How to Be Normal and the Oddness of the Other World is a 2025 drama directed by Florian Pochlatko in his directorial debut. The film stars Luisa-Céline Gaffron, Elke Winkens, Cornelius Obonya, Harald Krassnitzer, and Fanny Altenburger. When a young woman, Pia (Gaffron), is released from a psychiatric hospital, she moves back in with her parents as she tries to rebuild her life and find balance.
Out of all the entries I received digital screenings for, this was somewhere towards the bottom of the list. From the image below to the concept, it didn’t sound all that interesting to begin with, but I was completely wrong. This is why I always encourage everyone to watch anything and everything as much as I do. Even if you don’t like something, I believe it still gives you something to talk about with others. I can honestly see this being mixed with viewers, but grow a deeper appreciation for over time.
To my surprise, this also has a filmmaking perspective, much like one of the other Berlinale entries, Hysteria, did. Except this time, this is a lot more meta. As someone who went to school for film and loves film, I can understand why they made this so meta. By the end of the film, you can even understand why this approach is necessary. I was in complete awe by how cinematic the film can look as we are seeing things from the main character’s perspective. She wants her life to mean something, and in doing so, she sees her life as a movie. I guess you could say she has the main character syndrome. The tone does reminds me a lot of I Saw the TV Glow. For that, I’d be very interested in seeing the reception for this one.
Luisa-Céline Gaffron is truly remarkable as Pia. She shows so much confidence through her performance. It’s clear she has a lot of trust in writer & director Florian Pochlatko. No matter what the actress & director does next, I WILL be watching. I also believe the film does an incredible job at making us care for someone where there might be a stigma of. There’s plenty of callbacks to other films as well that will make cinephile excited.
Overall, I was quite surprised by How to Be Normal and the Oddness of the Other World. If you are looking for something deep in meaning, I highly recommend you seek this one out. Luisa-Céline Gaffron is truly the beating heart of the film that is fully realized by Florian Pochlatko’s masterful direction. I have no idea when this will become more available. When this does, I’d recommend seeing it ASAP.
Key Art for Dexter: Original Sin Season 1, featuring Michael C Hall as Dexter Morgan and Patrick Gibson as younger Dexter Morgan streaming on Paramount+ with SHOWTIME, 2024. Photo credit: Paramount+ with SHOWTIME.
Dexter: Original Sin is a prequel show to the original Dexter show that also premiered on Paramount+. The show finds Clyde Phillips returning as showrunner after his work as showrunner on the original show from season 1 to 4 and the sequel show titled New Blood. The show stars Patrick Gibson, Christian Slater, Molly, Brown, Christina Milian, James Martinez, Alex Shimizu, Reno Wilson, Patrick Dempsey, Michael C. Hall, and Sarah Michelle Gellar. Continuing from New Blood, serial killer Dexter Morgan thinks back to his youth while on his death bed, starting in 1991, 15 years before the original show’s first season.
I think as much as others, I wasn’t looking forward to this. I was a huge fan of the original show even through its highs and lows. Covering things the original show already covered sounded lazy and not interesting. If we already know what happens, what’s the point? It took a few episodes, but to my surprise, this ended up being a great show!
L-R: Christina Millian as Maria LaGuerta and Patrick Gibson as Dexter in Dexter: Original Sin, streaming on Paramount+, 2024. Photo Credit: Patrick Wymore/Paramount+ with Showtime.
The first episode covers a lot of what we already know about. To be fair, the rest of the show does as well, but the first episode in particular does nothing to prove its existence. Even for newcomers, I couldn’t imagine it gaining new fans. Sure, it’s entertaining, but it lacks the significance of why this show needs to be told.
Patrick Gibson’s portrayal of Dexter is even rocky to begin with. It feels like Michael C. Hall only returned as the inner voice to help viewers understand Patrick Gibson really is the new Dexter. From the mannerisms to the dialogue, I had a hard time believing Gibson was the new Dexter. After a few episodes, Gibson starts to fully embody the character. It’s at this point where the show really finds itself to make something unique and exciting.
Christian Slater as Harry Morgan in Dexter: Original Sin, episode 1, season 1, streaming on Paramount+ with SHOWTIME, 2024. Photo Credit: Patrick Wymore/Paramount+ with SHOWTIME.
As the story continues, you begin to realize how detail oriented it truly is. I feel like I could rewatch it and catch new details. There are some real, genuine surprises that I haven’t felt from the Dexter franchise since its early days. There is a jaw-dropping surprise in the latter half of the show that fully works.
As much as the show is detail oriented in its plot, it goes even further for its character. I haven’t seen such a perfect cast like this in a while. I love how Christian Slater is given so much to do that gives Harry more depth. Molly Brown is perhaps the shining star as her performance of Debra Morgan as much as Jennifer Carpenter was on the original show. The rest of the cast fully embodies the original characters with James Martinez & Alex Shimizu being a spitting image as Angel & Vince, respectfully.
Molly Brown as Debra Morgan in Dexter: Original Sin, episode 1, season 1, streaming on Paramount+, 2024. Photo Credit: Patrick Wymore/Paramount+ with Showtime.
The cinematography & editing also immerses you into the show’s original style. It feels so good to revisit this franchise that cuts deeper into the world we already know. It also utilizes flashbacks to give more context into Harry and Dexter’s biological mother. Fans will appreciate this style over New Blood’s new style. Given how popular this style is, it makes me wonder how the new Resurrection show might be.
The final aspect I want to touch on is how the show leaves it open for more seasons to tell. It will be interesting to see how long it could go on for. I think there might be time jumps here and there to bring you into the original show. It ends on an awesome note to where I want more. Since we already know the outcomes of most of these stories and characters, I’d be intrigued into seeing if continuing these stories can work without retconning too much.
L-R: Christian Slater as Harry Morgan and Patrick Gibson as Dexter Morgan in Dexter: Original Sin, episode 1, season 1, streaming on Paramount+, 2024. Photo Credit: Patrick Wymore/Paramount+ with Showtime.
Overall, it may take you a while to be fully on board with Dexter: Original Sin. While entertaining, the show finds its footing after a few episodes to be one of the best shows going on right now. From the plot to the characters to the design, it’s truly impressive how detail oriented the show is. A season 2 renewal is inevitable. I can’t wait to see more alongside the upcoming Resurrection.
Written & directed by Mehmet Akif Büyükatalay, Hysteria is a German thriller. The film stars Devrim Lingnau, Aziz Çapkurt, Serkan Kaya, Nicolette Krebitz, Nazmi Kırık, and Mehdi Meskar. When a burned Quran is found on a film set, the production takes a dark turn that throws the crew into turmoil. Intern & 2nd assistant director Elif (Lingnau) is thrown into a game of accusations, lies, and secrets.
This entry of the Berlinale film festival was one of my most anticipated. The film’s events take place on a film set, which sounded intriguing for me. The main character is also in a position that I used to work in and still feel very passionate for. The film also has plenty of religious themes with a horror undertone that sounded perfect for what kind of movie I was looking for. Dark and spooky film set movie with heavy themes? Sign me up.
First off, Devrim Lingnau carries this film on her shoulders. So far, the film festival has not disappointed with giving us strong female characters. Lingnau brings so much anxiety to her performance that you feel it with her. The rest of the cast along with Lingnau is quite impressive from the way they deliver their dialogue to the way they present their fear. It also helps that filmmaker Mehmet Akif Büyükatalay uses the horror tones to explain how dangerous hysteria can be.
The film’s pacing may not be for everyone. The third act can even feel a little redundant, but it ends on a powerful note that is open-ended enough to leave us with a lasting impression. From the visuals to the tones, this is an eerie slow-burn that will get under your skin. When I think of how powerful movies can emotionally and mentally, this is the kind of movie I think of.
Overall, Hysteria was one of my most anticipated of the festival, and so far, it’s the best one. Filmmaker Mehmet Akif Büyükatalay gets their point across thematically while Devrim Lingnau and the rest of the cast deliver solid performances from start to finish. I can’t wait to see what a broader audience thinks of this one.
The Good Sister is the second film to premiere at the Berlinale film festival. The film is written by Sarah Miro Fischer & Agnes Maagaard Petersen, and directed by Fisher. The film also stars Marie Bloching, Anton Weil, Proschat Madani, Laura Balzer, and Jane Chirwa. Rose (Bloching) is close to her older brother, Sam. When a woman accuses Sam of rape, Rose is asked to testify in the investigation against him, testing both their relationship and her moral integrity.
When I initially got asked if I wanted to screen the Berlinale films ahead of time, I was hesitant at first as it was right around such a busy time for me, both personally and professionally. I knew nothing of the films nor anyone who made or starred in the film. Yet, I decided to say yes, because I love international films and they tend to really resonate with me. I am so glad that I did, because the festival is currently 2 for 2 right now.
The film takes a unique approach with its story. It’s only about 90 minutes long, and yet, the first half makes it seem like this will be a completely different story. I didn’t know anything about this going in, but with a brisk runtime, I was expecting something simple. Just when the big revelation hits, you fully realize what you are watching.
The second half does an incredible job at making you look at the first half differently. Not only does the first half set the groundwork, but it makes you revisit certain scenes that were not at all what you thought they were. It creates a very haunting experience that is quite unsettling. With only 90 minutes, I still wish we got more that could have made it intense. I am not asking for it to be exactly like Anatomy of a Fall, but the themes are there that make you question what exactly happened. I wanted more of that. I could see a much longer, detailed movie.
Nonetheless, the film is still carried by a phenomenal performance from lead actress Marie Bloching. When she is first introduced, she is already navigating a new change in her life. When the reality of her brother’s accusation hits, she has to overcome another change – one that does question who exactly she is. Bloching’s performance gives her character realism through her actions as she has to wrestle with what she does and the repercussions of it.
Just as the film was wrapping up, I really wanted it to end where it did and it did. The open-ended conclusion won’t be for everyone. I love endings like this as it makes you question what happens and your own morals. It wouldn’t have been possible without Bloching’s incredible performance and Fischer’s impeccable direction. I also have to give props to Anton Weil who played the brother, Sam. His character goes through a complete meltdown that is portrayed accurately.
Overall, I can easily see The Good Sister being widely talked about as it becomes more available. The way the film wrestles with morals will leave viewers pondering long after watching it. Marie Bloching gives a tremendous performance that makes me want to see whatever she does next, and Sarah Miro Fischer proves to be an effective director with grounded stories to tell. The pacing may not be for everyone and the short runtime may leave viewers wanting more, but what they accomplish here is commendable work.
Written & directed by Frelle Petersen, the first film of the Berlinale film festival is titled Home Sweet Home. In the film, Sophie, played by Jette Søndergaard, begins working as a career making home visits to the elderly. Soon, she confronts the harsh reality of the job. The film is a deep dive into the reality that often goes unrecognized to the public eye.
It’s quite clear that Peterson is using his technique a personal & effective story that he wants the world to better understand. While it does not have the same vibes, I would equate this to 2023’s Perfect Days. We are seeing what Sophie is going through on a daily basis. Over time, she connects and builds relationships with her patients. It makes her quite good at her job, but it can also be quite draining depending on the situation. On top of all of this, she also has to be there for her daughter as a single mother who has split custody.
I can understand where seeing foreign films where you have to rely on subtitles the whole time can be intimidating, but I always find myself connecting so much with movies made outside of the U.S. This takes a slow burn route that completely takes you through Sophie’s day-to-day life. At almost 2 hours long, it can be draining, but then again, that’s the whole point. You are supposed to feel as drained as the original character. Once again, there are similarities with Perfect Days towards the end that will get its point across.
I am also always interested in foreign films as I come across someone new. Jette Søndergaard is a star in the making. She is completely believable in this occupation as someone who physically takes care of these people, whether that be bathing them or just communicating with them. It’s an outstanding performance that shouldn’t go unrecognized.
Overall, the Berlinale is off to a strong start with Home Sweet Home. Jette Søndergaard gives an incredible, authentic performance that helps get Frelle Petersen’s message across. This is my first time covering the film festival and I already can’t wait to see what’s next.
The Gorge is a new film from director Scott Derrickson & writer Zach Dean. Viewers might be familiar with Derrickson’s work on horror films such as Sinister & The Black Phone, while viewers might be familiar with Dean’s work on films such as The Tomorrow War & Fast X. The film stars Miles Teller, Anya Taylor-Joy, and Sigourney Weaver. When two highly-trained operatives are appointed to posts in guard towards opposite side of a secretive gorge, they must work together to keep the secret in the gorge.
The concept around this film was intriguing, but I can’t say I was looking forward to it. I love the cast and I especially love Derrickson’s works. When I saw that I had the opportunity to see it early, I knew I had to see it ASAP. To be honest, I also kind of needed to see it due to the hectic week that I am having. I completely understand why Apple TV+ is releasing this on the streamer over a theater rollout. The film isn’t perfect, but this would have been so much fun to see in the theater.
The first act, which accounts for about the first hour of the film is strictly dedicated to developing the two main characters played by Miles Teller & Anya Taylor-Joy. These two have amazing chemistry together. It’s such an intriguing concept to have them separated for so long, but still see each other. That’s what makes their encounter where they truly meet each other so special. I believe some viewers may be turned away by how long this takes. Like I said, it takes about an hour to get through this. I suppose it’s fitting for the Valentine’s Day weekend that may appeal to a larger audience.
After the first act is when the film kicks into high great. There’s also a lot of intrigue and buildup to the second act that makes it all pay off. I honestly thought the film actually took place in the apocalypse. Instead, the second act feels like the apocalypse where you spend time in this new world for 45 minutes that goes on longer than what it feels like. The second act is a lot of fun. When you are familiar with Derrickson’s work, he’s able to effectively display the horror genre to this. He does a great job at blending the genres, but its during the second act is where the film shines the most. The creatures are mainly CGI, but Derrickson does a great job making them look life-like with the movie’s stars.
Then, there’s the third act that feels like it goes on longer than it needs to. It tries its best to tie itself up properly without the need of a sequel. I personally don’t think it was all necessary, especially when the film feels like it already ends at the end of the second act. It’s like “oh, we’re still going. Got it.” Look, it’s still a lot of fun that somewhat makes up for paying for the subscription service.
Those are my collected thoughts on each act, but there are both pros and cons throughout the film. The exposition and character development can be a bit awkward at times. The green screen is just about as good as what you would think for a streaming movie. The collection of different genres, while fun, can be exhausting by the end.
If you were to ask me to rewatch it, I probably would. Teller & Taylor-Joy carry the film. It’s fitting to have these characters be these two highly-trained operatives. The film has more than enough buildup that makes you care about what happens to them when things go south. The mystery is done incredibly well. This is the kind of movie you need to go 100% blind into. I can see this easily be a big hit for the streamer that may just put confidence in them again to start putting their movies back in theaters.
I am not joking when I say the music reminded me so much of Nine Inch Nails I couldn’t believe I was right when I saw that Trent Reznor & Atticus Ross composed the soundtrack. How do these guys do it? They consistently make energetic soundtracks that are fitting for the tone. They do it so much that I wouldn’t be surprised if they were doing it in their sleep.
Overall, The Gorge was a surprisingly good time even with its flaws. I loved the main duo between their amazing chemistry and dedication to the action. The film does have a little bit of everything that I think will appeal to a larger audience, but I’d be interested to see if everyone will like that. The way the film plays out will keep viewers at least inrigued by what could happen next.
On this week’s episode of Max’s The Pitt, so much more occurs here than ever before. It may just be the best episode yet. I think I am getting used to the shorter runtimes now, because they are truly making every minute count to feel longer. Let’s unpack the episode.
As per usual, the episode takes off where last week’s episode ended. I can’t say last week’s episode on the most intense note. At least not as intense as I think the show was trying to do, but when it takes off from the get-go, it does not stop.
The episode continues some plotlines that have been going on for a while. In particular, we get the parents of the son in the coma coming to terms with what’s going on. I still really enjoy this arc, but I can’t say it’s my favorite of the bunch. It’s nice to have this overarching narrative where Dr. Robby has to continuously change his demeanor towards the grieving parents.
On top of that, Dr. Collins is still trying to deal with the mother who doesn’t want her daughter to have an abortion. As we come to learn, the mother doesn’t want her to have an abortion as she had her daughter around the same age as her. She claims she’s the best thing that has ever happened to her even though it was rough at first. Dr. Collins finds a way to get through to her to help the family not be torn apart. Dr. Collins is really coming around to be one of my favorite characters. Based on where she ends in this episode, I can’t imagine what she has to go through for the remainder of this season.
With a plotline that started in the first episode, we see more of the woman who couldn’t speak English that got pushed in front of a train. The guy that saves her has an outstanding moment where he says he will help the police identify the person who pushed the lady. It’s a nice & sweet moment that shows that humanity will still care about others no matter what they are going through.
One of my favorite segments of this show is when it cuts back to Dr. Robby having flashbacks during COVID. We learn so much about him that makes us feel for the character. At one point, Dr. Collins claims he’s upset, because of the day being the anniversary of his mentor’s death. In reality, he still has PTSD from what he did, which makes his journey so isolating when he’s trying to take care of so many other people.
We learn more about Dr. King. I feel really bad for her. She clearly likes Dr. Langdon who seems to just be taking advantage of her. It’s clear she wants to be with him, but I don’t feel like he feels the same way. For anyone who hasn’t liked Dr. Santos, you’d think she’d learn her lesson from the last episode. Fairly quickly, she’s going back to her old self. There is a plot that gets her character involved leading towards one of the most satisfying moments of the show. If you haven’t liked her yet, you will love her after this episode. What she does is brave and goes to show what she has gone through in her past.
There are some other plotlines that come in that continue to make the show feel more intense. You can tell where everyone is exhausted. I can’t imagine how they are going to feel by the end. An older gentleman comes in with a heart attack. A girl with schizophrenia comes in and it actually gives Javadi some solid development. The rest of the side characters continue to find their place within the story that I believe will continue to have bigger moments going forward.
Overall, episode 7 has to be the best episode of The Pitt yet with some shocking and satisfying storylines. This is a perfect episode in my eyes where the 45-minute runtime is starting to feel like an hour. This is truly one of the best shows out there right now.
Captain America: Brave New World is the latest movie in the MCU to come out this weekend. It serves as the fourth installment in the Captain America film series, a continuation of the television miniseries The Falcon and the Winter Soldier, and the 35th film in the MCU. The film stars Anthony Mackie as the titular hero, Danny Ramirez, Shira Haas, Carl Lumbly, Xosha Roquemore, Jóhannes Haukur Jóhannesson, Giancarlo Esposito, Tim Blake Nelson, and Harrison Ford. The plot revolves around Sam in the middle of an international incident after meeting with President Thaddeus Ross (Ford).
The film more or less plays out like a carbon copy of Captain America: The Winter Soldier. In hindsight, that doesn’t sound like a bad idea to bring fans back in. The Winter Soldier is my all-time favorite MCU movie, but I was more cautious than I have ever been with a MCU movie. The trailers did absolutely nothing for me and the story didn’t sound that interesting. I believe this says a lot as someone who has been an avid supporter of the MCU post-Endgame. Let me tell you… I am feeling with this one.
When the film tries to be a carbon copy of The Winter Soldier is where the film shines the best. The first half does a great at feeling like a real political thriller. There’s intrigue and the tone is set perfectly. Anthony Mackie totally own this role as the new Captain America. What sets himself apart from Steve Rogers is his commitment to not taking the super serum. He wants to be completely genuine and prove the haters wrong. It’s quite admirable, especially when Mackie is paired up with Harrison Ford. The two actors are dynamic in every scene with each being able to show how much they can relate to each other.
The first half isn’t without its flaws. It has rushed exposition to get you caught up to speed. Giancarlo Esposito steals the show, but is heavily underutilized. Way to make us believe he was going to be the big villain. I didn’t believe it, but this film would have been so much better with him as the villain. The film also relies way too much on catchy tunes. The razor-thin dialogue also offers nothing of substance for its characters.
The second half sort of nosedives into a mediocrity. Just as we get past the good stuff, the film faulters into bland MCU territory. The CGI is noticeably bad. Nothing ever looks real or authentic. Forced MCU connections are placed that even had my friend confused. Sure, the film is action-packed and seeing it in IMAX was the right way to see it, but I am also too burnt out on big budget movies relying so much on CGI. The camera shots even look uninspired.
The film does a good job with its marketing, because it really does show all the good stuff. The big Red Hulk is barely in it, which is just another reason I avoid trailers. Way to hype something up that is barely utilized. Why not have the film rely around that? The film is so reliant on giving Sam Wilson the same old themes from his TV show that it becomes redundant here. Why not have his conflict with Thaddeus Ross lead to his decision to form the Avengers. That part is barely spoken of in the first half and then it’s never mentioned again. It’s like the film didn’t quite know what it wanted to be and how it should move the MCU forward.
If you going into thinking that Esposito plays the main villain, you’d be sadly mistaken. The movie essentially has three main villains, and I am not surprised as to who the main villain is since it was widely talked about before production. In case you don’t know, I will keep who it is under wraps and say it’s from a character from a MCU a long time ago. I love the actor, but did not like the character. The idea of his character coming back is intriguing, but his motives are ridiculous. His dialogue too is so unthreatening that it makes it like his actions are just happy accidents.
As for the other side characters, the film has plenty of them. Unfortunately, they are more likable just because of their screen presence without the film giving them much characterization. I don’t feel the same dynamic between the new Captain America and the Falcon as I did with The Winter Soldier. The film also establishes a U.S government official who is meant to be important, but I got nothing out of this. I don’t like hating on talent. It’s just the way these characters are written. They are meant to act like they are important, but I couldn’t tell you why.
I’ve been told to refrain from spoiling cameos, but I don’t think there is much to spoil. One surprise felt more fitting and less surprising. Another is one we knew a long time ago. The first one has this new characterization that left me puzzled to say the least from what they are doing new to how they got to where they are. The other is something that is meant to solely satisfy fans. Given how long it’s been, I couldn’t care less.
With the film relying so much on the tone of The Winter Soldier, I am unclear as to how this particular series should even move forward. For the first movie that Anthony Mackie headlines, it could have done more to give him a proper arc. His arc does come off cliche as he has to overcome letting people down. We’ve already seen that with him. I think making The Falcon and the Winter Soldier into a movie would have been far better to give Sam Wilson’s a better arc, especially if he does eventually lead the new Avengers.
Overall, I am incredibly mixed on this one. There is a lot to like as there is as much to dislike. I love the dynamic between Anthony Mackie and Harrison Ford as they both feel fitting in their roles. The supporting characters are just an afterthought. When the film feels like a copy of The Winter Solider is where the film shines. When it relies too much on MCU connections and green screens, is where it faults. This isn’t one I’d ever rewatch, but it’s fine for a first time watch.
Directed by Josh Ruben & written by Phillip Murphy, Christopher Landon, and Michael Kennedy, Heart Eyes follows a masked maniac with glowing, red, heart eyes who returns every Valentine’s Day to terrorize unsuspecting couples. The film stars Olivia Holt, Mason Gooding, Gigi Zumbado, Michaela Watkins, Devon Sawa, and Jordana Brewster.
I can’t say I was looking forward to a slasher anytime soon. I enjoyed them a lot more when I was a teenager, but in recent years, I have found them to be too bleak for my taste. To my surprise, this one was fun from start to finish. Due to how light-hearted and comedic it can be, I am not surprised to see where this isn’t for everyone. Coming from writer Christopher Landon as a writer, I am also not surprised by its tone. The film’s tone is what works best for the film.
Olivia Holt & Mason Gooding star in the lead roles, and I have not seen such strong chemistry between two leads in quite a while. They are so likable & charming. The casting department did a superb job putting these two together. Under Josh Ruben’s direction, he creates a foundation between the two before chaos ensues. That’s what helps us feel even more gravitated towards what happens to them. There’s a surprising amount of development between the two that may not be for anyone who wants straight up slasher, but to me, it helps it stand out amongst the rest of the slasher movies. I know what I said about slasher movies being bleak, and I did not feel this way at all.
It was refreshing to see Jordana Brewster & Devon Sawa here. Viewers might be most familiar with the two from Fast & Furious and Final Destination, respectfully. It’s nice to see Brewster have a big role outside of the popular franchise, and it’s nice to see Sawa in another horror movie. The Fast & Furious reference was also hilarious. I had that spoiled to me beforehand unfortunately, and I wish that wasn’t the case. This is the kind of movie that you need to go blind into.
As for the big twist, it’s unique, but it’s also somewhat predictable. When you go into a slasher movie wondering who the big killer is, you’re looking at everyone as a suspect. The film makes it clear with some big hints as to who it can be, but it also makes you second guess yourself, similar to how My Bloody Valentine did. It leads into a cliche third act where the villain speaks their motives before following through with their plan. I am tired of that trope where the villain has to explain everything, which gives the heroes plenty of time to overcome the villain. On the other hand, I thought it was quite fun. It felt like a homage to a lot of other 90’s slashers.
Speaking of homage, this is a film that respectfully homages other great slashers before it. There is a shot similar to The Texas Chainsaw Massacre that you may have seen in the trailer. One of the main reasons I try to avoid trailers as they spoil too much. On the other hand, I guess it’s a good way to convince people to see this. There’s also another scenes where the Heart Eyes killer is chasing Olivia Holt’s character, and the music choice reminded me a lot of Psycho. The film also acknowledges other romantic movies which can make it even more comedic and light-hearted.
There is a convenient plot hole that I know I am reading too much into. Without giving much away, the start of the film makes it clear that the killer has attacked other parts of the country. As it so happens, the same killer has attacked places that Mason Gooding has been to. First off, I have no idea how the killer made that work to set Gooding up. Second, you’d think Gooding’s character would not want to be romantically involved because of this. I honestly thought at one point it might be someone Gooding has a connection with, but that’s not the case. In the end, I think the film does a good job at explaining the motives, even if I would have liked to have seen the conception of this killer explored more.
From what I have seen, this film hasn’t been doing quite well. That seems to always be the case for any movie opening Super Bowl weekend. Maybe it will do better over Valentine’s Day weekend. If it does, I’d love to see a sequel of this that further explores the origins of the killer in other parts of the country. If not, I like how the film ends with something conclusive.
Overall, Heart Eyes exceeded my expectations to deliver something fun & unique with two charismatic leads and respectful homages to the genres. The tone may not be for everyone, but for someone who needs that, I can appreciate it even more. It’s far funnier than I could have ever imagined. I won’t be upset if a sequel ever happens, but I’m also satisfied with what we got here.
Directed by Christopher Andrews in his feature directorial debut, Bring Them Down follows two shepherding families who become hostile towards one another. The film stars Christopher Abbott, Barry Keoghan, Nora-Jane Noone, Paul Ready, Aaron Heffernan, Conor MacNeill, Susan Lynch, and Colm Meaney. The film premiered at the Toronto International Film Festival on September 8, 2024, but it jsut released this past weekend by Mubi.
I didn’t know much about this going in, which can be a blessing and a curse. I like going in not knowing much, but sometimes, it can be confusing as to what’s going on. The start of this film is vague, but it’s completely intentional. It’s slow, which may not be for everyone, but it establishes from the get-go that these people are neither good or bad. It’s about 20 minutes in is where I was locked in.
Just as the inciting incident occurs is where the movie really takes off. The first act follows Christopher Abbot’s perspective that ends on a note where you are not sure what’s going to happen next to him. The second act then follows Barry Keoghan’s perspective to fill in the gaps. This structure doesn’t do anything extraordinary for the plot, but it manages to make its point clear with how these two characters are neither bad or good. They are just a byproduct of their environment where they are just living in their family’s shadows.
The film works through its two lead actors, Christopher Abbott & Barry Keoghan. These two actors say so much with their facial expressions & actions over their words. It is sort of comedic how the film is mostly in English, but there are still subtitles, because of how thick everyone’s accents are. Maybe it’s a good thing that these two guys do so much with such little dialogue. The pair truly give terrific performances. It sort of feels like these two actors have done these types of roles before elsewhere, but their performances are fitting for this type of story. The supporting characters are great as well even if they more or less only serve as plot devices to help makes it message clear.
The film is in doubt what others would consider a slow burn. That may not be for everyone, but if you are looking for something deeply thematic that leaves you pondering on the film’s messages long after, I believe this is one worth watching. I was on the fence of where I was before the third act. Much like the beginning, the vagueness with the ending works better in the film’s favor. Everything is left to the viewer’s interpretation, leaving you thinking about your own morals if you were in the situation.
On a visual level, the film looks great. The film is slow to the point where it leaves you thinking about the mindset of these characters. When the film picks up, it pays off in these grand and nail-biting sequences where anything is possible. The film also captures the landscape in a beautiful way with wide shots. We get a clear idea of what this place is like and where everything is located. It’s abundantly clear writer & director Christopher Andrews was inspired by The Banshees of Inisherin thematically & visually with Barry Keoghan being the through line. Now, I need Keoghan to finish out his Banshees trilogy.
Overall, Bring Them Down offers a lot thematically with two incredible performances that help elevate it. I could see where the slower pace may not be for everyone, yet I promise you leaving thinking longer after watching it. I’d love to see what writer & director Christopher Andrews does next. In the meantime, seek this one out either in theaters or when it eventually comes to Mubi.
The Creative Cinematic Collection 
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