Movies

The story of a middle-aged man navigating a divorce and trying stand-up comedy in New York doesn’t sound like much, even with Will Arnett – known for playing divorced characters – co-writing the script. However, this film, directed by Bradley Cooper, who excels at realistic relationship stories, focuses less on the comedy and more on the breakdown of Alex’s marriage to Tess (Laura Dern), a former Olympic athlete who now stays at home with their children. Inspired by comedian John Bishop’s life, the film shows that Alex and Tess’s marriage had been struggling for a while before they separate. They manage to maintain a friendly facade, even pretending to still be together at a party, but the separation is inevitable. Despite agreeing they need space, they struggle to understand what went wrong, and they try to reassure their two sons that everything is okay.

At the SAG Awards on February 23, 2025, Timothée Chalamet expressed his ambition, stating, “I’m really in pursuit of greatness.” He acknowledged that this kind of talk isn’t common, but emphasized his desire to be remembered as one of the best. Interestingly, his words mirrored the premise of his film *Marty Supreme*, which tells the story of a young man named Marty Mauser who relentlessly chases greatness despite facing skepticism, even going to extreme lengths to achieve it.

It’s rare for a horror movie’s sound to be as impactful as what you see on screen, but Bryan Bertino’s new film, *Vicious*, definitely achieves that. Now available to stream, *Vicious* traps Dakota Fanning’s character, Polly, in a terrifying situation. One of the film’s best choices was to minimize the musical score, allowing Fanning’s performance and the chilling sound design to truly shine.

A recent report from industry insider Daniel Richtman suggests Tom Holland’s Spider-Man won’t be in the upcoming movie, *Avengers: Doomsday*. While Richtman says Holland is expected to have a major part in the next *Avengers* film, *Avengers: Secret Wars*, he isn’t currently planned to appear in *Doomsday*.

Mary Bronstein had been developing this film for years, and I was interested to hear when I first became involved. She’d actually been working on it for a full seven years when the script came to me through my agent. I was immediately impressed – it was a fantastic read with lots of unexpected twists. Even the more unusual elements of the movie were clearly present in the script. What you see on screen is elevated, but it all started on the page. After speaking with Mary, I learned this story was deeply personal to her, which gave the project a strong foundation.

While the original *Harry Potter* films were popular, they weren’t without flaws. The filmmakers had to make difficult choices and streamline the story, which meant some characters and plot points were left out or changed. The new reboot provides an opportunity to address these issues, especially regarding the character of Albus Dumbledore, the headmaster of Hogwarts. Dumbledore was a complex figure whose full story wasn’t revealed until later in the books, and the films only hinted at this depth. Subsequent franchises unfortunately lost this nuance.

Okay, so Channing Tatum was awesome as Gambit in the new *Deadpool & Wolverine* trailer! And get this – he’s going to be back as Gambit in *Avengers: Doomsday* too! They’ve already finished filming that one, and it’s hitting theaters in 2026. I’m already counting down the days!

The movie culminates in an explosive outburst of rage. For the previous hour, we’ve watched Linda (Rose Byrne) fall apart in every aspect of her life – she’s overwhelmed by her daughter’s illness, criticized by her estranged husband, ignored by her landlord about a serious apartment repair, and feels unsupported by her therapist. As a therapist herself, she’s also struggling professionally. All of these disappointments finally come together, creating a moment that feels utterly devastating.

Director Derek Cianfrance, known for his sensitive portrayals of flawed men in films like *The Place Beyond the Pines* and *Blue Valentine*, found himself drawn to this story of a father prioritizing material possessions – a bike, a pool – over spending time with his daughter. However, *Roofman*, which he also co-wrote, doesn’t quite land as the lighthearted film it seems to aim for, resulting in an uneven tone. A good example is the scene where Jeffrey is finally caught after completing 45 jobs, with the police arriving during his daughter’s birthday party. It tries to be funny, showing Jeffrey comically running through neighborhoods, but it’s undercut by the upsetting image of him being arrested in front of his daughter, who watches with fear. Cianfrance doesn’t treat the people around Jeffrey as unimportant; the film stays largely within Jeffrey’s perspective, using voice-over to reveal his belief that he’s a well-intentioned person doing his best with what he’s got and avoiding hurting anyone.

Orcas, watch out – the new thriller *The Woman in Cabin 10* seems determined to challenge the world of luxury yachts! This adaptation of Ruth Ware’s 2016 novel significantly departs from the original story, altering the ending, characters, and their reasons for acting. Even the yacht, the *Aurora Borealis*, is different in size. With multiple credited writers, including the director Simon Stone, the film feels overstuffed with changes.