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Review: ‘The Room Next Door’

Julianne Moore And Tilda Swinton Struggle Through Pedro Almodóvar's Clumsy English-Language Debut

Tilda Swinton and Julianne Moore in THE ROOM NEXT DOOR

With his English-language debut The Room Next Door, Pedro Almodóvar steps fully into the next phase of his distinguished career. The Spanish provocateur has slowly mellowed out over the years, but his themes have largely remained the same and expressed from women’s perspectives. Sexual pleasure and existential dread remain high on Almodóvar’s list of interests, but something is missing from this latest effort from the filmmaker. Perhaps it’s a translation issue, but this film is noticeably less convincing, less assured, and also less interesting even with a pair of dynamite actresses Tilda Swinton and Julianne Moore.

Almodóvar and soapy melodrama go hand in hand, but The Room Next Door strains credulity even for him. Moore plays Ingrid, a renowned author who we meet at a book signing attended by dozens of fans. Her latest novel, “On Sudden Death” is a hit and young women seem to have been hooked by it. One woman asks Ingrid to sign her book for her girlfriend with the inscription “It won’t happen again”.

It’s at this book signing that Ingrid learns of her friend Martha, played by Swinton. A former war correspondent, Martha has been diagnosed with stage-3 cervical cancer and is reluctantly seeking treatment. Marth and Ingrid were close once, but their lives went in different directions. They have shared many close things, many secrets and even a man, and that old closeness has brought them back together. Ingrid, feeling guilty not knowing of her friend’s illness, agrees to see her. After some pleasantries, Martha drops the hammer on her old friend by asking Ingrid to join her at the posh place she’s rented out, and to be there in the next room when she ends her own life. “It won’t happen again” begins to take on different meanings for Ingrid through her rediscovered friendship with Martha. Past happiness will never come around again, nor will the chance to make new memories. Letting this friendship wither and fade away as it did before. These things won’t happen again.

Almodóvar’s writing has always been overly detailed and oddly specific. His characters don’t talk like normal people do; they talk like soap opera characters reading from Wikipedia. That’s fine when he’s going in-depth on a subject he’s obviously become fascinated with. Still, he’s usually doing it in his native language and with Penelope Cruz making it all work. But it doesn’t really work here and sometimes it’s laughably bad, like when Martha starts describing intimately the “dark web” and how she bought a death pill from this place you can get anything from. John Turturro, who plays Damian, the man both Ingrid and Martha slept with, can not function within Almodóvar’s system. Damian, a nostalgic hedonist who can’t talk about anything but old memories of sexual conquests, sounds like an oversexed teen or an old creeper. Given this is a movie all about conversations, it’s tough when so much of it is clumsily written and didactic, with characters bluntly reciting their feelings on assisted suicide, climate change, and politics like they are automatons following a program.

Swinton and Moore acquit themselves better than Turturro, but even they struggle with the language barrier and surprisingly shallow writing on a tough subject. As they navigate Ingrid and Martha’s knotty relationship, we’re reminded of how great it is to see these two fantastic actresses occupying the same space, playing such sensitive, textured characters. Ingrid’s fear of death colors her every interaction; she is both inviting and strangely neurotic with her friend. She always seems to be on eggshells as if waiting for some indiscretion from the past to come up in conversation. And it’s always great to see Swinton take on a role that simply requires her to be human, with all of the fragility that comes with it. As Martha eyes the end of her life and looks back at the past, she is honest about the things she has done, the places she’s been, and the people she’s let down which includes her own daughter. Despite the issues with Almodóvar’s script, Swinton and Moore are as fabulous as ever.

Almodóvar doesn’t let his fans down from a technical standpoint, though. The usual blasts of vibrant color that we expect from him are still there. His women are dressed lavishly, he indulges in literary and artistic interests from the past, and there are flashes of the surreal when least expected. If you set it to “mute” you’d never know how shaky the film actually is. In a way, it’s good that The Room Next Door happened because now that Almodóvar has gotten this English-language debut done he will smooth out the obvious problems before tackling the next one. There are few filmmakers as beloved as Almodóvar among critics and I have no doubt that this will get high marks from most of them, but when it doesn’t win any awards this season that’ll be all the evidence needed that he needs to tighten things up next time.

Sony Pictures Classics releases The Room Next Door in theaters on December 20th.

 

‘Barbie 2’ Reportedly In “Early” Development With Greta Gerwig And Noah Baumbach Finding A Sequel Idea

Will Margot Robbie return for a BARBIE sequel?

Barbie was more than just a critically acclaimed cultural phenomenon in 2023. It also made Warner Bros. and Mattel a truckload of money; $1.45B to be exact. Do you think any studio would just let something like that go? Of course not, and while there’s been a lot of hand wringing about whether there would be a sequel…come on, it was always going to happen. And now it seems the first steps have been taken.

THR reports that Barbie 2 is in early development with Greta Gerwig and Noah Baumbach finally cracking a story idea. Take this with a pinch of salt, though, as Warner Bros. and agents for Gerwig and Baumbach deny it’s true.

“There is no legitimacy to this reporting,” says Gerwig and Baumbach’s rep, while a Warner Bros. rep adds, “THR’s reporting is inaccurate.”

If it does turn out to be accurate, both creatives will need to ink new deals as neither signed on for a Barbie sequel. Gerwig directed and co-wrote the hit film with Baumbach joining her on the script.

There’s also some doubt that Gerwig will return behind the camera or if someone else could take over. She has a pair of Narnia movies to direct for Netflix that will occupy quite a few years. Baumbach is also busy with an untitled movie he co-wrote the Emily Mortimer and features George Clooney, Adam Sandler, Laura Dern, Billy Crudup, and Riley Keough.

If Warner Bros. decides it doesn’t want to wait, a new director of Gerwig’s choosing could take over while she moves to a writer/producer role. We’ll just have to wait and see what happens, but for now it looks as if we’ll be returning to Barbie’s dream house after all.

New ‘Superman’ Motion Poster Teases This Week’s Trailer With A Familiar Theme

SUPERMAN opens July 11th 2025

Look! Up in the sky! It’s a bird, it’s a plane, but is it finally the trailer for James Gunn’s Superman? Speculation is we will finally get our first look at the film this week, and while nothing has been confirmed, today’s arrival of a new motion poster suggests that it’s true.

The motion poster has also been released by DC Studios in traditional style, both showing star David Corenswet’s Superman taking off into the air surrounded by a blast of familiar colors. Not only does it resemble the classic 1978 Richard Donner movie, but the motion poster is accompanied by a version of John Williams’ theme.

Gunn doesn’t do anything coincidentally. The idea to take from the image and the music is that he’s drawing clear inspiration from the classic superhero film that famously starred Christopher Reeve.

The story will find Superman journeying to reconcile his Kryptonian heritage with his human upbringing as Clark Kent in Smallville, Kansas. As the embodiment of truth, justice, and the American way, his kindness is increasingly seen as old-fashioned in the modern world.

Superman opens July 11th 2025 and stars Corenswet, Rachel Brosnahan, Nicholas Hoult, Isabela Merced, Edi Gathegi, Nathan Fillion, Anthony Carrigan, María Gabriela de Faría, Sara Sampaio, Skyler Gisondo, Wendell Pierce, Alan Tudyk, and Frank Grillo.

‘Warfare’ Trailer: Alex Garland And Ray Mendoza’s Iraq War Film Arrives In 2025

WARFARE opens in 2025

Alex Garland has largely kept his career centered around sci-fi, fantasy, and horror, both as a screenwriter and director. With films such as Ex Machina, Annihilation, and Men he explored all of those genres to great critical acclaim. But it was last year’s Civil War that saw Garland go in a different direction to explore current cultural ideas in a dystopian fashion. And that trend continues with his latest, Warfare, a military thriller opening in 2025.

Warfare finds Garland teaming up with co-writer/co-director and ex-Navy Seal Ray Mendoza on an Iraq War story told in real-time and based on Mendoza’s combat experiences.

The film has a great ensemble of D’pharaoh Woon-A-Tai, Will Poulter, Cosmo Jarvis, Kit Connor, Finn Bennett, Taylor John Smith, Michael Gandolfini, Adain Bradley, Noah Centineo, Evan Holtzman, Henrique Zaga, Joseph Quinn, and Charles Melton. Woon-A-Tai, best known for his leading role in Reservation Dogs, plays Mendoza.

Here’s the synopsis: Written and Directed by Iraq War veteran Ray Mendoza and Alex Garland (Civil War, 28 Days Later), Warfare embeds audiences with a platoon of American Navy SEALs in the home of an Iraqi family, overwatching the movement of US forces through insurgent territory. A visceral, boots-on-the-ground story of modern warfare, told like never before: in real time and based on the memory of the people who lived it.

Garland has said this will likely be the last movie he ever directs to focus on screenwriting again, as he’s doing with Danny Boyle’s 28 Years Later trilogy.

A24 will release Warfare in theaters in 2025.

Box Office: ‘Moana 2’ Sinks ‘Kraven’ And ‘Lord Of The Rings’ To Remain On Top

MOANA 2 easily held back new releases KRAVEN THE HUNTER and WAR OF THE ROHIRRIM
  1. Moana 2– $26.6M/$337.5M

Disney’s hit Moana 2 continues to surf the wave at the top of the chart with another $26M. The $337M domestic number is fourth all-time behind Zootopia and the two Frozen films, but it’s sure to move up within a day or so. Worldwide, the film has $717M and doesn’t seem to be slowing down.

2. Wicked– $22.5M/$359M

Holding strong for another week at #2 is Wicked, which fell only 38% and added another $22M for $359M domestically. Worldwide, the adaptation of the hit Broadway musical has $524M.

3. Kraven the Hunter (review)- $11M

Oof. Sony’s non-Spider-Man cinematic universe comes to a sad end with Kraven the Hunter‘s $11M debut. The Aaron Taylor-Johnson/Russell Crowe superhero film had the lowest debut ever for Sony’s Spider-Verse movies, even trailing behind Madame Web’s $15M launch. Reviews have been caught in a bear trap from the beginning with critics giving it just 15% on Rotten Tomatoes, while audiences were more generous at 73%. This experiment by Sony was a disaster, and not even R-rating could help. The problems are many, but centering an entire universe around villains and antiheroes, many of whom are not A-list Marvel characters, led to audiences steering clear. The news that Sony was giving up on these movies also couldn’t have helped matters because why invest in something that doesn’t have a future?

4. Gladiator II– $7.8M/$145.9M

5. The Lord of the Rings: The War of the Rohirrim (review)- $4.6M

Returning to Middle-Earth didn’t bring the expected rewards with The Lord of the Rings: The War of the Rohirrim. Opening with just $4.6M, the animated film exec-produced by Peter Jackson can’t hold a candle to his live-action movies which won multiple Oscars and scored huge box offices. My gut tells me that choosing to make it anime style reduced viewer interest except for fans of the genre. Plus, there was no real demand for this story to be told, and Warner Bros. likely did it to maintain its grip on the cinematic rights.

6. Red One– $4.4M/$92.6M

7. Pushpa: The Rule – Part 2– $3.7M/$13M

8. Interstellar (re-release)- $3.3M/$11.7M

9. Interstella 5555: The 5tory of the 5ecret 5tar 5ystem– $2.3M

10. The Best Christmas Pageant Ever– $1.3M/$36.6M

Jennifer Love Hewitt Is Back For New ‘I Know What You Did Last Summer’ Sequel

What are you waiting for, huh? Jennifer Love Hewitt returning for I KNOW WHAT YOU DID LAST SUMMER, that's what.

After weeks of teases, it’s now official: Jennifer Love Hewitt is coming back for the new I Know What You Did Last Summer movie. The actress, an icon of teen movies in the 1990s, confirmed the news on social media with a photo of her staring into a mirror covered with post-it notes of the original movie’s title.

Hewitt is the second cast member from the 1997 horror-thriller to return, following Freddie Prinze Jr. The movie also starred Sarah Michelle Gellar and Ryan Phillippe, centering on four teenage friends who are stalked by a hooked killer who claims to know they covered up a fatal car accident from a year earlier.

The new film is the fourth in the franchise and features newcomers Jonah Hauer-King, Madelyn Cline, Chase Sui Wonders, Sarah Pidgeon, Tyriq Withers, Lola Tung, Austin Nichols, Nicholas Alexander Chavez, and Gabbriette.

Hewitt returns to the role of Julie James, a character created for Lois Duncan’s 1973 novel. Her performance is widely remembered for a few iconic scenes, including the “What are you waiting for, huh?!!!” moment that was parodied in Scary Movie.

Jennifer Kaytin Robinson (Do Revenge) directs from a script co-written with Sam Lansky, Jeff Howard, and Leah McKendrick (Scrambled). The untitled I Know What You Did Last Summer sequel opens July 18th 2025.

Release Dates Set For DC Studios Films ‘Clayface’ And ‘Dynamic Duo’

CLAYFACE and DYNAMIC DUO now have release dates

James Gunn is serious about the Clayface movie we learned about earlier this week. How serious? The film, which is still without a director, already has a release date of September 11th 2026. Along with that news, Warner Bros. has also set the Dynamic Duo animated movie for June 30th 2028 in IMAX.

Clayface has horror maestro Mike Flanagan aboard as writer, and he’ll be turning the Bat-villain into a tragic figure but also one that fits into the genre Flanagan knows best. Gunn has said on Threads the film will fit within the DCU, meaning it’ll be in the same universe as Superman and Creature Commandos, the latter already featuring the character as voiced by Alan Tudyk. The presumption is that Tudyk will continue to play Clayface in live-action.

James Gunn and Peter Safran will produce for DC Studios.

There have been several takes on Clayface in the pages of DC Comics. Introduced in the pages of Detective Comics in 1940 as Hollywood actor Basil Karlo, the most popular version has him becoming a clay-like shapeshifting metahuman often seen in Batman: The Animated Series.

The news about Dynamic Duo was revealed back in October, and it’s an animated movie that will center on the Robins, Dick Grayson and Jason Todd. The DC Studios/Warner Bros. Pictures Animation feature will follow “the early days of Dick Grayson and Jason Todd aka the Robins. The duo call themselves the Dynamic Duo. They’re orphan thieves, best friends who share dreams of a better life, but their friendship will be tested by competing visions of a future out of which will come a new Dynamic Duo.”

Directing the project is Arthur Mintz, from a script by Lightyear and Coco writer Matthew Aldrich. Mintz and his wife Theresa Anderson lead the studio Swaybox, which will be doing animation on Dynamic Duo. Swaybox reportedly uses a new technology, “Momo Animation”, described as a mix of CGI, practical effects, stop-motion, and live-action real-time performance to create “visually breathtaking, dynamically expressive, and more human.” 

Gunn and Safran are producing, joined by The Batman director Matt Reeves although Dynamic Duo is not set in the same Elseworlds universe as that film.

 

Review: ‘Get Away’

Nick Frost Channels His Inner Clark Griswold in a Genuinely Fun and Gory Family Trip Flick

Nick Frost in "Get Away"

Get Away, a new horror comedy directed by Steffen Haars (Krazy House) and written/starring Nick Frost (Shaun of the Dead, Hot Fuzz), is being described as a send-up of folk horror. I’m going to be 100% transparent, I didn’t even know there was enough folk horror to warrant a sub-genre. Then I started thinking about it…every film with some sort of pagan ritual, anything with a rural religious tinge, really anything from the original The Wicker Man to Midsommar can fall into that category, which tells me two things. First, I’m an idiot. Second, given the depth of the genre it’s amazing this hasn’t been done before!

Richard Smith(Nick Frost) is a sort of sad sack, British, everyman. He’s pushed around by his wife, Susan (Aisling Bea) and either ignored or made fun of by his teenage kids Sam (Sebastian Croft) and Jessie (Maisie Ayers). That doesn’t stop him from wanting that wholesome family experience so after an especially taxing period of time and in a very Griswoldian way, Smith decides the family needs a proper get away (Title!). With all of Europe a train ride away the Smith’s make the absolute worst decision at their disposal and choose to visit the Swedish Island of Svalta. The family made the decision after learning about Karantan, a yearly play put on by the town which depicts a moment in their history where they were quarantined by the British, which lead to starvation and eventually to the townspeople cannibalizing their British captors. Disney quality family fun if you ask me! From nearly the moment they arrive things appear off, the townspeople are standoffish to the point of being ominous. You would think the Smith’s would have considered the subject matter of the play, wherein four British people were cannibalized by these townspeople, and would have second guessed going…being that they are 4 British people and all.

Comparisons to Shaun of the Dead are not without merit, I’m sure I’ll make a few myself in this writing, but they are incomplete. Get Away, is a comparison to the Cornetto trilogy must be made, is more like an amalgamation of Shaun of the Dead and Hot Fuzz with the clear horror elements of the former and the town gone mad elements of the latter. Seeing as how this is Frost’s first major writing project I suppose it makes sense that the influence of his training ground shines through. I don’t want to take away from the film and cheapen it by making those comparisons though, while there are similarities this film would still succeed as fun horrortainment even if the Cornetto films never existed. Honestly, this film may even benefit from a world like that since it’s extremely hard not to feel the missing presence of the Abbot to Frost’s Costello, Simon Pegg. While the cast all excels at what they’re shooting for it will never be enough while being reminded of one of the greatest pop culture duo’s of all time.

I do believe the story itself, and therefore Frost’s writing, deserves the credit for most of the worldbuilding we get but I’d be remiss if I didn’t applaud Steffen Haars for his direction. Coming off of Krazy House (also with Frost) Haars direction helps to create a believable world with unbelievable people. He has an inane ability to lull you into a sense of calm at exactly the wrong (or right depending on the viewer) moment before adding a heaping helping of insanity. It’s Haars direction, establishing what feels like very separate pieces of the story before masterfully melding them into one legitimately surprising twist ending.

I think I’ve already spelled it out but in case not, this was one I fully enjoyed. It won’t rest amongst the pantheon of the legends from which it draws inspiration but it will be remembered as a completely rewatchable, bloody fun time that very few genre fans will not find worthwhile. Nick Frost is simply the type of guy you want to see succeed and while it’s been a long road establishing himself apart from Pegg this last year has really shown he has what it takes. Acting in roles like Black Cab and now delivering a thoroughly funny, engaging and genuinely surprising screenplay for Get Away it seems that Frost’s story has really just started.

Hayley Atwell To Return As Captain Carter In ‘Avengers: Doomsday’

Haylet Atwell is coming back as Captain Carter

Okay, so Avengers: Doomsday is shaping up to be kinda nutty. With Robert Downey Jr. returning as Doctor Doom, and Chris Evans reportedly back as Nomad, now comes news from Deadline that Hayley Atwell will reprise her Captain Carter role, too.

Atwell first played Peggy Carter in Captain America: The First Avenger, and has returned to the role multiple times including the short-lived Agent Carter TV series. She returned as Captain Carter, an alternate universe version in which she took the Super Soldier serum and not Steve Rogers, in the animated What If…? series and in live-action in Doctor Strange in the Multiverse of Madness.

Would it be crazy to think that Captain Carter and Nomad might be together? Steve and Peggy still a couple just in a totally different way? That would be cool.

So it seems that Avengers: Secret Wars won’t be where all of the Multiverse insanity takes place, but we should still expect that film to go out with a bang as Marvel brings the Phase to a close.

Avengers: Doomsday opens May 1st 2026 with Secret Wars a year later.

 

‘September 5’ Interview: John Magaro And Tim Fehlbaum On Their Munich Olympics Drama

John Magaro and Tim Fehlbaum

One of the cool things about the Middleburg Film Festival is how open it is. You can walk around the cozy little town, and the resort hotel at the heart of it, and meet the filmmakers and actors from the movies you’ve come to see, and just have a conversation with them. I ran into John Magaro multiple times at the festival this year, and each time he pressed on me to see his new movie, September 5. It had been my plan to, but just couldn’t find a way to fit it in. John’s a cool guy; very down to earth, a big sports fan, and he loves to talk movies. I told him his rock music drama Not Fade Away was the first film I reviewed on my Cinema Royale podcast (which you can find here). He called that a “deep cut.”

Something else about John Magaro is that he LOVES to talk about September 5. I promised him that it would be top priority for me once the festival was over. Honestly, I shouldn’t have cleared time to see it much sooner because once it was over I could see why he was so pumped to talk about it. The film, which takes a look at the 1972 Munich Olympics terrorist attack from the perspective of the ABC Sports news team broadcasting it to the country in real-time, is a true labor of love. A real pressure-cooker film that explores the ethical implications of their coverage and the hard work to get it right, is one of the best movies of the year with an incredible ensemble led by Magaro along with Peter Sarsgaard, Ben Chaplin, and Leonie Benesch.

It’s been a treat to watch September 5 pick up in critical buzz this awards season, and for Magaro’s performance. He’s been deserving of more notice for a long time, and now he’s finally starting to get it.

I had the pleasure of speaking with John Magaro and September 5 director Tim Fehlbaum about the film. Magaro revealed that he had been an extra on Steven Spielberg’s film Munich, and how that prepared him for September 5. Fehlbaum talked about the process of capturing the distinct look and feel of the era, and what he wants people to take away from the film when they see it in theaters. They both talked about the extensive research that went into the movie, including talking with some of the people who were there. This interview was a blast.

September 5 is open in theaters now. Check out the interview below.