Netflix
A House of Dynamite (2025)
Kathryn Bigelow’s latest, Venice International Film Festival competition entry “A House of Dynamite,” is, for the most part, one of those end-of-days Armageddon movies, except it never actually culminates in special effects-laden spectacles of total obliteration. The film does not follow the Michael Bay or Roland Emmerich blockbuster tradition. Instead, it focuses solely on those behind the scenes trying to respond and stave off the impending destruction.
Continue reading “Nuclear Options” »
A24
The Smashing Machine (2025)
On the heels of their breakout, “Uncut Gems,” the Safdie brothers are headed for a breakup. Both have solo stuff coming out this awards season via A24. First up is Venice International Film Festival competition title “The Smashing Machine,” written and directed by Benny Safdie, the younger sibling who has been in the public eye a lot more thanks to his side job acting in films like “Licorice Pizza” and “Oppenheimer.”
The new film is a biopic on early mixed martial arts star Mark Kerr, who was also the subject of John Hyams’s 2002 HBO documentary, “The Smashing Machine: The Life and Times of Extreme Fighter Mark Kerr.” Aside from the shared title, there’s quite a bit of overlap in terms of narrative.
Continue reading “Hit Where It Hurts” »
Yannis Drakoulidi/Amazon MGM Studios
T.W.: sexual assault
Luca Guadagnino’s latest, premiering at the Venice International Film Festival, is “After the Hunt.” It often recalls Emerald Fennell’s “Saltburn,” as each film takes place at an elite institution, where power and privilege prompt people to cross the line in their jostling for position. Instead of following a ruthless attempt at ladder climbing, “After the Hunt” scrutinizes the dynamic between faculty and students; adjunct professors yield tremendous influence in classrooms, yet their own positions on campus are tenuous without tenure.
Continue reading “A Subject Lesson” »
Netflix
Mary Shelley’s 1818 novel, “Frankenstein; or, The Modern Prometheus,” has inspired nearly 20 films, among them a few sequels and even a parody from Mel Brooks. Interestingly, the vast majority of them are modernized reimaginings. Up to this point, the most serious attempt at a straight adaption has been Kenneth Branagh’s 1994 “Mary Shelley’s Frankenstein,” a misguided disappointment on all accounts thanks to the director’s runaway ego.
Continue reading “Death Wish” »
La Biennale di Venezia
If the premise of Park Chan-wook’s Venice International Film Festival entry, “No Other Choice,” sounds vaguely familiar, that’s because it is based on Donald E. Westlake’s “The Ax,” which was previously adapted as “Le couperet” two decades ago by Costa-Gavras, to whom the new film is dedicated. I vaguely recall pitching Film Comment to review the Costa-Gavras iteration, but the magazine’s then-editor deemed him no longer relevant. “Le couperet,” which has yet to receive distribution of any kind in the States, is finally getting its long overdue flowers in 2025 thanks to Mr. Park.
Continue reading “Cutthroat Competition” »
Netflix
Noah Baumbach’s “Jay Kelly,” premiering at the Venice International Film Festival, must be inspired, at least in part, by Federico Fellini’s “8 1/2.” If so, it’s appropriate that it stars the Marcello Mastroianni of our time, George Clooney, in the titular role. Though the protagonist here isn’t a filmmaker but a movie star.
Continue reading “Misleading Man” »
Focus Features
Yorgos Lanthimos is at his most accessible when directing someone else’s script. Such is the case with his Venice International Film Festival entry, the Jang Joon-hwan-written, Will Tracy-adapted “Bugonia.” Fortunately, there is just enough peculiarity, violence and blood that it’s unmistakable as being of his oeuvre.
Continue reading “Alien Nation” »
Andrea Pirrello
Paolo Sorrentino’s latest and this year’s Venice International Film Festival opener, “La grazia,” is the antithesis of “Il divo” and “Loro,” his previous features centering on political leaders, despite it also starring his go-to leading man, Toni Servillo, who played Giulio Andreotti and Silvio Berlusconi, respectively, in the previous films.
Continue reading “Uneasy Lies the Head That Wears a Crown” »
Music Box Films
With its premiere at Sundance Film Festival in 2023, Angus MacLachlan’s “A Little Prayer” immediately landed distribution with Sony Pictures Classics. It made sense, considering the company’s previous success with “Junebug,” which Mr. MacLachlan also scripted. It’s now finally seeing the light of day two and a half years later courtesy of Music Box Films. The press releases are careful to avoid the term “shelved,” but the fact of the matter is Sony Classics did keep the title on its website and extranet for the longest time – which also makes sense if you saw it at Sundance in 2023.
Continue reading “When Them Cotton Balls Get Rotten” »
Focus Features
I don’t know what’s with writing and domestic partners Ethan Coen and Tricia Cooke’s weird obsession with lesbians, especially ones that look like Margaret Qualley. Following “Drive-Away Dolls,” they return with “Honey Don’t!,” yet another very blah entry in their supposed sapphic noir trilogy.
Continue reading “O Brother, Where Art Thou?” »