Wonka

Director: Paul King
Starring: Timothée Chalamet, Calah Lane, Keegan-Michael Key, Paterson Joseph, Matt Lucas, Matthew Baynton, Sally Hawkins, Rowan Atkinson, Jim Carter, Natasha Rothwell, Olivia Colman, Hugh Grant, Rich Fulcher, Rakhee Thakrar, Tom Davis
Running Time: 116 min.
Rating: PG

★★★ (out of ★★★★) 

As the latest cinematic take on Roald Dahl's legendary children's book, Wonka surprisingly represents a best case scenario for another go-around with the material. Now far more associated with Gene Wilder's performance in 1971's Willy Wonka & the Chocolate Factory than the novel itself, the actor's iconic turn would always be impossible to top. Johnny Depp took a stab at it, attempting something completely different in Tim Burton's 2005 reimagining, but still found himself in the shadow of an instantly recognizable, universally beloved work that's already ingrained into pop culture. 

The unexpected selection of Timothée Chalamet to play this role did little to quell fears of a bloated, miscast cash grab, causing even more groans and skepticism than you'd anticipate ahead of Paul King's musical fantasy prequel. But the involvement of Paddington's imaginative director at least signaled the chance this could amount to more. And as it turns out, King and co-writer Simon Farnaby deliver, concocting an origin story that does justice to its predecessor's spirit, while still straying from the source in inspired ways.

Upon arriving in Europe, eccentric inventor and magician Willy Wonka (Chalamet) dreams of honoring his late mother (Sally Hawkins) by opening a chocolate shop at The Galéries Gourmet, home to the world's best confectioneries. But after quickly burning through his savings, a homeless Wonka is persuaded by oafish henchman Bleacher (Tom Davis) to stay at Mrs. Scrubitt's (Olivia Colman) boarding house, unwittingly signing a contract full of expensive hidden fees. Trapped in her basement laundry working off his debt, he meets five other "employees," including young orphan Noodle (Calah Lane) with whom he shares his chocolate making secrets. 

Planning his escape, Wonka must contend with rival shop owners Slugworth (Paterson Joseph), Prodnose (Matt Lucas) and Fickelgruber (Matthew Baynton) who bribe the corrupt, chocolate addicted Police Chief (Keegan-Michael Key) into running him out of town. As Wonka and Noodle attempt to expose this conspiracy, he also faces off with a determined Oompa Loompa named Lofty (Hugh Grant) who's been stealing his sweets to settle a past score. With Wonka's chances of achieving his lifelong dream slipping away, he'll need to get creative, enlisting the help of some new friends.

This opens with a show stopping musical number that establishes Wonka's situation in only a few minutes, successfully grabbing those who may know nothing of the character at all. But it doesn't rely on previous films or even the book, instead using both as a jumping off point to explore what the early incarnation of this wacky inventor could have been. This helps set the tone, with King striking a strong balance between story and song, knowing exactly how to present these sequences so they don't feel forced or shoehorned in. 

Infusing young Wonka with a wry, off-putting sense of humor, Chalamet gives us a sense of how unlucky beginnings inform the aspiring entrepreneur's instincts. Determined, but not completely sure of himself, he's in need of some aid and motivation while stumbling into enemy territory, sabotaged at every turn by the hilariously crooked chocolate cartel. 

In a story driven as much by over-the-top villains as its protagonist's heroics, Olivia Colman hams it up as the nefarious Mrs. Scrubitt, whose long suffering laundry workers are at least afforded the luxury of a catchy theme song. As her nasty hotel owner gives off vibes of Annie's Miss Hannigan, Paterson Joseph's conniving ringleader Slugworth makes for the most memorable of the three chocolatiers, with Keegan-Michael Key also stealing scenes as the bumbling, overeating lawman. 

Much of what works can be attributed to the pairing of Chalamet with Calah Lane as the orphan Noodle. Lane's just a total natural in the role and the writers are clever enough to give the character a purpose beyond merely serving as Wonka's junior sidekick. You get the impression he needs her more, with their joint efforts culminating in an elaborate, cleverly choreographed last act heist that's heartfelt and funny. It also feels right on brand, as does the casting of Hugh Grant as an Oompa Loompa, which isn't something anyone knew they needed until seeing it. He definitely doesn't disappoint, playing little orange Lofty as condescendingly as you'd hope.

It's really hard to nail a musical, much less one with an established lineage, but this has a distinctive visual flair and solid pacing that lends well to the format, harkening back to the genre's glory days. Better still, Nathan Crowley's production design is top notch and the plot makes sense, making it easy to care for the humorous heroes and dastardly scoundrels populating King's fantastical world.  

While Wonka lacks the darker, creepier undertones of the previous two films, it adds just the right dose of mischievous cynicism, abiding by the franchise's unwritten rule that things should be a little weird, keeping with the story's spirit. But the biggest shock might be Chalamet, who's delightful in a part most wouldn't think he'd have any business in, emanating just the right mix of innocence and lunacy. Knowing it's a fool's errand attempting to channel Wilder, he instead lays a believable foundation for what we know comes next, bolstering an already enjoyable companion piece to the classic film.                   

The Royal Hotel

Director: Kitty Green
Starring: Julia Garner, Jessica Henwick, Toby Wallace, Hugo Weaving, Ursula Yovich, James Frecheville, Daniel Henshall, Baykali Ganambarr
Running Time: 91 min.
Rating: R 

★★½ (out of ★★★★)

Kitty Green's The Royal Hotel doesn't really start until it's about ready to end, resulting in a slow burn that finally boils over before the credits roll. Less a traditional thriller than a series of misogynistic ordeals befalling its two protagonists, what unfolds is intelligently staged and performed. And yet, even with an atmosphere ripe for such a scenario, this impending sense of doom still feels like a big tease. Seemingly seeking inspiration from 1971's Australian cult classic, Wake In Fright, its best scenes do channel a similar dislocation and anxiety at being stranded in unfamiliar territory with menacing locals. But since so little happens, more patience is required. 

Such a methodical buildup could be a deal breaker for those wanting the film to go somewhere it doesn't, anticipating a violent, grueling story of two young women fighting for survival abroad. Green's previous feature, 2019's #MeToo drama The Assistant actually does a better job ratcheting up a series of micro and macro aggressions within its claustrophobic office setting. This lacks the urgency of that effort, but does feature another absorbing performance from Ozark actress Julia Garner, who at least ensures it won't be mistaken for The Best Exotic Marigold Hotel.             

When American backpackers Hanna (Garner) and Liv (Jessica Henwick) travel through Sydney, Australia and run out of money while partying, they agree to take jobs as bartenders at the Royal Hotel pub in a remote outback mining town. Planning to stay until they've earned enough cash to enjoy their vacation, they meet the pub's owner, Billy (Hugo Weaving) and his wife Carol (Ursula Yovich), who works as the chef. Arriving as their predecessors are thrown a wild going away party, Hanna and Liv are exposed to the patrons, nearly all of whom are drunk men who make sexist jokes, hit on them, and are basically offensive in every way. 

While Hanna is disturbed and frightened by the guys' behavior, Liv chalks it up to cultural differences, rationalizing they just need to hang tight for a few more weeks. But even as Hanna forges a bond with local pubgoer Matty (Toby Wallace), it's clear they're not as safe as Liv presumes. Threatening incidents grow in number and intensity, compromising their ability to walk away without facing potentially violent consequences. As easygoing Liv continues to let things roll off her back, Hanna's had enough, knowing they'll have to take a stand before it's too late.

Based on a true story and adapted into the 2016 documentary Hotel Coolgardie, it isn't hard to believe much of what happens in Green and co-writer Oscar Redding's script, especially considering how it exploits the human fear of fending for yourself in an unknown location surrounded by strangers. Add drinking to an already unbalanced dynamic and those tensions only heighten, lending these events a sense of realism, though not necessarily nail-biting excitement. 

The two friends couldn't be any more different, with Hanna constantly on guard, overwhelmed by the sense things could quickly go bad for them. Between strong hints of racism and implied rape, she knows what's happening here, even as Liv's head remains in the clouds. If nothing else, it's intriguing to see Garner in a role that's the antithesis of Ozark's Ruth Langmore, playing a shy, vulnerable target rather than an agent of chaos. She really registers in the quieter scenes where we see the vaguely disguised terror on Hanna's face, each subtle expression correctly predicting how much worse it'll get. 

Henwick's Liv is a shallower written character, as even a blinking neon "Danger" sign outside the hotel wouldn't be enough to convince her to leave. Hugo Weaving is nearly unrecognizable as pub owner Billy, whose drinking unleashes an unpleasantness wife Carol has grown sick of years ago. Maybe the the only trustworthy person the girls encounter, she knows what it's like to be a woman in a town full of intimidating brutes. One of them, Dolly (Daniel Henshall), comes across as the creepiest and most malicious, hovering on the periphery before an unnerving scene confirms Hanna's worst suspicions. 

Toby Wallace also makes a big impact as Matty, who Hanna is drawn to, but keeps at arm's length. The arc is fairly predictable, but Wallace plays it down the middle so skillfully that we grasp her ambivalence in the face of many red flags. Anyone who's seen Netflix's cancelled too soon The Society knows how strong an actor he is, standing out amidst a loaded cast of future stars. He brings that same devious charm to this, despite the project not amounting to nearly as much. 

By the time this reaches the last act, its reasonable length still leaves you spent, with the closing minutes feeling almost too convenient, if not overdue. Even with Garner delivering a turn that strays considerably from her Emmy winning TV role, it still doesn't quite get over the finish line. The Royal Hotel works well enough as a psychological character study, but everything comes down to its payoff, which reveals a promising setup in search of the missing pieces to do it justice.                      

Lisa Frankenstein

Director: Zelda Williams
Starring: Kathryn Newton, Cole Sprouse, Liza Soberano, Henry Eikenberry, Joe Chrest, Carla Gugino, Jenna Davis, Bryce Romero
Running Time: 101 min.
Rating: PG-13

★★★ (out of ★★★★)

Lisa Frankenstein's greatest asset comes in knowing exactly where its going and taking subversive detours to make it more fun than it has a right being. Aside from some minor pacing problems in its second half, Zelda Williams's feature directorial debut keeps the spotlight on whom it belongs, channeling the better aspects of classic 80's teen comedies like Weird Science with aesthetic and stylistic choices that mark her as a filmmaker to watch. Trailers may have indicated this would be a goofy throwback romance between a teen girl and zombie, and while that's not completely untrue, it isn't exactly accurate either. 

Oscar winner Diablo Cody's wickedly clever screenplay mitigates any concerns its premise will deteriorate into a silly farce featuring one sight gag after another. Not only are the jokes unexpectedly sharp, its quirky anti-heroine, Kathyrn Newton cuts loose and goes for the jugular, revealing a different side to the actress we haven't seen in other roles, including Freaky. And in providing her the ideal platform to literally and figuratively slay, it also manages to flesh out a myriad of supporting characters who don't exactly come across as the stereotypes you'd assume.

It's 1989 and sullen teenager Lisa Swallows (Newton) is still grieving the death of her mother at the hands of a masked axe murderer two years earlier. Making matters worse is her father Dale's (Joe Chrest) recent marriage to self-absorbed egomaniac Janet (Carla Gugino), whose popular cheerleader daughter Taffy (Liza Soberano) becomes Lisa's new stepsister. Depressed and withdrawn, Lisa spends most of her free time at the nearby Bachelor's Grove Cemetery speaking to the grave of an unknown Victorian-era man (Cole Sprouse) who died in 1837.

After Lisa visits the young man's grave following an unfortunate party experience with Taffy, a bolt of lightening strikes, resurrecting him. Setting his sights on Lisa, he pays her a surprise visit, with her cleaning the Creature up and hiding him in the closet. Despite being mute, he's the only one who truly understands what she's going through, but their strengthening bond could soon prove to be a match made in hell for everyone else.

The opening 40 minutes are really creative, and for the majority of its running time, it maintains that consistency, transporting us into a world that's very much a pleasure to reside in. If we've been clobbered by self-referential retro horror outings of late, this and last year's 80's set time-bending Totally Killer stand out as notable exceptions, understanding the nuances that make the sub-genre work. And with a wildly inventive, Tim Burton-like animated opening title sequence, eye popping production design and nostalgia infused soundtrack, it's almost immediately obvious Williams just gets it. 

Lisa's the kind of goth melancholy outsider you'd imagine being played by Winona Ryder if this were released in the year it's set. We're given a substantial amount of time with the character, not only exploring her grief, but relationships with her dad, new sister and comically evil stepmother. A crush on classmate Michael (Henry Eikenberry) seems to provide Lisa the only smidgen of hope and confidence she's had since the tragedy. 

Carla Gugino chews up the scenery as Janet, leading viewers to crave her comeuppance while the relentlessly positive Taffy is a little more complicated, actually conveying some degree of sincerity. You could envision a lesser script treating this character worse but Liza Soberano also deserves a lot of credit for helping to flip the "mean girl" trope on its head. This becomes especially important in the film's last act when all the equity she's poured into the role eventually pays off.

Seemingly influenced by Johnny Depp's Edward Scissorhands turn, Sprouse does fine work opposite Newton, delivering sort of this old school silent film performance that rests almost entirely on his herky jerky movements and facial expressions. The two characters form this parasitic union that's simultaneously demented and touching, with Lisa appearing to have finally connected with someone, even if he's not fully among the living. Also thanks to Newton, Lisa remains likably sympathetic as the two embark on their rampage of revenge, her character's considerable sewing skills helping along the way.  

The most surprising element in Lisa Frankenstein just might be how dark it manages to get, and while fans will probably still groan about its 'PG-13' rating, this does find that sweet spot of showing just enough gore and violence to fit the picture's tone. The film's only real offense is Cody's dubious claim it's somehow set in the same "universe" as her recently reappraised 2009 horror comedy Jennifer's Body. But considering just how superior this is to that, it's unlikely anyone would have problems telling them apart. 

Cat Person

Director: Susanna Fogel
Starring: Emilia Jones, Nicholas Braun, Geraldine Viswanathan, Isabella Rossellini, Hope Davis, Fred Melamed, Christopher Shyer, Liza Koshy, Josh Andrés Rivera, Isaac Cole Powell, Michael Gandolfini
Running Time: 120 min.
Rating: R

★★★ (out of ★★★★) 

Based on the 2017 New Yorker short story by Kristen Roupenian, Cat Person revolves around a single idea, but it's an undeniably good one. Carried by a pair of gripping performances, it explores how the thinnest of lines can separate seemingly innocuous and dangerous situations. That's the challenge facing a protagonist who may have bigger worries than whether the man she's dating really owns two cats. Though this detail could represent the difference between a decent, eccentric stranger with noble intentions or a serial killer about to send her home in a body bag. 

Director Susanna Fogel begins her film with a great Margaret Atwood quote: "Men are afraid that women will laugh at them. Women are afraid that men will kill them." But don't be fooled into thinking this is a #MeToo lecture. It reaches a bit further, keeping us guessing until the story's backed against a wall, eventually transforming into a compulsively watchable character driven thriller that achieves slightly more. 

20 year-old college sophomore and part-time movie theater employee Margot (Emilia Jones) attracts the attention of frequent theatergoer Robert (Nicholas Braun), whom she describes to her feminist best friend Taylor (Geraldine Viswanathan) as resembling a character in an Apatow comedy. After a couple of awkward encounters, he gets Margot's number and they start texting until she eventually agrees to go out with him, despite Taylor's warnings and her misgivings about his odd behavior.

Following a disastrous first date and lingering feelings Robert could have creepy or even violent tendencies, Margot still can't break it off, constantly trying to convince herself of the positives. But even while fearing the worst case scenario, nothing quite prepares her for the consequences when this fling implodes and Robert proves increasingly difficult to move past. 

This guy may as well be waving a red flag when he walks into that theater and encounters Margot, with the two engaging in a strained banter that only sort of qualifies as conversation. At first glance, he's so obviously suspicious it almost seems like a flaw in Michelle Ashford's script or even the direction, until you realize that's exactly what the film's going for. Margot isn't so much enamored with him, but the idea of it, immediately tossing logic out the window to tempt fate. 

Fogel employs multiple dream sequences where Margot envisions Robert attacking her, only to pull back the curtain to reveal she's imagining it all. The familiar device becomes annoyingly repetitive until we get a hypothetical therapy session that gives us a rare glimpse into his mind and possible motivations. Reality collides with Margot's expectations when tiny details add up to paint a fuller picture. Young and insecure, she barely tolerates Taylor's sound advice and can't stand her smothering mom (Hope Davis) or vain step-dad (Christopher Shyer). Every decision she makes can be viewed through that prism.  

CODA actress Emilia Jones gives a high wire act of a performance that further clarifies why even that Best Picture winner's harshest detractors thought she was the best thing about it. Her upside is further cemented here in a difficult role that requires someone capable of credibly skirting the line between extreme vulnerability and cynicism. With every decision, Margot hides her romantic idealism beneath sarcastic humor, but remains just aware enough to realize she could end up a true crime statistic. 

As Robert, Succession's Nicholas Braun makes us doubt our own suspicions, investing his character with alarming quirks while leaving enough room for plausible deniability. Since this mostly takes Margot's perspective, so do we, but Braun deserves a lot of credit for planting subtle clues that Robert could be getting a raw deal. Or maybe not. The character's problematic worship of Harrison Ford's cinematic persona and the fact he looks a decade older than he claims doesn't qualify him as a killer, but everything is only a matter of degrees. And the increments are smaller than both assume. 

Geraldine Viswanathan impresses as Margot's cynical, sub-reddit dwelling friend, Taylor, highlighting the dissonance and similarities between living online and in the real world. And Isabella Rossellini has a small role too bizarre to describe other than by saying it involves an ant colony. The film also utilizes texting pretty well on screen, especially in a powerful scene where a series of messages intensify in hostility with each incoming ping. 

The turning point comes in a painfully awkward sex scene where Margot disengages and retreats into a conversation with another version of herself. It's kind of brilliant how Fogel makes this so uncomfortable to watch, as the whole sequence seems never ending, forcing us to watch and feel her humiliation. Stuck between lying to get through it and a fear of saying "no," she simply surrenders, chalking it up as the final straw. 

Managing to write itself out of a hole, the film provides a conclusive finish while leaving enough lingering questions to keep us thinking. In retrospect, it ends the only way it can, coming full circle as the "origin story" neither character wanted. Reluctantly entering a relationship based on the illusion of trust and compatibility, our heroine's dilemma escalates when self doubt overrides suspicion, causing viewers to squirm at the treacherous territory these two navigate in their messy, desperate attempt at authentic human connection.

Road House (2024)

Director: Doug Liman
Starring: Jake Gyllenhaal, Daniela Melchior, Conor McGregor, Billy Magnussen, Jessica Williams, B.K. Cannon, Joaquim de Almeida, Austin Post, Lukas Gage, JD Pardo, Hannah Lanier, Kevin Carroll, Darren Barnet, Travis Van Winkle
Running Time: 121 min.
Rating: R

★★★ (out of ★★★★)  

Whenever a cult classic is reimagined with modern sensibilities, response among devoted fans tends to be harsh, as so much of their appreciation stems from their memories watching it. Regardless of actual quality, 1989's Road House firmly fits in that category, where the viewing experience itself supersedes any perceived flaws, serving to make the inevitable remake that much harder to crack. Luckily, director Doug Liman understands this, or maybe more importantly, the original's place within the cheesy 80's action movie pantheon. 

To that end, this rebooted Road House is everything it should be, delivering the kind of trashy, over-the-top fun we don't get nearly enough of in the genre. You can actually understand why Liman's upset this skipped theaters and went straight to streaming since there's good reason to believe it could have been a big commercial hit. With the exception of some occasionally distracting CGI and a video game aesthetic, it's ridiculously fun, exciting entertainment that blazes its own trail, alleviating any concerns this remake would damage nostalgic feelings for its predecessor. 

When former UFC middleweight fighter Elwood Dalton (Jake Gyllenhaal) is asked by business owner Frankie (Jessica Williams) to work as a head bouncer at her Florida Keys roadhouse, he initially rejects the offer. It's only after a botched suicide attempt that he reluctantly agrees, arriving in Glass Key to the appropriately named bar, "The Road House." Overrun with gangs and nightly brawls, the seemingly mild-mannered Dalton tries to keep the peace, until realizing he'll need to get his hands dirty, delivering a brutal beatdown that sends a group of biker thugs to the E.R.

At the hospital, he meets Ellie (Daniela Melchior), a doctor who warns him just how deep the violence and corruption runs in this coastal community. So it isn't long before Dalton finds himself being hunted by yuppie crime boss Ben Brandt (Billy Magnussen) and his incarcerated father's psychotic enforcer Knox (Conor McGregor). As they look to add Frankie's bar to Brandt's criminal property portfolio, Dalton remains haunted by a traumatic event in his past. Pushed to the limit, he'll have to decide whether to skip town or stay and fight, despite the danger it could mean for him and everyone else.

At one point, a member of the gang describes Dalton as having the disposition of Mister Rogers, which does accurately sum up Gyllenhaal's zen-like take on a character that's very far removed from its original incarnation. Overtly alluding to classic Westerns in both dialogue and setup, this lone drifter unassumingly rolls in and surveys his new surroundings, striking up a friendship with precocious teen Charlie (Hannah Lanier) who co-runs a small bookstore with her dad Stephen (Kevin Carroll). 

The opening hour is terrific, as Liman immerses us in the local color of Glass Key, or more specifically The Road House itself, which would come across as a fun place to hang if brutal fights didn't spontaneously erupt every two minutes. Dalton never really loses his cool, at least not exactly, remaining calm and polite even when he's pushed, transforming into this ass-kicking machine only when necessary. And even then, he doesn't take a whole lot of pride in doing it. 

Liman's biggest coup is his casting of Gyllenhaal, who has the unenviable task of stepping into his late Donnie Darko co-star Patrick Swayze's iconic role. On paper, it's an odd fit, but the actor responds with a quirky and menacing turn that fits the material like a glove, arguably giving his most absorbing performance since Nightcrawler. Through a few nightmarish flashbacks, we already have an idea why Dalton's carrying all this guilt and emotional baggage. The anticipation is in waiting for the moment he has enough and finally snaps, unleashing the dark side of himself he's struggled to suppress. 

Given how physically dominant Dalton is, he's more likely pass as a full fledged superhero than MMA competitor, but no one's going into this expecting strict realism. We're too busy marveling at the action sequences, along with Garrett Warren and Steve Brown's jaw dropping stunt/fight choreography. If forced to draw comparisons, the whole thing has a relentless energy that may remind some of the Crank films, only with more narrative meat on its bones and superior performances.

Magnussen makes for a sleazy antagonist, but from the minute he memorably enters, Conor McGregor's sadistically unhinged lunatic steals the show, delivering exactly the kind of crazed, hilarious performance you hoped for, constantly blurring lines between the character and real life fighter playing him. Even the romantic subplot between Dalton and Melchior's Ellie works better than it should once it's clear her involvement isn't merely tangential. Dalton's scenes with bar owner Frankie are just as effective, with Williams's presence grounding even the looniest developments.    

In the last act, Liman steps on the gas and doesn't let up, delivering a spectacular boat chase sequence and final showdown between Dalton and Knox that's best seen to be believed. Hardly trying to recreate Rowdy Herrington's original, this Road House is able to stand by itself, summoning a similar spirit, but with an entirely new setting and characters. And by not holding back or pretending to be more than it is, we get a fast food meal of a movie that offers no apologies for its bombastic approach.               

Anyone But You

Director: Will Gluck
Starring: Sydney Sweeney, Glen Powell, Alexandra Shipp, GaTa, Hadley Robinson, Michelle Hurd, Dermot Mulroney, Darren Barnet, Bryan Brown, Rachel Griffiths, Charlee Fraser, Joe Davidson
Running Time: 103 min.
Rating: R

★★½ (out of ★★★★)  

The most surprising detail about the romantic comedy Anyone But You is that it features two ascending talents who happen to have a lot of on screen chemistry. The premise isn't terrible either, especially when the focus remains on them rather than an overstuffed cast of exes, in-laws, siblings, spouses and parents. But even its likable leads can't seem to stop this from losing its way, as a promising concept becomes increasingly familiar. Director and co-writer Will Gluck does a decent enough job hiding it, but there's just no escaping the fact this mostly hinges on single piece of information we know that the main characters don't. At some point you realize this will eventually settle into the rhythms of a more traditional rom-com, despite taking a more circuitous route to get there.

What we're left with is a mixed bag that should increase everyone's appreciation of its leads, both of whom do their best to elevate the material. And while one seems more at home in this genre than the other, the mind still races at all the possibilities of them re-teaming, hopefully in a project better than this. The film's unexpected commercial success can largely be attributed to their perseverance amidst a smattering of gags from the supporting players that rarely connect. It's a strain most felt in the latter section, as multiple complications work to delay what should be a fairly simple, satisfying payoff.

While frantically attempting to obtain a key to the coffee shop restroom, Boston University law student Bea (Sydney Sweeney) meets finance broker Ben (Glen Powell) and they immediately hit it off. After spending the rest of the day together, she stays over at his apartment that night, but a misunderstanding unfolds when she abruptly leaves the next morning. They don't see each other again until months later when Bea's sister Halle (Hadley Robinson) begins dating Ben's best friend Pete's (GaTa) sister Claudia (Alexandra Shipp). 

At each other's throats over the disastrous ending of that date, Bea and Ben must temporarily put their differences aside for Halle and Claudia's destination wedding in Sydney, Australia. But tensions further escalate when their exes, Jonathan (Darren Barnett) and Margaret (Charlee Fraser) arrive, prompting Bea and Ben to hide their mutual disdain and pose as a couple. It's game on, at least until they come to the realization they may not be over each other after all.

After an awkward but promising start, a relatively straightforward narrative is hijacked by an overabundance of characters and obstacles, losing trust in its two leads to do what they mostly excel at the whole way through. In fact, you argue they actually improve together as this progresses while everything and everyone surrounding them distracts from that, undermining the film's central purpose. 

Bea is initially depicted as a total disaster, and while the setup works, it relies on goofy physical comedy that puts Sweeney in a tough spot since she fares better when playing a sly, sarcastic schemer in her scenes opposite Powell. Displaying great comedic timing and a charismatic presence that recalls a younger Tom Cruise or Brad Pitt, Powell's upside is such that this role can at least be referenced down the line for launching him into future stardom. That both capably glide through some of the more problematic sections on their interplay alone is no small feat considering you need a detailed chart to track the other characters, which also include Bea's helicopter parents (Dermot Mulroney and Rachel Griffiths) and Margaret's oafish surfer boyfriend (Joe Davidson). 

Supposedly, this is loosely based on Much Ado About Nothing, albeit very loosely. We know only one thing matters, but Gluck sure does jump through hoops to delay arriving at that destination. Some jokes, like ones involving Titanic and the use of a ubiquitous pop song are cutely clever, even if others flop hard. Still, there's something to be said for him sticking the landing with one of those showy, impossibly romantic endings that lesser filmmakers always manage to botch. Anyone But You may be slightly better than its generic title suggests, but too much of what comes before is iffier, holding this back from completely besting expectations.    

Poor Things

Director: Yorgos Lanthimos
Starring: Emma Stone, Mark Ruffalo, Willem Dafoe, Ramy Youssef, Christopher Abbott, Suzy Bemba, Jerrod Carmichael, Kathryn Hunter, Vicki Pepperdine, Margaret Qualley, Hanna Schygulla, Keeley Forsyth
Running Time: 142 min.
Rating: R

★★★ ½ (out of ★★★★)

It's hard to pinpoint the exact moment Yorgos Lanthimos's Poor Things pivots from an extremely weird, Frankenstein-inspired horror fantasy into something really special, but you'll know when it gets there. An oddly acquired taste that only grows stronger with each wacky, sensational development, in some ways it stylistically recalls the best of Terry Gilliam or Tim Burton before both got swallowed up by the system. But while still somehow managing to feel completely original, it's also a great twisted social satire, unironically navigating morally complicated waters to provide a thrilling, frequently hilarious experience. 

Given the MPAA's famously low tolerance for sex and nudity, Lanthimos's ability to escape with an 'R' rating is a feat in itself, as what starts as a Universal monster movie morphs into this globe trekking, fantastical comedy-adventure. With a steampunk infused look and imaginative production design, its atmosphere is unmatched by anything else in the genre, even as it's sometimes difficult to classify what that genre exactly is. It covers a lot of ground, all of which is navigated in Emma Stone's fearless performance. And while everyone's been talking about her willingness to go all out for the film's many graphic and controversial scenes, that's secondary to the other unexpected places she takes this unique character.

In Victorian London, an eccentric, facially disfigured surgeon named Godwin Baxter (Willem Dafoe) is looking after the childlike Bella (Stone), a young woman who while pregnant killed herself by jumping off a bridge. Now functioning with an infant's mind after Godwin replaces her brain with that of her unborn baby's, he recruits med student Max McCandles (Ramy Youssef) to track Bella's progress. But after falling in love with her and proposing marriage at Godwin's insistence, sleazy lawyer Duncan Wedderburn (Mark Ruffalo) arrives to finalize the contract.  

In the midst of exploring her own body and burgeoning sexual desires, Bella agrees to run off with Duncan, leaving Max behind, while Godwin moves on to another human project. But the mismatched couple's adventurous romp turns into a disaster when an increasingly curious Bella yearns to experience the world on her terms. As a whiny, insecure Duncan attempts to tighten the reigns and assert control over her, Bella must use the experience she's gained to decide between following this troublesome path or returning to the only life she knows. 

Based on Alasdair Gray's 1992 novel, this begins in classic horror territory, right down to an obsessively brilliant doctor's experiment and Robbie Ryan's stark black and white cinematography. Even before Godwin's pressured by Max for answers, it doesn't take long to figure out Bella is as much a test subject as the mutant animals found on the grounds. But it's Stone's mannerisms, physicality, line delivery and  distinct walk that reflects a child's mental and emotional inability to function within this adult woman's body. 

Lanthimos and Stone to make some bold choices that will immediately have viewers rooting Bella on, even in the cringiest of scenes. While Bella's decision to run away with Duncan is clearly a response to her character's sexual curiosity, it's the slimy suitor who seems more desperately in need of a brain and personality transplant, revealing himself a far bigger baby than Bella. But it's through his shenanigans that real change overtakes her, though not necessarily the kind Duncan wants. Stone may be remarkable but Ruffalo is perfect as her foil, bringing a quirky likeability to a drunken, debaucherous man child who's mentally unraveling at the mere thought of Bella openly questioning the rules of sophisticated society.

After a hugely entertaining dance number that serves as the first act's centerpiece, Bella and Duncan embark on a transformative cruise that Lanthimos fills with vibrant colors and jaw-dropping effects that resemble a dreamscape come to life. And there's a great interlude involving two passengers (played by Jerrod Carmichael and Hanna Schygulla) that further fuel Bella's philosophical curiosity and Duncan's eventual breakdown. 

When Bella winds up working in a brothel under the loony Madame Swiney (Kathryn Hunter), we already have ideas where this can go, at least until Tony McNamara's script subverts those expectations, using it as a thematic launching pad for Bella's final challenge. Going back to face the ailing father figure who deceived her and fiancé she abandoned, an even bigger obstacle awaits in reconciling the person she was with who she's now become.

By returning to the husband and life she had before leaping to her death, Bella attempts to flee from the men in her life, only to find herself back in a similar prison. General Alfie Blessington (Christopher Abbott) is just like the rest of them, but worse, leaving little wonder as to why "Victoria" felt there was no escape. With Bella now occupying the vessel that woman once resided, a new reality emerges when she takes matters into her own hands, utilizing the knowledge and experience she's gained to assert her independence. 

The victim of a medical procedure gone awry, or maybe exactly as planned, Bella navigates the world through different eyes, discovering it's just as cruel and unforgiving as when she first left it. Fully equipped with the tools to break those shackles, she gets the last laugh by shaping her own destiny. Brilliantly bizarre but hardly inaccessible, Lanthimos knows what he doing, endlessly imaginative in how he brings all these realistic sensibilities to a demented fairy tale. But everything comes down to Stone, who hits all the notes an actress possibly can in a single role, taking us on a wild, mind bending trip that isn't easy to shake.                                         

Burning Questions from the 2024 Oscars

 

 

Are we tired of Oscar hosts inserting themselves into clips of the Best Picture nominees?

Were you at least relieved it was just one?

Wasn't Jimmy Kimmel right that the show started already running behind?

Were you counting down the minutes until we got a joke about the length of this year's Best Picture nominees?

Or a De Niro age gap joke?

Or how about Robert Downey Jr.'s drug addiction?

Didn't RDJ less than thrilled?

Can you really blame him?

Was Messi the dog the best part of Kimmel's monologue? 

Or was it his shot at Katie Britt's State of the Union response?

Isn't it a great idea to finally have a Casting Oscar? 

When you saw the previous Supporting Actress winners come out on the stage were you thinking, "Oh no not this again?"

Were each of those introductions as long as an entire acceptance speech?

Did that just ruin any plans of the show not going over time?

Wouldn't it be more beneficial to show a clip from each nominee?

Would that have felt like an even bigger waste of time if Da'Vine Joy Randolph somehow didn't win?

 

Was that David Allan Grier? 

 

Didn't you just know Myazaki wouldn't show up?

 

Do voters even care?

 

Wasn't it great that the orchestra played that instrumental version of P.I.M.P. when Anatomy of a Fall won Original Screenplay?

 

Can you imagine if The Holdovers actually won that in light of the recent plagiarism allegations?

 

Wasn't that a solid speech from Cord Jefferson?

 

Did Billie Eilish's "What Was I Made For?" performance make you more certain it would win Best Song?

 

Is Michael Keaton back to collect his stolen Oscar for Birdman?

 

Or stolen nomination for The Founder?

 

After wins for Makeup, Costume and Production Design, wasn't it clear Poor Things would be cleaning up?

 

Was Lily Gladstone starting to get worried? 

 

Is there anything John Cena won't do?

 

Between him, The Rock and Bad Bunny, has WWE fully taken over this show? 

 

Wasn't Blunt and Gosling's "Barbenheimer" bit pretty funny?

 

Shouldn't there be a Stunt Oscar already?

 

Did you remember that Tim Robbins won Best Supporting Actor for Mystic River?

 

Did he jump the gun a bit in calling De Niro's Flower Moon performance Oscar-winning?

 

Didn't it take longer than you expected for Oppenheimer's first two wins?

Is there any audience member better at playing along with these bits than Spielberg? 

 

Weren't you relieved they didn't start playing off 20 Days in Mariupol director Mstyslav Chernov during his acceptance speech?

 

Are we finally getting that Twins sequel? 

 

Wasn't that an awesome Batman bit with Schwarzenegger, DeVito and Keaton? 

 

Were the Godzilla Minus One winners holding more Oscars or Godzilla figures?

 

Wes Anderson wins his first Oscar but isn't there?

 

Were the Best Song performances getting shorter and shorter?

 

Is that really something to complain about? 

 

How about John Mulaney's Field of Dreams dissection?

 

Did that make you want to see the movie again right now?

 

Should he host this show next year?

 

For his sake, do you hope he turns it down?    

 

How wild was Gosling's "I'm Just Ken" performance?

Didn't we all just know it would be? 

 

For just a second there, did you consider John Williams could win his sixth Oscar at age 92?

Is Billie Eilish the only one who didn't see that win coming? 

 

Didn't the earlier start time really, really help this show?  

 

Did you almost forget they still have to get to the In Memorium segment?

 

Were you curious how they'd screw it up this year?

 

Didn't we lose a lot of big names? 

 

How surreal was it to see Paul Reubens and Matthew Perry were two of them? 

What was with that huge, unreadable block of names they just threw up there? 

And the nonsensical camera angles?

Are they ever going to get this thing right?

Lance Reddick?

Treat Williams?

 

Wasn't that a great group of former Best Actor winners they picked as presenters? 

 

Can we please get Nicolas Cage nominated for something again soon? 

 

Wasn't it a pretty safe bet Spielberg would present Best Director?

 

Was it an even safer one that Christopher Nolan would win?

 

Isn't it weird that Jessica Lange won her Best Actress Oscar for the otherwise completely forgettable Blue Sky?

 

How about the look of utter shock and disbelief on Stone's face when her name was read?  

Did everyone's prediction scores take a nosedive after that?

Was all the love for Poor Things in other categories a good indication this could happen for her?

 

Did you think that Trump tweet was just a joke at first?

 

Can anyone really be surprised it was real? 

 

Could Al Pacino have read the Best Picture winner any more casually?  

Shouldn't we just be grateful the correct winner was announced? 

Well, that whole show was relatively painless, wasn't it?

 

For all the criticism Kimmel gets, is there really anyone else that audience would be able to tolerate? 

Wasn't it nice to have this telecast end on the same date it began for a change? 

2024 Oscar Predictions

Most years, Academy voters can either be relied on to spread the wealth among a variety of different films in many categories or put their energy behind one title that runs the table, sweeping nearly everything. Think Ben-Hur, Titanic and The Lord of the Rings: The Return of the King. Whether Oppenheimer joins that exclusive club remains to be seen, but it's sure shaping up that way, as it lays claim to a whopping thirteen nominations. 

Converting even half of those nods into wins would still make Sunday's 96th Oscars telecast a fairly predictable one, leaving little room for the surprises we hope for. Or if you're a more casual follower, plummeting ratings indicate you may not be watching anyway. But despite constant rumblings the ceremony could follow the SAG Awards to a streamer, it'll be staying on ABC for now with Jimmy Kimmel back hosting at a mercifully earlier start time.

In an effort to attract more eyeballs, Barbie will be all over the screen for promotional purposes, at least if commercials and ads are any indication. Greta Gerwig and Margot Robbie's snubs notwithstanding, eight noms is still an impressive haul that can be credited to what they brought to material no one thought could work. Voters will ensure it picks up something, but the night really revolves around Oppenheimer's foreseeable wins and how the show's producers can overcome any potential monotony accompanying that. On paper, Best Actor and Actress appear the least locked, but even the tightness of those races has widened in recent weeks, which could be good news for fans finalizing their picks. My predictions are below, along with an in depth analysis of the major categories.           

*Predicted Winners 

BEST ANIMATED FEATURE
The Boy and the Heron
Elemental
Nimona
Robot Dreams
Spider-Man: Across the Spider-Verse

BEST ANIMATED SHORT
Letter to a Pig
Ninety-Five Senses
Our Uniform
Pachyderme
War is Over! Inspired by the Music of John & Yoko

BEST DOCUMENTARY FEATURE
Bobi Wine: The People’s President
The Eternal Memory
Four Daughters
To Kill a Tiger
20 Days in Mariupol

BEST DOCUMENTARY SHORT
The ABCs of Book Banning
The Barber of Little Rock
Island in Between
The Last Repair Shop
Nǎi Nai & Wài Pó

BEST LIVE-ACTION SHORT
The After
Invincible
Knight of Fortune
Red, White and Blue
The Wonderful Story of Henry Sugar

BEST INTERNATIONAL FEATURE
Io Capitano (Italy)
Perfect Days (Japan)
Society of the Snow (Spain)
The Teachers' Lounge (Germany)
The Zone of Interest (United Kingdom) 

BEST FILM EDITING
Anatomy of a Fall (Laurent Sénéchal)
The Holdovers (Kevin Tent)
Killers of the Flower Moon (Thelma Schoonmaker)
Oppenheimer (Jennifer Lame)
Poor Things (Yorgos Mavropsaridis)

BEST SOUND
The Creator (Ian Voigt, Erik Aadahl, Ethan Van der Ryn, Tom Ozanich & Dean Zupancic)
Maestro (Steven A. Morrow, Richard King, Jason Ruder, Tom Ozanich & Dean Zupancic)
Mission: Impossible - Dead Reckoning Part One (Chris Munro, James H. Mather, Chris Burdon & Mark Taylor)
Oppenheimer (Willie Burton, Richard King, Gary A. Rizzo & Kevin O’Connell)
The Zone of Interest (Tarn Willers and Johnnie Burn)

BEST PRODUCTION DESIGN
Barbie (Sarah Greenwood & Katie Spencer)
Killers of the Flower Moon (Jack Fisk and Adam Willis)
Napoleon (Arthur Max & Elli Griff)
Oppenheimer (Ruth De Jong & Claire Kaufman)
Poor Things (Shona Heath, James Price & Szusza Mihalek)

BEST COSTUME DESIGN
Barbie (Jacqueline Durran)
Killers of the Flower Moon (Jacqueline West)
Napoleon (David Crossman & Janty Yates)
Oppenheimer (Ellen Mirojnick)
Poor Things (Holly Waddington)

BEST ORIGINAL SCORE
American Fiction (Laura Karpman)
Indiana Jones and the Dial of Destiny (John Williams)
Killers of the Flower Moon (Robbie Robertson)
Oppenheimer (Ludwig Göransson)
Poor Things (Jerskin Fendrix)

BEST ORIGINAL SONG
"It Never Went Away," American Symphony (Jon Baptiste & Dan Wilson)
"I'm Just Ken," Barbie (Mark Ronson & Andrew Wyatt)
"What Was I Made For?" Barbie (Billie Eilish & Finneas O’Connell)
"The Fire Inside Me," Flamin' Hot (Diane Warren)
“Wahzhazhe (A Song for My People),” Killers of the Flower Moon (Scott George)

BEST MAKEUP AND HAIRSTYLING
Golda (Karen Hartley Thomas, Suzi Battersby & Ashra Kelly-Blue)
Maestro (Kazu Hiro, Kay Georgiou & Lori McCoy-Bell)
Oppenheimer (Luisa Abel)
Poor Things (Nadia Stacey, Mark Coulier & Josh Weston)
Society of the Snow (Ana López-Puigcerver, David Martí & Montse Ribé)

BEST VISUAL EFFECTS
The Creator (Jay Cooper, Ian Comley, Andrew Roberts & Neil Corbould)
Godzilla: Minus One (Takashi Yamazaki, Kiyoko Shibuya, Masaki Takahashi & Tatsuji Nojima)
Guardians of the Galaxy Vol. 3 (Stephane Ceretti, Alexis Wajsbrot, Guy Williams & Theo Bialek)
Mission: Impossible - Dead Reckoning Part One (Alex Wuttke, Simone Coco, Jeff Sutherland & Neil Corbould)
Napoleon (Charley Henley, Luc-Ewen Martin-Fenouillet, Simone Coco & Neil Corbould)

BEST CINEMATOGRAPHY
El Conde (Edward Lachman)
Killers of the Flower Moon (Rodrigo Prieto)
Maestro (Matthew Libatique)
Oppenheimer (Hoyte van Hoytema)
Poor Things (Robbie Ryan)

BEST ADAPTED SCREENPLAY
American Fiction (Cord Jefferson)
Barbie (Noah Baumbach, Greta Gerwig)
Oppenheimer (Christopher Nolan)
Poor Things (Tony McNamara)
The Zone of Interest (Jonathan Glazer)

This is a somewhat challenging race to predict since it's one the few Oppenheimer might not win. Already poised to take home at least a few technical awards, Poor Things is riding high right now, making it easy to imagine voters rewarding Tony McNamara for working wonders with Alasdair Gray's 1992 novel. In an open field like this, The Zone of Interest can't be discounted, either for its subject matter or how Jonathan Glazer handled a tricky adaptation. 

Three-time screenplay nominee Gerwig (along with co-writer Noah Baumbach) being recognized after all isn't outside the realm of possibility since this seems like an ideal place to honor Barbie. But confusion over its category placement landed it in a far more competitive race that's likely to be won by Cord Jefferson. His timely, of the moment take on Percival Everett's 2001 novel culturally resonates in a way its closest competitors don't. It also holds a BAFTA win over Oppenheimer, which isn't nothing.      

BEST ORIGINAL SCREENPLAY
Anatomy of a Fall (Justine Triet, Arthur Harari)
The Holdovers (David Hemingson)
Maestro (Bradley Cooper, Josh Singer)
May December (Samy Burch, Alex Mechanik)
Past Lives (Celine Song)

Barbie's exclusion opened this race up a little more while May December makes its only Oscar appearance alongside Cooper's more Academy-friendly Maestro. But in the case of both, writing wouldn't be singled out as their key strength, or at least enough of one to pull off a win. Past Lives risks getting lost in the shuffle while David Hemingson's classically constructed screenplay for The Holdovers was a sure bet until Anatomy of a Fall won this award at BAFTA and the Globes, emerging as the new favorite. 

Fall's other nominations also indicate broader support, with Triet and Harari's script appealing to voters' sense of storytelling efficiency. The Holdovers can still pull this off, but it may have stood a slightly better chance if director Alexander Payne was credited as a co-writer alongside Hemingson since everything's a popularity contest. And that it feels like a literary adaptation could work for or against its chances of voters recognizing its originality.

BEST SUPPORTING ACTRESS
Emily Blunt (Oppenheimer)
Danielle Brooks (The Color Purple)
America Ferrara (Barbie)
Jodie Foster (Nyad)
Da'Vine Joy Randolph (The Holdovers)

Blunt's first ever nod for Oppenheimer seems perplexing until you realize overall appreciation for the film carried her through. Danielle Brooks and Jodie Foster are in better positions, even as their respective films were overlooked in enough key categories that they've sort of become afterthoughts. 

While America Ferrera's reward will have to be impressively making the cut for Barbie, Da'Vine Randolph is the lockiest of locks for her performance as grieving Barton Academy cafeteria manager Mary Lamb in The Holdovers. It's hard to think of a more universally praised turn from anyone all year. In a category known for surprises, we won't be getting any here.           

BEST SUPPORTING ACTOR
Sterling K. Brown (American Fiction)
Robert De Niro (Killers of the Flower Moon)
Robert Downey Jr. (Oppenheimer)
Ryan Gosling (Barbie)
Mark Ruffalo (Poor Things)

Voters liked Barbie's Gosling more than enough to find a spot for him but it's unlikely he has enough support to go further for his wildly subversive and entertaining take on Ken. It was always a coin flip between Poor Things co-stars Mark Ruffalo and Willem Dafoe, but it's Stone's movie, leaving the chosen Ruffalo as the odd man out in a crowded category. 

With KOTFM having lost momentum, the likelihood of De Niro upsetting for his turn as villainous politico William "King" Hale follows suit. Most agree it's great to see him in a role like this again, while also acknowledging there isn't anything particularly special about the performance. 

There's been nothing but unanimous praise for Sterling K. Brown's work in American Fiction but he's unfortunately pitted against an unstoppable Robert Downey Jr. who's been collecting trophies all season as two-faced Oppenheimer nemesis Lewis Strauss. Besides him greatly contributing the year's most honored film, it's being viewed as a post-Marvel reminder of what he's always done best. One of the biggest locks of the night.

BEST ACTRESS
Annette Bening (Nyad)
Lily Gladstone (Killers of the Flower Moon)
Sandra Hüller (Anatomy of a Fall)
Carey Mulligan (Maestro)
Emma Stone (Poor Things)

Acting legend Annette Bening has never won an Oscar, but as beloved as the five-time nominee is by voters, it won't be happening this year for her physically taxing performance as a 60-year-old distance swimmer in Nyad. And it's a shame Netflix didn't push harder since it's exactly the kind of part that could have done it for her. Mulligan (who should have won for 2020's Promising Young Woman) is sensational in Maestro, but with many still feeling it's Cooper's film, this is an uphill battle. She'll be back. 

If there's a spoiler, it'll be Hüller for Anatomy of a Fall given the Academy's large European contingent and overall respect shown to that film with its other nods. If the top two split votes, she's still a long shot, but no more of an impossibility than Olivia Colman was in 2018 when she upset Glenn Close.

With Critics Choice, BAFTA and Golden Globe wins, Stone's still sitting pretty right now, but Gladstone's arguably better situated, having also locked up a Golden Globe in addition to her PGA and SAG victories. But Stone already having Supporting Oscar shouldn't really harm her chances and the fact she's playing a resurrected nymphomaniac isn't viewed as much of an obstacle either, with most  focused on how brilliantly she did it. 

Despite divisive reactions to KOTFM, voters won't be able to resist the temptation of crowning Gladstone the first Native American Best Actress winner and hearing what's sure to be a moving acceptance speech. Even if we focus entirely on the performances and say those things shouldn't matter, they do. On top of this, the work itself is deserving. Even Stone's probably pulling for her at this point, knowing the backlash she'd inevitably get for winning. The Best Actor race may be close, but this is tighter, with Gladstone poised to make history. And we all know how much the Academy loves that.                

BEST ACTOR
Bradley Cooper (Maestro)
Colman Domingo (Rustin)
Paul Giamatti (The Holdovers)
Cillian Murphy (Oppenheimer)
Jeffrey Wright (American Fiction)

Many may have loved the performance, but Colman Domingo is the outlier here with the smallest chance in this field of five. Cooper's been unfairly mocked for silly reasons, but in another year the multi-time nominee would have finally sealed the deal with his memorable portrayal of late composer Leonard Bernstein. Wright's gained a lot of steam for American Fiction, but he peaked a little late, making it hard to picture him pulling this off.

If we're keeping track, Murphy won the Golden Globe, BAFTA and most recently the SAG. Giamatti holds PGA, Critics Choice and Golden Globe victories heading into the show. On paper, the edge is Murphy's since it's highly uncommon to win the SAG and not walk away with Oscar gold. Plus, a tidal wave of Oppenheimer support can only help bolster the chances for the type of biographical performance voters usually embrace. 

In his favor, Giamatti's career high work as a curmudgeonly educator in The Holdovers is probably more accessible than Murphy's icier turn and some may feel he's owed a trophy for the Sideways travesty. But that was decades ago so it'll probably come down to the movies, one of which its studio hung out to dry and is viewed as being more "lightweight" than the juggernaut that is Oppenheimer. Murphy takes it in one of the night's closer races.           

BEST DIRECTOR
Jonathan Glazer (The Zone of Interest)
Yorgos Lanthimos (Poor Things)
Christopher Nolan (Oppenheimer)
Martin Scorsese (Killers of the Flower Moon)
Justine Triet (Anatomy of a Fall)

Even if voters weren't exactly feeling adventurous when narrowing this down, but it's hard to argue against the inclusion of any of these filmmakers on merit. Perhaps more noticeable is who they displaced, as many still wish either Gerwig, Payne, Song or Jefferson could have snuck in. To that end, Glazer and Triet's nominations will be seen as reward enough given who they nudged out to claim their spots. 

There's a lot of respect for what Lanthimos did with Poor Things, but not necessarily enough from the older skewing director's branch to take him over the finish line. Once an early favorite, Scorsese's chances basically evaporated when KOTFM didn't get the rapturous reception most expected. Even those lukewarm on Oppenheimer can't deny Nolan's directorial achievement, or the fact he's probably overdue. This is his to lose, but he won't. 

BEST PICTURE
American Fiction
Anatomy of a Fall
Barbie
The Holdovers
Killers of the Flower Moon
Maestro
Oppenheimer
Past Lives
Poor Things
The Zone of Interest

In a year with this obvious a frontrunner the futility of having ten nominees really stands out. Poor Things and American Fiction have done respectably while KOTFM's recent decline is steep enough to actually affect Gladstone's chances. Anatomy of a Fall, Past Lives and The Zone of Interest each have their fans, but only Fall seems noteworthy for having that Triet nomination. Barbie's snubs in other categories damaged its viability in the big races, the underrated Maestro got a bad rap all season, and The Holdovers' best shot at gold remains with Randolph and possibly Giamatti.  

Every nominee has either lost momentum or held steady, with one notable exception. Oppenheimer has been running through the competition with shows no signs of slowing down, picking up every precursor while still being discussed and analyzed as if it came out yesterday. Audiences and critics love it and as a historical biography with timely resonance, its win is a foregone conclusion, giving Nolan matching Best Picture and Director statues.    

Anatomy of a Fall

Director: Justine Triet
Starring: Sandra Hüller, Swann Arlaud, Milo Machado-Graner, Antoine Reinartz, Samuel Theis, Jehnny Beth, Camille Rutherford
Running Time: 152 min.
Rating: R

★★★ ½ (out of ★★★★)

The most important piece of information to know before watching Justine Triet's French legal drama, Anatomy of a Fall, is that eighty percent of it does actually take place inside a courtroom. And while this isn't something that typically occurs on screen, don't be fooled into thinking it's a talky stage play, as it deals with weighty, compelling issues that transcend what could have easily been a dry procedural. Hinging on a scenario common enough to falsely assume it's based on a true story, Triet and Arthur Harari's script, skillful editing and some memorable performances make it feel distinct.

Cerebrally constructed to make every small detail count, we hang on every word during a trial that leaves plenty of room for revelations, false assumptions and ethical questions. That so few moments strain credibility is impressive considering how far into the weeds this goes, examining the situation from multiple angles as our opinion of the protagonist's guilt or innocence shifts. It's what happens when lawyers, police and witnesses are overcome by their bias and a propensity to make broad, sweeping generalizations far outside the realms of law. Transfixing to follow, it highlights the flaws of a broken system that minimizes the chances of justice winning out. That we never truly know if it does just makes this more believable, leaving us to draw our own conclusions.

In an isolated mountain chalet in the French Alps, German novelist Sandra Voyter (Sandra Hüller) is being interviewed by a female student (Camille Rutherford) before she's interrupted by her husband Samuel (Samuel Theis), who's blasting music from the attic, forcing them to reschedule. But it's only a short time later when Sandra and Samuel's visually impaired 11-year-old son Daniel (Milo Machado-Graner) returns from a walk with guide dog Snoop (Messi) to discover his father laying dead in the snow in front of their house. 

As his spouse and the only person present at the time, suspicion immediately turns to Sandra, who contacts her friend and lawyer Vincent Renzi (Swann Arlaud) for counsel. With an autopsy revealing Samuel was struck in the head before his fall, prosecutors embrace the theory she pushed him over the balcony while Sandra's legal team mount a suicide defense. But as information about their volatile marriage comes out and Daniel gives conflicting accounts, a defiant Sandra endures an onslaught of evidence and damning personal attacks on the stand as she fights to clear her name.

With the precipitating fall occurring only minutes into the film, the remainder of its run time is donated to peeling back the layers of this relationship and the psychology driving these characters. In doing that, Triet infuses the trial with a propulsive energy that doesn't let up until the verdict comes in, which doesn't exactly provide the closure those most affected would anticipate. 

When Sandra informs lawyer Vincent she didn't do it, his pragmatic, matter-of-fact response confirms he's the right person for this job, as it's clear their friendship won't factor into how he represents her. Recognizing actual guilt or innocence is irrelevant when they step into that courtroom, he hones a strategy that hinges on the suicide theory, but mostly rests on Sandra remaining credible and composed under the pressure of cross-examination.

There's a performative aspect to the loose, freewheeling courtroom scenes that Triet compulsively captures, reaching beyond forensics when a surprising amount of circumstantial evidence comes to the forefront. And the overzealous prosecutor (well played by Antoine Reinartz) draws controversial conclusions with seemingly far-fetched scenarios that become less fanciful the more we gradually discover about this couple. 

The introduction of an audio recording and accompanying flashback changes the game, putting a new spin on Sandra and Samuel's tenuous union. Their problems look and feel real, born from an inability to reach any kind of compromise at the risk of either potentially losing the upper hand. Even language becomes a contentious issue in a partnership that was on shaky ground years before the fall, with both going through the motions for Daniel, who has a firmer grasp on reality than adults claiming to have his best interests in mind. 

Only when court monitor Marge (Jehnny Beth) is appointed to look after Daniel is he afforded any degree of protection by a system that browbeats an 11-year-old blind boy for misremembering details based on touch and sound. Bravely insisting to be in the courtroom through the lurid testimony, he astutely observes how hearing this might be his only chance at moving on.

Hüller's gut-wrenching, tension filled performance doesn't give a thing away, as there's nothing in Sandra's demeanor or actions that necessarily contradict or confirm anyone's worst suspicions. She's an enigma throughout, or at least until that absorbing flashback, which exposes a jealous Samuel as being more troubled and insecure than originally assumed. Hüller expertly straddles a thin line, with Sandra appearing remarkably steady, but prone to moments of complete emotional collapse when dealing with her son. 

As Daniel, Machado-Graner gives a quietly complex turn that's levels above any recent child performance. Torn between a losing a parent and possibly implicating the other, he's suddenly forced to take on a responsibility well beyond his years, but one he proves capable of handling. Any remaining illusions he had of his parents are shattered before he and his loyal dog eventually provide the biggest piece of this whole puzzle.

Draped in a sophisticated, thought provoking presentation, Triet depicts a kangaroo court where the accused are assumed guilty until proven otherwise. Due to the severity of charges and her reputation as a strong-willed, successful woman, the stakes seem higher as a morally questionable defendant faces an uphill battle against perception. 

Whether Sandra committed the crime is another discussion entirely, but one the film certainly doesn't shy away from when examining all psychological facets of this. Coming to an abrupt stop rather than a tidy end, Anatomy of a Fall leaves audiences pondering when the credits roll, contemplating the question of what a verdict even really means when the event itself leaves this much residual damage in its wake.              

Quantum Leap: Season 2

Creators: Donald P. Bellisario, Steven Lilien, Bryan Wynbrandt
Starring: Raymond Lee, Caitlin Bassett, Mason Alexander Park, Nanrisa Lee, Ernie Hudson, Susan Diol, Peter Gadiot, Eliza Taylor
Original Airdate: 2023-24

**The Following Review Contains Plot Spoilers For Seasons 1 and 2 of 'Quantum Leap'**

Full Season: ★★★ (out of ★★★★) 

Finale: ★★★ ½ (out of ★★★★)

If sophomore TV seasons are notoriously difficult to crack, you'd figure it doesn't get much harder than the challenge facing the continuation of Quantum Leap. In Fall 2022, we found out how a sequel series would look decades after the original aired its final episode. And it was a departure, with the show sometimes struggling to balance weekly leaps with the action at headquarters. But the plot of Dr. Ben Song (Raymond Lee) leaping through time to save the life of his fiancée and holographic observer Addison Augustine (Caitlin Bassett) still skillfully used its serialized format to build an entire season around a main arc that anchors the episodes.

Ben's attempt to protect the Project from the mysterious "Leaper X" ended in a convoluted finale with enough alternate timelines to make your head spin. While sometimes difficult to follow, "Judgment Day" got the job done, tantalizing us with the possibility Ben could get the ending Sam Beckett didn't and return home. But with NBC quickly picking this up for another season, viewers would have to wait, while showrunners Martin Gero and Dean Georgaris hit the ground running, opting to blow everything up in these thirteen episodes. And that's no small risk for a major network series still finding its identity. 

There's a concerted effort to make this season cleaner and tighter, while also taking a page out of the original's playbook by focusing more extensively on these characters and the "empathy engine" that drove the classic series. But for as many call backs and tie-ins that there are, it's still a completely different animal, which can be both a blessing and curse. Fortunately, there are enough noticeable improvements to really appreciate what went into the building of this, despite that nagging feeling even more refinement could help when it comes to the actual leaps.

The near-perfect finale stands as a creative peak, seamlessly incorporating key themes into an explosive pay off that's groundwork can be traced to its predecessor. And in doing so, the show cleverly identifies its true villain: Time. Finding out the hard way that the road to hell really can be paved with good intentions, Ben and Addison are forced to make sacrifices that would seem implausible only a season ago. Now they're ready to embark on an entirely different journey, assuming the show's granted that chance to take it.

Ben fully expects to step out of that accelerator and return home, but instead finds himself still leaping, this time as a member of the Air Force, tasked with transporting a mysterious cargo plane over Russia. Addison is nowhere in sight when he's located by Ian (Mason Alexander Park) and informed the Project shut down after the team spent the past three years searching for him. 

With Ben presumed dead, a distraught Addison eventually moved on, turning to new boyfriend and government official Tom Westfall (Peter Gadiot) for support. He'll join her and Ian on the recently reunited team with Project head Magic (Ernie Hudson) and security specialist Jenn (Nanrisa Lee) in attempting to retrieve the newly discovered Ben. 

In continuing to process the end of his relationship with Addison, Ben cosmically crosses paths with waitress turned physics student Hannah Carson (Eliza Taylor) over various decades, their bond growing stronger with each leap. Meanwhile at HQ, Ian and Jenn's attempt to track Ben catches the unwanted attention of nefarious tech boss Gideon Rydge (James Frain) whose involvement could sabotage the entire Project and destroy Ben's hope for a homecoming.

Implementing a three year jump (in Project time) was risky, but it succeeds in preventing the writers from potentially repeating themselves. Things tend to run their course so quickly in episodic storytelling that separating Ben and Addison proves smart, throwing a wrench in their familiar dynamic by allowing the characters to grow separately. It also helps Lee and Bassett are again flawless in their roles, during moments both big and small.

If Ben's lost everything seemingly overnight, Addison now has to deal with the guilt of not waiting and having moved on with Tom. But it won't be until season's end that we realize just how carefully orchestrated this is and how it fits into the larger plan.

An opening episode ("This Took Too Long!") that's entirely leap focused and Project-free feels like a breathe of fresh air after last season's shakier attempts at balancing the two. And even when it does settle back into a more familiar rhythm, this new tension between Ben and Addison serves to make its seven pre-strike episodes more noteworthy than expected. 

This falling out also opens the door for Magic, Jenn and Ian to enter the imaging chamber and rotate in as observers. The fifth episode, "One Night in Koreatown" finally places Ben in the crosshairs of a huge historical event (the '92 L.A. riots) and provides a strong showcase for Hudson, who adds more personal layers to Magic's backstory. 

Even the suspicious Tom gets his shot at as the observer, further fueling doubts about Addison's new boyfriend's intentions. But just as the synchronicity between leaps and HQ seem more organic in this go around, the writers avoid playing games with this new character. Tom's essentially who he appears, even as we patiently wait for Addison to come around to the fact that their relationship can't last as long as Ben's around.

It's really "Closure Encounters" that kicks off the season's long game, as Ben first crosses paths with Hannah while leaping into a government agent investigating a potential UFO crash in 1949. In a narrative device reminiscent of The Time Traveler's Wife, he encounters her over various time periods, and as comfortable as he is to reveal his true identity and purpose, it's her willingness to believe him that proves even most important

As Ben's connection with Hannah creates more awkwardness with Addison, the writing is still clever enough not to turn this into some kind of love triangle. And in contrast to when Sam hopped into bed with various women during his leaps, Hannah actually gets to know Ben as himself. 

The pair fight 1950's Nazis in "Secret History" before reuniting in the Cairo set "Nomads," where Ben leaps into a CIA agent attempting to entrap a traitor. And for as much as he influences Hannah's life and future, it'll only take a bit longer before viewers discover just how much she's doing for him. Sharing an effortless chemistry with Lee, Eliza Taylor's performance goes a long way in establishing Hannah as whose inclusion pays dividends.

The other leaps are a grab bag of genres, with a hostage situation ("Ben and Teller"), a Salem witch trial inspired story of intolerance ("A Kind of Magic") and an Indiana Jones-style adventure ("The Family Treasure") We also get two real standouts with Ben's second outing as a Bounty Hunter in "Off the Cuff" and the Deborah Pratt helmed "The Outsider," both featuring tremendous guest turns from David Clayton Rogers as a slimy criminal lawyer and Nadine Ellis playing a disgraced but determined news reporter. 

While it's understandable how budgetary concerns impact the kinds of leaps we get and the social messaging can feel more direct than in the original, the basic QL blueprint still informs the series. And the fan service and call-backs make sense within the story they're telling, which culminates in a near-perfect finale few could find fault with.  

In trying so hard to do the right thing, Ben unintentionally unleashes a monster that threatens the very existence of the Project and any shot at returning home. We may have suspected Ian and Jenn's stolen chip would lead to disaster, Hannah meeting Ben wasn't a mere coincidence and the truth behind her son Jeffrey (Wyatt Parker) would be revealed, but the devil was always in the details. If last season's closer drew comparisons to Back to the Future Part II with its multiple timelines, this one's not just simpler, but seems more aligned with the film in spirit, right down to Ben offering stock tips that negatively alter the future.

Ben's actions carry unforeseen and uncontrollable ripple effects that start coming to light in the penultimate, Towering Inferno-inspired episode, "As the World Burns." Of the many action driven leaps we've gotten, this 1974 set adventure is probably their slickest production-wise. It also contains one of the season's most memorable scenes, as a trapped, fallen Hannah provides Addison (whom she can't see) with her swap code to send Ben home. But what constitutes "home" turns out to be debatable.

No matter what Ben did, Hannah's husband Josh (Josh Dean) was always going to die, serving as a reminder that for as many lives as he saves, others inevitably fall through the cracks. And sometimes his attempts to prevent such events can just as easily cause them. That Jeffrey would eventually evolve into power hungry tech billionaire Gideon Rydge actually makes perfect sense. The Ben he sees is a time traveling menace whose interference destroyed his parents' marriage and directly caused his father's death. 

The Chris Grismer directed "Against Time" sees Gideon take the reigns with his mercenaries and dispose of the team, leading to Frain and Lee's sole scene together, which is a doozy. But whereas Ben strives to put right what went wrong, a bitter, enraged Gideon delusionally views himself as a savior of this project and the hero of his own story. Frain's performance strikes just the right tone of unchecked menace, while still giving us glimpses of that playful kid whose optimism was shattered. Now in full control and preparing to enter the accelerator to replace Ben, it's clear he's far past help. Luckily, Jeffrey isn't.

Ben can easily stop everything, including Jenn's death, with one swing of a hammer. but in true Sam Beckett fashion he recognizes that destroying a grieving kid's dreams isn't the way because everyone deserves saving. Ben can talk about the Project's capacity for positive change until he's blue in the face, but Jeffrey needs to actively take part in saving a life if there's any chance in preventing him from what he'll become.

Ben's 1976 leap into a stock car driver Ricky Jarrett Jr. could have easily be a throwaway, in danger of being ignored amidst these high stakes. But his task in preventing the death of Ricky's legendary father (Judson Mills) from a massive heart attack takes on monumental importance when young Jeffrey's able to help do what he couldn't for his own dad. 

After being sidelined for a chunk of the season before sacrificing his own job to save Ian and Jenn's, Magic's back alongside a returning Beth (Susan Diol) and Janis (Georgina Reilly), whose original accelerator and old school handlink come back into play. 

The visual realization that their plan to thwart the season's "big bad" worked might be the series' most memorable moment, with Gideon's expression transforming as the successfully executed butterfly effect washes over the Project team. They may not remember any of this, but it happened, and its ramifications will stick.  

We also get a long awaited answer as to how much Beth and Janis knew about Sam's sacrifice for Al in "Mirror Image." Hearing Janis talk about how she wouldn't exist if not for Project Quantum Leap (complete with that classic music cue) is surreal, intrinsically tying into what Ben's fighting for now. Similarly, parallels are drawn between Beth and Addison's first-hand experience in deciding whether to wait for their missing partner. Acknowledging her regret, Addison's finally ready to put on that fermi suit and swap places with Ben, bringing everything full circle. Sort of. They're reunited, but in the past as leapers, with a fresh set of possibilities ahead.

Like many shows on the bubble since it premiered, the producers had to give NBC what they want within a tighter budget and time frame caused by the strike. So while it's understandable to miss the simplicity of the classic series, what we've gotten has certainly attempted to incorporate its legacy. And for all the continued debate surrounding whether this "needs" a Scott Bakula appearance, count me among those who still think it does, especially considering how much Sam's past has informed this incarnation, and how open they've been in acknowledging that. But it has to make sense and feel right. 

More than just warranting a binge for skeptical viewers who may have prematurely bailed, Quantum Leap's season finale can also potentially work as a series closer if it has to. But while going out on top is nice, it's really hard to settle after coming so far and realizing this doesn't feel done. For as much work that went into it, two seasons just isn't enough when you've been waiting thirty years and there's still story left to tell.