Review by Adam Donato Monstrous is directed by Chris Sivertson, whose biggest project to date is the Lindsey Lohan horror flick I Know Who Killed Me. His latest entry stars Christina Ricci as Laura, a single mother fleeing from her abusive ex-husband to raise her son on her own. Despite her best efforts to make their new life work, her son Cody played by Santino Barnard is having social and emotional problems. On top of that, their new home seems to be under attack as Cody insists there is a monster preying upon him. Does this small-time horror picture have the right stuff to stand out this summer? Ricci won the Jury Award for Best Actress at the Fantaspoa International Fantastic Film Festival this year and it was well deserved. She won’t be nominated for an Oscar or anything, but she carries this movie on her shoulders. Her character is so likable and sympathetic. The situation she is in is less than desirable and she has very little support. Laura deals with so much grief and her journey to making things work is admirable. Horror works best when the audience cares about the subject in question. Her performance is not quite in the Toni Collette stratosphere, but Ricci proves she still has what it takes to lead her own movie. Barnard plays a child struggling to fit in and accept his new living situation. The character is only a second grader so it goes without saying that he’s an annoying child. As far as annoying children in horror movies go, his performance is not obnoxious enough to stand out and there’s moments where his acting works. Nobody else in the movie has a substantial enough role to discuss besides Colleen Camp who plays the wife of the man renting the house out to Laura. Her character is successfully frustrating as she needlessly goes out of her way to continuously make Laura’s life harder.
The big complaint from people who saw this movie at FrightFest is that the story is a lesser version of The Babadook. This is a valid concern as they share characters, plot points, genre, and themes. Monstrous is certainly a worse version, but that’s not saying much as The Babadook is hands down one of the best horror movies of the 2010s. It runs at a crisp 89 minutes with pacing that makes the movie fly by. The scares aren’t impressive at all, but the practical effects used at times make them feel like they have weight to it. In reality, this is a drama masquerading as a horror movie and it’s all the better for it. The horror movie genre is alive and well with this latest entry. It’s less than original concept is held up by a dynamite performance from Ricci. A horror movie with solid scares, a main character audiences actually care about, and themes that hit home? That already puts this film above the litany of passable horror flicks made these days. If one likes The Babadook, be sure to check out Monstrous. Monstrous hits VOD on May 13. Rating: 4/5
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Review by Camden Ferrell Jerrod Carmichael has made a name for himself in recent years as a comedian, appearing in projects like The Carmichael Show and Lucas Bros. Moving Co. to name a few. On the Count of Three marks the narrative feature directorial debut of Carmichael and had its premiere at the 2021 Sundance Film Festival. This movie is able to tackle a serious subject matter with a lot of heart, humor, and character to create a unique story of friendship that never loses momentum. Val is depressed with his life and wants to end his suffering by committing suicide. His best friend, Kevin, is coincidentally recovering from a failed suicide attempt. The two friends decide to make a suicide pact together, so they can both escape their pain. However, before they execute their plan, they have some loose ends to tie up. This is a really unique premise, and it’s one that’s an unconventional approach to a serious topic, but this allows the film to feel fresh and engaging while you’re watching it. The script is very strong throughout. Written by Ari Katcher and Ryan Welch, this movie revels in its dialogue and exploration of larger themes. The conversational aspect of its story is paramount to its success, and these writers are able to write dialogue that is fast-paced, entertaining, and reflective of the individual personalities of its protagonists. One of the best parts about this is the chemistry of its leads. Carmichael and Christopher Abbott lead the film as Val and Kevin respectively. They both fit perfectly into their characters, and they are each able to deliver strong individual performances. However, the real charm is when they are on screen together. They feel like two best friends, and they are both able to maturely and humorously handled the gravity of the film’s premise.
This movie takes a very serious issue like suicide and puts a spin on it that is dark and quite enjoyable and funny. It has lots of witty banter to alleviate any tension due to the premise. The real skill of this movie is how it’s able to be funny without subverting the very serious and permanent nature of suicide. Obviously, this movie might still prove to be too much for some due to subject matter, but I thought it tastefully handled the issue while still being a bittersweet buddy comedy. On the Count of Three is a great showcase for its director, writers, and two lead actors. It’s one of the more unique movies I’ve seen lately that still has the potential for mainstream appeal. There is plenty to enjoy in its very brief runtime, and it goes by quickly. This is a movie that everyone should consider checking out, but due to the subject matter, I’d recommend watching at your own discretion. On the Count of Three is in theaters and VOD May 13. Rating: 4/5 Review by Dan Skip Allen Going back to The Time Machine in 1960, based on the H.G. Wells book, time travel has been a popular topic with writers and film and television creators. Time travel has always been fun to play around with. There have been a lot of different types of time travel projects, and they sometimes can be convoluted or contrived. They tend to have a lot of moving parts in them. The Time Traveler's Wife is based on the 2003 novel of the same name, already adapted to a film in 2009. It is a much more in-depth look at this genre than its predecessor. The HBO series focuses mainly on two characters: Henry (Theo James, the Divergent trilogy) and Claire (Rose Leslie, Game of Thrones). They have many incarnations throughout the series. Sometimes there are multiple versions of Henry in a given scene. Throughout the series, we see the Claire character grow up from a six-year-old to an older woman. Henry has multiple versions that travel back and forth between the various age ranges of Claire. This series is just a fancy way to do a romantic show. It works better than the film in this way. The series has a few things that keep it grounded and interesting. Each episode of the show has a different version of James and Leslie's characters, who narrate the show as talking heads like in a documentary. This is a very grounding aspect because the show can get confusing at times. When there are various versions of the James character on screen, things can get confusing. The dialogue can get a bit complicated as well. Having multiple characters speak to him at different periods in his life can be a bit much for the viewers watching at home. This show doesn't pull its punches dealing with all aspects of time travel or romance. All the things you'd think would come up in a time travel show do come up in this show. The dos and don'ts of time travel are more extensive than you'd think. The show tackles all of these things with a very nice touch, even though some things aren't easy to discuss in the context of the show. Of course, having characters try to get benefits from James's character's ability is pretty common sense. Stock tips seem too obvious to give in these types of films and shows. Netflix might not be a great stock to invest in right now, though. They are dealing with their fair share of problems.
The Time Traveler's Wife is about James's wife, played by Leslie. It deals with her character from a six-year-old to an older woman. The time-traveling James is just a means to an end for the showrunners and writers. The show is more interested in how she deals with this man in her various lives. Leslie is a good actress and emotes nicely on the screen. Having James as her opposite brings out her talents as an actress. He could bring out any actress's talents, though. He is a good actor in his own right, with various traits that make him engaging and compelling as an actor. He's been in many things, but this might be the thing that allows him to stretch his abilities as an actor and gives him the most range. HBO has had its fair share of great shows in the past. The Time Traveler's Wife isn't quite as good as some of their recent hits, but it has a lot to say about relationships and how people find love and keep that love over a long time. The showrunners and writers use the time travel aspects to do a great job of explaining who these people really are. Things fit together very well, considering all the various moving parts this show has. It's not trying to be anything great, but it's better than I thought it would be. The Time Traveler's Wife debuts on HBO on May 15. All six episodes reviewed. Rating: 3.5/5 Review by Dan Skip Allen Michael Connelly has created quite the literary empire for himself these days with four different ongoing book series. One of the biggest is The Lincoln Lawyer. If this sounds familiar, it probably is. The Lincoln Lawyer was already turned into a film in 2011, starring Matthew McConaughey as Mickey Haller. I love that film and the character and Connelly's books, so I was a bit skeptical about the new series. It was initially supposed to be on CBS before the pandemic got the pilot — and the show — canceled and landed on Netflix. When the series picks up, Mickey Haller (Manuel Garcia-Rulfo) sits on a beach with a surfboard, too afraid to go in the water. He had gotten into an accident over a year prior and still can't overcome the obstacle of returning to the water. He has also been out of the practice of being a lawyer since the accident. Out of the blue, he gets a mysterious phone call to come to the chambers of a high-ranking judge in the L.A. county judicial system. She informs him that a lawyer friend of his was killed, and in his will, left Mickey his entire law practice and all of his clients. This is quite the surprise for Mickey, who hasn't practiced law in over a year. Along with the practice comes a high-priority case involving the murder of a woman and her lover by the woman's husband, a millionaire game developer. This case is of the utmost concern to the client, who wants to go to court and clear his good name of these heinous crimes. Mickey has to get his feet under him first, though. He needs to get the lay of the land. That means bringing his second wife into the fold along with her boyfriend, a trusty investigator for Mickey. The last piece of the puzzle to get things in order is a diver for his trademark Lincolns that he drives/rides in to do a lot of his work. One of his cases is a burglary of a woman's necklace. He jumps in with both feet, and he helps to clear the name of a young Black woman accused of the crime due to circumstantial evidence. As a method of payment, he offers the woman a job as his driver. She accepts, and now the show has its main characters. This show is a solid law procedural that shows the ins and outs of how lawyers, judges, and the whole legal system works. Like Connelly's other properties that have been adapted into films or television shows, The Lincoln Lawyer has a great grasp of this entire world. With David E. Kelly involved as executive producer, it makes sense. He has a lot of experience with law shows. His work on L.A. Law and Ally McBeal is some of the best dramatic work involving this genre in television history. He works well with Connelly's L.A.-based lawyer. They both know this city and the world it exists in. A thing about this show that has thrown me off is that I believe that Mickey Haller has been miscast. The writers shoehorned in a subplot involving Haller's father marrying a Mexican woman before leaving him and returning to Mexico. Later, Mickey returns to L.A. and goes to law school to take after his father. This completely changes the nature of the character. For example, James Bond is a character where race isn't necessary for people to know who and what this character is all about. He has to be suave and debonair and a ladies' man. In contrast, Mickey Haller is definitely an Irish American caucasian man. He isn't Latino in the books, and there is a big difference between these two and how integral this is to who he is as a character. You can't change that, in my opinion.
In the books, Mickey Haller's Irish roots from his father seem to come to the forefront. He drinks excessively and has a slick way with words that allows him to be a lady's man and eloquently express his arguments in court. He's charmingly flawed, in a way. The portrayal in the show wouldn't allow for that. Matthew McConaughey was closer to who and what this character is about from the books. Sure any literary character is up for interpretation, but this character is clear about who he is and what he represents. Focusing on an entirely different backstory changes the nature of the character completely. That being said, the cast is otherwise very good. These actors embody what I envisioned them to be from reading The Brass Verdict, on which this story is based. The twists and turns that this season has had have been fantastic. Even having read the book and knowing the twists, I was surprised by some of them. Connelly knows how to shock readers with all kinds of great plot twists. The showrunner, Ted Humphrey, captured the essence of what this book was trying to say and pretty much nailed it. Once again, L.A. is fantastically filmed and set as the backdrop of this series. Like Bosch, the show uses L.A. to perfection. It's a great city to set these kinds of shows in. The music in the series was also great. The Lincoln Lawyer faithfully adapts Connelly's book with only a few necessary changes due to character rights. Kelly, Humphrey, and others fully embrace this world in which the show takes place, and it is fully realized. The cast of actors for the show has been chosen well, all except one. This show is on the same level as other shows about legal proceedings. It gets the whole world it's depicting. The main character of Mickey Haller has traits and mannerisms that make him who he is, and changing his culture did not work. That's the one failing moment for me with this show. As a big fan of the character and the books, I couldn't get past that. The Lincoln Lawyer streams on Netflix beginning May 13. All ten episodes reviewed. Rating: 3/5 Review by Dan Skip Allen Several WWII films have been made in recent years. Filmmakers with various visions have come out of the woodwork with their take on stories and experiences from one of the worst conflicts in human history. This film, Operation Mincemeat, tells what is arguably the greatest story in WWII that no one has ever heard about. A group of British Naval officers, Army officers, politicians, and civilians get together to deceive the Nazi regime by planting seeds of a fake attack on Greece when they are actually making a last-ditch effort to attack Sicily instead. This is a life and death mission that could save thousands of lives. That is the mission of these men and women. The Twenty Committee is a secret group in charge of covert activities during wartime. They were essentially spies during WWII in 1943. The Allies work together to try to deceive the German industrial complex, at this time in history, an absolute juggernaut taking over country after country and killing millions of Jews and other men and women. John Madden goes full bore into this story and WWII like I've rarely seen before. Madden assembled an all-star cast for this film. Taking the lead is Academy Award-winning actor Colin Firth (The King's Speech). He plays a Naval officer, Ewan Montagu, who loves his country and will do whatever it takes to keep this secret mission under wraps. Matthew Macfadyen (Pride & Prejudice, Succession) plays Charles Cholmondeley, a French officer with equal loyalties to his country and hate for the Germans. Kelly Macdonald plays a widower who, by chance, gets involved in this scheme and loves every minute of it — even a love triangle she finds herself in. Johnny Flynn plays the famous spy novelist Ian Fleming. He is the narrator of the story as well as a literary documentarian. He keeps notes of all the goings-on in this story that were not released for decades later. Jason Issacs plays Admiral John Godfrey. He is skeptical of the plan but reluctantly goes along with it at various points of its inception. And Simon Russell Beale plays British Prime Minister Winston Churchill. He knows what this plan means for the Allies and their survival. If these plans they've set forward get into the wrong hands, thousands of men and women could die at the hands of the Nazis. This cast is phenomenal from top to bottom. Even the head of the secretarial staff is a great actress from Downton Abbey, Penelope Wilton.
With any WWII film, the production value and set production are critical aspects of how a film looks. With John Madden (Shakespeare in Love) at the helm as director, you know this film is going to look and feel very authentic to this period. The costumes and hair designs had to be spot on, or it wouldn't look right. The set decoration had to be of the time as well. Everything looked great! This film is one of the best I've watched in 2022. It takes a tried and true genre and infuses it with intrigue. War and spy films have been together before, but not this well. Add in the specific period during which they need to look and sound the part, and you have an all-time fantastic spy film set in WWII. The cast and direction are very good, and John Madden and Netflix have a big hit on their hands. Operation Mincemeat hits Netflix on May 11. Rating: 4.5/5
Review by Sean Boelman
The road that Ninja Thyberg’s Pleasure has taken to the big screen is troubled, to say the least. After making a big splash at Sundance in 2021 and quickly getting snatched up for distribution by A24, it dropped off the radar until it was announced last fall that NEON would be taking over due to concerns over releasing the film unedited. Audiences are finally getting the opportunity to see the movie (uncut), and it doesn’t always deliver on its promise.
The film follows a young woman who arrives in Los Angeles with dreams of becoming the next adult film star only to be met with the harsh reality of the porn industry. It isn’t the first movie about the world of pornography, but one would be hard-pressed to find one as frank as this, even if it does have its fair share of issues. Perhaps the biggest problem with the film is that it offers a very narrow view of the sex work industry. Yes, the movie is very effective in its exploration of the particular problems it hopes to address, but it largely ignores the elephant in the room that is human trafficking. Thyberg and co-writer Peter Modestij do their best to create a blunt but sex-positive portrait of this industry, but fail to peel back the curtain as insightfully as they claim to. The film is undeniably relentless in its pacing and depiction of graphic sexuality. And while the movie isn’t as clinical as something like say, David Cronenberg’s Crash, it still is not even close to being meant to arouse. The explicit nature of the film is sure to be divisive — as some will undoubtedly argue that it is exploitative of trauma, and to an extent, it is. However, this feels entirely necessary to bring home its point.
Unlike a lot of other movies set in the porn industry, this one does not feel heavily stylized. It has a gritty, almost documentary-like approach in a way that makes us as the viewer feel like we are a fly on the wall. It’s an enormously uncomfortable way to watch these events, but that is exactly what Thyberg seems to be going for.
The protagonist of the film is a tragic hero the likes of which many movies attempt but few pull off. Thyberg and Modestij do an excellent job of making the audience understand and sympathize with the character even when she makes the most frustrating of decisions. No small part of this is thanks to lead actress Sofia Kappel, who gives a phenomenally nuanced performance that will go down as one of the best breakouts of the year. On the other hand, the supporting cast of the film feels entirely underdeveloped. Everyone, from her co-stars to the agents all feel like caricatures. The movie does feature a lot of pornographic actors who play exaggerated versions of themselves, but everything feels like it is being manipulated to fit the narrative of the protagonist. Pleasure is a film that should be admired for the audacity it has to tackle such a topic so openly, but it sometimes misses the mark in what it explores. Although it does some things very well, much of the movie feels more like a first step than the full conversation. Pleasure hits theaters on May 13. Rating: 2.5/5 Review by Paris Jade We are coming up to summer 2022, which means it’s that time to bring out all the teen summer romance movies. To kick it off, why not watch Along for the Ride? Auden (Emma Pasarow) meets the mysterious Eli (Belmont Cameli) during her summer before college. While Auden keeps to herself, Eli tries to show her all of the fun, carefree experiences she could have by taking her on quests in the middle of the night. This film is your classic love story. The girl is not like everyone, choosing to keep to herself. The boy likes the girl and makes her do fun stuff with him throughout the movie, and they slowly fall for each other. Meanwhile, there are family and life problems they have to face separately. It’s a cute film if you are into a regular teen romance. If you love clichés in that genre, you’ll have no problem liking this movie as well. The story is simple and sweet, and it’s entertaining enough if you really attach yourself to the characters. However, if you don’t go for this genre of film, then this will not be your favorite. You could easily either be entertained or incredibly bored. If you want something new and exciting, then steer clear of this film — it does nothing of the sort. The characters can be a tad boring, and it takes a bit for the plot to pick up. However, even if it is a little boring, it’s a very pretty movie to watch. The cinematography itself is incredibly joyous considering that over half of the film takes place on a beach, one of the most perfect settings. It’s tough to mess up on making a beach look pretty. Scenes that involve the teens running around and having a good time will most likely be your favorite just from the fact that it’s set on the beach, and every shot is pleasing to the eye. This is all on top of the fact that the soundtrack fits right into the teen factor of the film. Every montage has the perfect song to go along with it.
The chemistry between the cast was great. You could genuinely feel as though you were watching two teens fall for each other. Even Auden and her friends all felt like they had really bonded and built relationships through the film, and that is the most refreshing thing to witness besides the ocean waves in the background. Because you’ve probably only ever seen Belmont Cameli in his role on the Saved By The Bell reboot, he plays quite the opposite in this film and proves that he can act very well and isn’t just some dumb jock. Along for the Ride is highly recommended to anyone who just wants to relax and watch a cute teen romance and doesn’t expect anything more. Watch Along for the Ride now on Netflix. Rating: 3/5 Review by Camden Ferrell The relationship between parent and child is one of the most important aspects of one’s life. Jane By Charlotte is a documentary that aims to explore the nuances of this relationship and the effect it can have on one’s life and perspective. What’s interesting about this particular movie is that its subjects are actress Charlotte Gainsbourg and her famous mother Jane Birkin. While the movie’s pursuit of universal themes is noble, the movie is quite bland and might have a hard time reaching an audience outside of its immediate subjects. Charlotte Gainsbourg has made a name for herself in film, specifically for working with director Lars Von Trier on movies like Antichrist and Nymphomaniac. She has proven herself to be a force as an actress, and this movie was her first time in the director’s chair. However, it’s quite clear early on that this movie would not have premiered at the Cannes Film Festival if it wasn’t for Gainsbourg and her mom being the subjects of the movie. It’s a premise that seems wholesome on paper, but it doesn’t quite work in practice. Gainsbourg’s pursuit of raw authenticity and emotion is quite obvious from the start, and it feels somewhat forced early on. The movie lays out its themes quite simply, but its journey to touch on those messages is messy more than anything. It feels abstract in nature, but it also feels like it lacks balance and direction which can lead to this being an underwhelming experience. While one can applaud the women’s ability to become vulnerable for a large audience, it’s hard to truly connect to the stories of these women and their significant relationship with each other. Both Gainsbourg and Birkin are entertaining enough when they want to be, but they seem so dedicated to the realism of the film that they fall into a pit of mundanity that doesn’t really do much for me. They are both talented individuals with a lot of life and personality, but that doesn’t show up much save for a few fleeting moments throughout. There is some good archival footage and other scenes that can showcase these women, but more times than not it fails to speak to audiences in a relatable way.
The topics they discuss are quite thematically heavy, and its ambition is one of the movie’s virtues. However, it bites off more than it can chew, and it can’t properly allocate the necessary time and attention that these intense subjects warrant. Discussing aging, death, fame, and shared memories is a great foundation for the documentary, but without proper exploration, these themes fall flat. Jane by Charlotte isn’t an accessible documentary, but some may find something to enjoy in this relationship as mother and daughter speak about a myriad of topics relating to their lives. It was a little too disjointed and messy for me, but I did often appreciate the vulnerability of its subjects. I just wish that these topics and themes had more time to flourish in order to speak to audiences in a more profound way. Jane by Charlotte is on VOD May 6. Rating: 2.5/5
Review by Sean Boelman
Recent years have proven that the horror genre doesn’t have to be reliant on gore and jump scares to succeed — a little bit of tension and some interesting themes can do the heavy lifting. Russell Owen’s Shepherd is one such film that emphasizes mood over anything else, and it’s an eerie, if somewhat uneventful watch.
The movie follows a grieving man who retreats to a secluded island in the hopes of a fresh start and trying to maintain his sanity, only for him to find himself tested when his past comes back to haunt him. It’s a psychological horror the likes of which we have seen dozens of times before, and Owen does little to reinvent the wheel. Its glacial pacing is sure to put off some who are less intrigued by the idea of watching a slow descent into insanity, but more universally frustrating is the fact that the final third of the film feels extremely rushed. Understandably, Owen seemed to want to leave the conflict feeling resolved to an unsatisfying level, but it’s a bit too cut short for its own good. Owen also fails to explore any themes that are particularly interesting within his movie. It covers the standard grief and guilt storyline that is common for any movie about a mourning widow/widower who decides to isolate themselves from the rest of the world. It has surprisingly little emotional resonance for a film with this subject matter.
One of the big issues with movies that are about isolation like this is that there are no supporting characters to boost the protagonist when their arc is weakly written. There are some ominous other villagers in the film, and some of them are even genuinely creepy, but they all exist merely for the purpose of pushing the plot along.
Indeed, a majority of the movie’s weight rests on Tom Hughes’s back, and he does a decent job carrying it. Granted, it’s not stellar work like something such as Robert Pattinson’s turn in the similarly-themed The Lighthouse, but Hughes does a good enough job of bringing the emotion and a slightly unhinged feel to the role. It can be argued that Owen succeeds much more in the director’s chair than he does as a writer here. The cinematography by Richard Stoddard is gorgeous but cold, creating that atmosphere that is so integral in the film’s success. And there is some fantastic effects work in some of the movie’s more horror-heavy bits. Shepherd is a solid movie for what it is, even if it seemingly aspires to be something more. It won’t stick with you in your mind like the best of the psychological horror genre do, but it’s eerie enough to be worth your time. Shepherd is now in theaters and hits VOD on May 10. Rating: 3/5
Review by Sean Boelman
Gaspar Noé has gained a cult following for making films that are incendiary and provocative, both in content and form. Lux Æterna, his mid-length movie produced in cooperation with Yves Saint Laurent, isn’t as extreme in what it depicts, it’s perhaps his most formally aggressive work yet.
The film features acclaimed actresses Charlotte Gainsbourg and Béatrice Dalle making a movie about witches as the production plunges into chaos. As far as meta stories go, Noé’s is certainly very intriguing — but one would expect no less from a filmmaker who has such an interesting relationship with the cinema. It’s a mere fifty-one minutes long, and while there are certainly elements that could have been expanded, its brevity is a blessing. This is especially the case during the disorienting finale — an obstacle for the film for anyone who is photosensitive, and potentially nauseating even for those who aren’t — which is a visceral experience but one that is mercifully short. For a movie that is made with a commercial sponsor, it is shockingly deep. The film doesn’t feel like it is an advertisement for Yves Saint Laurent, as they seemingly let him go wild. It’s an essay on filmmaking but not in a way that feels didactic or self-congratulatory, making it a must-see for any cinephiles.
Granted, casual moviegoers probably aren’t going to find anything of value here, but then again, why is anyone who isn’t a hardcore film fan going to see a fifty-minute movie by Gaspar Noé about filmmaking? There are a few narrative through-lines in the show with some of the cast and crew members of the film-within-a-film but none are quite strong.
The best part of the movie is undoubtedly the stellar chemistry between Gainsbourg and Dalle. Obviously, their roles weren’t too big of a stretch for them given that they are playing exaggerated versions of themselves, but they do a fantastic job nonetheless. And while most of this is a two-hander, Abbey Lee also gets some phenomenal moments of her own. Noé uses split screen in the film, and while it is quite overwhelming at first, it does an excellent job of creating the atmosphere of chaos that reigns over the movie. The use of color is also fantastic, especially during the climactic final moments that are among the most hypnotic images you may ever see committed to film. Gaspar Noé’s Lux Æterna is an achievement, yet another wonderful entry in his filmography. It may have been made as more of an experiment than anything else, but it’s a fascinating one at that, telling this story in a captivating, enthralling way. Lux Æterna hits theaters on May 6. Rating: 5/5 |
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