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Review by Adam Donato  Scott Beck and Bryan Woods put their names on the map when they came up with the story for A Quiet Place. They received their first chance to make a wide release movie in the form of 65, which flopped both critically and at the box office. The pair of filmmakers reteams not even a year later with Sophie Thatcher, the star of another horror film they wrote called The Boogeyman (2023). Thatcher and co-star Chloe East are young missionaries going door to door to spread the word of their religion when they come across the door of Hugh Grant’s character. Far removed is Grant from his heartthrob, romantic comedy days as his career has turned towards more fantasy, action, and comedies. Heretic is an A24 film and is sure to garner quite the audience due to that alone, but is it good enough to deserve the label. Hugh Grant is no stranger to playing the villain lately, and his performance in Heretic is where the movie shines. The film has a classic horror concept of a man holding a couple young women hostage, but diverts from the formula in that his character doesn’t appear to be openly hostile. Instead he’s more focused on deep discussions about theology and belief. The film peaks when Grant is monologuing about his cause. He’s so eloquent and charming. This adds a layer of uncertainty to the creepiness the missionaries are experiencing. Grant is quite funny as well, which helps keep this dark concept feeling light. He’s like a delightful, British Jigsaw. The main characters become more interesting as they gain more agency, but the majority of the film is carried by Grant’s performance.  The film is all about religion as Grant’s character wrestles with the validity of religion and puts the missionary's faith to the test. In a horror landscape filled with Terrifier sequels, it’s nice to watch a horror film that encourages the audience to think. The themes are very engaging and it’s very interesting seeing the different perspectives the characters have about the concepts at play. While it is a film that heavily questions religion, the film isn’t insulting enough to completely alienate religious audiences. It’s an interesting subversion of cultural norms in this story as usually older generations maintain their religious faith, while young people seem to abandon religion. Here, we explore the opposite.
Thatcher and East are both good in the film. Missionaries are a group that’s easy to shut your door on, but the two actresses bring relatability to the role and make you sympathize with them. Their best scenes are when the two of them are alone talking about their thoughts and beliefs. The film quickly and clearly sets up how the two are similar, but different in certain ways, which sets the table for the concepts at play quite nicely. Heretic is a fun and thoughtful horror film that is sure to keep you guessing. The film plays with larger than life themes, but delivers them in digestible ways and finds a way to wrangle it into a satisfying conclusion. The slash ‘em up, gore fest horror fans may not be satisfied with this one, but if you enjoy engaging dialogue and debate, then Heretic is the horror film for you. Be sure to check this one out in theaters soon. Heretic is in theaters everywhere on November 8. Rating: 4/5
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by Jonathan Berk  Both Jesse Eisenberg and Kieran Culkin have been cinematic mainstays for quite some time, but A Real Pain feels like the perfect culmination of their talents. Eisenberg shines both in front of and behind the camera, stepping into the director's role for the second time. However, Culkin is the true star here, unequivocally lighting up the screen every time he's in the frame. This is a film that will make you laugh and later cry as it compels reflection on every facet of humanity. David (Eisenberg) reunites with his cousin Benji (Culkin) at the airport as they prepare to travel to Poland. The two have a complex history and are set to tour their recently deceased grandmother's old home. As if the emotional weight of the tour itself weren’t enough, the cousins find themselves confronting unresolved issues from their past with a growing degree of tension. The tour group is filled with compelling characters whose introductions feel organic and endearing. The film allows most of the supporting cast to shine in their moments. Jennifer Grey delivers two remarkable monologues, Kurt Egyiawan shares a harrowing story that’s deeply moving, and Will Sharpe plays the tour guide with a mix of passionate insight and amusingly mild annoyance. Although Liza Shadovy and Daniel Oreskes have slightly less screen time, they manage to leave a lasting impression. The group dynamic between characters and actors truly peaks during a comical scene at a monument of Polish soldiers. As Benji recruits the group to pose with him for photos, the comedy builds, creating one of the film’s most warm and memorable moments. This is but one of many instances that allow us to feel like we truly know who these people are, and the journey that they're all taking.  The real draw here, however, is the interaction between Eisenberg and Culkin. Culkin’s Benji is overflowing with charisma, showing an intense interest in — and love for — people. He listens with such rapt attention you'd think he were hearing a legendary speaker, reacting to stories as though watching a thrilling game. But Benji isn’t always pleasant; when the kind and quirky pendulum peaks and begins to sway back, he can turn unnervingly bitter and vitriolic.
Eisenberg brings a familiar awkwardness to David, but there’s a clear sense of pain beneath his anxiety this time. His love for Benji is evident, though he remains baffled by his cousin's behavior. Despite their opposing natures, their connection is undeniable. You’ll find yourself rooting for them to finally confront the conversation they've both been avoiding. The tension is palpable, even as Benji often defuses it with humor. The chemistry between Eisenberg and Culkin is electric, with Culkin’s magnetic charm and intensity pulling viewers into a warm embrace of laughter and introspection. Eisenberg’s control of tone is what makes this movie truly work. He knows exactly when to push the right emotional buttons, and allows the heaviest moments of the tour to breathe. To his credit, he resists the urge to break the gravity of these scenes with humor, choosing instead to let the emotions resonate. A Real Pain is nothing short of remarkable. Culkin’s charm is infectious, and his naturalistic delivery of dialogue makes viewers feel like a part of the family, or another member of the tour. This is undoubtedly a standout film of the year. A Real Pain is in theaters on November 8. Rating: 5/5 by Jonathan Berk  Fans of the 2017 film American Honey will likely be excited about Andrea Arnold’s latest work, Bird. The raw, grounded quality seen in American Honey returns here, but Arnold’s new film offers a unique perspective, showcasing an evolution in her storytelling. Bird weaves a compelling story, balancing familiar genre tropes with fresh energy, due in large part to the exquisite performances. Bailey (Nykiya Adams) is a 12-year-old on the cusp of puberty, living with her father, Bug (Barry Keoghan), and brother, Hunter (Jason Buda), in a squat in North Kent. When Bug announces an unexpected change, Bailey resists, ultimately seeking adventure and attention elsewhere — leading her to a new friend named Bird (Franz Rogowski). In her feature debut, Adams delivers an impressive performance, appearing in nearly every frame and anchoring the film's emotional weight. The opening sequence finds her riding a scooter with Bug — who is loud and rebellious — creating a dynamic that doesn’t immediately suggest a father-daughter relationship. When they arrive at their squat and Bug delivers his “big news,” Bailey’s emotional reaction is palpable. It’s a tough scene, but Adams handles it beautifully. Andrea Arnold once again demonstrates her knack for guiding first-time actors to exceptional performances, much as she did with Sasha Lane in American Honey.  Keoghan continues to impress, revealing the broad range of his acting talent. Known for playing roles that are quiet, devilish, quirky, or some blend of these traits, he brings Bug to life with a raw edge reminiscent of Shia LaBeouf’s character in American Honey. However, as the film progresses, his portrayal of Bug — a father who initially appears more like “one of the kids” — takes on unexpected depth. A late scene offers Keoghan a powerful moment, prompting viewers to see Bug in a new, more complex light.
Ultimately, Bird is a coming-of-age story that examines Bailey’s search for identity and purpose. The film explores her challenging family dynamics, and how these shape her evolving sense of self. Bailey faces a swirl of instability: her father is a single parent, her mother’s life is riddled with chaos and violence, her half-siblings are exposed to that same chaos, and Hunter seems to be growing up too fast. Watching Bailey navigate these swirling layers of family tension is anxiety-inducing, underscoring why she’s drawn to Bird, her mysterious new friend. Rogowski brings a unique, distinct energy to his role as the titular character. From his entrance into the windy field where Bailey meets him, he exudes an intriguing mix of danger and calm, creating an almost otherworldly character. Rogowski's character is on a quest of his own, searching for a family he lost long ago. As Bailey helps him, she finds a way to process her own turbulent life. Bird is a thoughtful and reflective exploration of family, identity, and societal pressures brought to life by the talents of its young lead. Some elements may not resonate with all audiences, but for those open to Arnold’s deliberate storytelling choices, Bird offers a richly rewarding experience. With a clear voice and unique style, Arnold delivers a film that reinforces the qualities fans appreciated when they saw American Honey. Bird is in select theaters on November 8. Rating: 4/5 by Jonathan Berk  Ghost stories are often a mixed bag in the horror genre. Exceptional ones like The Others, The Devil’s Backbone, and The Changeling manage to evoke a sense of dread and foreboding that lingers long after the credits roll. There’s something about the inescapable nature of a ghost that taps into our primal fears. Director Bruce Goodison’s (Then Barbara Met Alan) new film, Black Cab, attempts to harness that haunting dread, but ultimately struggles to fully deliver. Anne (Synnøve Karlsen) is having doubts about the future of her relationship with Patrick (Luke Norris). After a heated argument, the two find themselves in the back of a cab driven by a chatty driver (Nick Frost). What begins as a minor annoyance quickly shifts into terror, as they realize the driver is not at all what he initially seemed. The film opens with a nightmare sequence in which Anne finds herself in a cab, pregnant, surrounded by a blood-red world. When she glimpses a ghost outside, it’s startling — but not quite what audiences might expect. The ghost’s design is awkward and unconvincing…and, unfortunately, this spectral entity becomes a recurring visual in the film. The journey that Black Cab takes the audience on is bumpier than the old roads the characters drive down. There’s an allegory of sorts at the heart of it all, but much of the film doesn’t add up to a cohesive story. The jump scares are mostly predictable and marred by weak visual effects, and the setting remains limited to the cramped cab, with only a few occasional changes in scenery. Though it manages to keep viewers leaning in anticipation for some sort of satisfying payoff, the film ultimately concludes with a bit of a sputter.  The standout reason to check out this film is Frost. When he’s given the chance to speak, he brings depth and engagement to every scene. Frost’s range has always been impressive, allowing him to shift from empathetic to menacing on a dime. He is ultimately the glue holding this film together, with his dual nature making him both amiable and terrifying. Without his performance, the film would likely be as transparently weak as its ghost design.
Norris serves as more of a prop throughout the story, though he does get a few scenes to showcase his ability to portray being a true asshole — and, to his credit, he nails it. Karlsen is the true focus of the film, though she’s asked to play a mostly passive role. Her character moves through her experiences in a detached “deer-in-the-headlights” state, and while an explanation is given, it doesn’t make for particularly compelling viewing. Karlsen delivers what the role requires, but the script doesn’t provide her with much depth. Black Cab has many of the ingredients needed for a solid ghost story, but they honestly don’t quite seem to ever come together. Frost brings his A-game, offering fans a compelling performance amid the film’s uneven scares. If you’re a fan of Frost in general, you will not be disappointed by the time you spend with him. Still, it’s hard to recommend you call shotgun for this particular cab ride — you might find yourself wishing you’d taken an Uber instead. Nonetheless, it’s not the worst horror film of the year — for those seeking a horror fix of some sort, this movie has just enough to scratch the itch. Black Cab will be on Shudder on November 8. Rating: 2/5 |