Wolfs (2024)

Direction: Jon Watts
Country: USA

Inspired by his admiration for solitary anti-heroes in films such as Le Samourai (1967), Ghost Dog (1999), and Collateral (2004), director Jon Watts sets up a New York crime story in Wolfs, but most of it feels worn-out and lackluster. This film reunites Brad Pitt and George Clooney, who portray experienced crime scene cleaners having extreme difficulties teaming up as requested by their clients. 

The film’s intriguing opening is engaging but it quickly unravels, descending into shallow banter, self-mockery (mostly revolving around aging), and formulaic action scenes toward oblivion. Though it initially seems to channel Coen Brothers’ dark, quirky tone, it takes a wrong turn, injecting syrupy moments that come off as laughably ridiculous and will likely irritate genre fans.

Wolfs is clumsy, overly formulaic, and incompetently lazy, following a banal, unoriginal plot weighed down by cheesy dialogue and underbaked story elements. Lacking any type of genius, it’s a waste of talent and energy on all levels.

Between the Temples (2024)

Direction: Nathan Silver
Country: USA

Directed and co-written by Nathan Silver, the comedy-drama Between the Temples strives to be quirky and offbeat, but ultimately misses the mark. Starring Jason Schwartzman and Carol Kane, the film is staged with a bunch of embarrassments that feel more flat than profound. 

The story revolves around Benjamin Gottlieb (Schwartzman), a 40-year-old kosher cantor struggling to cope with the death of his wife. He finds a glimmer of hope in Carla Kessler (Kane), his former music teacher, whom he agrees to help prepare for a late-in-life bat mitzvah. 

While the premise holds promise, the execution falters. The film never finds its rhythm, frequently losing momentum just when it should be gaining traction. Lacking the wit and style it aspires to, Between the Temples tries to inject energy into situations that implode under the weight of its own excessive pressure. 

Despite satisfactory performances from Schwartzman and Kane, the result is disappointingly televisual, culminating in a bewildering climax, full of emotional swings, that is the opposite of a knockoff. Not much in the material stimulates, and the film, sloppily rendered and off-punttingly screwy, doesn’t leave an impression.

Kneecap (2024)

Direction: Rich Peppiatt
Country: Ireland / UK

Kneecap is an ebullient, schizophrenic biopic about the Belfast-based hip-hop trio of the same name, which unexpectedly became the symbol of a civil rights movement dedicated to preserving their native language. Written and directed by Rich Peppiatt, the film thrives on the impetuosity of the rappers—Liam, Naoise, and JJ—their energetic music, anarchic irreverence, and the politically charged atmosphere of Northern Ireland. Though the film occasionally wavers between authenticity and promotional flair, it delivers enough sharp moments and humor to keep audiences engaged. 

While the true story is refreshingly original, the film’s sensationalist execution—marked by a fast editing and bouncing rhythm—feels like a pastiche of Trainspotting (1996) and 8 Mile (2002), with a dash of Guy Ritchie’s gangster flair thrown in the mix. Despite leaning on a familiar formula and evoking a sense of déjà vu, there’s a palpable passion driving the project. This gritty urban narrative brashly entertains, capturing the rebellious spirit of a trio criticized for glorifying drug use, anti-social behavior, and violence in their lyrics. As they pursue success, they must navigate opposition from Ulster-loyal police, politicians, and dangerous paramilitary groups. Without breaking new ground, Kneecap effectively captures the spark and controversy surrounding the group.

How to Make Millions Before Grandma Dies (2024)

Direction: Pat Boonnitipat
Country: Thailand 

The intergenerational comedy drama How To Make Millions Before Grandma Dies is a temperate charmer, though it wrestles with some predictability in its plot. Directed and co-written by 34-year-old filmmaker Pat Boonnitipat in his feature debut, the film manages to strike an emotional chord while maintaining a light touch. The narrative centers on M (Putthipong "Billkin" Assaratanakul), a college dropout and compulsive gamer with a tendency to squander money. He volunteers to care for his 79-year-old grandmother (Usha "Taew" Seamkhum), who is dying from stomach cancer, but his motives are questionable from the start.

Despite uneven, the film delivers a feel-good experience, offering a sober and bittersweet reflection on family relationships. It can be quite mellow in spots but definitely not choppy, celebrating cranky grandmothers with big hearts and fierce independence. Even in its most painful moments, How to Make Millions retains a sense of gentleness, thanks to an accumulation of small details—both sad and funny—that make the characters relatable and endearing. Seamkhum, in particular, delivers a standout performance, grounding the film in authenticity. 

It’s not hard to guess where the story goes, but this Asian neo-realist effort sincerely acknowledges the sadness of being near death with both heartbreaking and heartwarming gestures. Boonnitipat makes an unabashedly sentimental move with an irresistible sweetness.

Didi (2024)

Direction: Sean Wang
Country: USA

Didi is a thoughtful and heartwarming coming-of-age comedy-drama that offers a slice of Asian-American life, marking the debut of Taiwanese filmmaker Sean Wang, who also wrote and produced. The film draws on his personal experiences growing up in the Bay Area, delivering an authentic and emotionally rich narrative.

Set in Fremont, California, the story follows 13-year-old Chris (Izaac Wang) who grapples with family tensions, the awkwardness and insecurities of first love, and guilt over past mischief. At the same time, he navigates the complexities of friendship, discovering a passion for videography and skateboarding. An introspective posture mixed with inopportune words creates challenges in expressing his true self.

Chris’ struggles are presented with realism and relatability, immersing viewers in the embarrassment and cringe-worthy moments of adolescence as he tries to carve out his own identity. Didi delivers both funny laughs and meaningful moments. It’s an understatedly charming little movie that hits the mark; a debut with a real heart that radiates vulnerability, resilience, and authenticity, offering plenty of pleasurable rewards.

The performances are the heart of this observant film bolstered by a sharp-witted script that explores and examines teenage angst and frustration. Wang is certainly someone with a promising future, layering all the dramatic elements with poise and weaving together humor and drama into an engaging story that feels both personal and universal. The competent cast, which includes Joan Chen as Chris’ single mother, gives us reasons to care about the characters in this gratifying contribution to on-screen cross-cultural teen environment.

There's Still Tomorrow (2024)

Direction: Paola Cortellesi
Country: Italy

Paola Cortellesi, widely recognized in Italy as a TV presenter and comedian, as well as for her diverse roles in film, television, and theatre, makes a powerful directorial debut with There’s Still Tomorrow. This black-and-white feminist manifesto, which she co-wrote and stars in, is a bold political comedy-drama that confronts patriarchy head-on. It channels the spirit of classic Italian cinema, evoking the pink neorealism of directors like Luigi Comencini and Dino Risi, all while overflowing with style and determination. 

Set in the 1940s, the film strikes a delicate balance between laughs and tears as it follows the challenging life of Delia (Cortellesi), a hardworking woman who endures daily physical abuse at the hands of her obnoxious war veteran husband Ivano (Valerio Mastandrea). Instead of voicing her suffering, Delia chooses to silently endure the pain and quietly save money, all while plotting her own form of resistance. 

Infused with a quiet yet righteous anger, the film is caricatural in many ways, disguising the scenes of brutality with romantic songs and dancing moves. It even facilitaties a bit here and there in terms of plot, but remains compelling, vivid, and intoxicating. With its strong visuals and a crucial message of resilience and hope, this film holds nothing back—and what’s not to love about that?

Cortellesi shines, addressing the sensitive topic of domestic violence with tact and a deliberate avoidance of melodrama, opting instead for a slightly offbeat tone that is further enhanced by the film's anachronistic soundtrack. The surprising ending takes viewers to a completely different direction, and I was amazed how much I started to care about the main character. There’s Still Tomorrow drives home a narrative that is both deeply engaging and impactful, successfully resonating with audiences while delivering a powerful message of women’s emancipation.

Thelma (2024)

Direction: Josh Margolin
Country: USA 

Thelma is the first feature film by Josh Margolin, who drew inspiration from the real-life experience of his own grandmother, now 103. Gorgeous to watch, the film alternates belly laughs, dramatic considerations, and startling occurrences, following the improbable adventures of the title character - compellingly portrayed by June Squibb. 

Thelma is a 93-year-old fascinated by computers who falls victim to a phone scam, losing $10k. Realizing that most of her friends are gone, Thelma turns to Ben (Richard Roundtree in his final role), who lives in a nursing home, and to her geeky but over-controlled grandson Danny (Fred Hechinger). The narrative unpacks with a refreshing, feel-good vibe, spreading an infectious charm that outweighs some of the predictability around the edges.

Thelma is smoothly crafted entertainment, never grounded in pain despite the sad reality that getting old sucks. A funny ride made with precision and verve, this senior-focused comedy uses veteran actors to bring out the joys of a rowdy journey evoking the old times. Margolin is often successful in eliminating the too-sweet taste of sentimentality, favoring laughter instead. He summons Squibb and Roundtree to do the job, and they deliver with graceful charisma. 

Tune out the hype for countless other comedies as this one is delivered with poise and understatement, most refreshing qualities in a genre that often bombards viewers with forcible and imbecilic situations.

Babes (2024)

Direction: Pamela Adlon
Country: USA

Actress turned director Pamela Adlon makes her directorial feature debut with Babes, a quintessential New York comedy centered on motherhood and female friendship. While not a revolutionary tale, the film draws its strengths from fine performances, side steps, juicy details, and broken of taboos.

The story follows Eden (Ilana Glazer), who unexpectedly becomes pregnant after a one-night-stand, and her long-time best friend, Dawn (Michelle Buteau), who is married and has just had her second child. Tensions between the nearly inseparable pair escalate to a frantic boil, exacerbated by the emotional fluctuations and frustrations of being a mom. 

Though the catalogue of family troubles and various conflicts is familiar, the film is humanely observed and profuse on witty banter. The dialogue is fast and pungent, and the pacing is suave, all delivered with a good heart. Even the most clichéd moments can feel emotionally true in this lighthearted film, which, despite its faults, tries to march to a different drum than the most of Hollywood comedies.

Babes might not be as funny as some have claimed, but focuses on how these two friends rely on each other and grow through life's blessings and adversities. It’s an entertaining film aimed at adults.

Problemista (2024)

Direction: Julio Torres
Country: USA

Problemista is the directorial feature debut by Salvadoran-American Julio Torres, who embraces fantasy to tell the story of Alejandro, an aspiring toy maker from El Salvador who struggles to keep working and living in New York. Torres himself portrays the main character.

After losing his job as an archivist for FreezeCorp - a company specialized in freezing terminally ill humans to be awakened at some point in the future - Alejandro desperately finds a new sponsor for his work Visa and easy gigs on Craigslist to stay afloat. The solution is Elizabeth (a red-haired Tilda Swinton in top form), a neurotic, washed-up art critic whose painter husband (the rapper RZA) has been frozen.

The film flows stonily, with an offbeat vibe that often seduces, yet the wittiness is not a constant, working intermittently. The film is stronger on the dramatic side, with its best moments tapping into a sadness and disappointment with the world that most people will relate to. Swinton’s unbeatable delirium is a perfect foil for Torres’ apathetic confidence in a well-acted surrealist comedy whose main strength is the mood. 

Problemista is only partially satisfying and easy to overlook, but hope is its last word - even if it means achieving things forcibly - and some aspects addressed are so true that they stay with you. It surely could have been better, but this is still a positive debut for Torres, who hired Isabella Rossellini as the film’s narrator.

Do Not Expect Too Much From the End of the World (2024)

Direction: Radu Jude
Country: Romania 

After the polemic and somewhat superfluous Loony Porn (2021), the incredibly talented Romanian writer-director Radu Jude continues to claim a spot at the peak of contemporary cinema with Do Not Expect Too Much From the End of the World, another love-it-or-hate-it endeavor that places an independent young woman under relentless observation in a radically changing Bucharest. 

Ilinca Manolache plays Angela Raducanu, an exhausted and underpaid production assistant working for an Austrian company that exploits workers and has a reputation for destroying Romanian forests for profit. Overworking to the point of risking falling asleep at the wheel, she navigates the chaotic Bucharest traffic - often filled with macho drivers - to interview handicapped people for a devious TV show. With no time for herself, she finds solace in posting provocative TikTok videos where she impersonates a man with moronic behavior and lousy ideas. Two key moments of the film include a frank conversation with her boss, Doris Goethe (Christian Petzold’s muse Nina Hoss), and an encounter with the wishy-washy German filmmaker Uwe Boll (himself).

Using footage, the film creates a link with Angela Merge Mai Departe, a 1981 feminist Romanian feature directed by Lucian Bratu, centered on a female taxi driver under the communist dictatorship. This raffish and pertinent divertissement brings a lot of truths to light, touching on themes such as neoliberal capitalism, sexism, corruption, exploitation, resignation, and impunity in a tortured urban society that simply has no time to enjoy life.

Jude evokes the social realism of Jim Jarmusch and Jean-Luc Godard - creative in form, tenacious in the storytelling - and infuses a caustic humor that, cutting sharper than a knife, is often quite delicious. More jarring than sweet, Do Not Expect Too Much From the End of the World is an eye opener for our hectic times. A must-watch.

Am I OK? (2024)

Direction: Tig Notaro, Stephanie Allyne
Country: USA

Tig Notaro and Stephanie Allyne teamed up to direct Am I OK?, a comedy-drama centered on the anxieties and vulnerabilities of coming out later in life and the intricate paths of friendship. Written by Laura Pomerantz, the film stars Dakota Johnson and Sonoya Mizuno, who are not only convincing in their roles but often funny.

Lucy (Johnson) and Jane (Mizuno) are longtime best friends. Lucy works in a spa and just realized she might be gay after a a negligible, unsuccessful, and vapid number of relationships with men. Jane, promoted by her boss and ready to move to London, tries to help her friend navigate her complex affairs with an excessively self-assured temperament that is not always helpful. In the desperation of finding the path to love, things only get more confused and complicated.

Radiating warmth and humor, the film’s main strength lies in two beautifully observed complementary performances, hitting the mark in its attempt to generate sympathy for the characters’ struggles. If the ending had been better imagined and less predictable, viewers would have an even stronger incentive to watch it. 

Humanist Vampire Seeking Consenting Suicidal Person (2024)

Direction: Ariane Louis-Seize
Country: Canada 

Humanist Vampire Seeking Consenting Suicidal Person, the feature debut by Montreal-based filmmaker Ariane Louis-Seize, is a fine blend of dark vampirism, comedy, and coming-of-age storytelling that stems from her need to tame her own anxieties about death. The director, who collaborated with Christine Doyon on the script, found great success in the excellent performances of Sara Montpetit and Félix-Antoine Bénard.

Rising star Montpetit, whose skills had come to fore in Maria Chapdelaine (2021) and Falcon Lake (2022), plays Sasha, a sensitive young vampire who refuses to kill humans for sustenance, opting instead for blood bags carefully prepared by her parents. Her rejection of her nature and subsequent diagnosis with PTSD raises concern within the family, leading her to live with her cousin Denise (Noémie O'Farrell). While forcing herself to hunt, she bumps into Paul (Bénard), a depressive, bullied, and suicidal boy with whom she falls in love, shares similar dark inner struggles. 

Sharply edited by filmmaker Stéphane Lafleur (You’re Sleeping Nicole, 2014), the film, as dark as it is touching, is filled with surprising depth, sharp humor, and melancholy strangeness. The offbeat undertones suit the dichotomy between life and death as well as the non-conformist romance. This is a fable of elegant despair, an instant entry in the vampire canon that feels refreshingly gothic. Louis-Seize opts for a stable camerawork, while the gorgeously nocturnal cinematography by Shawn Pavlin fits hand in glove. The soundtrack is the cherry on top, and Montpetit’s powerful work dazzles and moves us. The vampire tale survives!

Hit Man (2024)

Direction: Richard Linklater
Country: USA 

Flirting with film noir and sly romance, Hit Man is the latest film by Richard Linklater (Boyhood, Before trilogy), who directs it with down-to-earth awareness from an insightful script he co-wrote with the leading actor, Glen Powell. The story, based on the 2001 Texas Monthly magazine article of the same name by Skip Hollandsworth, gracefully balances tension and mordant wit. 

Powell portrays Gary Johnson, a philosophy professor and tech nerd who works undercover for the New Orleans police as a fake contract killer. His task, carried out thoroughly, consists in closing deals with the ones who try to hire him and then arrest them. Everything runs smoothly until one day he breaks the protocol to help Madison Figueroa (Adria Arjona), a desperate woman trying to escape an abusive husband. Their instant chemistry leads them into a dangerous game with unpredictable outcomes.

Flowing with a comfortable pace, the narrative reminds you how bonds between people may change you unexpectedly and drastically. Linklater, showcasing his versatility and effortless cinematic approach, has taken a familiar premise and imbued it with a unique identity, a notion explored here in a darkly comic way. Despite its unequivocally amoral nature, I found myself cheering on the protagonists’ lawlessness.

Hit Man is breezily acted, consistently funny, often charming, and noir enough to provide a great time in the theater.

The Fall Guy (2024)

Direction: David Leitch
Country: USA 

Filmed in Sydney, Australia, The Fall Guy tells the fictional story of Colt Seavers (Ryan Gosling), an action stunt performer madly in love with Jody Moreno (Emily Blunt), a camera operator turned director. This unsung hero becomes the victim of a conspiracy headed by film star Tom Ryder (Aaron Taylor-Johnson), whom he doubles in all action scenes, and the cunning producer Gail Meyers (Hannah Waddingham). Suddenly, he realizes that it’s not just his career at risk, but his life. 

Loosely based on the 1980s television series of the same name, this self-indulgent action-packed rom-com works on steroids, overloaded by a variety of impossible acrobatics, falls, and explosions to the point of exhaustion. Drew Pearce’s script never comes together, and the unequal parts of comedy, romance, and action fail to coalesce. As a result, its excessive artifice quickly leads to tedium.

Director David Leitch, who boasts a 20-year career as a stuntman himself, previously exhibited a penchant for chaotic scenarios in Bullet Train (2022). Here, he fails to deliver a compelling satirical look at a major Hollywood production seen from behind the screen. With numerous redundant action scenes, flopped soundtrack choices, and sparse laughs, The Fall Guy feels as contrived and frivolous as the stunts it showcases, never deciding on whether to be a parody or an homage to the brave, always-invisible Hollywood stuntmen.

Challengers (2024)

Direction: Luca Guadagnino
Country: USA

Renowned Italian director Luca Guadagnino, whose work first came to the public’s attention with Call Me By Your Name (2017), probes a new hype style with calculated punchiness in his latest feature, Challengers, a meretricious and manipulative sports-meet-romance undertaking with a lackluster conclusion. 

Written by Justin Kuritzkes, making his screenwriting debut after gaining recognition as a playwright, Challengers stars Zendaya, Josh O’Connor, and Mike Faist in a tale of toxic relationships set against the backdrop of professional tennis. While emotional complexity, betrayal, rivalry, friendship, and sports pressure are intertwined in a non-linear narrative, the director struggles to overcome the challenges posed by this explosive mix. The tennis scenes are well-executed, but the love triangle feels like a mere curiosity, with insufficient dramatic motivation and coming across an oversexed triviality with soap opera traits. 

Additionally, the original score by Nine Inch Nails’ members Trent Reznor and Atticus Ross can be intrusive at times, and the finale, while intense, seems too fabricated. Ultimately, despite the promising setup, Challengers fails to fully capitalize on its potential. I don’t see it as a very grown up movie, and was craving for more clever twists in the plot. These charming threesome never hit the ball with enough ability to make it over the net.

La Chimera (2024)

Direction: Alice Rohrwacher
Country: Italy

Alice Rohrwacher’s films, notably Happy as Lazaro (2018) and The Wonders (2014), captivated audiences with their intriguing narratives. La Chimera, her fourth feature, stands out as a haunting archeological fable set in Tuscany during the 1980s. Rather than relying on suspense, Rohrwacher favors ambiance, crafting a story that delves into a painful past, an inebriated present, and an uncertain future. 

The story revolves around Arthur (Josh O’Connor), a nearly-spectral English wanderer with a supernatural ability to locate Etruscan artifacts in tombs and underground chambers dating back over 2000 years. Recently released from jail for smuggling these artifacts, Arthur, reluctantly rejoins his gang of “tomb diggers” while awaiting the return of his departed love, Beniadina. He also reconnects with Benidiana’s welcoming mother, Flora (Isabella Rossellini), and gets involved with her Brazilian student/maid, Italia (Carol Duarte), a surreptitious mother of two. 

When at its sharpest, Rohrwacher’s script exudes lyricism in its bendable trajectory, casting a spell on viewers. However, the comedic elements are overshadowed by the emotional crisis of an unpredictable, alienated protagonist with a strong inclination for sloppiness. Love and death are squeezed into an eccentric cinematic pot that, in a sense, harkens back to classics from Pasolini, Scola, Fellini, and Cocteau. Some nostalgic moments are magical and profound in a film full of nudges and nuance. This is simultaneously a fascinating character study, a poignant drama edited with breaks of slapstick humor, and an acute piece of psychological realism that connects the living and the dead.

Even with some unnecessary lengths, La Chimera provides a singular experience in a kind-hearted fashion that allows the movie to resonate with more warmth than what was initially thought. O’Connor delivers an engrossing performance, complemented by Duarte and Rossellini, who are a pleasure to watch.

The Palace (2023)

Direction: Roman Polanski
Country: Switzerland / Italy / other

From the acclaimed director Roman Polanski, whose filmography includes gems such as Repulsion (1965), Chinatown (1974), Rosemary’s Baby (1968), and The Pianist (2002), comes The Palace, an oddball satire that starts off well but sloppily falls into a wild intemperance pelted with flat humor, bubbly champagne, and too much caviar for my taste. Set in the luxurious Gstaad Palace hotel in the Swiss Alps on December 31, 1999, Polanski’s 24th feature film follows a cast of wealthy and eccentric characters as they gather for the millennium amid fears of the Y2K bug. They range from socialites and aristocrats with abhorrent faces from plastic surgeries to broke tycoons showing off diva postures to rowdy heavy-drinking Russians with no principles.

The hotel’s dedicated manager demands politeness, precision, and perfection from his staff, only to get trouble, embarrassment, and eccentricity from the arrogant and selfish customers. Caught between a brainless parody and a more observant satire, The Palace works more in the line of The Triangle of Sadness (2022) than The Grand Budapest Hotel (2014). Hence, despite wrecking you with luscious hues, the film’s scenes are often overindulgent and lacking in moderation. While some viewers may find humor in its zany antics, others may roll their eyes. 

Gone are Polanski's signature style and wit, replaced by repetitive gags and scenes that feel more grating than gratifying. We understand it was all created with mockery in mind. However, there are so many aspects that failed to work properly in this disjointed comedy. The international ensemble cast includes Fanny Ardant, Mickey Rourke, John Cleese, and Oliver Masucci.

Drive-Away Dolls (2024)

Direction: Ethan Coen
Country: USA

Drive-Away Dolls marks Ethan Coen’s first directorial solo feature without his brother Joel, but unfortunately, the results are disappointing. With both the screenplay - written by Coen and his wife Tricia Cooke - and the campy tone providing less than what it should be, this fairly basic lesbian hymn, infused with an unintriguing crime subplot, comes across as more hysterical than funny, denoting more showoff than real insight. With imbecilic humorous lines left dangling, it feels too much like an empty and repeated exercise in style. 

Despite a promising premise, the narrative goes overboard with improbable coincidences, goofy behaviors, and sexual pleasures, interspersed with dreamy states depicted through psychedelic imagery, bluesy guitar licks, and greasy pizzas. It all begins when, on a whim, two lesbian best friends, the uptight Marian (Geraldine Viswanathan) and the free-spirited Jamie (Margaret Qualley), embark on a road trip from Philadelphia to Florida, incidentally bumping into criminals. The characters are turned into caricatures, resulting in a cartoonish exaggeration that comes across as simple-minded. 

Coen films with edgy, alienating teen-like angst, but doesn’t surprise. The final part of the film gets totally out of hand, combining elements of a myopic noir thriller with a shabby rom-com. Clocking in at a tight and merciful 84 minutes, the film lacks fun and the performances from Qualley and Viswanathan, while competent, are unable to elevate the material. Overall, Drive-Away Dolls is a jumbled mess that tries to be both tactlessly offbeat and attractively endearing, missing the mark.

Club Zero (2024)

Direction: Jessica Hausner
Country: Austria / other

Austrian helmer Jessica Hausner, who impressed us with a religion-themed arthouse drama called Lourdes (2009), returns with Club Zero, a dark fable hinged on a one-person cult promoting autophagy at a private boarding school. Co-written by Hausner and Géraldine Bajard, the film follows Miss Novak (Mia Wasikowska), a rigorous teacher turned guru, as she introduces a dangerous concept to emotionally vulnerable students, touching on themes of faith, manipulation, willpower, and societal pressures. Other inherent topics include faulty parenthood and unsupervised classes and methods. 

While the material holds potential, the film, even with something ominous churning under the surface at all times, falls short of expectations. Built with minimalistic composed settings, stiff arthouse postures, and bitter tones, Club Zero misses opportunities to take us to more terrifying territory, preferring instead a quiet defiance that feels flat in the end. 

Hausner demonstrates a morbid precision in her exploration of contemporary neuroses, and yet, the picture rests in a muzzy middle where observation and absurdity are practically indistinguishable. Club Zero is a failure, but an intriguing one.

American Fiction (2023)

Direction: Cord Jefferson
Country: USA 

American Fiction unfolds as an open-hearted comedy drama with spun fast and sharp dialogue where humor prevails even in the midst of poignant moments. It’s a remarkable feature debut for Cord Jefferson, whose curious perspective and narrative intelligence keep a tight focus on the central character. He makes the film a powerful triumph.

The story centers on Thelonious “Monk” Ellison, portrayed by Jeffrey Wright, a talented yet frustrated Black author and English professor. Under a pseudonym, Monk writes a deliberately clichéd satirical novel that exposes the hypocrisy of the publishing industry and white consumerism. Accused of not being ‘Black enough’ in his writings, Monk grapples with death and illness in the family, and contends with the success of a new literary sensation: Sintara Golden (Issa Rae), whom he deems a fraud. Additionally, he reconnects with his estranged brother, Cliff (Sterling K. Brown), a messy plastic surgeon, and navigates a complex love story with Coraline (Erika Alexander), a lawyer living across the street from his mom. 

Sensitive in so many ways but also confrontational, the film is a brazenly enlightening, stingingly thought-provoking satire that straddles the realms of drama and comedy, making its point. It’s one of those pictures that remains engaging, even in its silliest scenes, ultimately achieving an airy result considering such weighty thematic loads. 

Brilliant casting and a cleverly woven story ensure that funny, angry, and heartbreaking moments blend seamlessly. Wright, who played the leading role in Julian Schnabel’s Basquiat (1996) and has been featured in Wes Anderson’s latest works - The French Dispatch (2021) and Asteroid City (2023) - plays his character with mordancy, virtuosity, and blistering perfection, delivering a career-high performance. Also, composer Laura Karpman infuses some wonderful musical vibes, leaning more towards cool piano jazz than the angular style of Thelonious Monk. 
American Fiction presents itself in a distinctive cinematic fashion, leaving a lasting impact on its audience.