Category: 2024-2025

Spoiler-Free Review: “Nosferatu” (2024)

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A gothic tale of obsession between a haunted young woman and the terrifying vampire infatuated with her, causing untold horror in its wake. -Synopsis

In Wisborg, Germany in 1838, a young/ambitious estate agent, Thomas Hutter (Nicholas Hoult), reluctantly leaves his anxious bride, Ellen (Lily-Rose Depp), in hopes of securing a lucrative deal. While her husband is away, Ellen lives in the household of their close friends, Anna (Emma Corrin) and Friedrich Harding (Aaron Taylor-Johnson). The Hardings are in a more comfortable life, having (inherited) wealth; they are raising 2 young children. After Thomas arrives at the isolated castle of mysterious/rich Count Orlok (Bill Skarsgard), an evil presence begins to haunt Ellen’s mind.

Over 100 yrs ago, F. W. Murnau made the silent classic of the same title. This kicked off how vampires (incl. Dracula) could be depicted in film. Werner Herzog’s Nosferatu the Vampyre was released 50+ yrs after Murnau’s version; I recently learned of this movie. If you are Gen X (like me), you may be most familiar w/ Francis Ford Coppola’s Dracula (1992) starring Gary Oldman, Winona Ryder, and Keanu Reeves.

American director Robert Eggers (b. 1983) is known for being fresh, well-researched, unique locations, and fine details in his (period-specific) films. This was my 1st time watching on of his movies; horror fans may be familiar w/ his debut- The Witch (2015). If you know me (online), y’all know that I went to see this b/c of Hoult. The movie’s pacing is deliberate and somber; as some viewers noted, it felt slow in the middle. You may feel a sense of dread, rather than jump scares (as used in “typical” horror movies). The snow is not CGI; Eggers used a technique (from the 1940s- shoutout to my classic film fans) where frozen potato flakes are crushed and made into snow-like particles. The exterior of Orlok’s castle was filmed at Hunedoara Castle (AKA Corvin Castle); it’s a Romanian castle located in Transylvania (one of the largest European medieval castles).

[1] …the attention to detail here is impeccable; the period costumes and sets are dazzling, and the cinematography is top-notch, with repeated uses of muted grey night-time sequences that border on black-and-white (intentional I’m sure, as an ode to the Murnau original).

[2] The story, adapted from both Dracula and Nosferatu… but mostly Nosferatu, was very well written. With dialog that felt natural and authentic to the time period, another one of Eggers specialty, the film flowed rather nicely and almost transports you to that time and place.

[3] And despite how good some of the acting is in this film, it failed completely to connect with me on an emotional level. […]

-Excerpts from IMDb reviews



“All We Imagine as Light” (2024) starring Kani Kusruti, Deepa Prabha, & Chhaya Kadam

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In Mumbai, Nurse Prabha’s routine is troubled when she receives an unexpected gift from her estranged husband. Her younger roommate, Anu, tries in vain to find a spot in the city to be intimate with her boyfriend. A trip to a beach town allows them to find a space for their desires to manifest. -Synopsis

This is the 1st Indian film to screen in competition at Cannes in 30 yrs; it was awarded the Grand Prix in 2024. The topic is NOT something we see V often- the emotional and social lives of 3 ordinary/working women living in a big city (Bombay/Mumbai). What brings the women together is the fact that they work at the same clinic and a shared language (Malayalam). Prabha (Kani Kusruti) is an experienced nurse in her 30s whose husband moved to Germany yrs. ago; they have rarely been in contact. Anu (Divya Prabha) is a 20s nurse who is secretly dating a (Muslim) man; she is Prabha’s roomie. Parvaty (Chhaya Kadam) is a cook in her 50s; she is widowed w/ an adult son.

Anu: How could you marry a total stranger? I don’t think I could.

Prabha: You might think you know someone, but they can also become strangers.

The writer/director, Payal Kapadia, is NOT afraid to look at (uneasy) topics of loneliness, uncertain romantic relationships, and socioeconomic struggles. Now, some of you’re wondering what is the big deal about Hindus and Muslims dating in modern India!? Just look up what’s occurring in PM Modi’s government, when you get a chance. Parvaty is facing eviction from her (long-time) home b/c she lacks certain documents. A developer wants to tear down her building to raise up luxury condos. Kapadia uses a cinematic style that is both personal (close-ups of the women) and expansive (wide-ranging shots of the cityscape). In the third act, the story moves from the hustle/bustle of Mumbai to a quiet/rural village (the ancestral home of Parvaty). I don’t want to reveal TOO much; check this film out if you want an alternative to Bollywood.

[1] The film beautifully juxtaposes the stillness of personal struggles against the relentless pace of urban life, creating an intimate yet universal portrait of longing and resilience. However, while the storytelling is subtle and poetic, it lacks a true climax, leaving certain narrative threads unresolved. Despite this, the film’s delicate atmosphere, compelling performances, and evocative cinematography make it a poignant, meditative experience that lingers beyond the screen.

[2] Kapadia’s direction doesn’t hold back in any scene, in any frame. While Ranabir Roy also deserves appreciation for the mersmerising cinematography. The screenplay is topnotch. Kani Kusruti achors the film with her splendid, characteristically restrained performance as Prabha. And Chhaya Kadam is a treat to watch.

-Excerpts from IMDb reviews

“The Seed of the Sacred Fig” (2024)

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Ficus Religiosa is a tree with an unusual life cycle. It seeds, contained in bird droppings, fall on other trees. Aerial roots spring up and grow down to the floor. Then, the branches wrap around the host tree and strangle it. Finally, the sacred fig stands on its own. -Opening lines of the film

[1] This raw and unsettling film features actual footage from the violent 2022 uprising in Iran over the death of 22-year-old Mahsa Amini, who was taken into custody for allegedly wearing her hijab improperly. 

[2] This film works because it takes us inside a family unit that is impacted by these very issues. It appears to use actual protest footage (suitably obscured) mixed in along with the fictional actors. This gives it a more urgent edge.

[3] The film features a fantastic script, wonderful actors and images of an unknown Iran. You can see Iran like we can rarely see it, with its modernity, its rich history and ancient monuments, its poverty as well as its drawbacks.

-Excerpts from IMDb reviews

You MAY have heard a BIT re: this Iranian film; it was on Pres. Obama’s list of faves rom 2024. The Seed of the Sacred Fig (from filmmaker Mohammad Rasoulof) was shot almost entirely in secret; financing came from French and German production companies. The movie had its premiere at Cannes (2024), where it was nominated for the Palme d’Or, winning the Special Jury Prize (considered the 3rd most prestigious prize at the festival). At the recent Oscars (2025), it was the official submission of Germany for Best International Feature Film.

Iman (Missagh Zareh) ia a devout/middle-aged/self-made man who lives w/ his wife, Najmeh (Soheila Golestani), and their 2 daughters: college student Rezvan (Mahsa Rostami) and older teen Sana (Setareh Maleki). He has just been appointed as an investigating judge in the Revolutionary Court in Tehran. The position provides him a higher salary w/ option for a (larger) apt for his family (which his wife long wanted). As protests against the government unfold, Iman discovers that he was NOT hired to use his legal expertise to investigate cases. He is expected to approve judgments presented to him by his superiors (w/o assessing any evidence), incl. death sentences! This position requires him to remain anonymous; he is ordered to withhold info from friends/family and given a handgun for protection!

This film is a must-see for those who want to understand the situation in modern Iran. We are taken beyond the headlines to see what is happening-“kitchen table issues” (as US politicians like to say). Though it could’ve been edited down some more, it’s still a tense/engaging domestic drama w/ enaging dialogue and acting. What we see is a situation involving “Chekhov’s Gun”- literally. I came to feel for the two daughters, who are seeking to know the truth of their world; the news is being censored. As with any young people, these young women want some sort of personal freedom (EX: living away for college). This movie shows how political pressures affect each member of the family.

#Oscars Best Picture Nominee: “Anora” (2024) starring Mikey Madison

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SPOILER ALERT: Don’t read this post if you haven’t seen, or don’t want to know, details from the movie Anora (streaming on VOD).

Love is a hustle. -A tagline for the film

This is yet (another) movie that shows us the hard truth- ain’t NO man coming to save you! This is my 1st time watching a Sean Baker movie; he’s the writer, director, and editor of this (unusual) indie film. This film won the Palm d’Or at the 2024 Cannes Film Festival. The title character (who prefers to be called “Ani”) is played by Mikey Madison; I saw this actress in her supporting role in Once Upon a Time in Hollywood (2019). Ani is a 23 y.o. stripper (or sex worker) at a club in Manhattan; she’s a blend of sweet and tough (as several viewers noted). One night, the club’s manager pulls Ani aside to explain that a client wants to see someone who speaks Russian. Vanya (Mark Eydelshteyn) is a big spender/heavy drinker, though just 21 y.o. Since Ani’s grandma never learned English, they communicated in Russian. Ani quickly charms Vanya; soon, he invites her to his mansion. They seem to like each other, have some laughs, and end up in Vegas (w/ a group of his friends); of course, Anora is paid to act like a gf. Suddenly (after a week), Vanya proposes to Ani, and she says “yes!” Are they really in love? Is this a reckless decision they’ll come to regret?

Some viewers have compared this movie to Pretty Woman, BUT w/ a more gritty, dark, and realistic bent. The nudity (and intimate scenes) are also unlike ones you’d see in typical rom coms. This film takes an (unflinching) look at the issue of class; this is NOT often done in America. Honestly, I didn’t think much re: class/social differences until I lived in NYC myself. In once scene, Vanya (unlike Anora) doesn’t move his feet while his young maid (a Russian immigrant) is vacuuming; he continues to play video games. It turns out that Vanya is still an immature boy; his lifestyle is paid for by his wealthy/business-oriented parents (who live in Russia).

The 1st act has been described as a (high energy) rom com; the rest is slower w/ the tone of a dark comedy. It was refreshing to see areas of NYC that aren’t often in movies; Ani lives in Brighton Beach, Brooklyn (known for its large Russian population). We see Coney Island (nearly empty in Winter) and points of interest in Vegas (such as an iconic wedding chapel). Though Ani is the central (POV) character, the supporting characters (who work for Vanya’s parents) add flavor to the story. Toros (Karren Karagulian) is the priest who baptized Vanya; he’s one of the men responsible for watching out for Vanya. Igor (Yura Borisov) is a quiet/stoic young man who works as an enforcer. One astute movie critic noted that both Ani and Igor use their bodies in their work. What did you think of that (unexpected) last scene of the movie? I found myself getting a BIT emotional.

[1] Anora is a punch to the face of the traditional fairytale concept. It’s a realistic, violent, raw, funny, and ultimately sweet modern Cinderella story.

[2] Some films are completely made by their last scenes, and Anora is one of them. […]

…in the film’s final moments, we see all of that bravura fall away and Anora turn into a sobbing little girl when a character offers her a taste of genuine human kindness and affection.

[3] Once the first act concludes and the second act kicks in, there’s a striking shift in both tone and style that I honestly did not see coming.

The comedy is genuinely entertaining, with moments that will have you laughing out loud. Despite serious circumstances, the absurdity of the situations elicits laughter and chuckles.

[4] The storyline was predictable and uninspired, failing to hold my attention or evoke any emotional response. The characters lacked depth, making it impossible to connect with them or care about their journey.

-Excerpts from IMDb reviews

“Juror #2” (2024) starring Nicholas Hoult, Toni Collette, J.K. Simmons, Kiefer Sutherland, & Zoey Deutch

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SPOILER ALERT: Don’t read this post if you haven’t seen, or don’t want to know, details from the movie Juror #2 (streaming on HBO MAX).

While serving as a juror in a high-profile murder trial, a family man finds himself struggling with a serious moral dilemma, one he could use to sway the jury verdict and potentially convict or free the wrong killer. -Synopsis

In Savannah, GA, Justin Kemp (British up-and-coming actor Nicholas Hoult) is a writer at a lifestyle mag who is called in for jury duty. He tries to get out of it, explaining to the judge (Amy Aquino) that his wife- Allison (Zoey Deutch)- is in the 3rd trimester of her pregnancy. The judge isn’t moved, noting that this won’t take more time than his (9-5) job. The case is the murder of a young woman, Kendall Carter (Francesca Eastwood); the defendant is her on-again/off again bf- James Sythe (Gabriel Basso). The prosecutor, Faith Killebrew (Toni Colette), is running to be DA; she’s V confident that this will be an open and shut case. She has a (friendly) rivalry w/ the defense attorney, Eric Resnick (Chris Messina). In flashbacks, we see that Justin- on the (stormy) night that Kendall died- hit something w/ his car!

Are y’all feeling nostalgic for those 1990s (EX: John Grisham) legal dramas? Then, this is (new-ish) movie (from Clint Eastwood- still working) is for you. I have to admit, the premise looked interesting, so I checked it out over the recent holiday break (on HBO MAX). Also, many critics/viewers have commented that (mid-budget) dramas like this for a grown-up audience are lacking from theaters in recent yrs. Don’t look for any big thrills or even much tension. This is a case of missed opportunities (directing choices) and lackluster dialogue (basic screenwriting). Even the musical score is nothing memorable.

This movie is also a reunion btwn. Hoult and his (onscreen) About a Boy (2002) mom- Collette. The actors are doing the best they can w/ the material; however, Collette’s Southern accent is a BIT uneven. The jury is V diverse (reflecting a mid-sized city in the modern era), BUT there is V little character development. Small roles are played by Kiefer Sutherland and J. K. Simmons; I guess LOT of actors want to work w/ Eastwood. You may’ve heard that there is an unexpected ending, BUT that can’t save the film.

[1] For one, the case itself seemed pretty weak to begin with. It was mostly circumstantial and no direct evidence linking the defendant to the crime.

[2] This cast is doing their best, but the material is so incredibly dumb. The elevator pitch of the plot is intriguing, but it’s got the silly execution of a CBS crime procedural.

I watched it for the cast, and for the moral dilemma and mystery of the premise, but the trailer had more actual plot clarity than the movie itself.

[3] I was surprised how 2D some of the characters on the jury were, and pretty simplistic and dated stereotypes.

-Excerpts from IMDb reviews