Civil War (2024)

Direction: Alex Garland
Country: USA 

In Alex Garland’s latest film, Civil War, a tale of courage unfolds against the backdrop of a dystopian landscape ravaged by chaos. Led by renowned war photojournalist Lee Smith (Kirsten Dunst), a small group of journalists, including Reuters reporter Joel (Wagner Moura), embarks on a perilous journey across a fractured country to interview the authoritarian US President in Washington, D.C., before the city falls to rebel forces. Accompanying Lee and Joel are veteran NY Times journalist Sammy (Stephen McKinley Henderson), considered too old for the mission, and aspiring photojournalist Jessie Cullen (Cailee Spaeny), who flagrantly tags along. 

The tense narrative predominantly draws from violence and human cruelty, yet it doesn't forsake humor, extracting it from unexpected situations. Little is explained about the motivations of the factions involved in the conflict, but there’s a stark warning about the consequences of extremism instead. While critical of war obsession and racism, the film emphasizes the neutrality of the journalists as they navigate the chaos with determination and addictive voyeurism.

Departing from his previous sci-fi works like Ex Machina (2014) and Annihilation (2018), Garland injects furious nihilism in his staggeringly realistic depiction of a near-future setting that, as it should, leaves audiences feeling exhausted and wrung-out. Flawless performances, including a notable appearance by Jesse Plemons as an ultranationalist militant, combined with a timely soundtrack featuring songs by Suicide and De La Soul, and a powerful score by Ben Salisbury and Geoff Barrow, contribute to the film's impact. Civil War is a stone-cold stunner that captivates from start to finish.

Challengers (2024)

Direction: Luca Guadagnino
Country: USA

Renowned Italian director Luca Guadagnino, whose work first came to the public’s attention with Call Me By Your Name (2017), probes a new hype style with calculated punchiness in his latest feature, Challengers, a meretricious and manipulative sports-meet-romance undertaking with a lackluster conclusion. 

Written by Justin Kuritzkes, making his screenwriting debut after gaining recognition as a playwright, Challengers stars Zendaya, Josh O’Connor, and Mike Faist in a tale of toxic relationships set against the backdrop of professional tennis. While emotional complexity, betrayal, rivalry, friendship, and sports pressure are intertwined in a non-linear narrative, the director struggles to overcome the challenges posed by this explosive mix. The tennis scenes are well-executed, but the love triangle feels like a mere curiosity, with insufficient dramatic motivation and coming across an oversexed triviality with soap opera traits. 

Additionally, the original score by Nine Inch Nails’ members Trent Reznor and Atticus Ross can be intrusive at times, and the finale, while intense, seems too fabricated. Ultimately, despite the promising setup, Challengers fails to fully capitalize on its potential. I don’t see it as a very grown up movie, and was craving for more clever twists in the plot. These charming threesome never hit the ball with enough ability to make it over the net.

Arcadian (2024)

Direction: Benjamin Brewer
Country: USA

In its second collaboration with actor and co-producer Nicolas Cage, director Benjamin Brewer (The Trust, 2016) brings us a post-apocalyptic horror tale set in a world overrun by lethal nightly creatures that frantically clap their jaws before massacre anyone in their path. Cage portrays Paul, a vigilant father of two teenage boys, the impulsive Thomas (Maxwell Jenkins) and the resourceful Joseph (Jaeden Martell), whom he instructs in defense techniques and survival strategies. When Thomas fails to return from the nearby Rose Farm before nightfall, panic ensues, and danger looms both inside their farmhouse and beyond its walls.

Arcadian rightfully earns its place among contemporary apocalyptic films, kept engagingly off-balance between horror tale, family drama, and teen romance. The special effects and characterization are awesome, but the tale risks running out of ideas at some point. However, it denotes a firm command of tone and decent visuals. The creepy, original monsters are a motivation and a mystery; Cage, who is revealed to have a special ability to return from the dead, discloses the bravest of the hearts; while the youthful energy and recklessness of the boys inject vitality into the story. 

The handheld camera work may be a minor drawback for some viewers, and opportunities for deeper exploration of character dynamics and the catastrophic events could have been better utilized. Nonetheless, Brewer's direction demonstrates unwavering commitment, resulting in what is arguably his strongest work to date.

Spaceman (2024)

Direction: Johan Renck
Country: USA

Adam Sandler takes on the role of a solitary Czech astronaut in Spaceman, tasked with a research mission to the edge of the solar system to investigate a mysterious interstellar cloud. As he spends six months isolated in his ship, he becomes increasingly anxious about the possibility of his pregnant wife, Lenka (Carey Mulligan), leaving him. Amidst this emotional turmoil, he encounters an intelligent ancestral creature—a giant space spider—that helps him confront his selfishness and grapple with feelings of loneliness, guilt, and regret. 

Based on Jaroslav Kalfar's novel Spaceman of Bohemia, the film adaptation, helmed by Chernobyl’s director Johan Renck and written by Colby Day, fails to delve beyond the obvious, offering a forgettable space journey masquerading as a couple’s therapy. Despite attempting to create impact with an ambiguous open ending, the film ultimately falls short, missing the mark on its potential for depth and exploration.

One of the film’s most dispiriting aspects is the mediocre character development and absence of tension. Neither shaping as a real sci-fi adventure nor grounding itself in a compelling romantic drama, Spaceman falls into a middling territory, promising more than it deliveries. Its slow narrative pace, coupled with verbose sequences that prioritize cerebral musings over genuine insight, results in a film that struggles to maintain logical coherence and foster empathy. It’s a half-interesting, half-baked illustration weighed down by a listless melancholy that sedates more than inspires.

Road House (2024)

Direction: Doug Liman
Country: USA

Directed by Doug Liman and starring Jake Gyllenhaal, Road House is a shabby, deeply predictable remake of the 1989 original film, which starred Patrick Swayze in the same role. The action is relocated to the Florida Keys, where Dalton (Gyllenhaal), a former UFC fighter with a troubled past and anger issues, is hired as a bouncer in a chaotic roadhouse plagued by violence.

The film begins with a stylized video game aesthetics and ends as an action-packed idiocy led by a protagonist with absolutely nothing valuable to say. Gyllenhaal already shown that he's better than this type of material, while Connor McGregor - our hero’s fiercest rival -  is simply ridiculous in a film that deteriorates by the minute. 

The plot, penned by Anthony Bagarozzi and Chuck Mondry, is painfully dull, riddled with ludicrous double-crosses and poorly executed action sequences that feel artificially enhanced by excessive CGI. Those flashy scenes involving boats are a blatant example. Hence, lacking creativity in the plotting mechanisms, the film seems determined to hit us over the head with acres of clichés. 

Road House is a monotonously by-the-numbers film where even the punches ring false. It's wiser to steer clear of this remake and seek out decent entertainment elsewhere.

The Listener (2024)

Direction: Steve Buscemi
Country: USA

The first directorial effort from Steve Buscemi in 15 years, The Listener, centers on a helpline volunteer named Beth (Tessa Thompson, who also produced). Her soothing voice seeks to comfort people grappling with various issues in their lives such as loneliness, frustration, depression, boredom, rejection, guilt, and even mental illness. It’s a one-actor movie with a simple narrative that unfolds over the course of a single nightshift during the Covid pandemic, a time when the demand for telephone counseling services increased massively.

Beth experiences different feelings with each caller. Sometimes she gets interested in a certain topic, or she might feel a chilly sense of discomfort when her interlocutor becomes aggressive. Moved by the hope she puts in the next call, Beth is capable of relating deeply with a person to the point of opening up about her own life and traumas. Each segment offers a bit of a fractured American society, touching on issues like medical insurance, guns, corrupt systems, war trauma, and mental illness. This juxtaposes the tranquility of the home setting with the tension of the conversation. 

Buscemi’s focused direction maintains the same tonal palette throughout, but these segments are engaging enough to keep you invested. However, The Listener won't be a film we'll remember a year from now. This model of low-budget filmmaking is not a compulsive watch like The Guilty (2018), a pure thrilling experience, but is rather enveloped by a slightly tense melancholy that reveals more about this caring young woman. You'd need a flinty heart to ignore her valuable work here, and Thompson carries the film on her shoulders with candidness and conviction.

Origin (2024)

Direction: Ava DuVernay
Country: USA

Directed by Ava DuVernay, known for Selma (2014) and 13th (2016), Origin is a wobbly biographical drama based on Isabel Wilkerson’s Pulitzer Prize-winning book Caste: the Origins of our Discontents, published in 2020. 

Grappling with family loss, Isabel (Aunjanue Ellis-Taylor) decides to spend more time researching the cultural divides of caste and racism across different continents, the topic of her new book. She travels to Germany and India to better understand the Nazi regime and the Dalit situation, respectively. Comparisons with segregation in the United States are analyzed. 

Despite noble intentions, this dramatization crumbles due to a disjointed, bumpy narrative. Rigid in the moves and broken in structure, Origin is turned into a film-lecture, whose content and ideas don’t really gel on the screen. More interested in a didactic presentation and in defending its point of view than being compelling, the film soon becomes erratic, displaying more heart than mind. Pathos and sentimentality are often potentiated by Kris Bowers’ mellow musical score. 

The message DuVernay aims to convey doesn’t come across clearly, and the results instead of reaching any state of maturation, feel merely superficial. It’s surprising how tame the film is, taking into account its weighty subject matter. Origin may be informative in some aspects but not to the point of making us remember it as a powerful statement.

The Iron Claw (2024)

Direction: Sean Durkin
Country: USA

Having savored Sean Durkin’s previous directorial works - Martha Marcy May Marlene (2011) and The Nest (2020) - I eagerly anticipated The Iron Claw, his third feature based on a real story about a family of wrestlers. However, it proved to be a significant disappointment. Despite the weighty events it attempts to chronicle, the film's tone feels surprisingly light, resulting in a dismal execution that casts a shadow over its potential.

This American tragedy, transformed into a ludicrous pastiche, follows the inseparable Von Erich brothers, driven to wrestling stardom by their tyrannical and negligent father. While they left their mark on professional wrestling in the early '80s, the film questions the price paid for success. 

The Iron Claw compares to wrestling in the way that it’s all pose and artifice but no brains or integrity. In addition to overlong, the film lacks emotion at every turn, and the acting never impressed - Jeremy Allen White being the exception. 

Making matters worse, Durkin’s loss of direction in the sentimental last part of the film sinks the narrative deeper. Regretfully, The Iron Claw emerges as a slippery and inaccurate sports drama, failing to make a lasting impact. 

Dune: Part 2 (2024)

Direction: Denis Villeneuve
Country: USA

Clocking in at a substantial two hours and 46 minutes, the highly anticipated sequel to Dune proves to be a captivating and daring work that surpasses its predecessor. It stands as a pure marvel, leaving audiences speechless with cinematic qualities bound to linger long after the credits roll. 

Directed with ferocity by Denis Villeneuve, the film pushes the envelope with its gripping dark atmosphere, suspenseful hunts and ambushes, intricate rituals and prophecies, psychedelic imagery, and exhilarating fights set against magnificent backdrops. 

In this grandiose adaptation of Frank Herbert’s adventurous saga, Paul Atreides, portrayed with compelling depth by Timothée Chalamet, joins forces with the Fremen tribe, confirming his role as the prophesied leader they have been awaiting. His journey includes daunting challenges such as riding a giant sandworm - a scene described by the director as the most complex he has ever filmed - and facing off against the sadistic Baron Vladimir Hakkonen (Stellan Skarsgard) and his ambitious and ruthless nephew, Feyd-Rautha (Austin Butler). Amidst these trials, Paul also finds love with the rebellious Fremen warrior Chani (Zendaya), but their relationship is threatened by the uncertain fate of the universe.

While the film boasts elaborate storytelling, it never veers into indulgence. The incorporation of abstraction amidst its dense layers adds depth, while still delivering all the impact one would expect from a breathtaking sci-fi adventure. Hans Zimmer’s ominous gothic score further heightens the intensity of each scene, contributing to the film’s overall strength.

Dune: Part 2 stands as the apotheosis of Villeneuve's directorial signature within the sci-fi genre - a tremendous display of full-throttle filmmaking that mesmerizes with its clever stylization, unwavering attention to detail, and grandiose visuals. Sit back, relax, and immerse yourself in this unmissable epic space opera.

Drive-Away Dolls (2024)

Direction: Ethan Coen
Country: USA

Drive-Away Dolls marks Ethan Coen’s first directorial solo feature without his brother Joel, but unfortunately, the results are disappointing. With both the screenplay - written by Coen and his wife Tricia Cooke - and the campy tone providing less than what it should be, this fairly basic lesbian hymn, infused with an unintriguing crime subplot, comes across as more hysterical than funny, denoting more showoff than real insight. With imbecilic humorous lines left dangling, it feels too much like an empty and repeated exercise in style. 

Despite a promising premise, the narrative goes overboard with improbable coincidences, goofy behaviors, and sexual pleasures, interspersed with dreamy states depicted through psychedelic imagery, bluesy guitar licks, and greasy pizzas. It all begins when, on a whim, two lesbian best friends, the uptight Marian (Geraldine Viswanathan) and the free-spirited Jamie (Margaret Qualley), embark on a road trip from Philadelphia to Florida, incidentally bumping into criminals. The characters are turned into caricatures, resulting in a cartoonish exaggeration that comes across as simple-minded. 

Coen films with edgy, alienating teen-like angst, but doesn’t surprise. The final part of the film gets totally out of hand, combining elements of a myopic noir thriller with a shabby rom-com. Clocking in at a tight and merciful 84 minutes, the film lacks fun and the performances from Qualley and Viswanathan, while competent, are unable to elevate the material. Overall, Drive-Away Dolls is a jumbled mess that tries to be both tactlessly offbeat and attractively endearing, missing the mark.

The Boys in the Boat (2023)

Direction: George Clooney
Country: USA

The Boys in the Boat, George Clooney’s ninth directorial venture - as a filmmaker, he’s known for Good Night and Good Luck (2005) and The Ides of March (2011) - is a sports biographical drama chronicling the triumphant journey of the University of Washington men's rowing team, representing the United States at the 1936 Berlin Olympics. 

The narrative follows Joe Rantz (Callum Turner), a working class-student who overcomes familial abandonment to excel as a rower. In supporting roles, Joel Edgerton and Hadley Robinson play the protagonist’s demanding rowing coach and supporting girlfriend, respectively. 

Despite its grandiose sporting achievement, the film suffers from unexceptional performances and overly formal direction, resulting in a pedestrian storytelling experience devoid of brilliance. This disappointing lack of originality, typical of formulaic biographical films, partly stems from Mark L. Smith's uninspired adaptation of Daniel James Brown’s book of the same name.

While visually polished, the film relies increasingly on melodramatic contrivances rather than exploring character depth, with Clooney sugarcoating Rantz’s predicaments without delivering the necessary emotional impact. The Boys in the Boat offers modest excitement during the competitive sports scenes but falls short in other aspects, running out of steam well before its conclusion. Viewers are left craving more than just a trivial account of the facts.

Eileen (2023)

Direction: William Oldroyd
Country: USA

Directed by William Oldroyd (Lady Macbeth, 2016), Eileen is an adaptation of Ottessa Moshfegh’s debut novel of the same name, with a screenplay by Moshfegh herself and Luke Goebel. It’s a soggy slow burn depicted with formal pomp and impressive cinematography that, gradually, goes from intriguing to banal.

The plot follows Eileen (Thomasin McKenzie), a bored and lonely young woman who lives with her alcoholic father (Shea Whigham), a troubled ex-cop, and works in a juvenile detention facility as an assistant. Her routine takes a strange turn when Rebecca (Anne Hathaway), a confident psychologist and graduated from Harvard, arrives at New England, bringing some fantasy into her life but also chaos. Both women share a special interest in Lee Polk (Sam Nivola), a kid who mysteriously stabbed his father to death in his sleep. 

Eileen is better characterized than Rebecca, who appears more enigmatic, and the flatness of the story is intermittently interrupted by the former’s grace. However, as a noir psychological thriller, the film fails to raise its staging to exceptional heights, remaining more or less nailed to the ground. It’s all done mechanically, without the brilliance that would have captivated the audience. 

Sensuality, desire, and depressive insanity are predominant factors in a story that recites all the commonplaces of the genre without possessing the sophistication of its models. Despite incorporating some twists that force changes in direction, Eileen falls short of being exciting, concluding with a rushed ending that lacks surprise or shock. What remains is just the idea of something uncomfortably bland.

How to Have Sex (2023)

Direction: Molly Manning Walker
Country: UK / Greece

In this conventional coming-of-age drama film, written and directed by debutant English filmmaker Molly Manning Walker, the narrative subtly questions consent and explores the emptiness of youths rushing to embrace adulthood. The film delves into sexual and emotional disillusion, unreliable friendships, and ultimately hope. It starts as a lascivious, energetic romp with quick editing but evolves into a hard-nosed, somewhat schematized summer adventure before the too easy ending. 

The plot revolves around three British friends - Tara (Mia McKenna-Bruce), Em (Enva Lewis), and Skye (Lara Peake) - who embarks on a trip to a party resort in Malia, located on the Greek island of Crete, with the intention of having fun. Tara, in particular, feels the societal pressure of still being a virgin, and the film explores how the 'dream' surrounding a first sexual experience often falls short of expectations.

While the initial segment may not be particularly surprising, the film gains more depth as the real problem emerges, exposing those gray areas associated with the topic with realistic perception. What you thought would happen, does... with no less traumatizing nuance that, for moments, takes the form of a sun-and-sea-kissed nightmare. Despite moments where the plot feels like a rough draft, the tension simmering beneath the surface is undeniable. The way the 16-year-old protagonist is tempted and entrapped is portrayed with authenticity, and McKenna-Bruce capably conveys the emotional tumult associated with such a transformative experience.

All Dirt Roads Taste of Salt (2023)

Direction: Raven Jackson
Country: USA 

Counting on Barry Jenkins, the director of Moonlight (2016) and If Beale Street Could Talk (2018), as a producer, All Dirt Roads Taste of Salt marks the directorial debut of Raven Jackson, a poet and photographer from Tennessee. The film is a contemplative drama that serves as a memoir spanning 50 years, recounting the story of Mackenzie, a Black teenage girl who grapples with an unexpected pregnancy in Mississippi. 

The film’s interesting premise deteriorates due to a sluggish pace, monotonous conception, and sparse dialogue. The floating structure and dreamy aura contribute to a sense of sadness, but they may hinder a deeper exploration of the elements at play, and the long shots and quietness dip the film in exasperation. It’s an overlong experience that tests the audience's patience while struggling to make a lasting emotional impact.

Even radiating intimacy at times, All Dirt Roads Taste of Salt fails to validate a lasting claim on the heart. The narrative, relying heavily on images rather than words, could be told in ten minutes. As a result, there’s simply not enough here to really engage.

Ferrari (2023)

Direction: Michael Mann
Country: USA

The accomplished director Michael Mann, known for films like The Last of the Mohicans (1992), Collateral (2004), and Ali (2001), brings his expertise to this biographical sports drama centered around Enzo Ferrari, the renowned Italian entrepreneur and founder of the Ferrari Grand Prix motor racing team. Written by Troy Kennedy Martin, based on the biopic Enzo Ferrari: The Man, the Cars, the Races, the Machine by journalist Brock Yates, the film delves into Enzo’s business challenges, his tumultuous relationship with wife and business associate Laura Domenica Garello, his solace found in mistress Lina Lardi and their son, and his drivers of choice - in particular Alfonso de Portago. 

Adam Driver and Penelope Cruz give a pair of excellent performances as husband and wife, contributing considerably to the relative success of a film that revealed to be less exciting than initially expected. There are some spectacular racing sequences but the film misses greater opportunities to shine and ultimately wobbles in its struggle to hold our interest. Essentially, the emotions are subdued, compromising the film’s provocative intents. Having said that, and despite some occasional dragging pace, the narrative follows logically, and the facts are delivered with no major flaws or startles.

As a result, half the audience will gasp at the drama, while the the other half - the auto racing enthusiasts - may seize the moment to deepen their historic background on Ferrari team and its founder.

American Fiction (2023)

Direction: Cord Jefferson
Country: USA 

American Fiction unfolds as an open-hearted comedy drama with spun fast and sharp dialogue where humor prevails even in the midst of poignant moments. It’s a remarkable feature debut for Cord Jefferson, whose curious perspective and narrative intelligence keep a tight focus on the central character. He makes the film a powerful triumph.

The story centers on Thelonious “Monk” Ellison, portrayed by Jeffrey Wright, a talented yet frustrated Black author and English professor. Under a pseudonym, Monk writes a deliberately clichéd satirical novel that exposes the hypocrisy of the publishing industry and white consumerism. Accused of not being ‘Black enough’ in his writings, Monk grapples with death and illness in the family, and contends with the success of a new literary sensation: Sintara Golden (Issa Rae), whom he deems a fraud. Additionally, he reconnects with his estranged brother, Cliff (Sterling K. Brown), a messy plastic surgeon, and navigates a complex love story with Coraline (Erika Alexander), a lawyer living across the street from his mom. 

Sensitive in so many ways but also confrontational, the film is a brazenly enlightening, stingingly thought-provoking satire that straddles the realms of drama and comedy, making its point. It’s one of those pictures that remains engaging, even in its silliest scenes, ultimately achieving an airy result considering such weighty thematic loads. 

Brilliant casting and a cleverly woven story ensure that funny, angry, and heartbreaking moments blend seamlessly. Wright, who played the leading role in Julian Schnabel’s Basquiat (1996) and has been featured in Wes Anderson’s latest works - The French Dispatch (2021) and Asteroid City (2023) - plays his character with mordancy, virtuosity, and blistering perfection, delivering a career-high performance. Also, composer Laura Karpman infuses some wonderful musical vibes, leaning more towards cool piano jazz than the angular style of Thelonious Monk. 
American Fiction presents itself in a distinctive cinematic fashion, leaving a lasting impact on its audience.

Poor Things (2023)

Direction: Yorgos Lanthimos
Country: USA

Greek-born filmmaker Yorgos Lanthimos is able to keep audiences in giddy laughter or shocking horror. Known for his unique storytelling in films like Dogtooth (2009), The Lobster (2015), and The Favourite (2018), he presents his latest black comedy, Poor Things. Adapted from Alasdair Gray's 1992 novel, the film is written by Tony McNamara and features a stellar cast, including Emma Stone, Willem Dafoe, Mark Ruffalo, and Ramy Youssef.

The film follows the story of Bella (Stone), a candid young Victorian woman brought back to life by the eccentric surgeon Dr. Godwin Baxter (Dafoe). With newfound free will, Bella embarks on a journey of self-discovery, choosing to explore life with its pleasures and challenges. Her unconventional choices, including running away with lawyer Duncan Wedderburn (Ruffalo), will teach her many things, ultimately sending her back to an unimaginable past of darkness.

Gorgeously rendered, the film offers a smart and eccentric exploration of society and the human experience. An ambitious idea framed with visual distinction and spirited performances, where vertiginous philosophical foundations merge with a strong determination in self-learning and sexual liberation. This sinister tale is hilarious in spots, persistently full of life (despite dealing with death), and provocative as the hip filmmaker likes to shape his off-kilter comedies. 

With its moody soundscape by Jerkin Fendrix and superb cinematography by Robbie Ryan, Poor Things is the standout unconventional comedy of the year. Lanthimos continues to surprise audiences with his daring imagination, offering a fresh and intoxicating cinematic experience.

Maestro (2023)

Direction: Bradley Cooper
Country: USA

Directed by and starring Bradley Cooper, Maestro is a well-crafted representation of the enduring marriage between iconic conductor and composer Leonard Bernstein and his actress wife Felicia Montealegre. The film avoids messiness in its timeline, presenting an honest and mature biopic that excels on all fronts.

The story, spanning 30 years, starts with a prologue where Bernstein is filmed and interviewed at home, but the story quickly winds back to his conducting debut with the New York Philharmonic at Carnegie Hall and his rapid rise to fame in 1943. Then, it focuses on the couple and how they changed over the years as he embraces the absolute freedom of the artist, sometimes recklessly. Despite betrayals and jealousy, their love proves to be resilient.

Cooper, who co-wrote with Josh Singer (Spotlight, 2015; First Man, 2018), not only delivers his best directorial work - I wasn’t particularly a fan of A Star is Born (2018) - but also his best performance, creating an extremely empathetic atmosphere that spans a wide range of emotions. Carey Mulligan’s earnest performance, the beauty of black-and-white and pastel-colored visuals by Darren Aronofsky’s regular cinematographer, Matthew Libatique, and the immaculate production, involving talents like Martin Scorsese and Steven Spielberg, contribute to the film's richness and tonal consistency. Maestro stands as a testament to Cooper's directorial and acting prowess.

Priscilla (2023)

Direction: Sofia Copolla
Country: USA

Filmmaker Sofia Coppola has consistently impressed audiences with her unique perspectives and depictions in films like The Virgin Suicides (1999), Lost in Translation (2003), and Marie Antoinette (2006). In her latest work, Priscilla, a biographical drama based on Priscilla Presley’s memoir Elvis and Me, Coppola explores the turbulent journey and controversial relationship between the title character and the king of rock 'n' roll. 

The story begins when 14-year-old Priscilla Beaulieu is invited to a party in Germany and meets 24-year-old Elvis at the peak of his fame during military service. The initial fascination gradually fades over the years, marked by Elvis' aggressive reactions, addiction, and possessively toxic behavior. Priscilla goes from being a teen muse to a discarded wife.

Coppola, with the executive production assistance of Priscilla herself, creates an anti-fairy tale with sophisticated visuals. The film exudes earnest charm, and Cailee Spaeny, in a compelling performance, shines with incandescence. However, Jacob Elordi's portrayal of Elvis is unconvincing. While the film may lack a substantial plot or astounding revelations, and its tone becomes somewhat static, it is a gutsy, can’t-look-away work that captures the emptiness of a crumbling relationship.

Priscilla, painted with a filter of candor and maintaining its drive and passion, ultimately comes together nicely, more in the form of a dramatic whisper than a shout of affirmation.

Fast Charlie (2023)

Direction: Phillip Noyce
Country: USA 

Directed by Phillip Noyce, known for films like Rabbit-Proof Fence (2002) and The Quiet American (2002), Fast Charlie is an old-school action crime thriller that incorporates elements of romance, creating a contrast with its unremittingly violent scenes. Adapted from Victor Gischler’s novel Gun Monkeys, the film maintains a straightforward narrative, offering instant firmness and watchability. And there’s this sly humor that venomously assesses the lack of morality in the Southern mob lands.

Pierce Brosnan takes on the role of Charlie Swift, a hitman loyal to Stan (James Caan in his last role), an aging mob boss in Biloxi, Mississippi, for over 40 years. When a rival boss (Gbenga Akinnagbe) from New Orleans arrives, leaving a trail of death, Charlie is tasked with avenging the losses. He ends up teaming up with his crush, Marcie Kramer (Morena Baccarin), whose ex-husband was targeted by Charlie.

Sometimes ferocious, sometimes funny, occasionally feeling routine, Fast Charlie is an ambitious adaptation by Richard Wenk, offering a taste of 1980s action flicks, where a hero like Charlie could be played by Charles Bronson or Chuck Norris. 

Noyce's no-frills approach to the story is an asset, eschewing sensationalist tactics. Still, you may find yourself wishing less obvious, more demanding situations and a more substantial result. It could use a lot more discipline in key moments, but the nature of the story naturally supplies the required energy to keep us engaged regardless the predictability of the plot. For all that, Fast Charlie is a mildly entertaining little crime thumper that sufficiently delivers on its genre expectations.