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Review by Camden Ferrell  Shih-Chang Tsou is most known for co-directing 2004’s Take Out with Sean Baker, the first of several collaborations between the filmmakers. Her first solo directorial effort, Left-Handed Girl, had its premiere at the 2025 Cannes Film Festival. Filmed on an iPhone and featuring a stellar cast of characters, this is a movie that is full of heart, charm, and interesting perspectives on its themes of family and tradition. Shu-Fen is a single mother who moves to Taipei with her two daughters, I-Ann and I-Jing. In this new environment, they attempt to open a night market stall. This movie follows the women as they navigate their new city, adapt to their newfound challenges, and deal with the relationships they have for better or for worse. It’s a simple story about characters entering a new chapter in their lives and the circumstances that arise from it. It’s an intimate story, and it’s one that seems to speak strongly to Tsou’s sensibilities as a filmmaker. Written by Tsou and Baker, it’s a movie that thrives off its small moments. And its these small moments of nuance that allow the film’s bigger moments to pay off so beautifully. I think their writing juggles the differing perspectives of its characters very well. When writing scenes from the perspective of its youngest character, there’s a certain subdued youthful exuberance that is quite infectious. This differs from the more grounded adult-drive scenes. Tsou and Baker balance these moments without losing a sense of consistency that makes the movie feel like a cohesive body of work.  The acting in this movie is a large part of why the movie works as well as it does. While they’re given great material to work with, the cast is able to inject a sense of authenticity that elevates the script and contributes a sense of earnestness into the production. Both Esther K. Chae and Janel Tsai work wonders as the main adult leads, and they play into the family dynamics of the movie convincingly.
While it might seem like a surface level examination, it’s hard to completely separate this work from the prior works of Baker (especially since he wrote and edited it). There is an undeniable sense of genuine scrappiness to the film that evokes his prior films, and it’s the kind of experience that leverages shared human experiences to expertly put you in the character’s shoes. In addition to this, one stylistic distinction is the aforementioned use of iPhones to film this movie. Much like Baker’s Tangerine, this movie’s cinematographers adapt beautifully to the limitations of the iPhone, crafting a visually impressive movie at a fraction of the cost. Left-Handed Girl is heartfelt and adorable more often than not. Tsou creates a warm hug of a movie that still isn’t afraid of tackling some of the more pressing themes about family dynamics and conflicting values. It’s a movie with no shortage of authenticity, and it’s one that beckons us to recall on our own experiences. Left-Handed Girl is in theaters November 14. Rating: 4/5
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Review by Adam Donato  A24 is back with a high concept romantic comedy. When people die, they have to choose what eternity to spend the rest of time in. A married man dies and is thrown for a loop when his wife also dies, only to be reunited with her previous husband. Now the wife has to choose which of her two dead husbands to spend eternity with. Elizabeth Olsen has to choose between Miles Teller and Callum Turner. David Freyne has only directed a couple obscure features so this is his first big break. Is this an indie swing that will land or be dead on arrival? Eternity thrives on its likability and personality. The concept is fun, making purgatory feel like waiting in an airport. There’s a bunch of jokes about death and marriage that people will find relatable. The crux of the film is this love triangle. Do you stay with the man you’ve been married to for decades or do you pick back up with your first husband who was tragically taken away during the war? It’s a very predictable story. Every surprise moment can be seen coming from a mile away. Despite this, the movie plays to its strengths and provides a satisfying narrative nevertheless. This is one of Elizabeth Olsen’s first significant roles post Marvel and she’s delightful. She does feel like her character would be the main character here. The main conflict is which man to choose so seeing the story from her perspective would be more appropriate. Miles Teller is more of the main character here and that works well for the twist of the concept. We’re dead and have to choose an eternity to spend together, BUT I’m not my wife’s only husband. It is funny seeing this guy get cuckolded in the afterlife, but it really feels like Olsen’s story. She’s very good in the film and has good chemistry with both of her costars. Female audiences will have an easy time identifying as her while she decides which man to choose.  Besides Top Gun: Maverick, Miles Teller’s best work seems to be far in the rear view mirror. It’s fun seeing him embody the role of an old man as opposed to the frat boy archetype he usually plays. Callum Turner feels like his biggest and best days are still ahead of him. His character here is so tragic and watching him go toe to toe with Teller to vie for Olsen’s heart is a lot of fun. Da’Vine Joy Randolph, John Early, and Olga Merediz play significant supporting roles. Randolph and Early are great as these liaisons that charter our characters to their eternity. It’s funny watching them coach up their respective men as they compete for eternity with their wife.
Eternity will charm audiences with its comedic world building and its hot love triangle. This is a big win for the main trio of cast members who are all usually entrenched in major franchises. David Freyne took the opportunity and did well with it so it will be interesting to see what he does going forward. Head out to the theaters for an enjoyable rom com date night. Eternity will be in theaters on November 26. Rating: 4/5 Review by Adam Donato  Noah Baumbach has taken some big swings post pandemic and to different degrees of success. While Barbie was one of the biggest hits of all time, White Noise went largely unnoticed. Netflix clearly is still sticking with their guy here, hoping that Jay Kelly will have success more akin to Marriage Story. Two heavy hitters frontline this Oscar contender in George Clooney and Adam Sandler. Clooney is a mega movie star at the end of his time in the sun as he reckons with the priorities in his life. Sandler is Clooney’s manager and friend, who leads the entourage in an attempt to wrangle Clooney back into starring in his last movie. Netflix has some good options when it comes to choosing which movies to push this awards season and Jay Kelly is sure to be a front runner. This is very familiar territory for Baumbach. Broken families and struggling with success in the arts are his wheelhouse. It’s easy to write this movie off as an insincere sob story. That poor movie star with riches untold and fans that adore him. Jay Kelly’s problems are ones that can be related to by the common man. How do you balance your career with your family? How do you be what everybody needs you to be, but also stay true to yourself? How do you connect with those who you previously left hanging? Jay Kelly is certainly a sympathetic character, who may have it better than us, but is missing core parts of what make up a fulfilling life. Baumbach has no issue putting himself into his own work and this is one of the most obvious examples. It’s something that works best if you are into movies and enjoy movies about movies. The context behind the careers of the filmmakers and stars make this one even more juicy. It’s honestly one of Baumbach’s best works.  Clooney hasn’t been this good in years. He hasn’t been nominated since The Descendants back in 2011. This is truly a return to form as the entire movie hinges on the pure movie star likability of George Clooney. He masterfully handles both the more heavy emotional beats with the comedic side of the character. This is a feel good movie, despite some of its more tragic elements. As much as the movie feels like it’s personally about Baumbach, the same goes for Clooney. This performance could squeak out a best actor win in a year that seems wide open to this point, but expect this one to collect nominations and nothing more.
Sandler is actually trying to act in a movie. This is so refreshing as his usual Netflix output is unfunny dogwater that’s just a disguise for him to go on vacation with his friends and family. Not only did we know he had this kind of performance in him because of home runs like Uncut Gems and Punch Drunk Love, but Sandler and Baumbach previously teamed on The Meyerowitz Stories. His character here is like a pathetic version of Kate Winslet in Steve Jobs. The thankless number two who ensures the world keeps spinning for the man in charge. The only gripe would be that Sandler doesn’t get enough screen time with Clooney himself. The movie seems to be selling this as a movie about their relationship, but they’re seldom together. Sandler does have a subplot with Laura Dern’s character that fleshes out the parallel lives that they live next to a star like Jay Kelly himself. The emotional climax of the movie is about Sandler and Clooney so more time developing them together would’ve been nice. Jay Kelly is a wonderful reflection on our relationships with ourselves, our priorities, and those that support us. Clooney and Sandler are back in good graces and Baumbach is operating where he’s most comfortable. A dramedy that is charming enough to hang out with for over two hours. Certainly a movie that will be in the mix this awards season. Be sure to check it out on Netflix. Jay Kelly will be in select theaters on November 14 and on Netflix December 5. Rating: 4/5 Review by Camden Ferrell  Edgar Wright has made a name for himself as one of the premier directors of his generation, delivering stylish action that blends well with his unique style of storytelling. With a catalog that includes films like Scott Pilgrim vs. The World and Baby Driver, Wright seems like one of the best choices to tackle Stephen King’s The Running Man. While his newest movie lacks the flair that has made some of his movies modern classics, this dystopian action flick is still a non-stop thrill ride that is intense and makes the most of Glen Powell’s undeniable star power. Ben is a husband and father who has been blacklisted from finding reliable and steady work. Passing his days in squalor, unable to afford the medicine his severely sick baby needs, he is left with no other choice. He finds himself as a contestant on the widely popular show from which the movie gets its title. In this game, he must survive 30 days while being hunted down by ruthless assassins with the entire world incentivized to look for him and report his whereabouts. If he succeeds, he will be able to provide for his family for good. It’s a classic story about desperate men in desperate times, and it’s one that Wright understands shares timely parallels with the turmoil many people face today. Written by Wright and Michael Bacall, the movie’s writing isn’t as sharp or witty as some of their past projects. While it’s not necessarily a movie that needs that treatment, it does make the film feel a little more paint by numbers in its messaging than one might expect. Wright and Bacall also jump between scathing observations on our modern world and overexplained thematic exposition. It’s more or less “Intro to Wealth Inequality and Working-Class Cannibalization 101”, but it seems like their intent was to be about as subtle as a hammer to your skull. It’s an approach that had mixed results for me as a viewer, but it’s one I can appreciate if nothing else.  Led by bona fide blockbuster star Glen Powell, this movie clearly knows how to maximize his potential. He brings such an irate performance to the table that feels like it’s on the verge of exploding at any given moment, and he balances it with an emotional desperation that gives the story its heart. He plays very well off the supporting cast, and he is absolutely killer in many of the action set pieces. While cast members like Josh Brolin, Lee Pace, and Colman Domingo are fun to watch, I found myself particularly fond of Michael Cera as an unpredictable anarchist. It’s pretty much the same character he always plays, but it’s a delight, nonetheless. And while Emilia Jones does the best with what she’s given, her character felt shoehorned and underdeveloped in a way that feels uncharacteristic for Wright.
Most everyone who wants to see this movie is probably curious about the action, and I’m happy to say it’s amazing. Edge-of-your-seat moments are scattered consistently from start to finish, and the movie feels much faster than it actually is. It also feels like a good showcase for some practical effects that is much needed in a CGI-heavy industry. Its action is intense but also doesn’t take itself too seriously all the time, and it’s a unique tone that works well for what the movie is going for. The Running Man may lack the traits that make Wright’s films so beloved, but even on an off day, he delivers an explosive and undeniably enjoyable action flick that will excite audiences everywhere. It’s another notch in the ever-growing belt of Glen Powell, and it’s another win for Stephen King adaptations in theaters this year. The Running Man is in theaters November 14. Rating: 4/5 Review by Adam Donato  Bradley Cooper has been one of the most interesting filmmakers of the last decade. He goes from leading man movie star to spearheading his own remake of A Star Is Born. Five years and one pandemic later, he swings for the Academy’s fences with Maestro and comes up empty. Is This Thing On? is not a music focused movie like Cooper’s first two films, but instead is a dramedy about divorce and stand up comedy. Will Arnett stars along with Laura Dern. The film opens the same day as Avatar: Fire and Ash so it’s safe to say this won’t open number one at the box office. Will Cooper’s more relaxed approach to his third movie get him back to Oscar gold? Judd Apatow made a career out of finding comedians and building a comedy vehicle that showed off their personality as well as their ability to carry dramatic moments. Is This Thing On? reads like one of those. Funny People meets Marriage Story, but for Will Arnett. The quality is somewhere between the two. It doesn’t have quite the emotional power that Marriage Story has, but it is considerably funnier than Funny People. A very good movie, but it is the smallest Cooper movie to date. Nothing wrong with that, but also does make it hard to see Cooper getting a bunch of nominations for this one. He’s had twelve nominations in his career and clearly wants to win one, but this isn’t the one. It speaks to how crazy good Cooper’s career as a filmmaker has already been, that not being a serious Oscar contender sounds like a disappointment.  Will Arnett is blazing a new frontier for himself. Mostly known as a television and voice acting star, this is the first time being the lead of something as high profile as this. He’s writing and producing here as well, which makes it feel like something he would just direct himself as his big debut. Obviously Arnett pulls off this pathetic comedic role. It feels a lot like a live action Bojack Horseman so it’s nothing new, but he does a great job in his wheelhouse. He handles the more emotional moments impressively. Could totally sneak a Best Actor nomination, but he’s not ripe yet for a win.
Laura Dern is also in Marriage Story, which she won an Oscar for. In this film she is the ex wife, who is pursuing to get back into volleyball through coaching. She honestly feels like the best bet to get a nomination with her name brand recognition and argument for a strong supporting actress nomination. Dern has surprisingly good chemistry with Arnett. Cooper is also in the movie himself. Not starring this time, which almost makes him seem humble, but plays Arnett’s goofy best friend. He’s got this distinct look with the thick facial hair, glasses and hat. All he does is play around the whole time with a golden retriever type energy. Very funny performance that almost steals the movie. Feels like propaganda designed by Cooper to come off as more likable. Well, it’s working. Is This Thing On? is equal parts hilarious and emotionally relatable. The trio of Cooper, Arnett, and Dern all deliver in spades. Since it won’t be a box office or awards hit, it has the opportunity to be fondly remembered by cinephiles as an underrated hit. Since Cooper has been known to try really hard, this should give him some much needed cinema credit. Is This Thing On? will be in theaters on December 19. Rating: 4/5 |