Alphabetical Menu
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On the Adamant is a warm, intimate and heartfelt documentary about the Adamant, a therapeutic daycare center floating on the Seine River for adults with mental disorders. Director Nicolas Philibert opts for a fly-on-the-wall approach similar to Frederick Wiseman's approach to documentary filmmaking. There are no talking-head interviews nor lots of informational texts on-screen. You won't get to know anyone on screen very well, but you will get to know their personalities and some snippets from their past as well as their struggles. There's somewhat of a sense of voyeurism as you're watching them interacting. Patient audience members will be rewarded the most because initially, it's not entirely clear what happens inside the barge and what's so significant about it. You, the audience, become a spectator who's observing these people interacting whether they're talking about a films that will be shown for a film group or to hear the faculty commenting on the patients' paintings or counting money at cafe at the end of the day or listening to one of the patients talk about his medication and he feels better while at the daycare center. On the Adamant is a gentle and profoundly human experience. It opens at IFC Center via Kino Lorber. Asphalt City  Ollie (Tye Sheridan), a paramedic for the FDNY, gets an assignment to work the night shift with Gene (Sean Penn) as his partner.
The screenplay by co-writers Ben Mac Brown and Ryan King, based on the novel by Shannon Burke, effectively blends thriller with drama. Asphalt City immerses the audience in intense experiences of Ollie and Gene as they desperately try to save lives. Ollie is new to being paramedic while Gene has been on the job for years, but it's not easy for either of them. Gene has an ex-wife, Nancy (Katherine Waterston), who doesn't want to be around him. One crucial decision that Gene makes during a 911 call might cost him his career. The film's dramatic tension derives from how their job affects them emotionally, psychologically and physically, and how they deal with the weight of their moral conscience. Although Asphalt City is unflinchingly gritty, it also doesn't shy away from humanizing its characters so that you can care about them despite their flaws. Screenwriters Ben Mac Brown and Ryan King do a great job of establishing the bond between Ollie and Gene as they converse and get to know each other. They're both dealing with traumatic memories from their past. In a somewhat distracting and less engaging subplot, Ollie develops a romance with Clara (Raquel Nave). That's a minor, forgivable flaw, though, that doesn't take away too much from the film's narrative momentum. The ending, which won't be spoiled here, is unafraid to go into relentlessly dark territory without any sugar-coating. Sean Penn and Tye Sheridan are very well cast because they handle the emotional complexities and nuances of their roles convincingly. There are even some quiet, understated moments that speak louder than words. They're also both tremendously charismatic actors, so Asphalt City is very lucky to have them together. Director Jean-Stéphane Sauvaire doesn't hold back on the violence and gore while leaving very little to the imagination in that regard, so this isn't the kind of film for audiences with a weak stomach. The pace moves fast more often than not, and the cinematography adds to the intensity at times. That said, Asphalt City does become a little exhausting around the 90-minute mark. To be fair, though, Ollie and Gene are also exhausted, so at least the audience can somewhat relate to them. At a running time of 2 hours, it's an unflinching, gritty and palpably thrilling ride.
 A Cat's Life  A young girl, Clemence (Capucine Sainson-Fabresse), a kitten she names Lou and brings it along with her to a cabin in the countryside that her parents, Isa (Lucie Laurent) and Fred (Nicolas Casar-Umbdenstock) take her to. Lou learns to experience life in the wild for the first time while Clemence befriends an eccentric neighbor, Madeleine (Corinne Masiero), who owns a dog. Based on the novel by Maurice Genevoix, the screenplay by writer/director Guillaume Maidatchevsky and co-writer Michaël Souhaité has a plot wafer-thin, but with a few charming moments and surprisingly intense ones as Lou faces dangers out in the wild. The first 15 minutes or so establish the bond between Clemence and Lou before Clemence and her parents head off from Paris to an isolated cabin for a vacation. In an underdeveloped subplot, her parents are in the process of separating. So, Clemence has a lot to deal with emotionally as a child. She and Lou go through parallel journeys while growing and learning valuable lessons. A Cat's Life tries hard to be heartwarming and charming, but ends up either dull or saccharine more often than not. The dialogue is often stitled and clunky while the plot suffers from being unfocused and tonally uneven. It's like a live-action Pixar movie without wit and cleverness while also failing to entertaining older and younger audiences simultaneously. A Cat's Life is presented to U.S. audiences in a version that's dubbed into English, so it wouldn't be possible to comment any of the performances of the French cast. The kitten, Lou, doesn't need dubbing because, fortunately, this isn't the kind of children's movie where the animals talk. What the film does succeed at, though, is anthropomorphizing Lou. If it were to focus only on Lou's perspective alone, it would've perhaps been more entertaining and engrossing. There are some breathtaking scenes of nature that provide some eye candy, but not enough to enliven the film. as bland and unimaginative as the film's title. At a running time of just 1 hour and 23 minutes, A Cat's Life is occasionally charming and sweet, but often bland, meandering and undercooked.
 Dogman  After getting arrested, Douglas Munrow (Caleb Landry Jones) recalls his traumatic past to Dr. Evelyn Decker (Jojo T. Gibbs), a prison psychiatrist. Writer/director Luc Besson once told me in an interview that what turns a crime thriller into a classic is when a filmmaker takes risks. Fortunately, Dogman is a wildly entertaining roller coaster ride of emotions that takes many risks as Besson blends so many different genres and tones together. Besson hooks the audience right away with an opening scene that introduces Douglas as he's laying in the middle of a street covered in blood while dressed in drag. How did he end up like that? What's going on with him? Dogman gradually answers those questions and more when Douglas opens up to the prison psychiatrist about his painful childhood memories. His father locked him inside a dog pen as a child and shot him, causing him to be paralyzed from the waist down. He was sent to institutions throughout his childhood and bonded with a drama teacher, Salma (Grace Palma). Years later, he tracked her down at a theater production while being secretly in love with her. His only close friends were dogs that he trained to steal from the rich. A jewel heist involving the dogs raises the suspicions of an insurance man, Ackerman (Christopher Denham), who's investigating the burglary. In a subplot that has some shades of John Wick, Douglas uses his dogs to attack a local gangster, El Verdugo (John Charles Aguilar). With a less talented screenplay, Dogman would've become a tonally uneven, disjointed mess. Instead, it's a poignant and provocative psychological character study, a gripping crime thriller and a wickedly funny dark comedy with offbeat humor. Caleb Landry Jones gives one of the best performances of his career as Doug. He finds the emotional truth of his role while also portraying Douglas's vulnerabilities very convincingly. Kudos to writer/director Luc Besson for seeing and treating Douglas as a complex human being and to Caleb Landry Jones for opening the window very widely into his heart, mind and soul. The use of music which includes some Lili Marleen and an Edith Piaf song are bold choices that add depth to the film. It's also worth mentioning the visually stylish cinematography which is occasionally poetic and stunning. At a running time of 1 hour and 54 minutes, Dogman is an audacious, funny, exhilarating and heartfelt crime thriller.
 Farewell, Mr. Haffmann  Mr. Haffmann (Daniel Auteuil), a Jewish jeweller in Paris, sends his wife and children out to the countryside to keep them safe from the Nazis. He temporarily sells his shop to his assistant, François Mercier (Gilles Lellouche), expecting him to sell it back to him after the war ends. François agrees to let Mr. Haffmann hideout from the Nazis in the store's basement. Based on the play by Jean-Philippe Daguerre, the screenplay by writer/director Fred Cavayé and co-writer Sarah Kaminsky is set in Nazi-occupied Paris during 1941 and 1942. The beginning of the film introduces Mr. Haffmann as he makes jewelry very skillfully. Within the next 10 minutes, he learns that Nazis have ordered all Jews to register with them. He desperately wants to protect his family as well as his jewelry shop, so he's lucky to have a brave assistant who's willing to help him with the latter. That plan turns out to be more complicated than he originally thought, especially when François coerces him into doing a favor involving his wife, Blanche (Sara Giraudeau), that won't be spoiled here. It's a morally ambiguous favor that he's uncomfortable with, but François gives him an ultimatum to either do it or else he'll no longer let him hide in the basement. Mr. Haffmann has to make jewelry when François's skills turn out to be inferior to his. Little does he know that the jewelry is custom-made for a Nazi. What might happen when he learns the truth? How will that affect his relationship with François? The only villains are the Nazis; François comes the close to being a villain by the end, but not quite Interestingly, Farewell, Mr. Haffmann seems more concerned in exploring how their relationship gradually deteriorates rather than in generating nail-biting suspense from the threat of the Nazis. There are a few gripping scenes at the beginning and end, but, for the most part, the film remains more of a psychological thriller that avoids becoming heavy-handed or unflinching. The visceral horrors of the holocaust remain in the imagination of the audience instead of on-screen. Daniel Auteuil, one of France's finest and most versatile actors, gives a heartfelt and charismatic performance. He finds the emotional truth of his role and breathes life into the role which helps the audience to care about and empathize with Mr. Haffmann. So, this isn't a dry or pedestrian period piece like the recent One Life. Director Fred Cavayé keeps the pace moving at just the right speed without any scenes that overstay their welcome or that move too quickly. It's also worth mentioning the production design which adds both style and authenticity. At just under 2 hours, Farewell, Mr. Haffmann is an engrossing and intriguing psychological thriller.
 A Fragile Flower  Thach Thao (Maya) lives with her cousin, Ellie (Trizzie Phuong Trinh), who convinces her to sing at a club where Son (Quoc Cuong), an executive for Seoul Entertainment Television (SET), notices her talent. Soon enough, he invites her to the SET offices where his wife, Yvonne (Mai Thu Huyen), also works and oversees the budget. Yvonne agrees to produce a musical film called "A Fragile Flower" with Thach as the star. Many men flirt with her including Bao (Anh Dung), a billionaire, Ngoc (Baggio Saetti), a musician, and the film's director, Dang (Duc Tien). When she notices Thach spending a lot of time with Son, Yvonne suspects that they're having an affair. The screenplay by Nhat Ha is heartfelt, but overstuffed and clunky with too many characters and turns into a melodramatic and maudlin soap opera. There's more than enough tension in the rising career of Thach and her potential romances as well as the conflict between her and Son's jealous, insecure wife. So, when a twist occurs late in the second act, it unnecessarily adds even more tension that makes the film feel overwrought. There's too much going on all at once with only a few scenes that breathe like when Thach and Son talk about their traumatic childhoods that's causing their emotional pain. The dialogue is often on-the-nose without subtlety, wit or comic relief. Also, characters tend to over-explain their feelings, so screenwriter Nhat Ha and director Mai Thu Huyen don't trust the audience's emotions or intelligence enough. Despite those setbacks, Thach is an engaging character because, hence the film's title, she's fragile. The effects of fame and the complications of her romantic life feel organic, especially when she rejects Ngoc's flowers in front of a large crowd and exposes his selfishness. All he cares about is himself and his image. She's stuck in a shallow industry with many toxic men who pursue her. What do they see in her beyond her beauty and talent? Without any spoilers, Thach has to make a tough decision that would allow her to stand up for herself. To be fair, though, the third act feels a little rushed and ends somewhat abruptly. Maya gives a tender performance that rises above the shallow screenplay. She's especially radiant during the musical numbers. The scenes with her singing are when the film truly soars. Mai Thu Huyen's performance is a little hammy and one-note, but she has a surprisingly moving scene toward the end when Yvonne confides in Thach. It's the one rare moment that shows what's going on beneath Yvonne's surface. Her dysfunctional marriage with Son could have easily been the main plot of a separate film. At a running time 1 hour and 36 minutes, A Fragile Flower is a mildly engaging and occasionally moving, but overwrought, clunky and melodramatic soap opera with exhilarating musical numbers.
 Godzilla x Kong: The New Empire  Irene (Rebecca Hall), a scientist, summons the help of Bernie (Brian Tyree Henry), a podcaster/conspiracy theorist to figure out what's going behind the disturbing visions of her adopted daughter, Jia (Kaylee Hottle), and what the visions have to do with King Kong who's in Hollow Earth.
Despite a screenplay with three writers, namely, Terry Rossio, Simon Barrett and Jeremy Slater, Godzilla x Kong: The New Empire has a very dull plot that's heavy on clunky exposition. It spends too long in the first act trying to set up the thin story without much narrative momentum. Jia expresses her alarming visions through drawings. So, of course, according to film clichés, if a child draws bizarre images, there must be a supernatural reason that's connected to something sinister. The screenwriters assume that you've already watched the Kong vs. Godzilla because they assume you know that Jia has telepathic powers that allow her to communicate with King Kong. Cue the stilted dialogue and desperate attempts to generate humor like through Trapper (Dan Stevens), a veterinary dentist who's over-the-top in a slapstick, cartoonish way. Why is he needed? Because King Kong has a toothache and needs the tooth to be extracted. The humor rarely lands, and the thrills come with diminishing returns as the film becomes both tedious and exhausting. Godzilla Minus One excelled at human drama while also exhilarating the audience which this much more expensive blockbuster fails to achieve. The plot is essentially just an excuse to introduce new kaiju like Mothra for an inevitably long, epic battle at the very end.
 In the Land of Saints and Sinners  In 1974, Finbar (Liam Neeson), an ex-assassin, lives a quiet life in the Irish countryside where his former boss, Robert (Colm Meaney), also lives. Upon discovering that Moya (Michelle Gleeson) is being abused by Curtis (Desmond Eastwood), the boyfriend of her mother, Sinead (Sarah Greene), Finbar takes justice into his own hands by killing Curtis and seeking help from Kevin (Jack Gleeson) to bury the body. Curtis's sister, Doireann (Kerry Condon), leader of the IRA, arrives in town to find her brother's killer.
Co-writers Mark Michael McNally and Terry Loane have woven a character-driven thriller that has just the right balance of suspense and emotional depth. Finbar has led a long life as a professional assassin and wants to settle down peacefully while spending time with his friends, Vincent (Ciáran Hinds), a policeman, and Rita (Niamh Cusack). Controlling his desire to kill turns out to be easier said than done when he shoots Curtis dead. In the Land of Saints and Sinners takes a risk by centering on a protagonist who's not very likable, moral or even law-abiding based on his actions. Two wrongs don't make a right, so Finbar definitely crosses a boundary when he kills Curtis. Fortunately, the film doesn't judge him nor does it ask the audience to judge him either. He's deeply flawed, but also shows that he's capable of decency and forming healthy relationships. If only he weren't leading a double life and getting himself into trouble. Audiences looking for a visceral action thriller will be disappointed because the few action scenes aren't what stand out the most. What does stand out is something more grounded and organic that avoids turning the film into a B-movie: the psychological character study of Finbar who remains a fascinating and complex character. Kudos to the filmmakers for seeing and treating him as a human being and for showing empathy toward him as well. Those are very important traits for filmmakers to have. Liam Neeson gives a moving and understated performance and finds the emotional truth of his role. The film's poignancy comes from his performance rather than from the screenplay. Kerry Condon is also terrific in a supporting role as are the underrated Ciáran Hinds and Colm Meaney. So, In the Land of Saints and Sinner has a fine ensemble that elevates the material while adding gravitas. Director Robert Lorenz keeps the violence to a minimum without relying on blood and guts or anything else that would shock the audience. This isn't The Banshees of Inisherin, after all, but there are some shades of it here. The pace moves leisurely, but not too slowly nor does it have any scenes that overstay their welcome. In other words, no one suddenly stares off into the distance for 10 minutes. It's refreshing to watch a slow-burning thriller every now and then, especially after too many action thrillers, like John Wick are pretty much very long video games. At a running time of 1 hour and 46 minutes, In the Land of Saints and Sinners is a gripping, heartfelt and engrossing thriller.
 Karaoke 
Meir (Sasson Gabay) lives with his wife, Tova (Rita Shukrun), in a Tel Aviv high rise apartment. When they befriend a new neighbor Izik (Lior Ashkenazi), a free-spirited bachelor who hosts loud karaoke parties, it causes a rift in their marriage. Karaoke a while to get to the emotional center of its story which occurs during a lengthy scene with Meir and Tova later in the second act. Can their marriage be saved before it reaches past the point of no return? Fortunately, the plot avoids cheap thrills, so Tova doesn't cheat on Meir with Izik. Does she want to? That's not quite clear, but Izik seems like the kind of person who'd have no shame in having an affair with her. He even asks them out-of-the-blue if they've ever considered an open marriage. He clearly lacks the concept of boundaries which is evident from the very beginning when he selfishly parks his car right in front of Meir's car in the garage. Izik thinks that he's better than Meir, but, in reality, he's insecure, lonely and weaker. If only Karaoke were a little darker and delved more into Izik's vulnerabilities instead of leaving them beneath the many masks that he wears. Nonetheless, the final scene is both moving and cathartic without being schmaltzy. Sasson Gabay gives a warm and charismatic performance as Meir. He brings nuance and emotional resonance that can't be found in the screenplay. Rita Shukrun also gets the chance to shine and, more importantly, to rise above the somewhat shallow screenplay. Other than the stylish opening credits sequence, there's nothing exceptional about the cinematography, set design or editing. Most of the film takes place inside the apartment building, so it's not always cinematic per se, but the performances along with the interesting, complex characters help to keep it engaging. At a running time of 1 hour and 43 minutes, Karaoke is a tender, well-acted and engrossing portrait of a marriage.
 Lousy Carter 
Upon learning that he has just six months to live, Lousy Carter (David Krumholtz), a literature professor, tries to finish his animation project while dealing with his ex-girlfriend, Candela (Olivia Thirlby), a colleague, Herschel Kaminsky (Martin Starr), his estranged sister (Trieste Kelly Dunn) and toxic mother (Mona Lee Fultz). He also has a sexually-charged affair with Olivia (Jocelyn DeBoer), Hershchel's wife, and tries to seduce a student, Gail (Luxy Banner). The screenplay by writer/director Bob Byington is tragicomic character study of deeply disturbed man how's at a very low point in his life. Lousy Carter comes across as unpleasant, rude, shameless and very forward. There's no doubt that his life is a mess and he doesn't do much to get out of his predicament. He keeps his health diagnosis a secret from his colleagues. What does Olivia see in him that convinces her to risk her marriage to cheat on her husband with him? Byington offers very few redeeming qualities about Lousy who often lives up to his nickname. Not surprisingly, his current psychological issues stem from his relationship with his abusive mother. Lousy Carter remains firmly grounded in tragedy, but it still manages to find the dry and offbeat humor from the many awkward situations that Lousy ends up in as well as from his very blunt comments. Watching him interact with others is the equivalent of watching a car crash. It's neither fun nor amusing, but it's hard to look away. David Krumholtz gives a lively performance with great comedic timing, especially during some of the scenes that require deadpan. His charisma helps to make Lousy a bit easier to like and tolerate without allowing him to become annoying or a one-dimensional caricature. The pace moves briskly and there aren't too many unnecessary subplots or scenes that overstay their welcome. Lousy Carter is essentially like a darker version of a Woody Allen comedy. At a brief running time of just 1 hour and 20 minutes, it's a wickedly funny and irreverent tragicomedy.
 Wicked Little Letters  Edith Swan (Olivia Colman), an uptight and cranky woman, lives with her mother, Victoria (Gemma Jones), and father, Edward (Timothy Spall). She blames her new neighbor, Rose (Jessie Buckley), for sending her hate mail, but Rose maintains her innocence. A police officer, Gladys (Anjana Vasan), investigates Edith's accusation.
The screenplay by Jonny Sweet is a hilarious blend of comedy, suspense and mystery. The plot takes about 20 minutes or so to find its footing. More hateful letters end up arriving in Edith's mailbox even after Rose briefly serves prison time after being unable to post bail. Once the film escalates the friction between her and Edith, that's when it's at its most entertaining. Edith comes across as a classic narcissist and a very unlikable character with very little redeeming qualities. Can she be trusted, though? Rose, on the other hand, is very blunt and uses profanity to speak her mind. Can she be trusted? If she's not the sender of the hate mail, then who is and why? Wicked Little Letters is the closest British comedy in years that feels like it could be an Ealing Studios comedy. It takes place in a small town with quirky characters, i.e. Gladys, the police officer, who gets some very witty lines, some of which includes dry humor. The use of profanity here is almost as brilliant and wickedly funny as in In the Loop. Every scene has something lively, amusing or funny about it; even the courtroom scenes aren't as serious as you'd expect a courtroom scene to be. Moreover, there's a major twist that actually works in hindsight while providing a well-earned catharsis. Beyond Wicked Little Letters's it manages to also be a very perceptive and honest albeit over-the-top study of human nature and how a narcissist manipulates his or her victims. The entire ensemble cast is terrific. Everyone gets a chance to shine. Olivia Colman and Jessie Buckley play well off of each other as Edith and Rose bicker and banter. They're both very-well cast. Anjana Vasan makes the most out of her supporting role with her often deadpan line delivery. She has wonderful comedic timing. The pace moves briskly and the film avoids becoming exhausting and tedious. At 1 hour and 42 minutes, Wicked Little Letters is a funny, suspenseful, witty and delightfully irreverent comedy.
 The Windigo 
Claire (Tonantzin Carmelo) brings her son, Ry (Marco Fuller), and daughter, Bree (Fivel Stewart), to visit their grandmother (Casey Camp-Horinek) who lives in the woods of Michigan. They summon an ancient demon called a Windigo to deal with a group of local meth addicts who terrorize them.
The screenplay by Brent Jordan treads familiar ground as a supernatural horror film that takes place in the woods. Like in most horror films, the house is isolated which already makes the narrative very conventional and uninspired. When it comes to scares, though, that's where The Windigo falls short the most. There's too much clunky exposition, stilted dialogue and underdeveloped characters. So, the plot merely seems to be going through the motions without allowing any scenes to really breathe or any of the characters to come to life. There are no surprises here either nor does the film take any major risks. Ry and Bree are both very dull and forgettable characters. Even the villains, the meth addicts, barely rise above being one-note caricatures. Moreover, The Windigo sorely lacks comic relief or any other form of levity. It's a very dry and pedestrian supernatural horror thriller that saves the horror and thriller elements mostly for the last 15 minutes. Until then, there's not enough for the audience to engage with intellectually, emotionally or viscerally. The performances are fine without anyone giving a weak performance. To be fair, though, they're all undermined by the vapid and lifeless screenplay. The pace moves too slowly at times before picking up speed toward the end. That said, the filmmakers should be commended for not holding back on the gore once the Windigo arrives. It's too bad that the film is more interested in physical grit rather than emotional grit, though. The setting in the woods creates a somewhat eerie atmosphere, but without being very intense or palpably chilling. At a running time of 1 hour and 25 minutes, The Windigo is occasionally scary and atmospheric, but often uninspired, dull and underwhelming.
 With Love and a Major Organ  In a world where hearts are inanimate objects and can be removed, Anabel (Anna Maguire) decides to give her heart to George (Hamza Haq), a man she met at a park.
The screenplay by Julia Lederer doesn't spend much time with exposition when it comes to its world-building. Lederer dives head-first into the meat of the story and trusts the audience's intelligence to make sense of what they're watching without over-explaining anything. As Hitchcock once observed, though, imagination is much more important than logic. Fortunately, the film has plenty of imagination and it doesn't stretch its deceptively simple concept too thinly. In this futuristic world, emotions are suppressed and negative thoughts are considered to be toxic. When Anabel sacrifices her heart to give to George as an act of love, it comes with consequences both for her as well as for him. She lives in a world that's not that far removed from our dehumanizing world. With the latest advancements in technology today including AI, With Love and a Major Organ doesn't sound too far-fetched. If anything, it's a cautionary tale about the value of genuine human connections over technology. The film could've easily turned bonkers or become a tonal mess, but it wisely avoids those pitfalls. It does have some dry, offbeat humor which provides some levity for its heavy subject matter. Beyond that, it's also unpredictable. Director Kim Albright and screenwriter Julia Lederer know how to take their ideas in directions that remain poignant and thought-provoking. Anna Maguire and Hamza Haq give moving performances and have chemistry together from the sweet moment when Anabel and George first meet at a park. Despite being a sci-fi movie, With Love and a Major Organ doesn't rely on CGI/visual effects or violence to entertain the audience or to tell its story. It's not trying to shock the audience or to push the envelope. Nor does it bite off more than it could chew like too many films do nowadays. At 1 hour and 31 minutes, With Love and Major Organ is a refreshingly original, heartfelt and provocative love story.
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