Obsession

Director: Curry Barker
Starring: Michael Johnston, Inde Navarrette, Cooper Tomlinson, Megan Lawless, Andy Richter, Haley Fitzgerald, Darin Toonder, Curry Barker
Running Time: 109 min.
Rating: R

 **This Review Contains Major Plot Spoilers**

★★★ ½ (out of ★★★★) 

The supernatural premise driving writer/director Curry Barker's mind blowing horror thriller Obsession is so simple that it's easy to overlook all it does well, aside from the obvious. But audiences have noticed, which is a credit to how certain scenes and sequences linger, inviting the repeated viewings that's given it an unrivaled staying power. But it's tough going into a movie like that, almost as if you're primed for disappointment before the opening credits have even rolled. So this somehow still being able to overcome all the surrounding hype and expectations almost feels like an achievement in itself. 

After this, we can at least hope those who routinely dismiss and dissect even the worthiest films for resembling The Twilight Zone will finally realize it's a compliment to earn comparisons to television's greatest anthology series. But this monkey's paw morality tale shares as much in common with the comedically twisted Tales From the Crypt, which also featured a similarly themed episode involving a mystical love curse. But here, Barker's tone, style and execution puts this in a different class, exploring issues of agency and autonomy that are sure to spark discussion as it builds toward its chillingly chaotic conclusion. 

Shy, socially awkward Baron "Bear" Bailey (Mike Johnston) has a secret unrequited crush on his friend Nikki (Inde Navarrette) he considers revealing to her despite the uncomfortable dynamic it could create with their friends and music store co-workers Ian (Cooper Tomlinson) and Sarah (Megan Lawless). Grieving the sudden death of his beloved cat Sandy, Bear takes a trip to the local crystal shop to buy a Nikki a necklace, but instead picks her up the "One Wish Willow," a vintage toy promising to grant one wish per person when broken in half. 

After driving Nikki home from the bar later that night, Bear nervously chickens out and misses a golden opportunity to reveal his feelings. After frustratingly breaking the Willow and wishing she "love him more than anyone in the world," Bear unleashes an unhinged, erratic Nikki who's immediately obsessed with him. Now prone to outrageous lies, screaming fits, self harm and violent outbursts, she smothers Bear with affection, causing Ian and Sarah to express serious concern for her mental state. But as Bear continues to date Nikki and frantically tries to curb her dangerous impulses, he'll find out the hard way to be careful what you wish for.

It's almost a relief to find a horror film with four characters who lack some kind of traumatic backstory, at least as far as we know. And though their ages are in question (with a minimum of two homeowners and another applying to schools), they're just normal friends and co-workers hanging out, which only heightens the impact of the curse that's about to upend their relatively mundane lives. Bear's the unassuming "nice guy," Nikki's an outgoing fun loving personality, Ian's an irritating frat boy while sympathetic tattoo artist Sarah seems the most grounded. She also harbors a crush of her own on Bear, who's too infatuated with Nikki to notice.  

While it's easy to question Ian's motives for discouraging Bear's intended confession to Nikki and belittling him, we're also forced to admit he has a point since it's clear Bear was friend zoned a while ago and should probably just move on. Regardless, he can't muster up the guts to shoot his shot and instead breaks the Willow, robbing Nikki of whatever choice she would have made. It's here where things start to get really interesting since Bear's selfish actions aren't yet recognizable as those of a crazed misogynist. But having no clue this gag gift would work is a viable excuse for only so long, or exactly until the girl of his dreams transforms into "Freaky Nikki."

If all the characters suffer to some extent, a possessed Nikki easily endures the worst, causing stressful uncertainty in viewers about what this entity inhabiting her will do or say next. And she hasn't a clue herself, which makes this experience all the more nerve wracking, as its story rides entirely on an incredible performance that walks a razor's edge between campy humor and unrestrained terror. Everything Navarrette does could have so easily been cringy or flown off the rails, causing the whole premise to collapse under the weight of its lofty ambitions. Instead, we're on the edge of our seats dreading how far Nikki will go, or more alarmingly, what it'll take to stop her. 

For all the justifiable praise Navarrette's gotten, an underappreciated Mike Johnston doesn't have it easy either, constantly reacting to the insanity and abuse his apathetic Bear unleashes, going along with this until Nikki's behavior forces him to take action. But he's weak, outing himself as a coward more interested in controlling Nikki's thoughts and feelings while she's relegated to helpless observer, trapped inside the mind and body of someone else. Of the three friends, only one seems to genuinely care about her well being, even if that concern comes at a deadly price.              

More than a few scenes stand out, such as Nikki menacingly lurking in the shadows of the bedroom, her uproarious and instantly memeable reaction to a seemingly harmless house party game or Bear's desperate phone call to "alter" rather than reverse a curse he'd gladly support if all this other stuff didn't accompany it. There's also an unforgettable jump scare in the third act we do see coming, but still manages to shock since Barker is so skillful at distracting us, expertly milking the scene until he's ready to pull trigger. And when he does, we're devastated by just how long and uncomfortably brutal it is. 

Consider that the final warning shot, leading to a cruelly karmic final act where Bear finally runs out of options and all hell breaks loose. Through all this, Navarrette consistently conveys fleeting glimpses of the old Nikki struggling to slip out and escape, waging a battle within herself she can't possibly win. The cruel victim of circumstance and hardly a survivor, she's now looking at a very bleak future once authorities arrive at the gruesome crime scene. And in wisely opting not to show any of it, Barker lets a single blood curdling scream tell us everything we need to know.                                  

How to Make a Killing

Director: John Patton Ford
Starring: Glen Powell, Margaret Qualley, Jessica Henwick, Bill Camp, Zach Woods, Topher Grace, Ed Harris, Bianca Amato, Raff Law, Alexander Hanson, Adrian Lukis, James Frecheville, Nell Williams, Grady Wilson, Maggie Toomey
Running Time: 105 min.
Rating: R

★★★ ½ (out of ★★★★)     

Extending his streak of compelling, outside the box choices, a still very busy Glen Powell delivers another charismatic turn in writer/director John Patten Ford's unjustly overlooked How To Make a Killing. Seemingly popping up everywhere, Powell's been labeled as overexposed, this despite challenging himself in a variety of different roles where he's fared better than most. And having now recently proven his worth as an action and rom-com lead, he tackles a wicked, biting satire best described as Dexter meets American Psycho. It's also a real hoot, subverting expectations at nearly every turn.

As the narrative unpeels its numerous layers, it's easy to envision audiences complaining about an abundance of plot holes. But the script's tighter than you'd think, with Ford effectively covering his tracks by keeping the focus squarely on the antagonist's complicated and constantly evolving motivations. Skillfully mixing dark humor with social commentary, it aims higher than being the latest Hollywood outing obsessed with eating the rich, as there's actually a lot more happening beyond it. 

On death row for murder, Becket Redfellow (Powell) awaits his final meal while telling a priest (Adrian Lukis) the story of how he wound up in prison. It begins decades earlier when his mom Mary (Nell Williams) was disowned by her father and wealthy Redfellow patriarch Whitelaw (Ed Harris) after her unplanned teen pregnancy. With Mary trying to make ends meet as a single mother to young Becket, the boy's crush on wealthy friend Julia Steinway falls by the wayside after his mom's shocking death sends him through a series of foster homes.

Years later, Mary's final wish for Becket to "fight for the life he deserves" still echos in his mind as an adult selling luxury suits in New York City. But after uncovering a legal loophole that entitles the last living Redfellow heir to a $28 billion inheritance, he gets an idea. Just as a recently married Julia (Margaret Qualley) reenters his life, he formulates a plan to kill the remaining members and collect the money. Considering the suspicions those consecutive deaths would raise, this proves challenging, at least until he's welcomed into the family by his generous Uncle Warren (Bill Camp). Though Becket starts to obtain the acceptance he's longed searched for, the murder and subsequent guilt continues, threatening to unravel this new life he's built for himself.  

By bookending events with Becket's imminent execution, the film not only creates a sense of urgency, but enables Powell to establish this confident and relaxed character who strangely appears resigned to his own fate. And while the story he spins is far out there, we're left with the impression he isn't lying or fudging facts, allowing us to see how this cocky but superficially likable guy ends up on death row. It may be easy to assume he gets sloppy and his luck runs out, but what actually happens is a lot more complicated.    

The intriguing pre-credit flashback prologue crucially sets the stage for all that follows, giving resonance to the cruel ultimatum Becket's mom receives at the hands of her cold, dismissive father. And whatever meaning she intended with her last words give him the green light for revenge, providing in his mind a reason to take what he's owed.    

That whole section is enhanced by the brief but impactful performances of child actors Grady Wilson and Maggie Toomey, who play the respective younger versions of Becket and Julia. Not only do they physically resemble their older counterparts, but certain quirks and details of their personalities are later replicated by Powell and Qualley. For a change, it's actually not a stretch to believe both pairs of actors are portraying the same people, with only time and age separating them.

Once Becket commits to clipping the leaves off his family tree to become sole heir, hilarity ensues when he clumsily realizes he's good at this whole murder thing. Dimwitted, arrogant Stock broker Taylor (Raff Law) and pretentious artist Noah (Zach Woods) are his initial targets, but these hapless younger cousins are merely in Becket's way, standing between him and a huge payout. The plot then further thickens once he falls hard for Noah's girlfriend Ruth (Jessica Henwick), who hasn't a clue she's involved with a serial killer. 

To Ford's credit, he preemptively addresses issues with the premise by having the FBI trail Becket early, even if they're incredibly dense and struggle to find a shred of evidence linking him to unexplained deaths of multiple family members. But at least the script has them make enough of that connection for us to accept he can't outmaneuver authorities forever, always remaining a misstep away from being caught. 

Becket's bond with his uncle Warren might be the most genuine relationship he has, if only because he's the sole Redfellow sincerely apologetic about what happened to him and his mom. And in giving this long lost nephew a job and opportunity, he proves it, earning Becket's loyalty and presumably ending his killing spree, at least until he's tempted to finish off other slimy cousins like crooked pastor Steven J. Redfellow (hilariously played by Topher Grace).

When Becket keeps the murder train rolling long after he's accumulated enough money and status to stop, Powell's performance helps explain why. If maybe there's a sick, addictive rush that comes in getting away with it, everything still comes back to the quest to avenge his mother and fulfill her dying wish, however twisted that logic becomes.  

Some may think Powell should have gone darker, but he gets it just right by playing him more reluctantly, putting viewers in the awkward spot of examining his justification, perhaps even while condemning the selected methods. Amid a plethora of less redeemable characters, he's at least given somewhat of a conscience as the actor strong arms us into considering whether Becket's really some sort of anti-hero. 

Margaret Qualley electrifies as Julia, popping in and out to prey on her childhood bond with Becket. Every mannerism and line delivery help define the eccentricities of a quirky, unpredictable character you can't take your eyes off. And neither can Becket, whether he wants to or not. Inevitably, he's torn between Julia and loyal, pure hearted girlfriend Ruth, who Henwick effectively plays as nearly her polar opposite. In many ways she represents Becket's best life, if only he can let go of his obsession with the inheritance. Instead, the lies and games continue to pile up. 

All this leads to the heavily awaited showdown with grandfather Whitelaw, who's chillingly played by a quietly intense Harris. And while Becket's encounter with the Final Boss who kicked his mom to the curb doesn't disappoint, there's also that nagging issue of how he ends up on death row. It's not for the reason you'd think, resulting in a devilishly ironic third act twist that carries strains of a gender reversed Gone Girl. 

Loosely based on the 1949 British film Kind Hearts and Coronets, this is Ford's follow-up to his indie sleeper hit, Emily The Criminal. But save for a law breaking main character, it's a total 180, with the director using this bigger platform and budget to make a far different film featuring an exceptionally loaded cast of talent. Compelling from start to finish, it's just a lot of fun, as wild developments lead the story exactly where it needs to go, climaxing with a final act that solidifies this as a strange trip worth taking.

Hokum

Director: Damian McCarthy
Starring: Adam Scott, Peter Coonan, David Wilmot, Florence Ordesh, Michael Patric, Will O'Connell, Brendan Conroy, Austin Amelio, Mallory Adams, Sioux Carroll, Ezra Carlisle
Running Time: 107 min.
Rating: R

★★★ ½ (out of ★★★★)     

It's rare when watching a horror film to have almost no idea where the story's going or how it'll get there. In writer/director Damian McCarthy's moody, atmospheric Hokum, this happens so often you have no choice but to give in while it explores unexpected corners of supernatural trauma. Classifying this as purely genre almost sells it short, if not for the fact it's genuinely scary, with spine tingling moments of suspense that confirm we're in highly capable hands. 

Equal parts folk horror and whodunnit, it's a haunted house throwback that could have easily aired on late night TV in the 70's or 80's, stopping viewers dead in their tracks and keeping them up for weeks. After a perplexing start, this seemingly low-key character study reveals its true ambitions when a creepy, unsettling feeling slowly builds, culminating in a chaotic and claustrophobic ordeal for an unlikably doomed protagonist. 

On the brink of completing his bleak "Conquistador" trilogy of novels, American author Ohm Bauman (Adam Scott) makes a trip to Ireland to spread his parents' ashes, staying at The Bilberry Woods Hotel where they spent their honeymoon. While there, he meets the hotel's staff, consisting of owner Cob (Brendan Conroy), his son-in-law and front desk clerk Mal (Peter Coonan), bartender Fiona (Florence Ordesh), gruff groundskeeper Fergal (Michael Patric) and bellhop Alby (Will O'Connell). He also encounters Jerry (David Wilmot), an eccentric local living out of his van who drinks goat milk laced with magic mushrooms. 

While the depressed, alcoholic Ohm cruelly belittles bellboy Alby's writing aspirations, he forms a brief bond with barkeep Fiona just before she goes missing following the hotel's Halloween party. And despite earlier dismissing her claims that the locked, long abandoned Honeymoon Suite is haunted, Ohm knows something's off, postponing his trip home to investigate as the staff closes up for the season. He also has demons to exorcise, specifically related to his mother's tragic accident and the rift it caused with his father. But as Ohm inches closer to the truth about Fiona, what lies in that mysteriously haunted suite forces him to confront the ghosts of his past.

Ohm's novel about the conquistador and young boy that bookend the film not only gives us valuable insight into the writer he is (a Stephen King type), but the bleakness that defines this work and life. Looking for a way out of the unusually cruel dilemma he's placed his characters in, he's drawn to the idea of visiting the hotel his late parents honeymooned at decades ago, perhaps even searching for a certain degree of closure, if not some relief from the emotional baggage he's carrying. 

Once it's revealed what happened with Ohm's parents as a child and the role he played in it, we realize he isn't just a rude, belligerent jerk to this hotel staff because he's a cranky minor celebrity wanting to be left alone. There's an element of that, but his wounds cut much deeper, with McCarthy earning credit for writing a protagonist who at least in the early going fails to display any redeeming qualities.  

Though the film contains quieter moments of subtle humor, some may still be surprised it's carried by an actor still better known for comedic roles, despite his undervalued dramatic range when playing smarmy, sarcastic know-it-alls like this. And Ohm's easily the most complex of these Scott's ever stepped into, resulting in his best big screen outing yet, altering any preconceptions to provide a grounded presence in the midst of pure insanity 

Despite aiming to make his stay at Bilberry Woods as quick and painless as possible, after a few drinks Ohm opens up to quick witted bartender Fiona, who doesn't suffer fools, reminding him of his late mom. What he can't subscribe to is her theory about the abandoned suite, dismissing any idea it's haunted as "hokum." He'll soon find out whether that's actually true.   

A secretive Mal and Fergal both forcefully wave off notions Fiona's somehow trapped in that locked suite while suspicions turn to crazy local Jerry, whose potentially violent past attracts interest from authorities. But Ohm doesn't buy it, forming an alliance with the old man that's one of the film's more rewarding developments, in large part due to David Wilmot's kooky, disarming banter with a deadpan Scott. But all roads lead to the infamous Honeymoon Suite, where getting inside proves easier than getting out. 

How Ohm ends up in the deadly suite is cleverly intricate in itself, though nothing compared to the terror that awaits, resulting in a karmic comeuppance he thinks he deserves. Presumably operating within the parameters of a modest budget, Til Frolich's set design is a sight to behold, as its maze-like construction, mechanical contraptions and darkened corridors visually heighten the impending doom. 

Whether evil lurks in the shadows or even directly in Ohm's face, there are genuinely frightening jump scares only bolstered by Colm Hogan's suffocating cinematography. We also get the menacing appearance of a children's TV host named Jack The Jackass, who supplies enough nightmare fuel in thirty seconds to make Pennywise look like Tinkerbell. Using a key and tape recorder as his entry point, McCarthy advances a carefully constructed plot that brings Ohm closer to solving the mystery and confronting the mistake he's spent his life trying to punish himself for. 

When the time comes to provide a reasonable resolution, McCarthy doesn't drop the ball, which is no easy task considering the nature of this material. And if watching a writer struggle within the supernatural confines of a remote inn conjures up thoughts of The Shining, you wouldn't be far off since so much of the film rests on similar feelings of isolation. But by exploiting the idea of a traveler in unfamiliar surroundings facing his worst fears, Hokum manages to stand out in what's become an increasingly crowded field.   

The Running Man (2025)

Director: Edgar Wright
Starring: Glen Powell, Josh Brolin, Colman Domingo, Lee Pace, Michael Cera, Emilia Jones, William H. Macy, Daniel Ezra, Jayme Lawson, Alyssa and Sienna Benn, Katy O' Brian, Karl Glusman, Martin Herlihy, Sean Hayes, David Zayas, Angelo Gray, Oluniké Adeliyi
Running Time: 133 min.
Rating: R

★★★ ½ (out of ★★★★)     

Of the many Stephen King adaptations that hit screens in 2025, a new take on The Running Man always seemed the most logical on paper. That's mainly due to so much happening in the world since the author first published his 1982 novel about a dystopian reality show that sees its protagonist competing in a nationally televised battle for his life. But when the Arnold Schwarzenegger original hit theaters a few years later, it arrived as a cheesy guilty pleasure very much of its era, yet ripe for a potential revisiting down the road. 

Now, with the confluence of reality TV, the internet, smart phones, digital surveillance, artificial intelligence and socio-political conflicts, key aspects of King's eerily prophetic tale have come to pass, creating a wealth of new ideas from which co-writer/director Edgar Wright can draw. And does he ever, which only makes the chilly reception this received from critics and audiences even more perplexing. Unfolding at a breakneck pace, it's edited and constructed well enough to earn a lengthy run time, with much of its success attributable to Wright's world building, a smart script, its great cast and a handful of mind blowing action set pieces. 

In a near future, the United States is governed by an authoritarian media entity called the Network, which ensures the country's population lives in poverty with little access to affordable healthcare. Rearing the nation's viewers on a trashy diet of reality TV and violent game shows, ordinary citizens are given a chance to beat the odds in rigged televised competitions that offer substantial monetary rewards. The most popular is The Running Man, where three "runners" have a shot at winning $1 billion if they survive 30 days without being killed by the Network's five "hunters." But for recently unemployed blue collar worker Ben Richards (Glen Powell), it could be his only chance at affording medicine for he and wife Sheila's (Jayme Lawson) sick two-year-old daughter, Cathy (Alyssa and Sienna Benn).  

Despite Sheila's pleas, Ben auditions for the show, bringing him face-to-face with producer Dan Killian (Josh Brolin), who senses he might have a huge ratings draw on his hands. Ben signs on the dotted line, but when the hunt begins, he quickly realizes fans are being duped by Killian and bombastic show host Bobby Thompson (Colman Domingo) into viewing him as a cold, calculated criminal. But while Ben captivates the audience and outsmarts mysteriously masked lead hunter Evan McCone (Lee Pace), Killian orchestrates the ultimate finale, as the show's latest breakout star fights for his survival. 

Even before the film's title card appears, we see a desperate, quick tempered Ben pleading for his old job back, having risked standing up for co-workers in a society where selfless actions aren't just frowned upon, but punished. Now with a sick child and his wife pulling double duty waitressing at a shady establishment, desperation starts sinking in. It's also our first glimpse of this corporate media dictatorship that strikes just the right balance of hewing close enough to certain aspects of contemporary culture while also having a semi-futuristic feel firmly rooted in sci-fi.  

Wright and co-writer Michael Bacall are threading a thin needle here, but the execution is backed up by Andrew Whitehurst's VFX and some really impressive set design from Marcus Rowland that help move this far past the TV-centric plot of its 1987 cinematic predecessor. And though a certain cheese factor remains, it's considerably less, passing as an actual game show you'd watch, albeit one that serves the story's many thematic goals. 

This battle-to-the-death manhunt presided over by its sleazy, carnival barker of a host manipulates viewers into accepting whatever constantly changing "rules" Killian sees fit. But it also accomplishes a larger, more sinister goal in keeping the lower class subservient to the Network, who dangle the possibility of hope over helpless contestants who don't stand a chance at winning. They're aware how stacked the deck is, but don't have a say, knowing their only shot at escaping poverty is surviving to the end. Cunning, athletic and angry enough for that to seem attainable, Ben's in a different league than fellow contestants Jenni (Katy O' Brian) and Tim (Martin Herlihy), creating an intriguing dynamic with Killian, who sees dollar signs for at least as long as he can control him.

The show's presentation and format is concisely explained without slowing the momentum, but it's what happens once Ben leaves the studio that makes for such a thrilling ride. If the '87 film failed at opening up King's story, this better explores Ben (given some flimsy disguises by William H. Macy's store owner Molie) contending with a bloodthirsty public eager to give him up for a reward. As the hunters close in, the film cleverly incorporates social media and drone cameras, making it clear even the highly skilled Ben needs more help. This is evident when mandatory video testimonials he mails in to air on the program are edited and manipulated by Killian to push the Network's agenda and turn viewers against him.  

There's a relentless, brilliantly staged hotel action sequence that sees Ben attempting to escape the hunters' clutches that's somehow topped by a latter one that plays like a deranged and dangerous Home Alone reenactment. All of it eventually leads to a plane ride from hell that finds Ben in an explosive final showdown that'll determine his ultimate fate. Along the way we get some lively supporting turns from Daniel Ezra as a Running Man-obsessed streamer aiding Ben in his escape and a wildly entertaining Michael Cera, whose rebellious survivalist Elton will do anything to exact revenge on the Network that killed his father. 

Cera's brief, but incredibly memorable and eccentric performance strikes just the right tone while Emilia Jones appears late in the third act as Amelia, a highfalutin woman taken hostage by Ben. Yes, her character's a plot device, but you'd never know that considering all she brings to a role that serves an such an important function in Ben's quest to open the public's eyes to government crimes and corruption. 

Though Pace strikes an evil, imposing presence as masked vigilante McCone, it's Brolin's Svengali-like Killian who calls the shots, filtering instructions through Colman Domingo's flamboyant emcee. The latter puts his own unique spin on Richard Dawson's '87 outing while the ideally cast Brolin personifies this smarmy, manipulative mastermind with more than a few twists in store. He may respect Ben's will to win, but primarily sees him as a tool for further strengthen the Network's grip over society. 

Ben becomes a symbol, and whether he survives the ordeal or not, his impact could prove longer lasting by showing citizens their potential power to invoke change. Powell provides a worthy mix of anger, desperation, physical prowess and morality to the rebellious Ben, demonstrating again why he received all those early Tom Cruise comparisons. While he's not there yet, and his best work remains 2024's overlooked Hit Man, this project can't help but feel like another step forward in further showcasing that versatility.        

Aside from a pat, overexplanatory final few minutes that tells rather than shows, The Running Man flirts with perfection and may even be superior to King's similarly themed The Long Walk adaptation from the same year. Easily putting to shame the '87 version, it'll rattle Scott Pilgrim fans to hear it's a strong contender for Wright's best film, or at least his most focused and accessible. Free from any polarizing quirks, this looks and feels like a big deal, rarely letting up as it makes the most of its inspired premise. And by using time and technology to expand on the original's ideas, it enhances the potency of a message that's only grown in the decades since. 

Dead Man's Wire

Director: Gus Van Sant
Starring: Bill Skarsgård, Dacre Montgomery, Cary Elwes, Myha'la, Colman Domingo, Al Pacino, John Robinson, Kelly Lynch, Todd Gable
Running Time: 106 min.
Rating: R

★★★ (out of ★★★★)   

During Gus Van Sant's biographical crime thriller Dead Man's Wire, a voiceover declares that holding onto anger is the equivalent of drinking poison and expecting the other person to die. But by film's end, we're left wondering whether that's true or the real life antagonist actually did get the satisfaction he sought. Eerily prescient, it focuses on this man with a grudge and the extreme measures he takes against those he thinks wronged him. And though his intended victim isn't around for the consequences, he finds a suitable replacement, leading to an unusual standoff that sends the cops and media into a frenzy. 

Initially, the police want this abductor to feel as if he's receiving the attention he so desperately craves, hoping he'll drop his guard long enough for them to go in for the kill. But what happens when the public chooses to view him as a sympathetic figure screwed over by a soulless corporation? With a compelling tale like his, it's no surprise many can relate, enabling them to somehow see past whatever violence he's capable of, as scary as that seems.    

On Tuesday, February 8th, 1977 in Indianapolis, a high strung, mustachioed man named Tony Kiritsis (Bill Skarsgård) arrives at the Meridian Mortage Company building for an appointment with CEO M.L. Hall (Al Pacino). Entering with a sling on his arm and a long box, an agitated Tony makes a scene when informed M.L. is vacationing in Florida. His son and company President Richard (Dacre Montgomery) intervenes, agreeing to meet with him. But once inside the office, Tony removes a shotgun from the box, wiring it to Richard's neck and rigging it to fire should he attempt to escape. 

Believing the Halls cheated him out of money on a land development deal, Tony calls this abduction into the police himself, hoping to expose the Halls. With a wire wrapped around his neck, Richard's taken out of the building and onto the street by Tony, attracting the attention of Detective Michael Grable (Cary Elwes) and TV news reporter Linda Page (Myha'la), who's looking to raise her profile with a big story. As the FBI closes in and Richard's life hangs in the balance, Tony uses local radio DJ Fred Temple (Colman Domingo) to send his message to the masses. But with time running out, he wants money and an apology, or the shotgun goes off.

Aside from Skarsgård's genuinely unsettling performance and a remarkable sense of time and place, the film's greatest asset is how quickly it gets down to business, letting the smaller details pour out as this situation escalates. From the start, there's something off enough about this guy that the pressure's on to give him what he wants, or at least make him think he's getting it. It's also intriguing to watch these opening office scenes with the knowledge that Tony would have been immediately tackled at the front door if this occurred today. But it's the 70's, establishing him as just another irritated client on a Tuesday. 

Viewed through a pre-9/11 lens with no security cams, it's easier to see how Tony pulls this off, his unusual shotgun contraption throwing off authorities as they proceed with heightened caution. All of this gives Tony time to lay out his terms and milk the public's attention while a terrified Richard suffers through the ordeal, his life potentially ending with one sudden move in the wrong direction. 

Montgomery's performance conveys a thinly layered sense of guilt that Richard and his father really screwed this man out of his cash since that's what this company does. Pacino's big scene as M.L. confirms just how little respect he has for his own son, who's essentially a subservient hatchet man. Even with Richard's life on the line, the elder Hall proves too stubborn and entitled to give an inch, frustrating both Tony and the FBI. Pacino's subtle here, never hamming it up as his character comes across completely unaffected and incapable of relinquishing control. 

While Van Sant gets a little heavy handed as he flashes back and forth between TV broadcast recreations and the actual action, tension remains at a fever pitch throughout, delivered in a style intentionally reminiscent of Pacino's Serpico and Dog Day Afternoon. A menacing, unhinged Skarsgård exudes false bravado as the walls close in on Tony, who still plans to walk away scot-free. Domingo also impresses with a nuanced, charismatic turn as the radio DJ caught in the middle of these volatile negotiations. As the only person Tony trusts, if not flat-out idolizes, you'd think using him as a liaison would give the FBI an advantage. And for a while, it does.  

Logic dictates Tony can't get away with this, but his belief he will is what makes him dangerous. The closing title cards revealing the fates of those involved are legitimately surprising, as is the real news footage that appears over the credits. But by depicting the genesis of similar events we'll see play out over the following decades, Dead Man's Wire shows just how easily criminals become celebrities. And while they continue to bask in that adulation and exposure, it still still says as much about us as them.                  

Project Hail Mary

Directors: Phil Lord and Christopher Miller
Starring: Ryan Gosling, Sandra Hüller, James Ortiz, Lionel Boyce, Ken Leung, Milana Vayntrub, Priya Kansara, Malachi Kirby, Liz Kingsman
Running Time: 156 min.
Rating: PG-13

★★★ (out of ★★★★)  

Sometimes the most gripping stories involve a character waking up in an unfamiliar location with no idea of their identity or how they got there. Phil Lord and Chris Miller's exhilarating sci-fi space epic Project Hail Mary is one of those. A stirring adventure all audiences can embrace, it wouldn't have felt out of place among Spielberg's lineup of 80's hits, invoking a similar sense of wonder, excitement and awe. For a while though, we're kind of left wondering where it's headed, at least until it gets there and the pieces all eventually fall into place. 

Cleverly mixing science with fantasy and comedy, it approaches The Martian author Andy Weir's 2021 novel with a respect for viewers' patience that stands out among Hollywood's dumbing down of popular bestsellers. And regardless of how much or little the science holds up under closer scrutiny, it's accessible enough to believe in, especially during quietly introspective stretches dealing with the challenges facing this lone survivor of this secretive space mission. But what he hasn't figured out yet is that his toughest battle still lies ahead.     

It's 2032 and middle school science teacher and former molecular biologist Ryland Grace (Gosling) has awakened from an induced coma onboard a spacecraft light years from home. Suffering from amnesia, Grace eventually pieces together that he's a member of a three person crew, two of whom are dead, leaving him stranded alone on the ship. Flashbacks will reveal his recruitment by international task force head Eva Stratt (Sandra Hüller) to join her classified project studying a substance called "astrophage." Having already proliferating the Sun's surface, it's confirmed to cause a catastrophic cooling on Earth within thirty years.  

Dubbed "Project Hail Mary" for its long shot odds, Stratt's plan to combat this centers around a manned space flight to Tau Ceti, the closest star unaffected by the outbreak. Unfortunately, with only enough fuel for a one-way trip, Grace now unwillingly finds himself on a suicide mision. After discovering another ship containing a five legged alien rock he nicknames Rocky (voiced by James Ortiz), they communicate and become friends, working together to find a solution. But as plans go awry and humanity's future hangs in the balance, Grace is faced with a devastating choice. 

Glimpses into Grace's pre-flight life bring valuable context his current situation on the spacecraft since we haven't a clue how he wound up on it. Whether these flashbacks are intended for viewers or represent his memories gradually returning, a scraggly, confused Grace attempts to make sense of his surroundings. And in showing the energetic, enthusiastic science teacher who rides his bike to school out of necessity rather than choice, we see how the ex-biologist's world is turned upside down after he's approached by Stratt for help. As if he has any say in the matter. Grace is aided by Stratt's initially intimidating security specialist Carl (Lionel Boyce) as he attempts to breed astrophage fuel for the mission he'll be forced to partake in once complications arise. 

With Grace alone on this ship trying to make sense of his perilous situation, we're blown away by Daniel Pemberton's cosmically eclectic, synth heavy score and cinematographer Greig Fraser's astounding visuals, both of which harmoniously co-exist in a film unafraid of wearing many influences on its sleeve. Once Rocky arrives, Drew Goddard's script really soars, with Grace realizing this alien life form (brought to life by mostly practical effects) is in a dire situation not so different from his own, having lost everything and everyone. 

That the impending threat to Earth is gradual rather than immediate complicates matters, making it harder to blame an ordinary citizen for refusing to sacrifice themselves for a mass casualty event thirty years down the line. Stratt may have picked Grace for his expertise, but also on a judgmental assumption he has nothing to lose. The ethical implications of that are intriguing, especially considering how he ends up on this spacecraft and comes to terms with how important his role truly is. Hüller's turn is complex enough that Stratt could be read as a cold, heartless bureaucrat or rebellious rogue who leads Grace to discover his life's purpose, as duplicitous as her methods are. Or maybe she's a bit of both, as her memorable karaoke scene hints. 

Despite some long lulls in the action, the film reaches its apex when Grace and Rocky join forces and form their bond, gradually morphing this into a moving tale of companionship and sacrifice that doubles as a great buddy comedy. It also successfully provokes tears in viewers over a rock that's so much more, with Rocky drawing justifiable comparisons to Cast Away's Wilson or even 2001: A Space Odyssey's HAL 9000. Inevitably, Grace will have to choose between getting home or saving a friend in danger.   

Gosling's charismatic performance carries every minute, playing a different kind of reluctant hero who's brutally honest about his own faults, fears and deficiencies. How his character possesses so little interest in being a hero might qualify him as the best kind, whether he sees it or not. But after fully embracing what he's called on to do, it's a whole new ball game, culminating in a propulsive final hour more enthralling and immersive than we're used to seeing in most mainstream blockbusters.                    

The Drama

Director: Kristoffer Borgli
Starring: Zendaya, Robert Pattinson, Alana Haim, Mamoudou Athie, Hailey Benton Gates, Sydney Lemmon, Hannah Gross, Anna Baryshnikov, Michael Abbott Jr., Zoe Winters, Damon Gupton, Jeremy Levick
Running Time: 105 min.
Rating: R

**This Review Contains Major Plot Spoilers**

★★★★ (out of ★★★★)

Writer/director Kristoffer Borgli's The Drama can be divided into two sections: Pre-secret and post-secret. And while the former encompasses only twenty minutes of the film's running length, it's the ideal entry point. In accurately capturing life's dark absurdities and the promising trajectory of a relationship between two seemingly likable characters, we're quickly won over. But the flashbacks charting this happy couple's tumultuous trip to the altar are even more valuable, laying the groundwork for a shocking twist that might not otherwise land as hard, especially since we haven't a clue just how bad things are about to get. 

The film shows why secrets are kept and how little we consider them until the cat's completely out of the bag. Some are inconsequential and others potentially earth shattering, forcing its keeper to run for cover in hopes they can somehow avoid the fallout. The latter kind drives this story, which explores how a single piece of information can change your perception of someone you thought you knew. And it doesn't matter when the event occurred or whether it has anything to do with who that person is now. Sometimes just knowing is damaging enough.  

When Charlie Thompson (Robert Pattinson) enters a coffee shop in Boston, he immediately notices Emma Harwood (Zendaya) sitting by the window and tentatively approaches, pretending to have already read the book she is. After Emma apparently ignores him, he'll return to apologize, only to learn she's deaf in one ear and hadn't heard anything he said. This mixup leads to their first date and eventually many more as we flash forward two years to discover they're set to marry within a week. 

Problems begin when they spot their wedding DJ smoking crack on the street, prompting a dinner discussion with married friends Mike (Mamoudou Athie) and Rachel (Alana Haim) over whether they should fire her. This leads to a game where all four reveal the worst thing they've ever done, concluding with a drunk Emma, whose disturbing confession infuriates Rachel and sends Charlie into a tailspin. Now suddenly reevaluating his feelings for Emma, he wants answers. But in attempting to reconcile the woman he fell for with a younger version capable of something like this, he spirals out of control, jeopardizing their impending nuptials.

Say what you will about Emma's secret, but it definitely exceeds expectations in terms of being awful enough to give anyone pause. Why she chooses to share it could be attributed to the alcohol, a moment of weakness or perhaps the false sense security that those she trusts wouldn't judge her. But this is on a whole different level. At fifteen, she planned to commit a school shooting, going so far as to practice in the woods with her father's gun (resulting in her hearing loss) and bring the weapon to school, eventually choosing not to go through with it. 

Due to a personal connection with gun violence, an outraged Rachel has the most visceral reaction to Emma's bombshell while Charlie's affected deepest, stammering and stumbling to come up with excuses for her in his own head. As if that isn't enough, Borgli goes even darker, actually showing flashbacks of an angry, disillusioned teen Emma.

By painting this powerful picture of a lonely, bullied girl who shares little in common with the adult she'll later become, we're reminded how far removed everyone eventually becomes from their high school selves. Of course, that does nothing to blunt the impact of watching an unrecognizable Emma (Jordyn Curet) fall into an online rabbit hole of gun violence and Columbine-inspired videos. 

As Charlie imagines firearms everywhere, he now looks and feels unsafe in his future wife's presence as this depressingly painful part of Emma's past returns to haunt her, prompting premonitions of wedding guests being gunned down on what's supposed to be the happiest day of their lives. But maybe the most unsettling of Borgli's hallucinatory sequences finds Charlie suddenly walking side by side with Emma's younger, rifle toting counterpart. 

After unsuccessfully attempting to laugh his fiancée's confession off, a neurotic Charlie probes for an explanation, which Emma begrudgingly provides, despite knowing none will suffice. Even worse, the reason she didn't go through with the shooting is purely circumstantial rather than the result of a sudden epiphany or change of heart. That comes later when her loneliness subsides and she takes a different path, accidentally stumbling upon the sense of purpose she didn't know she was looking for the whole time. 

If a changed Emma grew up and realized the horrific implications of what she could have done, that's a detail everyone's chosen to ignore, including Charlie, who's unnerved enough to conjure up a more comfortable explanation to ease his panic. But it doesn't work since he's more concerned with how Emma's secret reflects on him, especially with friends in his ear influencing his actions.  

A somewhat spineless Mike tries to appease all parties and stay out of wife Rachel's crosshairs when she vindictively hangs the information over Emma's head at her lowest point. And Alana Haim is so effectively detestable in the role, letting Rachel's hypocrisy shine through as she remains oblivious to the fact she not only initiated this game, but revealed a secret of her own that's arguably worse. 

"What will this say about me?" may as well be written all over Charlie's face as he desperately flails at work and home, reaching new lows with embarrassingly selfish and self destructive actions. But amidst all the lies he tells himself to move past this, he does hit on the profound truth that many people walk around with terribly evil thoughts they never act on. We're just spoiled by the benefit of not knowing what those are. 

Believing this, you'd almost think Emma's biggest mistake was sharing instead of taking a pass or just making something up during the game. Charlie understandably assumes her only excuse for not committing the unthinkable comes down to someone beating her to it, but that doesn't account for all the times before and since when she could have done this. And if we know anything about these shooters, it's that they'll rarely keep postponing the inevitable. They're the only person who can truly stop themselves, as Emma did by finding a community before it was too late. 

Of course, this isn't to say Emma's still not nursing some serious emotional scars, most of which are reopened with her confession. We see this with the panic attacks and how long it took her to openly acknowledge her feelings for Charlie. And it's telling that when both attempt to handle the DJ situation they swap their previously held positions, almost putting on a show to prove the other wrong.  

Pattinson has to walk a tightrope throughout, authentically registering the reactions of someone who sees a different person in front of him than the one he planned to marry. In actuality, little has changed except this new knowledge suggesting that everything should. It's clear Charlie can't handle any of it, but Pattinson brings dimensions to him that imply he has still as much growing up left to do as Emma. 

Zendaya's casting is a masterstroke almost on par with the work itself, requiring viewers to adjust their expectations of an actress whose character is on defense the entire time. At simultaneous moments we doubt Emma's sincerity, empathize with her plight and cringe at our own conflicted feelings toward a would be school shooter. It was a risk to play the role as brutally honest as she does, but one that pays off with a brilliantly tangled turn that stays with you long after the film concludes.

Whether it's Rachel's drunkenly cruel maid of honor toast, Charlie's embarrassing speech or the violent fall out from his humiliating office incident with Misha (Hailey Benton Gates), the wedding's a tense, entertainingly uncomfortable, cringe worthy disaster. And though the pair appear to be finished before their married life has begun, the final minutes suggest they're still in some strange, messed up way perfect for each other. It ends with a clever call back to when their endearingly goofy coffee shop meet cute offered no hint of the chaos to come. Now they've come full circle, ready for a reset. At this point, there's nothing to lose in giving it another shot, if you'll excuse the expression. 

With this, Borgli swings for the fences, delivering an effort just as audacious as his weirdly ambitious Dream Scenario, only far deeper. And in constructing an ethical crisis that'll have viewers obsessively debating what they'd do under similar circumstances, its wicked, subversive humor rests on two underappreciated actors giving their most complex performances yet. As thought provoking as it is controversial, The Drama may be the ultimate "what if," stretching the limits of forgiveness past its breaking point.