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Reviews for December 12th, 2025

 

       Fayruz (Alia Shawkat), an aspiring actress, works at a US-military facility where she and others role play soldiers during the Iraqi War in Atropia. She's preparing for a Hollywood role that she hopes to get. Meanwhile, her employers aren't happy that she's having a romance with Abu Dice (Callum Turner), one of her colleagues at the facility. The screenplay by writer/director  Hailey Gates has an interesting premise, but suffers from tonal unevenness and not enough laughs, wit or satirical bite. Gates doesn't know how to take her ideas to interesting places. The film runs out of steam around the 30-minute mark and doesn't pick up any steam afterward. It doesn't help that the romance between Fayruz and Abu Dice feels contrived. Perhaps if this were a parody like Four Lions, it would've been a much more entertaining, intelligent and memorable experience instead of one that's forgettable and underwhelming. If you want to see a warmer, funnier and provocative film starring Alia Shawkat, see Amreeka---if you can find it, though, because it's only on physical DVD, not on streaming. At a running time of 1 hour and 44 minutes, which feels more like 2 hours, Atropia< opens at IFC Center via Vertical.  

Number of times I checked my watch: 3





 

       Aurora (Sophie Sloan), a 8-year-old young girl, hires a hitman (Mads Mikkelsen) to kill the monster under her bed in Dust Bunny. Sigourney Weaver plays Laverne, the hitman's handler, and David Dastmalchian shows up as an assassin. Writer/director Bryan Fuller has made a fun and exhilarating sci-fi thriller. To call it a horror film wouldn't be accurate, although there are some dark elements including a creepy-looking monster that's magically formed after dust and fluff combine to form a dust bunny during the opening scene. It kills Aurora's family leaving her an orphan. There are some clichés like Aurora being a precocious child, but that's okay and not a systemic issue. Moreover, what's wrong with clichés? It's a cliché to complain about clichés. The hitman becomes like a surrogate father for Aurora as tries to keep her safe. It turns out that the monster isn't the main villain after all---no spoilers here, though.

      Dust Bunny's main strengths are the bond between Aurora and the hitman, the visually stylish production design and the solid ensemble cast, each of whom is well-cast. Just like he did in Predator: Badlands, Fuller once again excels when it comes to world-building and incorporating just the right amount of exposition without over-explaining or leaving the audience confused. Dust Bunny doesn't quite reach the heights of Pan's Labyrinth, though, but it's a cut above the average sci-fi thriller. It deserves to become a cult classic.  At a running time of 1 hour and 46 minutes, Dust Bunny opens in select theaters nationwide via Lionsgate and Roadside Attractions.  

Number of times I checked my watch: 1







      Ella McCay (Emma Mackey), a lieutenant governor, struggles to balance work and family as she prepares to take over the job of her superior, Governor Bill (Albert Brooks), in Ella McCay Writer/director James L. Brooks has made an overstuffed, undercooked, clunky and cloying political satire. It's like a failed sitcom pilot that doesn't have a single interesting character or idea in it. The dialogue is cringe-inducing much like the voice-over narration by Estelle (Julie Kavner), Ella's secretary. Every great comedy, especially the ones from the Golden Age of America like One, Two, Three, Born Yesterday, Bringing Up Baby and The Philadelphia Story, remain grounded in humanity even when they're outrageously funny. Nothing feels forced. In the case of Ella McCay, nearly every attempt at humor and drama feels very forced. There are too many subplots, too many characters and situations that are simply awkward rather than funny. The choppy editing doesn't help, either.

      The supporting cast, Albert Brooks, Julie Kavner, Kumail Nanjiani as Trooper Nash, Jamie Lee Curtis as Ella's aunt, Woody Harrelson as Ella's father, Spike Fearn as her younger brother and Ayo Edibiri as his ex-girlfriend, are all wasted with poorly written roles. Not a single scene rings true. Even Ella's character arc feels contrived, especially during the very cheesy and preachy third act. No one among the ensemble cast gets the chance to shine, unfortunately. Ultimately, Ella McCay is one of the worst misfires of the year. It probably would've gone straight to Hulu if it weren't for the fact that the director, James L. Brooks, also made some classics like Broadcast News, As Good as it Gets and Terms of Endearment. At a running time of 1 hour and 55 minutes, which feels more like 3 hours, Ella McCay opens nationwide via 20th Century Studios.

Number of times I checked my watch: 5







      Europe's New Faces follows African and South Asian migrants as they travel a treacherous journey by boat across the Mediterranean from Libya to a settlement with abandoned buildings in Paris. Director Sam Abbas opts for a laissez-faire and fly-on-the-wall approach instead of bombarding the audience with talking-heads, voice-over narration, backstories and exposition. So, Abbas deserves credit for a bold, unconventional approach. He throws the audience right into the perspectives of the migrants, but, interestingly, doesn't show their faces or learn their names. Instead, he captures the mundanity of their life. A lot happens off-camera and in the imagination of the audience. That style works effectively for the first hour, but eventually leads to tedium for the remaining 1 hour and 39 minutes because the audience isn't engaged enough emotionally or intellectually. It's not very cinematic. François Truffaut once wisely observed that a truly great film has the right balance between Truth and Spectacle.

      Europe's New Faces's systemic issue is that it inundances the audience with mundane Truths while sacrificing Spectacle. Truth and Spectacle are not mutually exclusive; it's possible to find Spectacle within the truth like how Werner Herzog or Frederick Wiseman manage to accomplish. To be fair, it's much harder to find Spectacle within Truth than it is to find Truth within Spectacle. A certain upcoming Hollywood blockbuster that also overstays its welcome with a lengthy running time has the opposite problem: too much Spectacle, but not enough Truth. Both not enough Truth and not enough Spectacle are ultimately exhausting albeit in different ways. At a running time of 2 hours and 39 minutes, Europe's New Faces is immersive, but overlong, tedious and exhausting. It opens at Cinema Village.

Number of times I checked my watch: 4







      The King of Color is a slickly-edited, amusing and mildly engaging, but by-the-numbers, hagiographic and shallow biographical documentary about Larry Herbert, the inventor of the Pantone Matching System. Director Patrick Creadon combines talking head interviews with Herbert himself and archival footage. There are some surprisingly funny and witty moments during the interview because Herbert has a witty sense of humor, and it's interesting for newcomers to learn what makes his invention so unique. However, as biodoc, The King of Color isn't very revealing, provocative or insightful; it's essentially a reader's digest version of Herbert's life and work that won't get you very excited for the next Pantone Color of the Year or change the way you look at color. The interviews with everyone answering "What's your favorite color?" at the very end doesn't add much depth either, although it's somewhat amusing. At a running time of 1 hour and 22 minutes, The King of Color< opens at Village East by Angelika via Picturehouse.

Number of times I checked my watch: 2





 

      Pasqual (Pasqual Gutierrez) struggles to balance work and family duties, so he hires Miguel (Miguel Huerta), his doppelgänger, to secretly replace him at work in Serious People Writer/director Pasqual Gutierrez and co-director Ben Mullinkosson have made a bland and unimaginative comedy that fails to deliver laughs and wit. It has an interesting concept that sounds like it could be a fun and zany satire, but it's neither fun nor zany. Pasqual Gutierrez and Miguel Huerta both lack comedic timing while none of the supporting actors or actresses get a chance to stand out. What follows is an underwhelming and disappointing misfire. If you want to laugh, go see the zanier, funnier and wittier Fackham Hall instead. At a running time of 1 hour and 27 minutes, Serious People opens at Quad Cinema via Tribeca Films and Memory.  

Number of times I checked my watch: 4





 

      Billy (Rohan Campbell), on the run from the law after going on a killing spree, escapes to a small town where he meets and meets his love interest, Pam (Ruby Modine), a young woman who works at a Christmas store in Silent Night, Deadly Night. Every Christmas, he dons a Santa Claus costume and kills one person a day to avenge the death of his parents and grandfather who were brutally murdered by a man who also wore a Santa Claus costume. Writer/director Mike P. Nelson has made a wildly entertaining, suspenseful and gory horror thriller. He knows how to hook the audience with a prologue that sets the tone while providing the audience with a taste of the bloodshed to come. There are many, perhaps too many, flashbacks to Billy's traumatic childhood when he witnessed the man in the Santa Claus costume killing his parents and grandfather---it's clear from the beginning that those painful memories haunt him and serves as the catalyst of him  becoming a serial killer. Meanwhile,  Is he schizophrenic? That's up to the audience to interpret, but it would be fair to discern that because he hears the voice of the killer in his head that tells him who to kill.

      Fortunately, Silent Night, Deadly Night doesn't just bombard the audience with blood and guts. It doesn't hold back on showing the grisly kills, but there's more to the film than just shock value and horror; it's also somewhat of a character study, and there's romance between Billy and Pam who has more to her than meets the eye which makes their relationship more interesting. It also benefits from solid performances by Rohan Campbell and Ruby Modine who manage to breathe life into their roles. Fortunately, Silent Night, Deadly Night never becomes clunky, dull or tedious, so it's an above average B-movie that holds a candle to the 1984 original. At a running time of 1 hour and 37 minutes, it opens nationwide via Cineverse.  

Number of times I checked my watch: 1





 

      Zach (Jeremy Irvine), a wealthy businessman, takes his wife, Emmy (Hera Hilmar), on a hot air balloon ride for their honeymoon in Turbulence. Julia (Olga Kurylenko), a woman he met at the hotel bar the night before and may or may not have slept with, end up one of the passengers and blackmails him. Kelsey Grammer plays the hot air balloon's operator.  Oh, and Zach and Emmy's marriage has been on the rocks lately so he hopes that the honeymoon can save their marriage. Director Claudio Fäh and screenwriter Andy Mayson have made an increasingly preposterous, clunky and uninspired thriller. that's as silly and dull as Flight Risk from earlier this year. It's mildly effective as a psychological thriller when the audience isn't clear about whether or not Zach cheated on Emmy with Julia, but when the big reveal arrives with nothing left to interpretation, the suspense wanes. What follows is a plot with no surprises, underwritten characters, no depth, very little logic, no palpable thrills, a rushed ending and barely any imagination to compensate for the lack of logic. It's just as dull and silly as Flight Risk from earlier this year. At a running time of 1 hour and 31minutes, Turbulence< opens at Cinema Village via Vertical.  

Number of times I checked my watch: 3