Sydney Sweeney is on an incredible roll, and as part of it she’s really covering the bases in the types of roles she’s taking. From serious-minded dramas such as Reality, to rom-coms such as Anyone But You, and the upcoming Spider-Man spinoff Madame Web, Sweeney is everywhere right now. But she also has the buzzy horror film, Immaculate, arriving in March from Neon.
Proving that she’s already learned to throw her weight around in Hollywood, Sweeney produces Immaculate and reunites with director Michael Mohan, who worked with her on The Voyeurs, and David Bernad after they worked together on HBO’s The White Lotus.
In Immaculate, Sweeney plays a devoutly religious woman who takes a role at an illustrious convent in Italy, only to learn that this house of worship is hiding horrifying secrets.
Also in the cast are Alvaro Morte, Benedetta Porcaroli, Dora Romano, Giorgio Colangeli, and Simona Tabasco.
Neon will release Immaculate into theaters on March 22nd.
We don’t give Ian McShane enough credit for his versatility as an actor. While most became familiar with him through his vulgarity-fueled performances in Deadwood, McShane has always been the epitome if quiet cool, as seen in his role as Winston in the John Wick movies. But underneath that slick veneer is a looming menace, a history of violence, and a lifetime of regrets. And all of these traits McShane exhibits beautifully in the assassin thriller, American Star.
Similar to last year’s The Equalizer 3 with Denzel Washington, American Star is a character study of a man whose entire life has been of bloodshed and mistrust. What does a man like this do when he finds his little corner of paradise, and longs to get away from the violence for the first time ever? In the case of McShane’s character, the singularly-named Wilson (you could almost see this as a Winston standalone chapter), the paradise is the island of Fuerteventura. Sent there on finale assignment to kill a target he’s never seen before, the gig is delayed when the mark doesn’t show. And so Wilson decides to kick his feet up and relax in this idyllic corner of the world and wait until it’s time to go to work.
American Star is as reserved and neatly poished as its central character and the man who plays him. Wilson, always looking suave in his black suit and tie, a cigarette in hand, strikes a confident, poised figure. We don’t need to see him in action to know that he’s the best. But we also don’t need a monologue to know that he’s conflicted, and contemplating a different kind of future. As the days pass, Wilson begins forming relationships with people on this tiny island. Wilson becomes a safe haven for Max (Oscar Coleman), a young boy who is clearly looking to get away from his warring parents. There’s also Ryan (Adam Nagaitis), a colleague and someone Wilson is close to on a personal level. As Wilson lets his guard down, Ryan appears and tries to steer him back on track, turning the heat up to simmer just a little bit.
But the key relationship in Wilson’s life is Gloria (Nora Arnezeder), a 30-something drifter with a casual attitude and outlook on life. Wilson had spotted her and her ever-present motorbike while scoping out the job, and now here they are becoming fast friends. She “likes to meet people”, and clearly there are some pent-up daddy issues swirling around in there, too. They talk about an eventually visit a decrepid old battleship, the one that gives the film its title, and it’s obvious the comparison being made.
McShane has been developing American Star with director Gonzalo Lopez-Gallego and writer Nacho Faerna to create exactly the kind of story they wanted to tell. This is a film that’s more about mood and capturing a certain kind of vibe. The exotic locale is perfect, a mixture of gorgeous beaches and desert landscapes that seem to stretch on forever. The pace is so casual that you might actually forget it’s about a hitman with a job to do, and in fact, Wilson seems to forget this, too. He does something that an assassin is never supposed to do, which is get close to people, and in a tiny place like Fuerteventura the same faces pop up anywhere and everywhere. Before long, the connections Wilson has made becomes a genuine threat.
When the violence erupts in American Star, it happens suddenly and brutally, a stark reminder of the reality of the world Wilson has walked in. There’s no such thing as an easy escape from the life Wilson has led, and blood is always the price for trying. A subtle twist on the “one last job” hitman genre, American Star is effortlessly sophisticated and dangeously cool, with McShane proving that he’s always the right man for the job.
American Star is available in theaters and VOD now.
So, when it comes to the Road House remake starring Jake Gyllenhaal, I’ve decided to be nice…until it’s time to not be nice. Dalton would be proud of me. Following the poster debut yesterday, along with news that director Doug Liman is boycotting its SXSW premiere, the first official trailer for the MMA-fueled remake of Rowdy Herrington’s barroom-brawling classic has arrived, and it looks pretty good.
The gist is the same, with a twist. Inspired more by the octagon than the WWE, this Road House stars Gyllenhaal as Elwood Dalton, an ex-MMA fighter who takes a job as a bouncer at a dangerous roadhouse in the Florida Keys where things are not what they seem. The film also stars Daniela Melchior, Billy Magnussen, Jessica Williams, Conor McGregor, and more.
While Gyllenhaal’s character isn’t quite as zen as Patrick Swayze’s version of Dalton, he still rocks the same “Pain don’t hurt” armchair philosophy. In the original movie, it was wrestling legend Terry Funk who played the big bad bruiser, but it’s McGregor who will fill the heater role this time, and he looks absolutely perfect for it.
Here’s the synopsis: In this adrenaline-fueled reimagining of the 80s cult classic, ex-UFC fighter Dalton (Jake Gyllenhaal) takes a job as a bouncer at a Florida Keys roadhouse, only to discover that this paradise is not all it seems.
Road House hits Prime Video exclusively on March 21st.
*NOTE: This review was originally part of our Sundance 2023 coverage.*
If Daisy Ridley wanted to get as far from her Star Wars past as possible, this was the film to do it. A low-key dramedy about depression, intimacy, and quirky people with a need for human connection, Sometimes I Think About Dying has its charms and will connect with others who feel isolated and alone even when in a crowd of friendly faces. Despite a couple of likably klutzy performances, it also feels staggeringly incomplete and tailored for the festival’s Opening Night audience, who will likely forget about it in a sea of similar films in the coming days.
Ridley plays Fran, a deeply introverted woman etching out a very quiet existence in a small coastal Oregon town. Fran is shy, a little too perfect for this almost-desolate place that seems to exist on the corner of now here, and yet her favorite place might be the place where she’s the most uncomfortable: work. Daily she tries to make herself as invisible as possible in the tiniest, weirdest workspace this side of The Office. It’s a place full of big, wacky personalities, where there’s always an excuse for someone to bring cake or bagels or donuts to the office. Fran fits in there like a piece of decoration. She’s there, but not really there, silently working on her spreadsheets and order forms.
And then there’s Robert. Played by Ramy actor Dave Merheje, Robert is like a breath of fresh air. Perhaps it’s because he’s come sweeping in from the big city, but Robert manages to be as awkward as everyone else without making it look like a social handicap. Although their initial encounters are predictably odd, Fran and Robert discover, through a chat conversation about order forms and favorite cheeses (cottage cheese is a curd!!), that their senses of humor are aligned. They somehow back into a movie date together, and following that, a slice of pie at a nearby diner.
The interactions between Fran and Robert early on are undeniably sweet. Who doesn’t like to watch two introverted, clumsy people find each other? While we only learn more details about Robert, what we see of this new friendship’s impact on Fran is how it dares to open her up to new possibilities. That’s a scary prospect for some people. It could mean finding love, yes, but it could also mean allowing others to hurt you. What Robert doesn’t know is that Fran has very vivid thoughts about dying. She’s not suicidal, or at least not yet, but she frequently ponders dying in increasingly strange ways. That’s not the kind of thing you blurt out on a first date.
Based on the short film by writers Stefanie Abel Horowitz, Katy Wright-Mead and playwright Kevin Armento, Sometimes I Think About Dying features beautifully staged, surreal images of Fran’s colorful imagination. These shots have a staying power, thanks to director Rachel Lambert and cinematographer Dustin Lane and art director Robert Brecko, that you wish extended to the rest of the film. It’s not to say there aren’t memorable interactions among the characters. Lambert and Co. have found something in that little office space that could be mined into sitcom gold. Fans of Meg Stalter will LOVE her as Isobel, the grating, overly loud office boss whose voice is like an earthquake in such a tiny place. While we don’t get to see it explored enough, everyone there has potential to be a character that can function as a lead of their own. A spinoff just set in Fran’s workplace would be a wonderful thing.
Even clocking at just 90-minutes or so, the film does test one’s patience. There’s very little urgency to anything going on, and we get very little insight into Fran which can be frustrating. When her closed-off nature leads to a big blow-up with Robert, it’s hard not to take his side even as he comes across as pushy. Ultimately, the resolution is pat and unsatisfying and comes out of nowhere. It could be the filmmakers wanting to express that depression, which Fran clearly suffers from, has no “happy ending” answer. That’s a fine message to have but it doesn’t make for the most hopeful way of starting the audience’s festival experience.
Sometimes I Think About Dying opens in theaters on January 26th.
What a week this is turning out to be for Colman Domingo. Fresh off earning his first Oscar nomination for his Best Actor performance in Rustin, Domingo has been cast as Joe Jackson, manager of the Jackson 5, in Antoine Fuqua’s Michael Jackson biopic, titled Michael.
Domingo revealed the news to Variety. He’ll play the strict, intensely focused, and highly controversial patriarch of the Jackson family. Already set to star in the film is Jaafar Jackson, Michael Jackson’s real-life nephew, who will play the King of Pop. 9-year-old Juliano Krue Valdi will play MJ as a child.
“Colman has such incredible range – he puts in the work to deeply inhabit his characters and understand their true essence and motivation,” Fuqua said. “I’m grateful to be working with an actor with his passion and ability to portray the many sides of Joe Jackson: a husband, a father, and a manager.”
“I’m excited to be a part of a film that explores both the complicated soul of the legendary Michael Jackson as well as his impact on music and culture as a global icon,” Domingo said. “Not only am I fortunate to have a rich, complex and flawed character to portray in Joe Jackson, but I also have a front row seat for Jaafar’s incredible transformation. After seeing him in rehearsal, my mind was blown. There is something divine about the way that Jaafar is channeling his late uncle. His talent and embodiment of Michael’s essence is simply on another level.”
Domingo also had a role as Mister in The Color Purple, which received a single Oscar nomination for his co-star, Danielle Brooks.
Michael is in production now and will be released on April 18th 2025.
Good One, India Donaldson’s first feature, starts with various shots of the Catskills– lush green woods, bright orange salamanders scurrying across mossy rocks, picturesque ponds and rivers. This sequence not only gives us a sneak peek of where we will be spending the next 90 minutes but it also provides a peaceful juxtaposition to the emotional turmoil ahead.
Donaldson then transports us to New York City, where she introduces us to Sam (Lily Collias). She’s a 17-year-old child of divorce bound for college in the fall and currently getting ready for a father/daughter camping trip with her dad, Chris (James Le Gros), who has since remarried in his 50s and has a toddler. Early on, we see his controlling nature poke through as he repacks the food jar for their overnight hike.
His oldest friend, Matt (Danny McCarthy), and his son are supposed to join them, but that is quickly redrailed during pick-up when a father/son argument breaks out and the group leaves as three instead of four.
The trip is filled with microaggressions from Chris directed towards his daughter. He makes her move to the back seat to make way for Matt. Sam is forced to sleep on the ground of their hostel. She is constantly talked over by both the adult men with her and a trio of male hikers who join them for one night. Sam keeps her head down and obliges them, despite Matt’s immature behavior. He leaves his sleeping bag in the car and carelessly hikes in jeans, yet she is treated as the immature one.
Lily Collias is quietly brilliant. You can see the defeated look on her face every time Donaldson gives her a reaction shot. Her inner turmoil and anger brew with each encounter of toxic masculinity. Her performance reminds me of Sidney Flanigan from Never Rarely Sometimes Always, both devastating and triumphant. As a whole, Good One feels like the parental version of Gus Van Zant’s Gerry with less physical violence.
Just as Sam is accepting her treatment and starting to enjoy herself, the shoe you’ve been anticipating drops. If you are a fan of HBO’s Somebody Somewhere, you’re already aware of what a douche canoe Danny McCarthy can play. Here he expertly plays both a sad sap and a manipulative asshole, losing your sympathies just as he’s gained them.
If you find your way onto millennial and Gen Z therapy TikTok, you’ll notice that the topic of parenting your parent comes up often. It comes in many forms, the common one being emotionally regulating yourself from a young age while helping your parent do the same.
Good One is a prime example of how this concept is manifested in women from a young age. Sam’s father expects her to push down her own discomfort and anger for the betterment of the group while catering to everyone else’s emotional and physical needs. While this film seems low stakes, it explores a part of the father/daughter relationship that we rarely see onscreen.
We’ve heard stories of people like Rob Peace before, and they never get any easier. An exceptionally smart Black man with a knack for science, a hard-working mom who encouraged his study, and a father who encouraged his sense of community. Rob broke free from his poor New Jersey background and into Yale, where he graduated with honors. But it was his efforts to give back to the people of his neighborhood that would push Rob to the breaking point and into the life of crime he had largely avoided, until he was gunned down, murdered at the young age of 30.
These details aren’t a secret, and Chiwetel Ejiofor’s moving, powerful drama Rob Peace isn’t trying to hide them. Based on the book by Rob’s friend and college roommate, Jeff Hobbs, the film takes a sensitive approach to what could’ve been cliche material. But it’s clear that Ejofor has admiration for Rob Peace, something close to awe, at the man’s brilliance and dedication to family and friends. He was ultimately a flawed, tragic hero, but his story feels like it deserves to be told on the big screen, and that’s something you can’t say about every biopic out there, especially those that find their way into the Sundance lineup.
Ejiofor has put together an amazing cast of big names, starting with Ejiofor himself as Rob Peace’s father, a small-time criminal and beloved local figure who was sent to prison for a crime he may or may not have committed. Rob gets his sense of community from his father, but in his conviction, Rob also learns that the world is a chaotic place in need of control. Mary J. Blige play’s Rob’s mother, Jackie, who wants more for her son than their New Jersey neighborhood can offer. Pop star and Cinderella actress Camila Cabello plays Rob’s first serious girlfriend, Naya, who is swept up by his charm, brains, and gregarious personality.
But for all of those big names, it’s newcomer Jay Will who impresses most. As Rob Peace, he delivers a true breakout performance, outshining everyone around him and carrying much of the emotional weight. It’s a complicated role, as Rob endures a lot in a short period and Jay has to switch gears often. Rob puts it upon himself to work on his father’s case, securing lawyers, money, and more with the rigors of a college that always seemed to be looking for a way to get rid of him. Meanwhile, Rob is always moving among different circles, making friends in the white community who can help him or his father’s case, setting things up for the future, while staying true to himself. It’s a demanding role and Will knocks it out of the park.
Ejiofor’s obvious regard for Rob Peace is a double-edged sword, though. He has a tendency to romanticize and gloss over his missteps. Rob’s relationship with Naya is disappointing because Cabello has proven herself a strong actress, but the film has more than enough on its plate without a love story. Blige is solid, even if her role demands she be more reserved than we’d like her to be. It’s Ejiofor and Will who really cook when on screen together; as a father challenging his son to be better, and a son struggling to meet the impossibly high expectations.
Even if Ejiofor’s Rob Peace looks at its subject with rose-tinted glasses, there’s something to be said about a film that wants to honor and cherish this unique Black soul, this brilliant Black man, this tragic fallen Black hero. Ejiofor sets out to capture Rob’s full story and to make him more than just another stereotype, and he has succeeded.
While The Iron Claw may not have received any Oscar nominations this year (Booo!!), the critically acclaimed drama about the Von Erich wrestling family has Hollywood looking at other wrestling stories to adapt. And another royal family of the sport could be next, as Sean Ross Sapp of Fightful Select says a movie about the Hart family is potentially in the works, with WWE superstar Natalya Neidhart aka Natalya in talks to help out.
Natalya recently posted a photo from Soho House, joined by actor Rory Culkin, brother of Macaulay Culkin, a reported wrestling fan, and Succession star Kieran Culkin. She tagged Yale Productions, the label behind such recent films as The Kill Room and Becky. In the photo you can see Yale Productions’ Jordan Yale Levine to her right. Rapp looked into it, and discovered that talks have begun to develop a Hart Family movie, and that Yale is interested in it.
Natalya is the daughter of WWE Hall of Famer Jim “The Anvil” Neidhart and Ellie Hart, daughter of the legendary Stu Hart, patriarch of the Hart Family. Natalya trained in the infamous Hart Dungeon prior to joining the WWE. The Hart legacy runs deep, and includes Stu’s sons Bret “Hitman” Hart, Owen Hart, son-in-law “The British Bulldog” Dave Boy Smith, and many others. As for the Hart Dungeon, some who have survived it to have storied wrestling careers include Chris Jericho, Chris Benoit, Dynamite Kid, Jake “The Snake” Roberts, and Mark Henry. Natalya is the only female graduate of the Hart Dungeon.
The Hart family doesn’t have the same legacy of tragedy as the Von Erichs, so this would have to be a different kind of film than The Iron Claw. But like I’ve long said, the business always takes more than it gives, and the Harts have paid a price for being one of the great wrestling dynasties. Let’s hope this movie happens and that it can do the Hart Family justice.
I looked into some of the names Nattie tagged in this post and learned something pretty interesting.
Natalya has been in talks to help with a potential film about the Hart Family!
The road movie is a quintessential part of American cinema. Some would argue that Will Ferrell is a quintessential part of American comedy. Until recently, trans stories have not been a quintessential part of mainstream media, often ignored or reserved for subculture-like spaces. Ironically, all three topics combine in Josh Greenbaum’s latest film and fourth documentary feature, Will & Harper.
Will Ferrell first met Harper Steele back in the 1990s on Saturday Night Live. The latter was hired as a writer, while the former was placed in the cast. Ferrell’s appreciation for Steele is felt early on in the film when he remarks that many of the writers didn’t know what to do with him. He credits much of his career decisions to Steele, from to his stint in a Lifetime movie to the Spanish-speaking Western Casa De Mi Padre.
Early in its runtime, Ferrell details the email Steele sent him where she reveals that she is a transwoman. Steele, who appears onscreen soon after still feels apprehensive about where their friendship will go from here and explains that the one thing she will miss about her life pretransition would be road-tripping and visiting the underbelly of America.
Will quickly suggests that they take the trip together traveling to various parts of the country, from attending an Indiana Pacers game, to visiting Harper’s childhood home, to hot air-ballooning in Albuquerque with Will Forte. It’s through those experiences that the pair not only become closer together but where Farrell experiences the fears and hardships Harper could experience the rest of her life.
Director Josh Greenbaum is no stranger to the comedic documentary. There’s one scene in Too Funny To Fail, a doc about Dana Carvey’s failed TV show that still makes me dissolve into laughter. In his past work, Greenbaum used mainly talking head interviews where he would step in with the occasional question, reenactment, or archival footage. In Will & Harper, he lets them take the lead the entire time, relying on these showbiz professionals to lead the way. The one thing that took away from the experience was the constant needle drops which detracted from the story.
Though parts are clearly planned out and orchestrated, Greenbaum leaves room for both people to be themselves. Ferrell shows up in costume numerous times and isn’t afraid to perform bits for the camera. Steele may be quieter than her friend, but she is even more open, asking hard questions and sharing her fears about frequenting the seedy bars and greasy diners she used to go to before she transitioned.
Ferrell and Steele are a dynamic cinematic duo. The former SNL cast member knows when to perform for the camera and when to let Harper have her moment. Without trying, Ferrell models how to be an ally and that includes making mistakes. He regrets not educating himself on Indiana Eric Holcomb’s support of banning gender-affirming before meeting him. He breaks down in Texas after a bit he does draw attention to the duo and vile comments about Harper’s existence show up on the internet.
Don’t get me wrong, Will & Harper is hilarious. While the film is an exploration of friendship and allyship first, it feels like a masterclass in comedy. They meet up with several of their colleagues including Tina Fey, Seth Meyers, Colin Jost, Paua Pell, Tim Meadows, Molly Shannon, and the aforementioned Forte.
In some flyover state, Kristen Wiig, who was a part of that Lifetime movie and worked with Greenbaum on the underrated Barb and Starr Go To Vista Del Mar, is asked by the duo to write a theme song for their trip. The pair have a lot of demands, needing it to be funny but also bring a tear to the eye and somehow both jazzy and country at the same time. Ferrell and Steele check in with her throughout the film with no response, however, we do get a delightful little number during the credits that starts along the lines of “Harper and Will go west. Just two old friends and a new pair of breasts.”
Will & Harper is probably the most important film Ferrell will ever make. We don’t often see depictions of older people transitioning and being so vulnerable about their journey. Even more than that, the film smartly capitalizes on Ferrell’s persona. Known for his often bro-y and sophomoric fare, he and his team have made something that transpeople of all ages can not only relate to but watch with those in their lives who might not yet be allies but call themselves Ferrell fans. This film will build connections, start conversations, induce laughing fits, and even save lives along the way.
The concept of talking to your younger self is not new. It’s asked in interviews, on personal questionnaires, and in graduation speeches. Director Megan Park took that concept and made her second feature, My Old Ass, where she flips the question and has her young protagonist meet her future self during a night on shrooms.
We first meet protagonist Elliott (Maisy Stella), as she and her friends Ruthie (Maddie Ziegler) and Ro (Kerrice Brooks) are zipping around Muskoka Lakes, where her parents are second-generation cranberry farmers. Eager to leave for college, she ignores her family and indulges in sex and drugs. During one such evening, while drinking magic mushroom tea in the woods, she meets the 39-year-old version of herself (Aubrey Plaza). Initially shocked, she soon turns disappointed upon learning that she is a PhD student and that she doesn’t have a family like she envisioned.
Older Elliott instead warns her of a few things: be nicer to her mom, hang out with her brothers, and stay away from someone named Chad (Percy Haynes White). When she slowly falls asleep and back to regular consciousness, Older Elliott puts her number in her phone. As her summer goes on, Elliott tries to heed her older self’s advice, calling in for guidance throughout her summer.
While Stella and Plaza look nothing alike, their performances blend so well together. The younger Elliott is unafraid, riding teenage emotions like the roller coaster they are. Stella plays her character with a twinkle in her eye and a confident excitement. Though she had a regular role on the nighttime soap Nashville, it was sure to be a breakout role for her.
Plaza, on the other hand, is not in My Old Ass as much as you’d expect. Instead of a two-hour conversation piece in the same vein as My Dinner With Andre, we get small smatterings of her here and there. But when she’s on screen, she’s a delight. Funny and charming, Plaza delivers a slightly tender performance like we’ve never seen from her before. She treats the older version of Elliott like the cool older sister or cousin, wise yet sarcastic and always protective. Sure, there are iterations of her past characters thrown in there, April from Parks and Recreation or Harper from The White Lotus come to mind, but there’s a sweetness to older Elliot that only Plaza can bring.
Park leans into many time travel/loophole tropes and uses them to her advantage. Older Elliott never goes in-depth about her current reality, instead dropping tiny little hints about how resource-strapped the future is (Say goodbye to salmon guys). Though Plaza’s character provides comic relief, parts of Park’s script could be funnier. The director proved her dramatic chops with her last feature The Fallout, which combined a coming-of-age story with the examination of a school shooting. Here, especially with this cast, I expected more levity.
My Old Ass feels like the coming-of-age films that have been coming out of the Sundance Film Festival for years. Park’s direction and plot don’t convulute her message and she keeps the story simple. The ending is what you’d expect it to be, but that doesn’t negate the sweet relationship Plaza and Stella have built on screen.
