivers the expected eye-catching visuals, but the story, dialogue and songs are underwhelming and tedious. This disappointing prequel lazily copies the formula of other “Lion King” films. Considering the large production budget and award-winning talent involved for “Mufasa: The Lion King,” this hollow film is an example of too many wasted and missed opportunities.

Directed by Barry Jenkins and written by Jeff Nathanson, “Mufasa: The Lion King” tells the origin story of royal lion Mufasa, who is a stereotypical heroic character. Mufasa died near the beginning of “The Lion King” movies, as seen in the 1994 original “The Lion King” movie and 2019 remake. Mufasa’s unexpected death (by falling down a gorge) made his son/only child Simba a runaway because Simba blamed himself for Mufasa’s death. Mufasa was actually murdered, and the killer went on the hunt to murder Simba. It’s assumed that most people watching “Mufasa: The Lion King” saw a “Lion King” movie that told Simba’s origin story. Anyone unfamiliar with Simba’s story will feel a bit lost and confused by the beginning of “Mufasa: The Lion King.”

“Mufasa: The Lion King” begins with a caption announcing that the movie is dedicated to actor James Earl Jones, the original voice of Mufasa in the previous “Lion King” movies. (Jones died in September 2024, at the age of 93.) “Mufasa: The Lion King” then has an opening scene showing that adult Simba (voiced by Donald Glover), his love partner Nala (voiced by Beyoncé Knowles-Carter) and their cub daughter Kiara (voiced by Blue Ivy Carter) are living as a happy family somewhere in Africa. An elderly, wise mandrill named Rafiki (voiced by John Kani), who was a trusted ally of Mufasa, notices that Kiara is afraid of an expected rainstorm.

Rafiki tries to comfort Kiara by telling her that Kiara’s legendary grandfather king Mufasa used to be afraid of storms too, when Mufasa was about Kiara’s age. Rafiki then tells Kiara the story of Mufasa when Mufasa was a child and a young adult. This story and flashback scenes are the basis of much of “Mufasa: The Lion King.” Returning characters from “The Lion King” movies are two of Simba’s wisecracking friends: goofy warthog Pumbaa (voiced by Seth Rogen) and sarcastic meerkat Timon (voiced by Billy Eichner), who hang around to listen to Rafiki’s storytelling about Mufasa.

Mufasa’s origin story is almost an exact replica of Simba’s origin story. Mufasa as a cub (voiced by Braelyn Rankins) had a happy childhood and was his parents’ only child, until he was separated from his biological family for years and had to find his own identity as a young adult. “Mufasa: The Lion King” has one of the same villains as the original “Lion King” story, but “Mufasa: The Lion King” adds another villain to elongate the already predictable plot. The main difference between the two origin stories is that Mufasa was separated from his family because of a natural disaster, while Simba was separated from his family because Simba ran away after Simba’s father Mufasa died.

In “Mufasa: The Lion King,” cub Mufasa was living in bliss with his parents Masego (voiced by Keith David) and Afia (voiced by Anika Noni Rose), whose goal was to find the promised land of Milele, so the family could live in Milele. Mufasa’s parents describe Milele as a paradise-like place where resources are plentiful and animals live in harmony in “the circle of life.” Milele is a place that some animals believe is real, while others think Milele is a mythical place that doesn’t exist.

The family’s plans to find Milele are interrupted during a flash flood that causes Mufasa to nearly drown in a cascading river. As a result of this flood, Mufasa is separated from his parents and can’t find them. A crocodile almost attacks Mufasa, but he is rescued by another cub named Taka (voiced by Theo Somolu), who is a prince of his pride of lions. Mufasa doesn’t know how to find his parents, so Taka (who is about the same age as Mufasa) takes Mufasa back to Taka’s home, which is a place called Pride Lands.

Taka’s parents—stern father Obasi (voiced by Lennie James) and compassionate mother Eshe (voiced by Thandiwe Newton)—have very different reactions to Mufasa. Obasi, who is very distrustful of outsiders, is reluctant to accept Mufasa into the pride. Eshe is more open to accepting Mufasa, especially when Taka openly expresses that he has always wanted a brother. (The utterly bland song “I Always Wanted a Brother” is performed in this part of the movie.)

Obasi tells Mufasa that Mufasa can only live with this pride of lions if Mufasa wins in a speed race against Taka. Mufasa wins the race because Taka deliberately lets Mufasa win—and Taka doesn’t let Mufasa forget it. Obasi also tells Taka never to trust Mufasa because Taka is Obasi’s rightful heir. It’s the first indication that although Taka wants Mufasa as a brother, Taka expects to inherit the kingdom from Obasi. Even with this “victory,” Mufasa s still treated with suspicion by Obasi, who orders that Mufasa has to spend time with the females of the pride.

“Mufasa: The Lion King” then has a series scenes showing that despite Obasi’s wariness of Mufasa, Taka went against his father’s wishes and became very close to Mufasa, who became just like a brother to Taka. The movie then abruptly segues to the young-adult phase of Mufasa (voiced by Aaron Pierre) and Taka (voiced by Kelvin Harrison Jr.), who are still the best of friends at this point in the story. They hunt together and protect each other.

However, there is some tension in the relationship because Mufasa has been outshining Taka because Mufasa has an extraordinary sense of smell, and Mufasa is overall more courageous than Taka. Mufasa is also considered more physically attractive than Taka: Mufasa has a full mane and is muscular, while Taka has a scraggly mane and is somewhat scrawny.

Mufasa’s keen senses are why he can detect the impending invasion of a group of villainous white lions called the Outsiders, led by the ruthless Kiros (voiced by Mads Mikkelsen), who want to take over the land occupied by Obasi’s pride of lions. Kiros has two sisters who are his warrior sidekicks: Akua (voiced by Joanna Jones) and Amara (voiced by Folake Olowofoyeku), who both have personalities that are indistinguishable from the other. You know what happens next: Mufasa and Taka join forces with the rest of their pride to fight against the Outsiders.

Meanwhile, a bit of a love triangle develops when Mufasa and Taka meet a young adult lioness named Sarabi (voiced by Tiffany Boone), who has two sidekick friends: young Rafiki (voiced by Kagiso Lediga) and a talkative hornbill named Zazu (voiced by Preston Nyman), who is Sarabi’s scout. Sarabi becomes a warrior ally to Mufasa and Taka. And even if you’ve never seen the original “Lion King” movie, it’s very easy to predict which lion brother will eventually win Sarabi’s love. Rafiki also has a special friend: a baboon named Junia (voiced by Thuso Mbedu), who will be forgotten by most viewers by the time the movie is over.

If the introduction of all these new characters sounds a bit overcrowded, that’s because it is. Sarabi’s brave-but-gentle personality is almost identical to Nala’s personality. Zazu is an utterly generic chatterbox. Kiros is every single cliché of a cartoon animal villain. Mikkelsen tries to give the Kiros character some sort of charisma, but his performance is hampered by drab dialogue.

One of the biggest problems with “Mufasa: The Lion King” is that even if you never saw any “Lion King” movie, it’s common knowledge in pop culture that Mufasa had a brother named Scar, who betrayed Mufasa and became a villain because Scar was jealous of Mufasa. In “Mufasa: The Lion King,” Taka is obviously the original name of Scar, although the movie tries to pay coy about it, as if it’s some big secret. Most viewers already know that Taka is a duplicitous villain, so there is no real surprise when the moment comes in “Mufasa: The Lion King” when Taka is revealed to be a villain.

“Mufasa: The Lion King” eventually shows how and why Taka’s name was changed to Scar, but this tidbit of information does not change the monotony of the story. The action scenes aren’t as thrilling as they could be. And the movie just can’t overcome the clunky and boring conversations. Pumbaa and Timon, the only “Lion King” characters with a lively rapport, are sidelined in “Mufasa: The Lion King,” which makes Pumbaa and Timon more annoying than amusing.

And unlike many other Disney animated musicals, “Mufasa: The Lion King” has absolutely no songs that are destined to be classics or winners of major awards. Lin-Manuel Miranda (“Hamilton,” “Moana,” “Encanto”) wrote the six original songs in “Mufasa: The Lion King” that have lyrics: “Milele”; “I Always Wanted a Brother” (co-written by Nicholas Britell, the composer of “Mufasa: The Lion King”); “Bye Bye”; “We Go Together”; “Tell Me It’s You”; and “Brother Betrayed.” None of these songs comes close to being as memorable as the Oscar-winning 1994 “Lion King” song: “Can You Feel the Love Tonight,” written by Elton John and Tim Rice. Britell’s musical score for “Mufasa: The Lion King” is serviceable but not outstanding, compared to Hans Zimmer’s score for the original “Lion King” movie.

Here’s an example of why “Mufasa: The Lion King” has a poorly written screenplay: When elder Rafiki is telling the origin story of Mufasa, the movie cuts to interludes showing Rafiki being interrupted by Pumbaa and Timon, who complain and don’t understand why they aren’t part of the story too—even though Pumbaa and Timon didn’t even know Mufasa. Pumbaa also weirdly keeps guessing out loud if Taka is really going to be revealed as a young Pumbaa. It makes absolutely no sense. “Mufasa: The Lion King” director Jenkins won an Academy Award for Best Original Screenplay for 2016’s “Moonlight.” We’ll never know how “Mufasa: The Lion King” would have been like if Jenkins also wrote the screenplay for “Mufasa: The Lion King.”

“Mufasa: The Lion King” is a prequel that expects viewers to know a lot about Simba’s “Lion King” story, which is why the beginning of “Mufasa: The Lion King” is so jumbled when re-introducing familiar characters. But at the same time, “Mufasa: The Lion King” also drags out the obvious “reveal” that Taka is really Scar, the villain lion who became an enemy of Mufasa and Simba. Everything else in “Mufasa: The Lion King” is really just a distraction that leads up to this reveal. The voice cast members are talented and do the best they can, but “Mufasa: The Lion King” is ultimately a shallow retread of 1994’s vastly superior “The Lion King.”

Walt Disney Pictures released “Mufasa: The Lion King” in U.S. cinemas on December 20, 2024.

Review: ‘God’s Country’ (2022), starring Thandiwe Newton

March 25, 2023

by Carla Hay

Thandiwe Newton in “God’s Country” (Photo courtesy of GC Film, LLC/IFC Films)

“God’s Country” (2022)

Directed by Julian Higgins

Culture Representation: Taking place during one week in an unnamed rural area in the United States, the dramatic film “God’s Country” features a predominantly white cast of characters (with one black person and one Native American) representing the working-class and middle-class.

Culture Clash: A college professor, who lives alone, gets into a feud with two hunters, who get angry when she refuses to give them access to the woods behind her property.

Culture Audience: “God’s Country” will appeal mainly to people who are fans of star Thandiwe Newton and well-acted dramas about personal conflicts that have underlying roots in racism and sexism.

Jeremy Bobb and Thandiwe Newton in “God’s Country”(Photo by Ezra Olson/IFC Films)

The slow-moving “God’s Country” has a very predictable ending. However, this drama about an escalating feud gets a tremendous boost from Thandiwe Newton’s riveting performance, as well as how director Julian Higgins builds tension in the movie. It’s not a movie that does anything spectacularly groundbreaking, but it has enough authentic-looking scenarios to keep viewers interested, if they are looking for a realistic drama. “God’s Country” had its world premiere at the 2022 Sundance Film Festival.

Higgins makes his feature-film directorial debut with “God’s Country,” a movie based on James Lee Burke’s short story “Winter Light,” which was published in Burke’s 2007 short-story collection “Jesus Out to Sea.” Higgins directed the 2015 short film “Winter Light” as a faithful adaptation of the story. For “God’s Country,” Higgins co-wrote the screenplay with Shaye Ogbonna, and they made a major change from the original story. In “Winter’s Light,” the college-professor protagonist is a white man in his 60s or 70s. In “God’s Country,” the college-professor protagonist is an African American woman in her 40s. (Newton is British in real life.)

In the production notes for “God’s Country,” Higgins says that changing the protagonist’s race and gender was his and Ogbonna’s direct response to Donald Trump winning the 2016 U.S. president election. “Shaye and I wanted to respond to the deep-rooted racism, sexism and misogyny reflected by the election results,” Higgins comments. “We wanted to explore the interaction between a person’s psychology and the social structures around them, especially when norms, institutions, and belief systems fail—as we felt they were. Shaye and I felt the very simple story framework presented by ‘Winter Light’ would be a perfect conduit to explore these ideas.”

“God’s Country” takes place during one week in a rural area in an unnamed U.S. state that gets snowy weather. (“God’s Country” was actually filmed in Montana.) A college professor named Cassandra “Sandra” Guidry (played by Newton), who lives alone in a remote and wooded area, is grieving over the recent death of her mother, who passed away from a unnamed illness. Sandra’s only companion at home is her dog.

Sandra teaches at a local university, where her closet colleague Arthur (played by Kai Lennox), who is another professor. It’s later shown during faculty meetings that all of the university’s professors are white, except for Sandra. Most of the other professors are men. Sandra also appears to be the only African American person living in this small town. At one point in the movie, Sandra mentions that she’s originally from New Orleans, so living in this small town is almost the complete opposite of living in New Orleans.

One day, Sandra notices that a red pickup truck is parked in the driveway, with the owner or driver nowhere in sight. She mentions to Arthur and wonders if she should call the police. Instead, she leaves a note on the truck asking the driver not to park there, because it’s private property.

The next day, the driver/owner of the truck comes back to retrieve it. His name is Nathan (played by Joris Jarsky), who explains that he’s a hunter who needs to go through her property to get to the woods where he hunts. Sandra later finds out that Nathan’s younger brother Samuel (played by Jefferson White) is Nathan’s frequent hunting companion.

Sandra calmly and firmly tells Nathan that she left a note on the truck, asking him not to park there because her land is private property. She adds, “All I’m saying, before you park on someone’s property, you have to ask.” Nathan seems casually dismissive of this request. Later, Sandra finds that her note has been torn and crumpled up in the snow.

The next day, Sandra sees the red truck parked in her driveaway again. And this time, she isn’t going to play nice. She takes a chain and tows the truck away herself to an area nearby that’s not on her property. It’s close enough so that the truck owner can find the truck without thinking that it’s stolen.

The day after that, she tells a local cop named Gus Wolf (played by Jeremy Bobb), who is the town’s acting sheriff, about this parking problem. Gus seems sympathetic to Nathan and Samuel, whom he calls “gentlemen.” And when Sandra gives Gus the truck’s license plate number so that the truck’s owner can be contacted, Gus asks Sandra in a condescending manner why she had to do that.

It’s a small town, so Gus already knows who the owner is. Gus thinks the matter can be resolved without any arrests or citations. Gus reluctantly goes with Sandra to where Nathan works and tells Nathan to stop bothering Sandra and to stop trespassing on her property, Getting this reprimand in a public place seems to set off Nate, because Sandra then becomes the target of harassment, including finding an arrow stuck in her front door.

The feud between Sandra and the two brothers gets much worse. Although it’s not said out loud, it’s implied at there’s an extra level of hostility directed at Sandra because she’s an African American woman. She lives in area where people who aren’t white are considered “outsiders,” no matter how much politeness they get from people who don’t want to look like racists or sexists. Sandra still gets a lot of people in the community who stare at her with an attitude that she doesn’t belong there, just because she’s an African American woman

The tensions over race also spill over into Sandra’s job. Sandra and Arthur have an argument in the hallway because he didn’t keep his promise to recommend at least one qualified person of color for a job vacated by a retired professor named George (played by George De Vries). The top three job candidates whom Arthur voted for are all white.

Sandra considers having a diverse group of qualified applicants to be the right thing to do, in order to have a more even playing field. However, Arthur keeps calling this diversity a “quota,” and he accuses Sandra of playing “identity politics.” The problem is that Arthur assumes that there won’t be enough qualified people of color to find. This heated conversation is very realistic to how many people view diversity issues very differently.

Observant viewers will notice that Arthur refuses to be held accountable for breaking his promise, and he made no effort to find or recommend any qualified candidates who weren’t white. Arthur tries to turn the argument back on Sandra by saying that the fact that she works there is proof that the university isn’t racist. Sandra should have told Arthur to look up the definition of “tokenism,” since she is the only non-white person in the university’s faculty.

Another issue related to racial and gender identities comes up when a Native American teaching assistant named Gretchen (played by Tanaya Beattya) confides in Sandra about a harassment incident that occurred between her Arthur, her supervising professor. Gretchen says that Arthur asked Gretchen to rub lotion on him. Up until that point, Gretchen and Arthur had a strictly professional relationship.

It’s a “he said/she said” situation where Arthur and Gretchen were the only witnesses. Gretchen is adamant that she won’t report the incident because she’s afraid that Arthur will retaliate against her, and she wants to keep her job. Gretchen also thinks that people will be less likely to believe her because she isn’t white. This #MeToo subplot isn’t handled very well in the movie’s narrative. It just seems like it was put in the screenplay as a way to stretch out the movie’s run time.

The movie’s main conflict, of course, is between Sandra and the obnoxious brothers Samuel and Nathan, who enlist some of their buddies to join in on the harassment of Sandra. These local men, who act very entitled to do what they want, also don’t seem afraid of getting arrested, since law enforcement is almost non-existent in this small town. Gus is the main cop, and he doesn’t have much backup or much of a backbone to stand up to these thugs.

And you know what that means: The people involved in this feud start to act like they can take the law into their own hands and twist it to fit whatever agenda they have. “God’s Country” invites viewers to think about the choices they would make if they were in the same situation. The main takeaway from this stark and bleak film is that when hate becomes the driving force behind how to handle conflicts, there are no real winners.

IFC Films released “God’s Country” in select U.S. cinemas on September 16, 2022. The movie was released on digital and VOD on October 4, 2022.