OUR LITTLE SECRET (2024)

~ jbg ~ Leave a comment

Directed By: Stephen Herek

Written By: Hailey DeDominicis

Cinematography: Graham Robbins 

Editor: Heath Ryan 

Cast: Lindsay Lohan, Ian Harding, Joe Rudnitsky, Kristen Chenowith, Tim Meadows, Judy Reyes, Katie Baker, Dan Bucatinsky, Ash Santos, Henry Czerny, Chris Parnell, Kurt Yue 

Avery and Logan haven’t spoken in the 10 years since they broke up. As Christmas approaches, they discover that their new partners are siblings, and both of them have been invited to stay with the family for the holidays. Avery proposes that they keep their past a secret to avoid any awkward confrontations, but hiding the truth turns out to be more difficult than it seems–and spending time together reignites old sparks.

————————————————————————

The film Has the screwball comedy concept down. 

In veteran director Stephen Herek’s hands makes what could have easily been insufferable into something more memorable. Very formulaic 

It get’s a bit racy but never over the edge and stays quite clean. Though goes a few places you wouldn’t expect, but keeps its subjects and targets soft. After all it is a movie aimed at the holidays for families for the most part. 

I will admit I watched this movie mainly to see actress Lindsay Lohan. I was a fan when I was younger and was alway rooting for her through her turmoil with fame, but always thought she was talented and had the skills. Making quite the comeback here. Though not as full fledged as one would hope. Though she is trying and sells the material.

So looked forward to her many comebacks. Luckily they have recently seemed to stick, but mostly here does what is required. She comes across a bit stiff and too poised. Especially when she needs to throw herself into it more. 

The film Is filled  with reliable recognizable and reliable actors who the audience  will instantly recognize. 

It’s a Sweet romantic comedy that is a bornvoer the top yet relatable. As most of the characters throughout are holding secrets. None that small they are all quite devastating in the end. 

Which at least leaves the movie with some gravity. As most of the other gags seem forgettable and never quite Go for  the full damage or gambit of consequences, but still Manages to leave a smile on your face. 

Grade: C+

SILENT NIGHT (2021)

~ jbg ~ Leave a comment

Written & Directed By: Camille Griffin

Cinematography: Sam Renton 

Editor: Pia Di Ciaula and Martin Walsh 

Cast: Keira Knightley, Matthew Goode, Roman Griffin Davis, Sope Dirisu, Kirby Howell-Baptiste, Lucy Punch, Annabelle Wallis, Lily-Rose Depp, Rufus Jones, Davida McKenzie

Nell, Simon, and their 3 sons are ready to welcome friends and family for what promises to be a perfect Christmas gathering. Perfect except for one thing: everyone is going to die.

————————————————————————

This is a film. You should know as a little about before you watch it and let yourself be surprised by it that way it can be rewarding for you.

This is a dark comedy with a surprise ending that you don’t necessarily see coming, especially with this material. Which can be subtle but does leave a sting.

As a perfectly mixes, the joy and melancholy of the holidays. As a time of joy camaraderie, but also a time of darkness, especially if not feeling that particular joy and still feel a certain loneliness or emptiness

The film starts off at typical if not cynical, though eventually you find out the downside or tragedy of what brings all the characters together. Even though there are at the beginning.

We get to see the characters go through the emotions as it dawns on them what is coming and have to face their own mortality and their past. The film surprisingly has them talking about each other, but never becoming vicious or revealing secrets that would normally tear them apart, which would direct the film into a more territory. it to be point and somewhat realistic.

The drama of it all gets to you in the audience that has its fair share of humor that comes more naturally as some secrets are revealed.

What is that? The film isn’t reliant on one thing it’s the mixture of elements that works. The same way with the cast it’s an ensemble no real stars, though wish some of the cast members or other characters had more to do than what they are given here mainly Kirby Howell-Baptiste.

This is a film, where the melancholy hangs in the air no matter how light some scenes or the atmosphere might be.

When the heart is introduced, it gets dark and all the more real thou it is a release of the underlying tension that the film has been building up.

Soon as you see  Roman Griffin Davis in this film, you should know it’s a tragedy or whoever is playing his mother won’t survive. So far his career highlights have been this and JOJO RABBITT. so usually a quirky dark comedy. Though he is also the film’s director’s son 

Ultimately, the film has a climate change message and is very subtle with its theme and provocations. Especially when it comes to science and the government also the establish class and youth culture.. 

I’m surprised this film is more popular as it is a gem 

Grade: B

EDDINGTON (2025)

~ jbg ~ Leave a comment

 

Written & Directed By: Ari Aster

Cinematography: Darius Khondji

Editor: Lucian Johnston 

Cast: Joaquin Phoenix, Emma Stone, Austin Butler, Pedro Pascal, Deidre O’Connell, Michael Ward, Cameron Mann, Clifton Collins Jr., Luke Grimes, William Belleau, Amelie Hoeferle 

In May of 2020, a standoff between a small-town sheriff and mayor sparks a powder keg as neighbor is pitted against neighbor in Eddington, New Mexico.

————————————————————————

This film Is A Modern Western Fever Dream America Desperately Needs to Talk About

Eddington is one of those films that walks into the cultural conversation like it owns the place. It’s loud, strange, earnest, paranoid, poetic—and you immediately know you’ll be arguing about it for months. It’s a genuine conversation starter, which is why I will gently advise: go in knowing as little as possible.

That said… one has have to talk about it, and talking about it requires spoilers. So consider this your warning, your permission slip, and your parachute.

This is a film that is hard to describe or even evaluate on one review. There are so Many things going o. Where even the littlest action, decision or even detail means more by the ends 

This is a movie that is, by design, divisive. A cinematic Rorschach test. Some viewers will love it. Some will hate it. Some will think they “get” it. Some will swear others don’t “get” it. And others still will simply sit there wondering why the film dared to poke at politics, identity, and American mythmaking with a stick this sharp and this reckless.

But that’s also the point: Eddington isn’t here to soothe you. As it’s a midwest tapestry stitched with paranoia.

Set in a small Midwestern town, the film plays like a modern western that swaps out the black-hatted outlaw for pandemic panic, online conspiracy, fractured identity politics, and the creeping realization that the “outside world” has already invaded long before anyone notices.

The first half feels deceptively simple. small tensions, personal feuds, social anxietie, but those threads keep tightening, knotting, and snapping until the town erupts, not because of a single villain, but because absolutely everyone is too wrapped up in their own drama to actually talk to each other.

It’s a portrait of America where communication has been replaced with suspicion. Where rivalries escalate past all reason. Where every person is starring in their own private conspiracy thriller. Even as the real threats crawl right through the cracks.

By the end, the film begins to resemble a Donald-Trump-era conspiracy fantasy… but with absolutely none of the idol worship or flattery. It’s the nightmare version: the idea that paranoia itself becomes prophecy. That fear becomes religion. That enemies, real or imagined materialize because characters are too busy reenacting their own ideological theater to notice the world burning around them.

The satire bites hard, aiming squarely at both political sides. The left -idealistic, moralizing, eager to be on “the right side of history” treats the town’s homeless man like an inconvenience. The right – fearful, defensive, easily provoked, treats him like a problem to eliminate. And everyone, absolutely everyone, is a hypocrite.

Young “progressive” locals demand justice yet lecture the Black deputy on what he should feel, while he’s simply trying to do his job and survive in a town that barely allows upward mobility. Romantic tensions reveal that personal motives are often far murkier than the ideologies people hide behind. Friendships fracture. Morals bend depending on who’s watching. It makes you wonder if the characters truly feel this or if it’s just performative social justice because that is the trend and what’s popular. Also giving them a sense of rebellion that youth seems to always desire against the aged or old ways. 

By the end the deputy has his own scars and learns the lessons his ancestors had to deal with and learn. Yet still go on day to day in pain. Never being able to forget the injustices. 

The virus infiltrates. Fear infiltrates. Antifa is said to infiltrate. But really, it’s paranoia doing all the infiltrating.

Yes, this is very much an Ari Aster film, though it’s looser, less mannered, and more sprawling than Midsommar or Beau Is Afraid. It’s a messy beauty, intentionally so. The visuals are gorgeous but less overtly stylized; the tone more erratic, more chaotic, more human. It’s a modern western of moral collapse 

If Beau Is Afraid punished its lead for everything, Eddington punishes its lead for exactly one thing: believing revenge is righteousness.

And his downward spiral, though tragic, is compelling in a mythic, moral-fable way.

The third act is where Aster lights the fuse and lets the whole film detonate.

Chaos reigns. Consequences catch up. Characters pay the ultimate price. not for their politics, but for their blindness.

Eddington refuses to pick a side because it’s too busy examining how people weaponize sides in the first place. It understands that humans are more complicated than the slogans they carry or the propaganda they share. Ideology becomes performance. Performance becomes identity. Identity becomes a trap.

And through all this, the film insists that sometimes the greatest horror story is simply a group of people refusing to truly see one another.

So that the film is about flawed people, not slogans 

Is the film perfect? No. Is it Ari Aster’s best? No 

But Is it vital? Absolutely. It’s ambitious, jagged, clunky in spots, occasionally too big for its own frame, but it’s also alive—full of ideas, full of danger, full of that rare cinematic bravery that demands viewers think rather than simply consume.

The major supporting actors. Some of the film’s biggest names. Emma Stone, Austin Butler, Pedro Pascal all appear briefly but meaningfully, flashing like caution signs in the town’s slow-motion meltdown. Their presence reinforces how everyone is part of the problem, part of the confusion, part of the noise.

Joaquin Phoenix’s acting here is more internal than external and it’s his show the ringleader to reign in. Even if by the end he is one of the acts rather then being in control. Especially the way he wants or hopes he is. 

I could try to link the various theories and interpretations that this film presents but that is for the viewer to discover for themselves and read into,  no I’m not writing that to say that I don’t

Have any or see any. I think half the interest and entertainment isn’t Always what is happening on the screen but how you or an audience reacts to it. 

I can see why some might dislike the film

Though most admit they don’t like the film but It’s 

Not a bad film as it does make you think. As it tries to be a satire that is less comedic and more political exposing the chaos of the pandemic playing out all the theories, fears and politics in a small town and making it come across as a modern western due to it’s Location and strange mix of morals and anti-hero To show that we are all flawed in some way

As when the lead does what he thinks is right out of revenge but leads to his own and others downfall that ends up with him being heroic and paying the ultimate price 

The films shows flaws I. Both sides as it is more interested in showing characters and how they can be lead astray but also victims of circumstance and survival at times 

Who are we to hate because things don’t

go the way they are supposed to or are expected to. People are people not slogans and propaganda that they might brandish or share and at the heart of all these movements the leaders are open to oversight and more interested in the message and less the followers or even supposed victims 

This is not a pass/fail film. It’s a what did this make you feel? film. A what did you see that I missed?film.

The entertainment isn’t just the plot. it’s the audience reaction, the interpretations, the debates in the parking lot afterward.

Eddington is a human horror story disguised as a political satire disguised as a western disguised as a pandemic drama.

It’s a film about how easily we fracture under pressure, how quickly we fall into narrative traps, and how dangerous it is when no one is listening.

Not my favorite Aster film… but maybe the one most urgently worth discussing.

Grade: B+

THE ACTOR (2025)

~ jbg ~ Leave a comment

Directed By: Duke Johnson 

Written By: Duke Johnson and Stephen Cooney 

Based on. The novel “MEMORY” by: Donald E. Westlake 

Cinematography: Joe Passarelli 

Editor: Garret Elkins

Cast: Andre Holland, Gemma Chan, Toby Jones, Tracy Ullman, Joe Cole, May Calamawy, Tanya Reynolds, Youssef Kerkour 

When New York actor Paul Cole is beaten and left for dead in 1950s Ohio, he loses his memory and finds himself stranded in a mysterious small town where he struggles to get back home and reclaim what he’s lost.

————————————————————————

This is a strange film as it is beautifully film, offering surreal, imagery, mystery, nostalgic throwbacks in a bit of artificiality that the film leans into when it comes to fading memories, or one memory leading to another and connected 

What a strange about this tail is that it plays a bit like film noir it seems to want to head that way, so it plays more like a romance, as well as a psychological character drama that fully tries to illustrate the lead characters, fractured, memories, and emotional state due to this condition 

Though ultimately the problem with the film is that it doesn’t really go too many places it explores the situation, but you never know where exactly it’s headed and it still doesn’t really offer any answers and what it does. They’re not really that big revelations so you wonder what are we supposed to do with this And even though the film doesn’t outright explain anything we’re able to get answers through small little clues

Obviously, the film deals with identity, and whether this is truly the person’s identity stripped away, and who he was before was always an act. This is more the emotional vulnerable him or is he in fact, truly a different person.

Just as we are left a question what’s real as the film is obviously filmed more on sites than actual locations and can easily walk over to the vaccine or memory, but it makes it not only a movie but also makes it feel more staged, but also loose in itself as there is obviously a design to it all, but you never know where it’s gonna go so more like an outfit from the runway, though in the parameters of an outfit that someone could wear daily, but still with that wild streak. As the sets work to show that each time he moves on, he is in a new scene or a new set for him in his life. 

If anything, the film plays more like a dramatic romance that is dreamlike and fits in with movies such as MOOD INDIGO, and THE SCIENCE OF SLEEP where it’s more about the creative forces,  presentation and artistry on display. As the films and the filmmaker seemed to get lost in their imagination and while it all looks good by the end, it doesn’t come too much

Though it all looks pretty and it does entertain it’s very light on material, even though there is plenty of depth. Though sometimes that creativity seems like it is more there to either distract or make up for the lack of action.

Though this film is admirable, if you give it a chance for its beauty and what it attempts to do not to mention where it takes you to and leaves you for you more interpret as it is sweet and old-fashioned now using more modern storytelling techniques. Not to mention the bravery of the filmmakers to make this film and live in the moments.

Another aspect that keeps the film feel more like a stage plays is that some of the noticeable and notable actors play at least three different roles throughout. Usually minor but meaningful ones. That come In each phase or territory that he travels to. 

Andre Holland in the lead is excellent as usual, truly showing his leading man presence, looks and vulberability. Gemma chan as the female lead is so precious though one wishes she was given more to do and play with. Even as with that decision she plays more of a sweetheart who the audience falls in love with, as she is truly innocent throughout.

Hopefully this will be a film that is discovered and studied by Audiences In the future and not just an undiscovered gem. That while shiny isn’t as heavy as it should be. 

by the end, you just wish that it had more to say and something you can grab a hold of so that it could truly match its beauty

Grade: B-

LADY KILLER (1933)

~ jbg ~ Leave a comment

Directed By: Roy Del Ruth

Written By: Ben Markson and Lilie Hayward

Based on the story “The Finger Man” By: Rosalind Keating Shaffer 

Cinematography: Tony Gaudio

Editor: George Amy 

Cast: James Cagney, Mae Clarke, Margaret Lindsay, Leslie Fenton, Douglas Dumbrille, Russell Hopton, Raymond Hatton, Henry O’Neill 

When a movie theater usher is fired, he takes up with criminals and finds himself quite adept at various illegal activities. Eventually though, the police catch up with him, and he runs to hide out in Los Angeles. There he stumbles into the movie business and soon rises to stardom. He has gone straight, but his newfound success arouses the interest of his old criminal associates, who are not above blackmail.

————————————————————————

The films of James Cagney’s work that I see, he is swiftly becoming one of my favorite actors of all time.

As he has a screen presence personality, and tons of range and while this film, is it quite one of his memorable ones.  it’s still an interesting entry in his résumé and one can see why he starred in it.

The film is pre-code Hollywood where anything goes. 

As the first half definitely works and it’s fun, funny and seems to move quite long at a quick pace that stays charming. Though once the second half of the film starts where he has to relocate and go to Hollywood and we see him work his way up the ladder. In various roles for the studio.

Where this part of the film is where the romance starts, it also allows us to see him in various costumes and roles that come off more comedic, and are truly a time capsule of old Hollywood for those fanatics which shows how they would dress up extras as Native Americans and westerns and the special effects that they would use

It also allows us for a good part of the film to see James Cagney with a hideous thin mustache. Now once his life has seemed to have settled his old cronies and business partners from his passing to hunt him down and find him and while this should be thrilling this is actually What brings the film down as it’s not as fun or inventive as the rest of the film and really makes the film dragged towards the end and this film is under 90 minutes already

One quality that is notable is the viciousness in which he treats one of his old female compatriots and seemingly ex lover when he throws her out he’s just so outrageously violent towards her that it almost feels comical, which seems to be what the film is going for but watching it it feels over-the-top and cruel, no matter what happened in their past. I’m talking Tyler Perry melodramatic over the top.

The film is a crime keeper comedy and does whisk along rather quick, but truly James Cagney is the only reason to watch this film. He is the star and truly is one in this film. While the rest of the cast is good enough but not all that memorable 

James Cagney said in interviews it’s not one of his finest. In fact, I had never heard of it until it came up on a streaming service and decided to give it a chance.

So for this one I say watch at your own risk, but if you’re a James Cagney fan, I think it’s enjoyable

GRADE: C 

SMART MONEY (1931)

~ jbg ~ Leave a comment

Directed By: Albert Green

Written By: Kubec Glasmon, John Bright, Lucien Hubbard and Joseph Jackson 

Cinematography: Robert Kwirle

Editor: Jack Killifer 

Cast: Edward G. Robinson, James Cagney, Evalyn Knapp, Ralf Harolde, Noel Francis, Margaret Livingston, Maurice Black, Billy House 

Nick Venizelos, an immigrant Greek barber, has an uncommon affinity for poker and other sorts of wagering and a group of his friends bankroll him in a big game, where his weakness for pretty blondes is taken advantage of by sleazy operator Sleepy Sam who cleans him out in a rigged game. Nick accepts help from his buddy Jack as they turn the tables on the grifters, but triumph soon changes to tragedy.

—————————————————————————

Recently have been watching many 1930’s films. Which is where one came across this one.

Though Watched this with extra enthusiasm because it starred two of my favorite classic actors On the big screen together  for one of the few times In Their careers. James Cagney and Edward G. Robinson. Though Cagney has the smaller supporting role. 

They both seem to have their big screen personas and attitudes but not as graphically or as much here yet 

Thought the film would be more of a comedy and not quite so serious.

This film made me really feel something, especially for the main character. He stayed identifiable throughout

The film is defitnely older and of it’s time period as it’s treatment of women and black characters are definitely old fashioned and in bad taste. As it is a pre-code film that is a representation of its times and politics.

 The film might not be the best considering the talent involved. Though it does tell its story swiftly and engagingly as it gets to the point.

Grade: B- 

PLAYDATE (2025)

~ jbg ~ Leave a comment

Directed By: Luke Greenfield

Written By: Neil Goldman 

Cinematography: Darren Tiernan

Editor: Joe Mitacek 

Cast: Kevin James, Alan Ritchinson, Sarah Chalke, Isla Fisher, Alan Tudyk, Paul Walter Hauser, Stephen Root, Banks Pierce, Benjamin Pajak 

Brian has just been fired from his job. He becomes a stay-at-home dad. He accepts a playdate invitation from another stay-at-home dad who turns out to be a loose cannon.

————————————————————————

This film is silly and pretty much knows it’s audience wish I could be more of a family film as it seems like it would play more, but it does have its fair share of violence, bad language, and adult juvenile humor. Though strangely it seems like its perfect audience would be teenagers and adults who just like juvenile humor.

It’s an action comedy that once it gets down to the plot line is silly, but I found this from to be quite a guilty pleasure as I found it constantly hilarious throughout no matter how stupid it might seem at times 

What helps is that a lot of the supporting characters are so ridiculous and funny. You wish they had longer screen time or would come back into the film after their scenes are done. Like Isla Fisher’s character you wish as always that there was more of her throughout.

Well, Kevin James Plays with his typical type of humor lead character. It does appear that he’s having fun and is affable whereas Alan Richardson who takes more of the action sequences is perfectly cast as he reminds one of Sean William Scott when he first came out where it seemed like everything he did even his facial expressions Are humorous only Alan Richardson looks like a more muscular version, but has that same comedic and silly spirit that Sean William Scott has and some rules and makes it all his own so that it might remind some people who watched the show blue Mountain state what Richardson can do specially with an inspired committed character.

This is a film made up of humorous moments that all going into the story, though the moments are more valuable ultimately than the story this is also more of a male bonding film so that fathers and sons watching it together can definitely feel something special watching this film as there are female characters, but they are more put into the background.

This film is a harmless time waster where if the trailer or poster intrigues you this is definitely your type of movie, but if not, this isn’t going to necessarily win you over unless you’re a fan of the lead actors 

It feels on the same level as Hulu yearly John Cena, buddy action comedies only this time playing on Amazon prime so they’re getting their own version 

Grade: C

HONEY DON’T (2025)

~ jbg ~ Leave a comment

 

Directed By: Ethan Coen 

Written By: Ethan Coen & Tricia Cooke

Cinematography: Ari Wegner 

Editor: Tricia Cooke and Emily Denker 

Cast: Margaret Qualley, Chris Evans, Aubrey Plaza, Charlie Day, Lera Abova, Billy Eichner, Talia Ryder, Kristin Connolly, Jacnier

A dark comedy about small-town private investigator Honey O’Donahue, who delves into a series of strange deaths tied to a mysterious church.

————————————————————————

When it comes to this film’s plot. One can understand like their last collaboration DRIVE AWAY DOLLS. Writer Directors Ethan Coen and Tricia Cooke. Like to have multiple narratives going on all at once that run parallel to each other even if just in theme and eventually run into or connect at certain points. That seems like it will be the big payoff. Here the themes are there but everything feels like a near miss. 

Feels a bit exploitive as it seems more interested in showing a lesbian sexual relationship than anything else. Rather then story or plot and put it in there haphazardly so that it feels random 

Even though it might be that the main Character is interesting and this has bits and pieces especially with the characters.  that could have been more of a small town mystery but plays more sporadically and you wonder where it is going and how it will all tie together that you feel like you are floating through it all waiting for some kind of direction other then Suggestions 

Starring the director’s muse Margaret Qualley Whitney’s to play the most interesting character and gets the most range 

Of course the film has a heavy feminist feel which there is nothing wrong with but it seems to pile it on after awhile rather then necessarily subtle 

It has a supporting cast of recognizable names that are here but given very little to do except play small exaggerations and somewhat central to the plot but feel more like stunt casting to add more reverence to the rather thin material. As the characters seem interesting but are in search of a better story and meaning. As next to qualley the only actor who really makes the most of their screen time is Lena Abrova as the mysterious cheer 

Wonder if this is a way for the filmmakers to add sex and sexuality back into films that seems to be lost or unused in modern cinema but truly it isn’t erotic but more sloppy and matter of fsct

There is now doubt that Ethan Coen can do quirky and can do the same with characters, but there needs to be some kind of meaning and consideration for the audience. As this film while silly and quirky does come out feeling self indulgent and like only the filmmakers are the only ones. It only entertained but also seem to care 

As this film feels more like a lark, more like an extended episode rather then truly a whole film 

By the time we get to the entrance walls revealed it seems rather random or much ado about  it nothing and all just coincidence and interlocked and it plays more comedic then it should more like a from a John waters film 

The film has its moments but doesn’t add up to making the film feel worth it. 

Grade: C-

MAGGIE MOORE(S) (2022)

~ jbg ~ Leave a comment

Directed By: John Slattery

Written By: Paul Bernham 

Cinematography: Mott Hupfel

Editor: Tom McArdle

Cast: Jon Hamm, Tina Fey, Michael Stock, Nick Mohammed, Happy Anderson, Derek Basco, Louisa Krause, Mary Holland, Christopher Denham, Bobbi Kitten

Police Chief Sanders investigates the bizarre murders of two women with the same name and unravels a web of small-town lies. He meets and quickly falls for Rita, a nosy neighbor who is eager to help solve the mystery.

————————————————————————

This is a cute Earnest detective story, that still manages to offer some twist and shocks by the end, even though it plays a little bit more like a personal procedural where we see the crime or least most of the crime before it happens, and we know the motives behind the crimes but we watch as the characters deal with the aftermath and we wait to watch the police slowly figure out what’s going down. As well as provide a romantic comedy element. 

what keeps you interested in this film is other than the crime aspect is the lead played by John Hamm and his virginalling relationship with a neighbor of one of the victims played by Tina Faye, and how they play off of each other bonding over the case but then getting to know one another and at first what looks like friendship becomes a slow burn romance that has its own challenges

even though this is based off of a true story, it’s not quite as dark as let’s say a film like Fargo, but it has the characteristics like it’s a lightweight version of it where there is hope and there’s room for more comedic caricatures, but most of the characters are also three-dimensional, even when they feel quite familiar and identifiable

so that in the end, this film doesn’t offer anything new. It could almost be an episode of poker face more shows in that manner like Elsbeth but only here we at least get original characters investigating that makes this film all the more interesting and more of an Odyssey as we get to know everyone involved and don’t know anyone as soon as we come in.

Jon Hamm stars in the film and his old costar from the show MAD MAN John Slattery directs the film. So what while that show has finished this almost feels like a fun side project for them to collaborate on.

The only unbelievable point of the film is that Jon Hamm is a bachelor and he can’t find too many women interested in him throughout except for Tina Fey.

The film at times is a bit offbeat yet traditional. more like a sitcom version of FARGO not the FX series, though it doesn’t feel as deep, but it is filled with strange characters that feel original and comedic at the same time.

The film is enjoyable as long as you don’t put your hopes up as it is more a slow burn character piece with some crime and comedic elements. Don’t expect a big knives out type mystery. just watch and let yourself be charmed by the film. Perfect for the armchair detective in us all.

Grade: B- 

ROUNDING (2022)

~ jbg ~ Leave a comment

Directed By: Alex Thompson 

Written By: Alex Thompson and Christopher Thompson

Cinematography: Nate Hurtsellers 

Editor: Michael S. Smith 

Cast: Namir Smallwood, Sidney Flanigan, Michael Potts, Rebecca Spence, Charin Alvarez, Nedirah Best, Cheryl Lynn Bruce, David Cromer 

A driven young medical resident transfers to a rural hospital for a fresh start. There, the demons of his past start to catch up to him when he becomes consumed by the case of a young asthma patient.

————————————————————————

This is what I’m thankful for the SHUDDER channel. As even though it’s more devoted to all kinds of horror films, maybe a little sci-fi they are also a channel that seems to welcome foreign films and many different genre of movie that might have a supernatural or horror element to them which ends up with the channel housing a lot of Indie films that might not have necessarily gotten released on other streaming channels. It might leave some of the channels fans who want strictly hard a bit disappointed, but it might also open them up to different films, they never would’ve given a chance to. Like this one

This is a film that again is better off unless you know about it as it’s stronger the more of a mystery it is. 

As it is more of a psychological thriller or psychological drama. About a medical student who after an accident has a breakdown and decides to try to get back on his feet by transferring to a more remote program. Where stress rears its ugly head, especially when it comes to a young woman’s case.

That he decides to investigate and the deeper he seems to get the more disturbed his behavior becomes the more resistance. He comes against where it does become a situation. Where is he the only one seeing this or is it all in his head or is he just getting two clips as the film goes along? We see him slowly unravel where even we aren’t sure if he is a reliable protagonist.

This is a film that has twist and turns, but is not entirely reliant on them to tell the story they just naturally come about and only add to the cold clinical exterior of the film. They eventually becomes devastating.

Namir smallwood really holds his own and truly dazzles as the lead in this film. He give the film gravity and fen be scary when he needs to be.

This is one of those films that is more lower budget and seems like a small story but ends up having a massive impact on the viewer. It does have its fair sheriff scares, but more than anything. It’s uncomfortable and unsettling more than anything else. So special mention must be made of what it manages to achieve with seemingly so little. It truly stays captivating and even a bit gross 

Grade: B-