Stuff I watched in...(the first half of ) March, 2026

I have been on a movie-watching tear this month and so instead of my regular monthly round-up, I'm going bi. Bi-monthly, that is! At least for March!

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Undertone

The premise of this horror film by newcomer director Ian Tuason is a pretty excellent one: Evy (Nina Kiri) and Justin (Adam DiMarco) co-host a paranormal podcast. Evy is the skeptic and Justin is the believer. They are sent a series of audio files where a guy records his girlfriend to prove that she talks in her sleep. Extremely creepy shit ensues...and it begins "leaking" into Evy's life.

I loved haunted media stories (The Ring made an enormous impact on me as a teen). The idea that you can become "cursed" by hearing or reading the wrong this is something that is personally quite scary to me. However, Undertone fumbles the bag here by trying to do too much in one film. In addition to the haunted audio premise, Evy is caring for her dying mother. She also's pregnant from her shitty boyfriend. She's also drinking again. Undertone wants to be all of the following: haunted media horror, pregnancy horror, motherhood horror, mental health horror, religious horror, demonic possession horror, and old person horror. It incorporates elements of all of these things and just never comes together in a coherent and satisfying way.

To give credit where credit is due, I was terrified for a good portion of the film. I saw it in the theatre, which was the right move (scarier on the big screen), and I was curled up into a ball in my seat for probably two-thirds of the movie. However, the climax goes so big and so extra, throwing all kinds of shit at the wall, that I became very quickly not-scared and started laughing at it (they unironically use the phrase "witching hour" at one point) and just cringing and waiting for it to be over.

I think Ian Tuason has some great ideas and instincts, he just needs to hone his craft. I'd recommend Undertone to horror lovers. Just because I was disappointed doesn't mean you will be! 

Grade: C+

***

Sirat

Spanish film Sirat has a banger of a premise but delivers something very different. A middle-aged man, Luis (Sergi Lopez), travels with his young son, Esteban (Bruno Nunez Arjona), to a rave in the Moroccan desert that he think his runaway daughter might be attending. After showing her picture to many ravers with no luck, a group of people tell him that there is going to be another rave even deeper in the desert and she might be there. Luis asks to follow this group and they try to warn him that the terrain will be difficult and dangerous to cross, but Luis insists and they relent. This found family of misfits--Steffi, Josh, Tonin, Jade, and Bigui--bond with the father and son and help them out. But then some fucked up shit happens. And then some even more fucked up shit happens.

Sirat is incredibly anxiety-producing. I was just waiting for the other shoe to drop, and when it did, it was not what I was expecting at all. The problem is that so much epically bad shit happens in such a short amount of time that the film bypassed tragedy and went headlong into comedy. Don't get me wrong, I'm someone who kind of digs "trauma porn", but there was something about the pacing of this film where it just started to feel silly... and I don't think that was the director's intention. Perhaps he was trying to say something about the absurdity of life and how quickly things can go from bad to worse, but it felt a bit cheap to me.

All that said, Sirat is a very unique and unforgettable film. A lot of people have really liked it (and the use of rave music as a dominating, smothering presence is pretty genius). But I wanted this to be a movie about a guy looking for his daughter in a hellish pit of uncaring ravers and Sirat just...wasn't that.

Grade: B

***

The Secret Agent

The Brazilian film The Secret Agent was a very rewarding and rich viewing experience. I'm sure it would have been even more rewarding if I knew much about Brazilian history or politics. But even knowing the bare minimum (Brazil was under a military dictatorship from 1964 to 1985), I was still able to follow along and appreciate the film deeply.

Starring noted hunk and good actor Wagner Moura, the movie mostly takes place in 1977. Moura plays Armando Solimoes, a former researcher and professor, trying to live as best he can under a fascist regime. Going by an assumed name--Marcelo--Armando travels to the city of Recife to stay at a communal safe house for leftists and political dissidents overseen by the indomitable Dona Sebastiana (Tania Maria). Armando wants to be in Recife because his son, Fernando, is living there with Armando's in-laws. But Armando isn't safe. He finds out that an old enemy of his--a man with money and political power--has hired a hit man to take him out. He must wait patiently to get a forged passport so he can leave the country with Fernando. And the clock is ticking. The film also follows the hit man and his assistant as they get closer and closer to finding Armando.

Despite the high stakes, The Secret Agent is a surprisingly chill movie. There are only a few action sequences and a lot of the film is just people hanging out and talking. It's a film that shows that even under a violent dictatorship, life goes on. People go to the movies, fuck, and talk about their kids. People drink and smoke and go to parties. Even if they know intellectually that they could be shot in the back of the head tomorrow. There's an odd comfort in that.

In a world filled with movies as insubstantial as cotton candy, The Secret Agent is a steak dinner. It rewards patience, doesn't hold your hand, and gives no easy answers. It's a good watch.

Grade: A-

***

It Was Just an Accident

It Was Just an Accident is a pleasingly tense and surprisingly funny film by celebrated Iranian activist filmmaker Jafar Panahi. Panahi's films boldly criticize the Iranian regime and he has served prison time for his art.

In It Was Just an Accident, a man (Ebrahim Azizi) and his wife and daughter are driving home one night when they hit a dog, which damages the car. They travel to a nearby auto repair shop to get the car fixed and when the man enters the shop, a mechanic, Vahid (Vahid Mobasseri), hears him from another room and is stopped dead in his tracks. Vahid served time in prison for political dissent and there was a sadistic prison guard named Eghbal who had a prosthetic leg and who tormented and beat Vahid during his time in prison. Vahid doesn't know what Eghbal looks like because he was always blindfolded during the torture, but he will never forget the distinctive sound Eghbal's leg made when he walked. And the man who just walked into the shop is making the exact same sound.

Vahid is so sure that this is Eghbal that he follows the man and later knocks him unconscious, kidnaps him, and prepares to bury him alive in the desert. But the man protests and says he is not Vahid's tormentor and that he lost his leg recently, not years ago. So Vahid gags him, ties him up, and locks him in a box in his van and contacts a friend to help him identify the man. This friend refuses to get involved, but gives him the name of a woman, Shiva (Mariam Afshari), who can help him. As Vahid seeks to confirm the identity of the man so that he can, presumably, kill him, the group of people involved gets bigger and bigger and the situation gets more complex and fraught. 

It Was Just an Accident brilliantly walks the line between dark comedy and tense thriller. Even during its funnier or more absurd moments, the film never loses its bite. It also moves in an interesting philosophical direction near the end when Shiva and Vahid have to decide what to do with this guy. Is he Eghbal or not? And if he is, are they stooping to his level? But if they show mercy, will they come to regret it? There's so much to explore here and given that I'm not Iranian I'm sure I'm missing a ton of cultural context that would add even more depth to this already excellent film. 

Grade: A

***

Fackham Hall

Fackham Hall is a light little creampuff of a movie compared to the ones above. Directed by Jim O'Hanlon, Fackham Hall is a parody of Downton Abbey, Gosford Park, and other "upstairs/downstairs" movies and shows. The jokes fly fast and furious with a mix of sight gags, crude humor, slapstick, and witty dialogue. 

Lord and Lady Davenport (Damien Lewis and Katherine Waterston) are looking forward to the marriage of their youngest daughter, Poppy (Emma Laird), to her first cousin Archibald (Tom Felton). Because the Davenports have no male heir (their sons John, Paul, George, and Ringo all died in terrible accidents), Fackham Hall will pass on to Archie so it is imperative that Poppy marry him to make sure her family isn't evicted. But Archie is the worst and Poppy wants to marry for love!

Unfortunately, their elder daughter, Rose (Thomasin McKenzie), is a dried up spinster at age 23, so no one will marry her. But when Poppy leaves Archie at the altar, the pressure is on for Rose to marry Archie instead and save Fackham Hall. There's only one problem (besides Achie being the worst)...

Rose has been getting to know Eric Noone (Ben Radcliffe), a young man who grew up in an orphanage and now runs errands for the nuns. He arrived at Fackham Hall with a mysterious letter, but the housekeeper, Mrs. McCallister (Anna Maxwell Martin), put him to work as the hall boy and no one says no to Mrs. McCallister. In any case, Rose and Eric have a lot in common despite their enormous class difference and Rose is thinking she might want to marry for love too. 

If you like Downton Abbey and similar shows and movies, you'll probably get a kick out of Fackham Hall. For me, it was a nice break from all the heavy movies I've been watching recently. 

Grade: B

***

Honey Bunch

Like Undertone, Honey Bunch is a horror film that's trying to do too much. But unlike Undertone, Honey Bunch *really* swings for the fences and gets points for ambition and weirdness. Directed by Madeline Sims-Fewer and Dusty Mancinelli, Honey Bunch follows a woman, Diana (Grace Glowicki), who is taken to a strange medical clinic in the woods by her husband, Homer (Ben Petrie). She was in a car accident that she has no memory of, but she is assured by Homer and Farah (Kate Dickie), a medical assistant who works at the clinic, that the innovative methods of the clinic's founder, Dr. Trephine, will make her good as new. Never mind that Dr. Trephine seems mysteriously absent from the clinic. 

As far as we can tell, these "innovative" procedures involve pilates-type exercises, a strict diet, and pills Diana is told to take before bed...and not much else. Still, Diana does begin to recover memories. She also sees a woman hanging out near the woods who looks suspiciously like the portrait of Dr. Trephine's dead wife. So that's pretty weird. Oh, and also Diana has terrifying visions/dreams every night and ends up sleepwalking all around the clinic grounds. 

The directors of Honey Bunch clearly have a passion for film as they directly reference both Rebecca and The Stepford Wives. But it also brought to mind the body horror of Cronenberg films and the campiness of American Horror Story. There is so much going on and for a film that is less than 2 hours long, it felt long. 

The reveal of what is actually happening at the clinic is a good one, but overall I really wish Honey Bunch had been more focused. There are a lot of red herrings thrown out there to fool and confuse the audience and when the movie reveals its hand, you don't look back at those details and say "Oh, it makes sense now!" Instead you say, "Ok, but why did that [detail] happen? And what was [other detail] about?" At least that's how I felt...and maybe it's the kind of movie you need to watch twice to put together all the pieces. But I think it's as simple as the directors wanted this movie to be too many things at once. Like Undertone, I admire the directors' passion and vision, but I wish they had "killed their darlings" a bit more to make a cohesive and coherent final product.

Grade: B-

I read all the Heated Rivalry books so you don't have to (but you should)

Unless you're living under a rock, you've surely heard of Heated Rivalry, a TV series that made it's debut on HBO last November. It's about Shane and Ilya--rival hockey players who begin a secret sexual relationship as rookies and eventually can't stop themselves from falling in love. It's a really amazing show that is both intensely romantic and very hot. It's exactly the kind of show we need right now, when queer rights are once again under fire. Because this is a show about hope. This is a show that says, yes, you can be exactly who you are and you will be loved for it. 

And I discovered, to my delight, that the books the show is based on (the Game Changers series by Rachel Reid), leans even more into those themes of hope, love, and removing people who hurt you from your life so you can fill it with people who love you. This last point is the key to everything that is wonderful about Heated Rivalry. The story isn't "if the sex is good enough and you love each other enough, you will have a happy ending". It's "if you take steps to make needed changes in your life and ask for support, your life will get better...and you just might have a happy ending." Obviously, these books are in the romance genre, which banks on "happy endings guaranteed". This is a very different philosophy than I am used to, especially in my movie-watching habits. I do like happy endings, but they have to be earned. And they are only powerful and meaningful if you also have sad endings and ambiguous endings. Romance is a tricky genre for me because I am a romantic but I also hate bullshit. And while the books in the Game Changers series have some bullshit, they also have a lot of really good character building...and a lot of sex.

Before I get into my reviews of each book, I'd be remiss to not mention the loads of discourse around both the show and the series. The discourse seems to run along two main themes: 1) the parasocial relationship fans have with the young breakout stars of the show, Hudson Williams (who plays Shane) and Connor Storrie (who plays Ilya) and 2) the fact that this is a show/series about gay men written by a woman and primarily enjoyed by women.

I can't really speak to the first theme since I'm not at a place in my life where I get obsessed with actors. I'm glad I grew up in an era where all I could do was buy magazines about actors I had a crush on or look at shitty early-aughts websites about them. I didn't have access to their social media and up-to-the-minute information and gossip about them. I hope Williams and Storrie come out of this with a million awesome movie and TV offers and they get to do whatever they want with their careers. 

The second point is an interesting one. The show was adapted from the book and directed by a gay man, Jacob Tierney. But reading the books, you can very much feel a woman's touch. Mostly because the gay male characters in her books fall in love INSTANTLY and end up wanting monogamy and marriage. Now, now, now...I know that these are stereotypes about "what women want" versus what gay men may or may not want, but I've consumed enough media created by gay men (Looking and Queer as Folk are some examples) to know that it's a bit...different. I saw a meme that said "the men of Heated Rivalry are actually lesbians", which made me laugh. I don't know. Gay guys who read my reviews---what do you think of the show? And what do you think of women writing gay male characters? 

In any case, I've not going to explore the discourse in my reviews, but actually review the books themselves. 

***

Game Changer

If you've watched Heated Rivalry are were charmed by episode 3, which focuses on Kip Grady and Scott Hunter, consider reading the first book in Reid's "Game Changer" series, which follows Kip and Scott's entire story, from the blueberry smoothies to the grand gesture Scott makes after leading his team to a Stanley Cup victory. 

I liked Game Changer but I didn't love it. More than any of the other books, Kip and Scott fall in insta-love and I'm not gonna lie...it's kind of gross. Like, gross in the way it's gross to watch a couple who really love each other make out in public. It's a little much. Especially since Kip is Scott's first boyfriend. The deeply closeted Scott has had sex with men before, but only while on vacation in other countries where he won't get recognized. He is absolutely terrified of being outed and it's a bummer because he basically holes Kip away in his apartment and pretends like he doesn't know him in public.

If you've seen the show, you know that Scott redeems himself in the most public way possible, and it sets the stage for all the other closeted hockey players in the series to have the courage to come out. But the journey there is painful. 

I give this book a "B" because I really liked Kip and the sex is mostly hot. I say "mostly" because by the time Kip and Scott are in love, it's a lot of exhortations of "I love you!" and "you're so fucking beautiful" when they have sex and while that's nice...the praise kink of it all was a bit much for me.

Grade: B

***

Heated Rivalry

The OG. The book Heated Rivalry hits all the same beats as the show. If anything, the show might actually be a little better (for one thing, the character Svetlana is fleshed out WAY more in the show). However, this book may be the ultimate winner of the series because 1) it's the sexiest and 2) Shane and Ilya's relationship builds over years which makes it more believable and more intense.

All of the books in this series have a lot of sex, but this one is definitely an erotic romance versus a romance that is erotic. This is because the sex actually moves the relationship along. The sex is critical to the relationship and if they weren't having it, there would be no relationship at all. Also, the sex is pervasive and consistent throughout the book. I mean there's probably like 10-15 sex scenes in this 370 page novel, including in the first chapter. So if that's what you're after, you're gonna get it here. If that's not your cup of tea...well, there are a lot of "sweet romance" authors out there, too!

Heated Rivalry is also a winner because of the undeniable chemistry between the characters. I used to think I hated the "enemies-to-lovers" trope...but when it comes to Shane and Ilya, I am happy to be proven wrong. A lot of the "enemies" aspect hinges on Ilya Rosanov, by far the best and most interesting character in the entire series. Ilya is an asshole who loves to get under the skin of other players. But he's also extremely handsome and confident, so you can see why someone would be attracted to him. Throughout the series, we learn a lot more about Ilya's background and depressing upbringing and see why he is the way he is.

Meanwhile, Shane Hollander is an anxious over-achiever. I've heard him described as boring. I would say he's just boring enough for a lot of readers and viewers to relate to him and project themselves onto him. Why do I have a feeling that there's a lot of former "High School Honor Roll" people watching this show and going apeshit over it? Heated Rivalry just gives that vibe. It's dumb (sexy) enough to turn your brain off, but not so dumb that you feel dumb while watching it.

Heated Rivalry is one of the strongest books in the series and probably tied with Role Model as my personal fave.

Grade: A

***

Tough Guy

Tough Guy is a tough sell. The characters, Ryan Price and Fabian Salah, are really not that fun to read about, quite frankly. Ryan is an enforcer on Toronto's hockey team (a team full of assholes). He's a gentle giant with so much anxiety and self-esteem issues that it makes it hard to root for him. While it's relatable and makes the reader sympathize with him in a "poor guy" way, it's not exactly sexy to listen to the main character of a romance constantly put himself down, refer to himself (and his penis!) as "ugly", and convince himself he's not worth anyone's time.

Fabian is not much better. He's thinly written and seems more like a collection of quirks (he dresses femininely and is a beautiful singer) than a complex human being. It's like Reid had the idea to pair a 6'7" giant with a slight, feminine man and wrote the characters to fit that vision rather than building the characters from the ground up.

As far as the sex goes, it takes forever to get to the fuckin'. I think I was 50% of the way through the book and was like "can we get on with it??" The lack of sex did not make the story more romantic--it took a weak story and made it worse by not at least having some hot boning in it. To be fair, the lack of sex in the first half makes sense because of Ryan being extremely shy, nervous about being vulnerable, and having trouble performing due to his medication--all very realistic issues. But overall this book was a bummer! To me, there wasn't any payoff that made the pain worth it, unlike in Game Changer where the agony of Kip feeling like Scott's dirty secret had a beautiful payoff in the end.

Some folks will probably love Tough Guy for it's realistic depiction of severe anxiety, and that's awesome! It was just not what I wanted or expected.

Grade: B-

***

Common Goal

It seems that readers consider Common Goal the worst or most boring book of the series and while I don't agree, I do see where they're coming from. This book follows Eric Bennett, an "older" goalie on the edge of retirement (he's 41, which is apparently ancient for hockey players) and Kyle, a 25 year old grad student and bartender. The big obstacle is their age difference and, frankly, it's not a very good obstacle because all the private agonizing could be put to an end with one or two honest conversations.

Instead, most of the book until the very, very, very end (I'm talking the last chapter) is Kyle thinking "He'll never really want me--he thinks I'm too young" and Eric thinking "He'll never really want me--he thinks I'm too old". There's a little more to it, but that's basically it. Now, don't worry, Eric and Kyle absolutely bone (although, like in Tough Guy, they take their time getting to it). Eric is bisexual and recently divorced from a woman he was married to for 20 years whereas Kyle is an Experienced Gay Man (tm) who offers to "teach" Eric how to have sex with another guy. This is a very intriguing set-up and the sex in this book was some of the hottest in the series (in my humble opinion). 

So the sex is good but the romance is lacking and I also thought that Kyle was kind of a jerk. Any time it felt like they were getting close to an emotionally honest moment, Kyle would make a joke or dismissive comment that would kill the vibe. It's kind of understandable when you learn his backstory, but it also made me feel like maybe Eric was too good for him and would actually find more happiness with a man his own age who had a little more maturity and less snark. They're not really a couple you want to root for. 

Like Game Changer, Common Goal is just fine--but not great.

Grade: B

***

Role Model

Ok, so now we get to a great book in the series. I actually think that Role Model is the best written book in the entire series. My only complaint is that it's not longer, and I don't mean that in a cutesy way, I mean that there's literally not enough time and space to develop the characters more fully. And they are REALLY GOOD characters! 

Role Model is about Troy Barrett, a player who had cameos in previous books as a homophobic jerk and who in this book ends up traded from Toronto to Ottawa because he calls his teammate a "rapist" (because, well, the teammate raped a bunch of women) and Toronto takes the rapist's side over Troy's. 

Troy starts out at Ryan Price-levels of self-loathing. He is secretly gay and hid behind his piece of shit "friend", Dallas Kent (the rapist), to avoid any suspicion falling on him. He gets dumped by his secret boyfriend, gets banished to Ottawa (which has a very low ranked hockey team), and everyone hates him--either because he called Kent out or because he was friends with Kent in the first place.

But this is a story of redemption. This is also "grumpy meets sunshine" story. Harris Drover, the out and proud social media manager for Ottawa's team, is an indomitable ray of sunshine who bursts into Troy's life with--quite literally--puppies and rainbows. I love how Harris is written because sunshine characters can be the worst. People who are happy and positive all the time can be the worst. But he's given enough of a sense of humor and grit that he comes off as just a really good guy who likes himself and not a Pollyanna.

I was so curious as to how Troy would make the transition from self-loathing, closeted sad-sack to out and proud and in love. The book's main weakness is that the transition happens too quickly and too smoothly. There's a trope in romance called "The Magic Peen" where a character's problems just fall away after having sex with their love interest and we get a bit of that in Role Model. 

Now, I will say that the precipitating event that pushes Harris and Troy from flirtation to sex and then love is a genius one. I was like "How are we going to make the jump here? Troy is too hesitant and Harris won't push him". Then when it happened, I was like "I 100% believe that experiencing this would push someone to take a huge leap of faith". You'll know what I'm talking about when you get to the scene.

Once Harris and Troy finally get together, it's smooth sailing. A bit too smooth. I do wish there were more obstacles and complications before Harris and Troy get their happy ending. But there's enough angst in the first half of the book that I didn't mind it all that much.

Grade: A

***

The Long Game

The Long Game continues Shane and Ilya's story. They follow through on their plan for Ilya to leave Boston for Ottawa and start a charity with Shane--bringing them closer together and giving them an excuse to interact publicly without coming out as a couple.

The timeline in The Long Game is roughly the same as in Role Model, and since Ilya is the captain of the Ottawa Centaurs, he plays a prominent role in Role Model, where he comes off as a strong leader and a good friend. Well, The Long Game shows us the same events, but from Ilya's perspective and the boy ain't doing too well. He's isolated, closeted, depressed, and suffering from acute imposter syndrome. Meanwhile, Shane is fully out as gay to the world and out to his parents and his best friend, Hayden, about his relationship with Ilya. He has a large support network and is the captain of the Montreal Voyageurs, one of the most highly ranked teams in the country. 

Ironically, the one truly good thing in Ilya's life (outside of Shane) is his shitty, low-ranked Ottawa team. The Ottawa Centaurs are truly a fantasy hockey team that could only be real in a romance novel. The team is full of good guys who aren't homophobic, aren't misogynistic, and are all just really good buds. Totally unrealistic, but let's just suspend disbelief.

The Long Game is a book about how just because you're in love doesn't mean all the problems in your life go away. Ilya becomes so depressed he seeks out a therapist. He is haunted by the specter of his mother, who took her own life. He is convinced that he can't come out to his teammates--either about his bisexuality or about Shane. It's one thing to be queer, it's another to be in love with your rival.

This is a really, really satisfying book...and, yes, there are sex scenes out the wazoo. Ilya's depression doesn't keep him from fucking Shane senseless in about 100 different ways. So again, if you're here for the boning, you've come (ha) to the right place. 

One of the most profound aspects of The Long Game is the sort of reversal of fortune that happens between Shane and Ilya. The whole story, it seems like Shane has everything he needs and Ilya is desperately grabbing onto what he can...but when shit hits the fan, Ilya finds out he has a lot more friends than he thinks and Shane finds out that friendship is fickle. But don't you worry, this is romance and the happiness is guaranteed--especially for our beloved "Hollanov". 

Grade: A

***

Should you read the books?

It depends! 

If you are OBSESSED with the show and also like to read, there is no reason not to read all of the books in the series. I'm a moderately-paced reader (not a slow reader or a fast reader) and I got through all 6 books in under six weeks. Even if they're not all great literature, they're fun, sexy and give you a lot more context for what you see in the show.

If you're OBSESSED with the show, but only want to read *good* books, I'd say make time for Heated Rivalry, Role Model, and The Long Game since these really are the best books in the series (in my opinion). They add depth and continue Shane and Ilya's storyline.

If you're OBSESSED with Shane and Ilya as a couple, read Heated Rivalry and The Long Game (unless you're trying to avoid possible spoilers for season 2, which will likely be adapting The Long Game). Again, you just get more content if you read the books, so why deprive yourself?

Stuff I watched in...February, 2026

Blue Moon

Whenever I'm asked who my favorite directors are, Richard Linklater is never top of mind. However, if I look at all the movies he's made, there are SO MANY that I adore (Before Sunrise, Before Sunset, Bernie, School of Rock, Dazed and Confused, Everybody Wants Some!!!). He's the king of "hang-out movies" where people just hang out and shoot the shit. And his explorations of friendships and relationships are just delightful to watch. His movies always have a good heart.

Blue Moon is another winner from Linklater. Filmed like a stage play, it focuses on one night in the life of lyricist Lorenz Hart (Ethan Hawke). You've heard of Rodgers and Hammerstein? Well, it used to be Rodgers and Hart. And then Rodgers started working with Hammerstein, and Hart, well, died. If you've heard the songs "My Funny Valentine", "The Lady is a Tramp", and the titular "Blue Moon", then you are familiar with Hart's lyrics. 

Blue Moon is set on March 31st, 1943--the opening night of Rodgers and Hammerstein's Oklahoma! Hart, resentful of being kicked to the curb (and least, that's how he sees it) by Richard Rodgers (Andrew Scott), slips out of the show and heads to a bar, Sardi's, where he is a regular. He proceeds to talk the ear off of the bartender, Eddie (Bobby Cannavale), the piano player, Morty (Jonah Lees), writer E.B. White (Patrick Kennedy), who just so happens to be drinking at Sardi's that night, and others. He is waiting for Elizabeth (Margaret Qualley) to show up--Elizabeth is a 20-year-old college girl and the daughter of a Broadway donor. Even though Hart is very much into men, he's also in love with Elizabeth. And it's a love he knows will always be unrequited. 

Ethan Hawke is the master at keeping his characters right on the line between "charming" and "creepy". Hart is a sad, pathetic man with a severe drinking problem that will eventually lead to his death, but he's also funny, intelligent, and very talented. In the hands of a lesser actor, Hart would come off as incredibly annoying and desperate. Hawke reveals how all of Hart's irritating characteristics hide the deep loneliness of a queer romantic underneath. It's not so much that you come away from Blue Moon charmed by Hart, but rather with a sad smile and the thought, "there, but for the grace of God, go any of us". Anyone who has been addicted to, well, anything really, will empathize with the painful pull certain substances have on intelligent people with big feelings.

I think a lot of folks may find Blue Moon cringy and annoying, as it really is just Ethan Hawke spouting one-liners and talking a mile a minute to anyone with ears, but I found it captivating, hilarious, sad, and sweet.

Grade: A

***

28 Years Later: The Bone Temple

(spoiler warning...hard to review this movie without describing the plot)

Nia DaCosta's The Bone Temple is a hard film to pin down. It's the middle film in a trilogy that is also a sequel, which means that it has the burden of tying up loose strings from last year's 28 Years Later (which was excellent) and also setting the stage for the final film in the trilogy, which doesn't have a title or release date yet.

This means that The Bone Temple is a bit chaotic and directionless. It's still very entertaining and the funniest film in the "28 _ Later" series, but it didn't really move me the way 28 Days Later or 28 Years Later did (and the other film, 28 Weeks Later, is straight up garbage).

The film picks up where the last one left off: Spike (Alfie Williams) has a run in with a gang called "The Fingers", overseen by Jimmy Crystal (Jack O'Connell) who styles himself after Jimmy Savile. If you're not British, you might not even know who Savile is. He's basically a famous British guy who sexually abused like...hundreds of people. You don't need to know anything about Savile to understand the movie. But like Savile, Jimmy Crystal is a very terrifying and horrible person. He forces Spike to fight one member of the Fingers to the death and when Spike is successful, he gets to join the gang, where he's forced to wear a blonde wig and go by the name "Jimmy" (as all the Fingers do) and go around torturing and killing people. Yay?

Meanwhile, Dr. Ian Kelson (Ralph Fiennes) is still building his ossuary (the "Bone Temple" of the title) and also hanging out with Samson (Chi Lewis-Parry), the alpha male zombie from 28 Years Later that you may remember for having an enormous penis. Kelson uses a blowdart to shoot morphine-tipped darts into Samson to keep him docile, but then Samson becomes addicted to the morphine and just starts showing up to get blow-darted. Eventually, Kelson starts shooting up alongside Samson and the two just vibe and hang out.

Are you following? It's ok if you're not. The Bone Temple is really more of a vibes movie than anything else. Eventually, the Fingers meet Kelson, and assume that Kelson is Satan because his skin is stained red with iodine and he hangs out in a friggin' bone temple. Jimmy Crystal is invested in propping up this belief that Kelson is Satan in order to exert more control over his little cult, so he forces Kelson to play along with the charade. And boy, does Kelson lean into it. When Ralph Fiennes is wearing black eyeliner and rocking out to Iron Maiden's "The Number of the Beast" while a bunch of kids in blonde wigs watch him while under the influence of hallucinogens, you know you're watching one weird fuckin' movie. 

And although the scene with Kelson pretending to be "Old Nick" himself rocks hard, The Bone Temple as a whole was just ok. I think DaCosta is a great director (she directed 2021's Candyman, which I really liked) and made a great film from a wildly chaotic and weird script, but overall I'm going to say that this one was just ok.

Grade: B

***

If I Had Legs I'd Kick You

Mary Bronstein's If I Had Legs I'd Kick You is one of the most unpleasant film-watching experiences I've had. I've watched a lot of nasty films, including movies that are often considered deeply disturbing (Gaspar Noe's Irreversible, Pasolini's Salo, or the 120 of Sodom; and Gregg Araki's Mysterious Skin among others)...but, damn. This one got me.

There's something about movies like If I Had Legs I'd Kick You that make me want to crawl out of my skin. The movie is about a woman, Linda (Rose Byrne), whose life is falling apart around her and no one is willing to help. Her husband is a cruise boat captain, so he's away for work (and an uncaring jerk to her on the phone). She is the sole caregiver for a child with a condition (likely AFRID) that requires constant tube-feeding, therapy, and care. She's a therapist whose own therapist (played brilliantly by Conan O'Brien) is a total asshole. And the cherry on top of the shit cake is that her ceiling caves in due to water damage, so she has to move with her daughter to a motel. 

The film, which let me be clear is excellent, by the way, is shot almost entirely in claustrophobic close-ups. Rose Byrne delivers an Oscar-worthy performance as Linda, a woman stretched to her absolute limit and far, far beyond. I appreciated that Linda looks like shit. Byrne is, of course, a gorgeous woman. But we see a mess of dark under-eye circles, unwashed hair, and wrinkles from god knows how many years of stress.

Aren't you just SO ready to watch this movie?? I'm serious, it's a fucking nightmare. We never see a full shot of the daughter in the movie, but we hear her and the child actress who plays her (Delaney Quinn) deserves an award for "child you most want to strangle" because this kid is something else. Remember the kid in The Babadook? This kid is worse. I loved how If I Had Legs I'd Kick You isn't afraid to make a child with a very serious illness unlikeable. 

If I Had Legs I'd Kick You is anxiety-inducing and incredibly dread-inducing. It's also really funny and the acting is top-notch. I appreciate it as a feminist work of art about how impossibly draining and identity-obliterating motherhood can be, especially for parents of sick children and ESPECIALLY for single parents with sick children. If you're someone who is upset at the idea that motherhood isn't all rainbows and unicorns all the time, you'll hate this movie. If you're someone who sympathizes with mothers (and parents) because you know, either from experience or from having empathy, it can be so hard, you'll probably still hate the movie but at least you'll appreciate it. It's definitely a film to appreciate rather than enjoy.

Grade: A-

***

Materialists

Directed by Celine Song, Materialists is a pretty movie with pretty actors and a clever script that left me feeling empty, hollow, and kind of mad. It cemented for me the sad fact that Dakota Johnson is just not a very good actor. This is a meaty role for her and while I don't think she's "bad" in it, she just comes off as flat, even when the role calls for emotion.

Johnson plays Lucy Mason, a matchmaker for rich people in New York City (at one point, Lucy reveals how much she makes: 80 grand...which is NOTHING in New York City. Especially since she has to wear nice clothes and maintain her appearance as part of her job. I couldn't believe it). Lucy believes that the dating market is indeed a market--everyone has a specific value based on money, looks, and education. If the math don't add up, you'll never make it as a couple. She previously dated John Pitts (Chris Evans), a broke caterer trying to make it as an actor, but she couldn't be with a poor man. She meets the very wealthy and very handsome Harry Castillo (Pedro Pascal) at the wedding of the woman she matched with Harry's brother. Harry is taken with Lucy and Lucy spends a significant chunk of the movie trying to convince Harry that "the math" between them will never work.

If you're asking yourself, "Why should I watch this movie about a shallow character who hates herself?", my answer is: beats me. Materialists is a fucking bummer. Materialists is a movie about how wealth makes you mentally ill. Whether it's owning the riches yourself, being in close proximity to rich people, or desiring riches, too much money fucks with your mind and steals your soul. It makes you start to see everything as a commodity: happiness, hobbies, and even people. Lucy Mason's job and proximity to wealth has tricked her into buying into the belief that people don't have innate worth because they're people. Their worth comes from money they were likely born into and looks they were also born into (and maintain with the help of said money they were born into). 

During the many conversations Lucy has with her clients, things like sense of humor or similar interests never come up. It's always "I want a man who is over 6 feet tall and makes over 500k" and "I want a woman who is a size 2 and 20 year younger than me." Some people say that these are simply "harsh truths", but I see ugly-ass, broke-ass people in love all the time...and beautiful, rich people who seem so alone and unhappy. Is "sexual market value" a "harsh truth", or is it a story people tell themselves to feel a sense of control (or to have something to blame) when it comes to love? 

I couldn't put my finger on whether or not Celine Song actually believes in this kind of thing or not. On the one hand, the ending of the movie suggests that "love, not money, wins" (Lucy ends up with John, an ending that feels phony and un-earned). But the conversations the characters have about "value" in relationships just feel too sincere to me to believe that the director rejects the concept of "sexual market value". And it's just so weird to me because her last movie, Past Lives, was such a beautiful and complex exploration of love. If I hadn't seen Past Lives, I don't think I would be as disappointed in Materialists. Hopefully Song's next film rings more true. 

Grade: C+

***

The End of the Affair

Directed by Neil Jordan and based on the novel by Graham Greene, I was extremely into The End of the Affair as a young teenager. The film strikes the perfect balance of being deeply romantic and explicitly sexual, which was exactly to kind of media I sought out as a curious 14 year old. It taught me that the best kind of men are the ones who are passionate lovers who will chase you through the rain, yelling your name, and who also have the butt of a Greek sculpture (young Ralph Fiennes can get it). 

I watched this movie a lot back in the early aughts and I loved the soundtrack, which I have on CD! But years went by and I didn't rewatch it for a long time. I saw that it was on the Criterion Channel and gave it a watch and was delighted to find that it really holds up. Even with maturity and certain level of jadedness, The End of the Affair still has the ability to produce butterflies and goosebumps, as well as tears. The story of Maurice Bendrix (Fiennes) and Sarah Miles (Julianne Moore) is a doomed one. After all, the title is "The End of the Affair", not "The Continuation of the Affair".

Sarah is married to colossal bore Henry (Stephen Rea, almost too good as the passionless husband) and begins an affair almost immediately with Maurice, a writer who moves down the street from Henry and Sarah in 1939. The film takes place in Britain during the Blitz, so Maurice and Sarah are literally fucking with bombs dropping around them. The war seems to turn the temperature up on their desire, as life and death situations often do, and the fact that Sarah's husband is a civil servant means that he's never home. After a bout of afternoon lovemaking, a bomb goes off that destroys part of Maurice's house and sends him crashing down some stairs. When he doesn't wake up, Sarah prays desperately to God and vows to stop seeing Maurice if God will let him live. She is astonished when he walks up the stairs not one minute later, perfectly fine except for a few cuts and bruises. 

Faith and fate are a big part of this film. Although Sarah never believed in God, the moment she sees her lover miraculously rise from death, she "catches belief". She also knows that she'll be held to a promise she won't be able to keep. She says "you were alive, but that meant that I was now dead", which has a double meaning. Sarah can't bear to live without Maurice, and she also knows that she'll pay the price when she eventually breaks her promise...and she does. 

The End of the Affair has this really classic feel. The story is simple and the emotions are huge. Julianne Moore and Ralph Fiennes have incredible chemistry, which keeps the movie from being overly cheesy or sentimental--you really believe in their love and you believe they would give up everything to be together. Young Jenny had great taste and I'm glad I got to experience this wonderful film through both the eyes of a girl and the eyes of a woman.

Grade: A 

Pillion

(Spoiler warning--I'm going to run through the entire plot in this review)

Directed by Harry Lighton and based on the novel Box Hill by Adam Mars-Jones, Pillion was my most-anticipated film of 2026. And I'm literally so happy that it lived up to--and exceeded--my expectations.

The film, which I would refer to as "the gay BDSM biker film with Alexander Skarsgard", is actually not about Skarsgard's character. It focuses on Colin (Harry Melling), a shy and very sweet man who lives with his parents who are very supportive of the fact that he's gay. They go so far as to set him up with "nice boys" and drive him to dates.

But it turns out that Colin doesn't want a nice boy.

Colin meets Ray (Skarsgard), an intimidatingly handsome biker, at a bar where Colin performs in a barbershop quartet. Ray gives Colin a note with a time and place and when Colin shows up, Ray ushers him to an alley and throat-fucks him, looking mildly annoyed at Colin's lack of ability in the deep-throating arena. When Colin shyly wonders if he might be able to "practice" the skill on Ray, Ray says that he's not around much and leaves. What a lovely first date!

Ray must see something in Colin because not long after, he tells him to pack a bag and picks him up at his parents house (it's a very hilarious scene) and whisks him away to a BDSM playground where...he tells Colin to cook him dinner and then tells Colin to sleep on the rug at the foot of the bed. No sex, no conversation, nothing. While this sort of thing would probably be a nightmare for most people, Colin seems pretty determined and before long, Colin's head is shaved, he's wearing a steel lock around his neck (while Ray wears the key), and he has joined Ray's motorcycle gang of kinksters as one of the subby boys who live to serve their dominant biker masters (fun fact, one of the other subs, Kevin, is played by Jake Shears of the band Scissor Sisters!)

Harry Melling, who plays Colin, makes this movie. He has these beautiful, expressive eyes and whenever Ray treats him roughly, you can see the wonder--the rapture--in his eyes. Melling is the line between Pillion being a joyful film of sexual exploration and Pillion being a sad movie about a man in a borderline abusive relationship. While we never learn Colin's age, it's safe to assume he's in his late 20s or early 30s, which adds some comfort for the audience because even though he's shy and inexperienced, he's not naive or easily manipulated--a fact I think is absolutely critical to this movie. And although Ray is cold, withholding, and intimidating, he isn't violent and he isn't even cruel. He's just offering Colin the only thing he can give, which is a loveless Dom/sub relationship. But it turns out that Colin wants love, in addition to orders, demands, and degradation. 

Folks who aren't in or adjacent to or at least knowledgeable about BDSM and the kink scene may truly struggle with Pillion because it's hard to understand why anyone would want the treatment Colin gets from Ray. Even people into BDSM might not want the treatment Colin gets, but at least we understand the pull of power dynamics. Colin writes a poem to Ray at one point:

Roses are red, violets are blue
Each day at your heel brings me closer to you
Your hand on the throttle, your leathers so tight
I crave your command from morning to night
Your grip is a promise, your gaze a hot flame
Next to you I am nothing, but I'm yours all the same
The pleasure you give, the pain that you bring
I'll take it all, Ray, for you are my king. 

Colin is a romantic. He wants intimacy and love just as much as he wants to be forced to knuckle under and follow instructions to the letter. And the wonderful thing is--he can have both. Just not with Ray, sadly.

Colin's mom, Peggy (played beautifully by Lesley Sharp), is dying of cancer. She's a wonderful mother, despite being a bit overbearing, and she insists that Ray come to Sunday dinner. She ends up challenging Ray, saying "I don't like the way you speak to my son" and Ray challenges her right back, saying "It's not for you to like". This was such an amazing scene because Ray isn't wrong. He points out that even if his and Colin's relationship makes Peggy uncomfortable, it's not for her to tell her son what should make him happy. However, Ray simply cannot read the room. He cannot adjust based on his audience. And he deserves to be pushed back on. Because all of this leads to Colin exerting his own needs more.

After Colin's mom passes away, he has a breakdown while cooking Ray dinner (yes, Ray makes him cook dinner on the day of his mother's funeral...we're starting to see the cracks show in the relationship at this point). In addition to giving in and ordering pizza, Ray invites him to sleep in his bed that night (some girls in my theatre started clapping at this). The problem is that when Colin asks if this can be a more regular thing and perhaps they can even "take a day off" every once in a while, Ray denies him. Colin responds by pushing him, harder and harder. 

After a, frankly, very frightening scene where Colin steals Ray's bike and rides it WITHOUT A HELMET (!!!), Ray relents and gives Colin a day off, where they just hang out like boyfriends, ending with a kiss in the park (Ray NEVER kisses Colin during the entirety of their relationship). Oh, but it's so cruel. We think the men are headed for a happy ending where they find a balance between domination and affection. But it's not to be...because Ray just can't be that guy. What happens is that Ray changes his number and moves without telling Colin--leaving Colin to knock at the door of Ray's empty apartment and talk to the bikers in Ray's gang, who also don't know where he went. 

For all his intimidating airs, Ray proves himself a coward. It's one thing to end a relationship. It's quite another to completely ghost your submissive lover. Ray may be dominant, but he's emotionally weak. But Colin proves himself to be brave at every single turn of the movie. This is a man who sings in public, advocates for what he wants, is not afraid to hop on the back of a motorcycle, and who loves deeply and without reservation. This is a man who is emotionally strong and able to grow.

So, does Colin give up his love of submission after being burned by Ray? ABSOLUTELY FUCKING NOT! The end of the film finds him filling out a dating/BDSM profile stating his limits ("I won't cut my hair for anyone") and his desires. He meets a handsome football player on a date, which begins with Colin realizing his date's shoe is untied and dropping to the ground to tie it for him. OH MY GOD I'M NOT CRYING, YOU'RE CRYING. 

Pillion enters that pantheon of BDSM movies that are actually good, alongside Secretary, Duke of Burgundy, and Sanctuary. These movies are "good" because they show that BDSM and kink aren't just about whips and chains, but about the mutually consensual give and take of power. And they also show the importance of negotiation. Duke of Burgundy is a particularly good example of this because in that movie, the sub is the one calling the shots and the Dom needs to advocate for her feelings too. 

AND THEY ALL HAVE HAPPY ENDINGS!!! A happy ending to a movie about kink does not involve people giving up their proclivities and becoming "normal", it involves them learning more about who they are and what they need. While we don't find out what happens with Colin and handsome football boy, we do know that Colin's gonna be ok. His relationship with Ray didn't end in trauma--it ended in growth. 

What an absolutely lovely film, and an important film at that. Representation is crucial, and BDSM isn't abuse, nor is it just some silly slap n' tickle. It's a sexual orientation, and one that is often willfully misunderstood, mocked, or met with ignorant "concern". The powers that be in the United States are pushing us towards sexual regression and repression--attacking queer and trans people at every turn. The irony is that BDSM is all about power too, but it's about power freely given. And that terrifies conservatives and fundie Christians because all they can understand is power taken by force. If power can be negotiated by two consenting adults, if women can have that power over men, if queer people can enjoy that power exchange...where does that leave the misogynist men in charge who want to control women completely, taking away their ability to consent and any freedom or pleasure they might experience? Where does that leave homophobic wretches who want to obliterate queerness from the earth? 

When you have a movie like Pillion, which is a shout of joy and freedom in the face ignorance and hate, you have something very special and very beautiful. 

Grade: A+ 

Wuthering Heights

Take with me, if you will, a trip back to 2023. It was the summer of "Barbenheimer". I was so excited for the release of Christopher Nolan's Oppenheimer (which went on to win Best Picture) and Greta Gerwig's Barbie. I was also extremely excited for the long-awaited Martin Scorsese adaptation of Killers of the Flower Moon, which was to be released later that summer. 

I saw all three movies and my response to each one was "that's it??" Now, don't get me wrong--these are all perfectly fine films (although none of them are my favorites from each respective director). But the build up, hype, and orgasmic response (particularly for Oppenheimer and Barbie) simply did not match my response to these films. 

Then, I randomly decided to see some movie called Saltburn. I was grinning like an idiot during this film. The AUDACITY. The PERVERSION. The EXCESS. Was the movie "as good as" the above three mentioned? Not according to traditional film criticism standards. Saltburn is, frankly, ridiculous. But it was FUN. You might think Barbie is fun, but it's not fun in the same way as watching Barry Keoghan drink Jacob Elordi's bathwater. 

Why am I talking about Saltburn? Well, the director, Emerald Fennell, has come out with a new ridiculous film: her interpretation of Emily Bronte's Wuthering Heights. I read Wuthering Heights as a senior in high school, which was 22 years ago. I remember almost nothing about it, except liking the character of Hareton--a character completely cut out of this film adaptation. From talking to people, it seems like most people who have read it don't like this book, particularly because it's about two very unlikeable people who torture each other and themselves until they die. 

Which is, uh, why Fennell's Wuthering Heights is kind of the perfect adaptation? The film is Wuthering Heights fanfic ok? And if you want to enjoy the movie, you have to go in knowing that. 

Fennell has faced criticism for white-washing Heathcliff. In the book, Heathcliff's race is ambiguous. He is described as having darker skin. But "darker" in 1847 could literally mean he was of Irish descent. He is described as "like a gipsy". Some scholars think that he could be Spanish, or Arab, or Indian. Fennell cast Jacob Elordi, who is Australian and Basque. Interestingly, she also cast Hong Chau, who is Vietnamese, as Nelly, Cathy Earnshaw's companion, and Shazad Latif, who is Pakistani, as Edgar Linton, Cathy's eventual husband. So...technically there was race-blind casting. However, I don't really think that's enough to make up for white-washing the main character of the story, especially given the fact that Heathcliff's race is one factor in why he and Cathy can never be together.

I agree that Fennell fucked up in this regard. I love Jacob Elordi, but it feels that his casting had more to do with the fact that he is a giant, hot man. There is a scene where he lifts Cathy using one hand by her corset strings and it was very much a panty-dropping moment. There is a satisfying primal instinct when you're attracted to men (as I am, for better or worse) when you see BIG TALL MAN pick up a woman (or another man, for that matter) as if they're nothing more than a ragdoll. It's clear that this is why Fennell cast Elordi. 

And that really is what is at the heart of Fennell's Wuthering Heights: BIG STRONG HOT MAN FUCKS PRETTY LADY. Me Tarzan, you Jane. This is a film for the nether regions, not the brain.

In addition to the 1980s bodice-ripper inspired "romance" (it's not a romance, it's a car wreck), Wuthering Heights is stupidly gorgeous. The set design is something else. The costumes are as historically inaccurate and silly as the ones on Bridgerton. Moreso, in fact, since Cathy wears gowns that appear to be made of see-through plastic material that certainly did not exist in the early 19th century. Anyone who is familiar with historical fashion knows that women did not wear corsets against their bare skin, and that corsets were not meant to be uncomfortable--yet, here is Cathy saying "tighter" and gritting her teeth as she is laced into her wedding corset (which rests against her bare skin) because she wants to punish herself for marrying Edgar Linton.

There are a few scenes where the cinematography almost looks...smokey? 

Look at this image:

And compare it to this image from Stanley Kubrick's Barry Lyndon

To me, the set design is one of the main reasons to see Wuthering Heights--particularly on a big screen. It's gorgeous and extravagant, but in a ridiculous way. There's a visual gag during an otherwise serious, sad scene that had me laughing and saying "What??" in the theatre. 

I also have to call out the soundtrack, which is excellent. It features a mix of original scoring from Anthony Willis and lush and haunting songs from Charli XCX. 

Wuthering Heights falters in the final third, and especially the last 20 minutes or so. Cathy and Heathcliff's relationship hinges on unfulfilled desire and mutual anger and hatred. The novel carries these emotions out to the very end and even after Cathy and Heathcliff die. The characters never have sex (1847 novel, remember?) and only find peace after death, when they have their gravestones next to one another. 

In the movie, of course, they totally fuck. Heathcliff overhears Cathy saying that she has accepted Edgar Linton's marriage proposal and she can't marry Heathcliff because it would "degrade" her. He runs off into the night and returns 5 years late, mysteriously wealthy and well-groomed. He and Cathy have an affair, but when Cathy finally breaks it off (she's also pregnant with Edgar's child), Heathcliff takes revenge by marrying Isabella Linton (Alison Oliver, providing much-needed comedic relief in the role) and being cruel to her. Isabella is Edgar's ward, and like a younger sister to Cathy. The film tries to make Isabella and Heathcliff's relationship into a (somewhat?) consensual BDSM situation, designed to enrage Cathy...but the film doesn't really feel committed to this silliness. 

Anyway, it's too late. Cathy miscarries and becomes septic. She dies before Heathcliff can ride the 5 miles from Wuthering Heights to Thrushcross Grange to see her and he weeps over her dead body. Fin.

A random thing I found annoying about this film is how inaccurately time is portrayed. We find out that Cathy is pregnant before Heathcliff returns (so we all know it's Edgar's baby). Then, Cathy and Heathcliff go from hating each other, to a passionate affair, to Heathcliff marrying Isabella and writing Cathy every day, to Cathy dying...all without ever seeing a hint of a baby bump. So, this entire section of the film covers, what, 4 months? 5? But it's treated as if it's a long, drawn out affair. 

And then, yeah, Heathcliff gets word that Cathy is dying and can't make it in time to see her before she dies even though it's probably 20 minutes on horseback? And it's cross-cut with scenes of Cathy sick, but alive. Eh, it just felt dumb.

I'm coming to the end of all the words I can possibly spill about Emerald Fennell's Wuthering Heights. If you go into the film expecting a faithful adaptation, or a film with dignity and restraint, you will be sorely disappointed or even pissed off. If you go into it knowing that it is ridiculous and trashy, expecting to probably hate the characters, you will likely enjoy yourself and enjoy the film for what it is: Wuthering Heights fan fiction. 

Grade: B+

Send Help

Sam Raimi has such an interesting body of work. The guy was at the helm of one of the most celebrated horror franchises (Evil Dead) and also some of the most beloved Marvel films (the Tobey Maguire Spiderman films). Additionally, he's directed an excellent psychological thriller (A Simple Plan), a family-friendly sports film (For Love of the Game), and a Western (The Quick and the Dead). The man has range.

But when I hear the name "Sam Raimi", I think "gross-out horror". And after a break from horror for over a decade, he's back with Send Help, a survival/horror/comedy starring Rachel McAdams and Dylan O'Brien. And yes, this movie has the Raimi Special: gross things going into people's mouths (if you've seen Drag Me to Hell, you know what I'm talking about).

McAdams plays the awkward, socially inept Linda Liddle, a corporate strategist at a large...business (what they do is unclear, since that's not the point of the movie). She has been promised a promotion to VP by the previous CEO who passed away, leaving the company to his son, Bradley (Dylan O'Brien). O'Brien plays a corporate asshole bro so beautifully. He immediately gives Linda's promotion to his frat brother and when Linda comes to his office upset, he tells her 1) that she don't got it and 2) she smells bad. However, he begrudgingly allows her to come on a corporate trip to Bangkok since the fact is the company can't survive without her ability to number-crunch.

Well, the plan crashes into the ocean on the way to Bangkok and Linda and Bradley are the only two survivors. The film establishes early on that Linda loves Survivor and even sent in an audition tape. She has read numerous books on bushcraft, knots, hunting, etc. We all know where this is going.

Send Help borrows (steals?) heavily from many, many other films: Cast Away, Triangle of Sadness, Swept Away...and even the show Yellowjackets (Misty Quigley and Linda Liddle are two of a kind--right down to the fact that they both have pet birds). The film is not original and hits many familiar beats. That said, it's still fun as hell. 

There's a lot of unrealistic stuff that happens, but perhaps the most unrealistic is how Bradley continues to be an arrogant asshole in the face of his own weakness. He ends up with a severe wound from the crash and Linda saves his life. What's the first thing he does when he comes to? Starts bossing Linda around, that's what. I can buy that Bradley is an entitled jerk, but it was hard to buy that he was that much of an idiot. Shouldn't a guy running a multi-million dollar corporation be better able to read the room and his own position within it?

In any case, he attempts to establish dominance and Linda just...leaves him lying there until he is nearly dying of thirst and sunburn. Then she returns and he begs for help. It's so nice when pretty men beg, isn't it? We get a decent amount of that in this film. 

But alas, Bradley must learn the lesson that help isn't coming and Linda is far and away his superior on this island over and over and over. But at the same time, the audience gets to see that Linda is not the benevolent beach goddess she presents herself as...she has a much darker side, and if Bradley gets on the wrong end of it, he's going to regret it.

Even though there weren't a ton of surprises in Send Help (although there was one that definitely got me), there is enough tension in the film about who is more dangerous--Linda or Bradley--that it kept me guessing and intrigued. We find out that Bradley and Linda are both very good liars and the power dynamics keep shifting. Even though Bradley begins their island adventure in a very weak position, as his injury heals and he learns survival tactics from Linda, he is able to take some power back...which Linda doesn't like very much.

Rachel McAdams is absolutely the star of the show here. She is hilarious and unhinged. I keep forgetting how much I love her as an actress until I see a movie like Red Eye or Game Night and remember that she is much, much more than Regina George (though she's excellent in that role as well). The woman, like Raimi, has incredible range. 

As for O'Brien...man, I am glad I saw him in Twinless before this movie because he is so sensitive and vulnerable in the former film. He's so good at playing an asshole in Send Help that if I had only seen him in this movie, I might have just written him off as only good at playing bullies. But having seen him in Twinless, I can say that he, too, has incredible range...and I'll be keeping an eye out for him in future films.

Overall, Send Help is a very fun and satisfying popcorn thriller. It's pretty gross as is, but it definitely could have been nastier. I think Raimi pulled some punches to make the film more palatable to the average movie-goer, but I would have liked the film to be darker, funnier, and more sadistic. But that's just me (I liked fucked up movies, if you didn't already know). 

Grade: B+

Stuff I watched in...January, 2026

Heated Rivalry

Heated Rivalry is the show of 2026 (or, I guess, 2025...but what even is time?). Based on the Game Changers series by Rachel Reid, the show follows two hockey players at the top of their game over a decade who have an intense attraction to one another despite being very public rivals. What begins as clandestine sex in hotels turns into something much more. 

I'm not a huge fan of the "enemies-to-lovers" trope, but the chemistry between Shane Hollander (Hudson Williams) and Ilya Rozanov (Connor Storrie) is absolutely undeniable. The sex scenes are among the most explicit I've scene in a TV show (including shows on HBO) and I love that the intimacy coordinator for the show, Chala Hunter, is getting recognition--especially since Heated Rivalry proves that sex scenes done with intimacy coordination can still be brutally hot. Perhaps even hotter than scenes without intimacy coordination since the point of intimacy coordination is to make sure the actors are comfortable. 

I was on the fence about Heated Rivalry until the third episode, which focuses on a different couple: Scott Hunter (Francois Arnaud) and Kip Grady (Robbie G.K.). I LOVED "SKIP". Oh my god, it was so refreshing to see two guys who LIKE each other from the get-go and are nice to each other. The main conflict between the two is Scott's fear about coming out as gay, despite the growing seriousness of his and Kip's relationship. But Scott is never an asshole and, of course, there is a beautiful payoff in a later episode (the end of episode five, which is the peak of the entire show). 

When the focus returns to "Hollanov" in episode four, things clicked more into place with me. We learn more about Ilya's background and why he's such a asshole. Episode five is excellent and the end of the season is satisfying. It's been a couple weeks since I finished Heated Rivalry and I'm still thinking about it and bopping to the soundtrack, especially this track. It's absolutely worth watching...just be warned that the sex scenes are plentiful and explicit. 

Grade: A-

***

Sorry, Baby

Written by, directed by, and starring Eva Victor (in an astounding debut), Sorry, Baby is a dramedy about a woman, Agnes, reeling from a very bad experience she had with her literature professor in graduate school. 

Stop reading if you don't want to be spoiled. 

This film received rapturous reviews when it came out and I agree that it's an excellent and honest depiction of the immediate aftermath of rape. Victor does not show the assault, but we see her driving home in a daze afterward and then describing what happened to a friend. I really appreciated that Victor shows the confusing emotions one can experience after being the victim of rape. Agnes is mostly dazed and confused in the immediate aftermath, trying to make sense of what happened. When she goes for a medical exam, she's almost joky and casual about it. She has PTSD and intense fear for years afterward, but she also chooses to work at the very university where the event occured. 

The fact is, our fucked and misogynist society doesn't understand how people process rape. The also don't understand what rape even is. Sorry, Baby shows the complex and conflicting emotions people (let's face it--mostly women) experience after being the victim of a rapist. 

There were a few things I didn't like about Sorry, Baby. Namely, there is a character, Nastasha, who is almost comically bitchy. The way this character is written felt wildly out of place in a movie with very realistic performances and characters (including the rapist!). I hated every minute Natasha was on screen, which thankfully, wasn't too often. Also, some of the humor felt off. Like, this is a very realistic film but then some of the jokes felt like they were transplanted from an entirely different film. It just took me out of the story. 

Despite those grumblings, Sorry, Baby is a sensitive, honest, and much-needed film about a difficult and scary topic. 

Grade: B+

***

Twinless

Written by, directed by, and starring James Sweeney, Twinless is one of the most unique films I've seen in a while, both in premise and tone.

The one sentence summary is: two men meet in a support group for people who have lost a twin. That alone is enough to get me in the door because what an interesting concept!

Oh, but the movie is SO MUCH MORE. Stop reading if you don't want to be spoiled. 

Dylan O'Brien has a dual role playing twins Roman and Rocky. James Sweeney plays Dennis. Dennis and Roman meet at a support group for people who have lost a twin to death. The two men begin spending time together because both of them are so used to being with their twin that it feels painful to spend so much time alone.

Or, at least, that's what Roman thinks is happening. 

In a flashback, we see Dennis meeting Rocky, hitting it off, and going home to have sex. Dennis is really into twins and asks Rocky a bunch of questions about his twin, Roman, and their relationship while they have sex. 

A few days later, after not receiving any text responses from Rocky, Dennis begins lightly stalking him and confronts him on the street. During the confrontation Rocky is hit by a car and killed. Later, Dennis sees Roman walking to the twin loss support group and follows him in, pretending to have also lost a twin.

Now, Roman ain't that bright...but at some point he's going to figure out that Dennis is a bullshitter who is trying to get close to him because...reasons unclear? Dennis feels guilty, traumatized, but also attracted to Roman since he was attracted to Rocky (plus, the whole twin fetish thing). I was biting my nails waiting for the other shoe to drop.

Despite the fact that Dennis is...clearly not mentally well...Twinless isn't a horror movie in the vein of Single White Female. It's really more of an exploration of grief and guilt. While Dennis is a very off-putting character (and an arrogant asshole to boot), it's hard to hate him. But the real MVP here is Dylan O'Brien who is fantastic as Roman and as Rocky (in the few scenes before his untimely death). There is a scene where he cries in front of Dennis and it's just heartbreaking. 

Twinless is a weird fucking film, and it's also charming, funny, cringey, and surprising. It's an absolute delight and I'm excited to see what kind of crazy shit James Sweeney will come up with next.

Grade: A

***

The Unbearable Weight of Massive Talent

The premise of this film is pretty genius: Nic Cage plays Nic Cage in a Nic Cage-esque film. The actual product is...ok! It gave us that great meme of Pedro Pascal smiling while tripping on LSD.

In The Unbearable Weight of Massive Talent, Cage actually plays a fictionalized version of himself. He has an ex-wife, Olivia (Sharon Horgan) and a daughter, Addy (Lily Mo Sheen). In real life, Cage has *checks notes* four ex-wives, a current wife, and 3 kids (none named Addy). 

This version of Nic is a workaholic who neglects his daughter (probably accurate). After nearly missing Addy's 16th birthday party and then showing up and making the party about him, he decides to retire from acting. However, he accepts a well-paying gig to attend the birthday party of Javi Gutierrez (Pascal), a Spanish billionaire who is obsessed with Nic. Although initially Nic is not looking forward to this gig, he hits it off with Javi who is as obsessed with movies as Nic is. The two men bond in a beautiful, non-toxic, masculine way...

...until two CIA agents (played by Tiffany Haddish and Ike Barinholtz) grab Nic off the streets of Mallorca and let him know that Javi is a dangerous drug lord who has kidnapped the daughter of a politician who is tough on crime. The CIA persuades Nic to continue staying at Javi's and gather evidence that the girl is being held on the property. So Nic Cage is essentially in a Nic Cage film...but instead of stealing the Declaration of Independence, he's stealing data from the security cameras at Javi's villa. 

The Unbearable Weight of Massive Talent is a gimmick film, but it's a fun one. Any movie with Pedro Pascal is going to be at least somewhat enjoyable. Nic Cage is actually not super "Nic Cage-y" in this film...he only does the Nic Cage freak-out thing a couple times near the end. That said, I suppose part of the reason why Nic Cage appeals to so many people is because he actually has quite a range: he is known best for his freak-outs, but he can also play subtle as well. 

Grade: B

***

Children of Men

I first watched Alfonso Cuaron's masterpiece (which is based on the novel by P.D. James) in college and was incredibly impressed by it. It's haunting to watch it again, 20 years later and see just how much the film parallels our current reality. 

Children of Men takes place in the United Kingdom in 2027. To say there has been a fertility crisis is an understatement: no babies have been born and survived in 18 years (like, in the entire world). Despite the population crisis, refugees in the UK are treated with cruelty--sent to camps and ghettos, where they face deportation or worse. Sound familiar?

Clive Owen plays Theo, a former activist now just trying to survive in dystopia. He is kidnapped by a militant leftist group led by his ex-wife, Julian (Julianne Moore). This group, the Fishes, need Theo because he has the ability to get transit papers through his connections. Although he is only asked to get the transit papers for a refugee, Kee (Clare-Hope Ashitey), he ends up having to escort the young woman to a ship that will take her to The Human Project (a group trying to solve the fertility crisis). You see, Kee is 8 months pregnant. But the Fishes are not altruistic. They want to use Kee for their own political gain. 

Children of Men is a beautifully crafted dystopian film that shows what a world without hope looks like. If there are no people being born, then why carry on? The film also juxtaposes the personal and political: Kee only cares for the safety of her baby, and Theo, although initially reluctant, bonds to Kee because he lost his own child years before. The Fishes also care about people--their goal is to topple the authoritarian government and make the world safe again for immigrants and refugees...but they don't see Kee and her baby as individuals, but as pawns in a game of chess. 

Children of Men is a deeply emotional, thematically complex masterpiece of a film and should be on everyone's watch list, especially now. 

Grade: A+

***

Bone Lake

I went into this horror film with very low expectations and was very pleasantly surprised to have those expectations exceeded! Bone Lake is actually more of an erotic thriller than straight-up horror, but it's tense as hell and fun as hell.

Couple Sage (Maddie Hasson) and Diego (Marco Pigossi) rent out a large house for a romantic weekend away, but are surprised when another couple, Will (Alex Roe) and Cin (Andra Nechita), show up and say that they've also booked the home for the weekend. Will and Cin convince Sage and Diego to share the house with them for the weekend--their logic is that the house is huge, so there are plenty of bedrooms, and they're almost certainly going to get a refund so...free weekend in a huge house! Sage and Diego reluctantly agree.

Spoilers!

At first, things seem mostly fine. It's clear that Will and Cin are a more extroverted "party couple" than the reserved Sage and Diego, but Will is a great cook and Cin has connections to the publishing world and offers to show some of Diego's writing (he's an aspiring novelist) to a renowned author she knows. 

But yeah, the fun ends very soon. Will and Cin work in tandem to destroy the trust between Sage and Diego--who are already struggling as a couple. I think my main issue with the film is how obvious they are in their manipulations. You have to suspend your disbelief that Diego and Sage would accept some of the bullshit pulled by Will and Cin. However, it's a horror movie, so you're already suspending your disbelief. 

It turns out that this is all an elaborate game for Will and Cin, who, yes, own the house. They post the house online for rentals and then pretend to be another couple that has double-booked the house. Then, they isolate, manipulate, and seduce each half of the other couple staying with them. If the couple remains faithful to one another, they win. If they don't, they lose. And the penalty for losing is...you guessed it, death. 

But it turns out that the seemingly mild-mannered Diego and Sage are made of stronger stuff than Will and Cin anticipated. And even though they have relationship problems they are able to trust and help each other once they realize that they are trapped by two sadistic nutcases. Fighting for survival brings back that much needed spark to their relationship, and isn't that sweet? 

Bone Lake was super fun and exceeded my expectations. I'm glad I checked it out!

Grade: B+

***

Step Brothers

I first watched Adam McKay's Stepbrothers in graduate school and thought it was the dumbest shit I've ever seen. Two grown-ass men, Brennan (Will Ferrell) and Dale (John C. Reilly), who each live with a single parent (Mary Steenburgen is Nancy, Brennan's mom, and Richard Jenkins is Robert, Dale's dad), are forced to move in together when the parents meet, fall in love, and get married.

Brennan and Dale are 39 and 40, respectively, and don't have jobs. They rely on their parents to feed and shelter them. When they move in together, they act like 8 year olds. That's the joke! Again, when I first saw this movie my eyes rolled so hard you could see the whites.

But upon revisiting the film 15 years later, I regret to report that Step Brothers is funny as fuck. I was laughing so hard I was wheezing. I'm not the biggest Will Ferrell fan, but I LOVE John C. Reilly. I also love Adam Scott, who plays Derek, Brennan's dickhead brother. The caliber of the acting, even when it involves extended fart jokes, really elevates the film. In fact, upon viewing the film in 2026, I'd say it was ahead of its time--it embraces surrealism in a way that feels more common now (see Bottoms as an example of a recent surreal-ish comedy). Or, maybe it's another film that I had to grow into. In the case of Step Brothers, I was "too mature" for its humor 15 years ago in my early 20s when I had more of a stick up my ass about movies. Now, I can embrace the stupidity for what it is and admit that this movie is gottdamn funny. 

Grade: A-