Jesse Eisenberg delves deeply into the theme of grief with A Real Pain (2024), his second feature as a writer-director. Known for his talent in front of the camera, the filmmaker proves his skill behind it with a polished film carrying a powerful message. A Real Pain draws strength from the performances and a script that turns mundane situations into extraordinary moments.
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If there is one film genre that thrives in confined spaces and is grounded in a single location, it is horror. Heretic by Scott Beck and Bryan Woods serves as the perfect example to support this premise. The directors confine us to a house and, for much of the runtime, to a single room. Using this creative device, they manage to maximize tension and keep the viewer captivated, eagerly awaiting the story’s resolution. Of course, many other examples across different genres also take advantage of the virtues of shooting in a single location, from my perspective, none fit as seamlessly into this ecosystem as horror does.
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Anora is the latest example of how director Sean Baker creates protagonists drawn from the most neglected and marginalized characters in our society. The strength of his characters stems from this fractured world, the hostile environment, and the inevitable hardships that accompany the individuals he portrays on screen. Now it’s the turn of Ani (Mikey Madison), a sex worker who crosses paths with the son of a Russian oligarch, and her world changes unexpectedly overnight.
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Long before superheroes took over the screens. There were flesh-and-blood action heroes before Marvel and DC sought the niche of action cinema with their characters. Nostalgia always gets the better of me and I can’t resist returning to those action movies and characters from the 80s and 90s that paved my way to the movies. Stallone, Van Damme, Schwarzenegger, Bruce Willis, Steven Seagal, Bruce Lee… these legends and many others dominated the big screen with their epic adventures from which they always emerged victorious.
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Like Faust selling his soul to the devil, so does the Elisabeth Sparkle of The Substance. Director and screenwriter Coralie Fargeat proposes a story that explores the condemnation of growing old in the entertainment industry. At Cannes, Fargeat won the award for Best Screenplay, and from that moment on, great expectations began for its release in commercial theaters.
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The Last Movie Guy 