Slamdance Film Festival 2026 Review: “The Plan”

By Morgan Roberts

Director: Jessica Barr
Writer: Jessica Barr
Stars: Ryan Simpkins, An-Li Bogan, Eve Lindley, Jordan Hull, Arkira Chantaratananond, Percy Hynes White, Logan Miller, Frank Mosley
Runtime: 74 minutes
Year: 2026

“The Plan” from writer/director Jessica Barr is a knockout and haunting slow burn that will have you on the edge of your seat, without realizing it. When a group of friends all convene at an apartment, it seems as if the dynamic of the group is in a major upheaval. In quick succession, the group assembles into this apartment, and as the day unfolds, the tensions in the group reveal a far darker dynamic than one can imagine.

The film largely takes place in a single setting - an apartment. Any film that utilizes a single space for a majority of the film has to understand how to retain its audience’s attention. “The Plan” perfectly executes mounting tension and gradually reveals itself. Employing an almost cinema vérité style of filmmaking, “The Plan” squarely places the audience as a spectator to the events. Often, you feel like a fly on the wall, wondering what in particular is happening in front of you. The audience incrementally learns the dynamics amongst the group. We see who the steadfast, albeit strict, leader is. Who tends to be a disrupter and who aims to keep the peace. But at the center of all of this is the plan itself - and I’m not going to reveal that; it is so brilliantly executed, I would certainly spoil the fun/horror if I wrote more.

What also makes the tension so palpable is how the film is shot. “The Plan” is shot in a single, uninterrupted take, weaving between rooms, characters, and dynamics. It gives the film a real ticking time bomb feel, because, even if you follow a character into another room or pan elsewhere, you’re never truly far from what happened before. I imagine there was an extensive rehearsal process because the timing had to be just right in every single moment.

At the core of the film is this haunting plan - that, again, I will tease but not reveal. This group consists of young people aiming to make a real change in their world. But, as a true reflection of where we are, how to execute that change, what is born from that change, are difficult to agree upon. It is quite engaging to see not only how these interpersonal dynamics shift, but each individual’s understanding of their own values and morals morph throughout the film. The film has this thought-provoking premise about the disillusion in trust in institutions and the deep seated nihilism from failed promises from previous generations.

“The Plan” is a surprising thriller that will leave you with a pit in your stomach by the end. A true feat in technical filmmaking, this independent film utilizes a single, uninterrupted take to build the most suffocating tension in such an artfully subtle manner.

Grade: A
Pair This Film With: “Night Moves” (2013) dir. Kelly Reichardt

Slamdance Film Festival 2026 Review: “Snowland”

By Morgan Roberts

Director: Jill Orschel
Runtime: 90 minutes
Year: 2025

Societally, we’ve begun to understand the Fundamentalist Church of Latter-Day Saints (FLDS). From many a TLC documentary or television series to HBO’s “Big Love” and beyond, the once locally known fundamentalist sect of Mormons still practicing polygamy has become more widely known. In the documentary, “Snowland,” one woman who had the bravery to leave the FLDS begins the courageous act of facing change once again. Cora Lee Witt was raised in FLDS and was only in the 7th grade when she met her future husband, Richard. Cora Lee, as just a teenager, became the second wife to a man about two decades older than her.

The film bounces between past and present. Audiences find Cora Lee is trying to sell others on the fantasy realm of “Snowland,” and escape she created for herself in her darkest moments. An artist and skilled seamstress, Cora Lee has been crafting this world as a means to reclaim her story. Through interviews, we learn just what Cora Lee endured. In her marriage, Cora Lee tried to emulate what was taught to her and expected of her by both her husband and her sister wife. A literal child bride, she cared for her sister wife’s children as well as the 12 children she would have with their husband. But when her sister wife died at just 33 years old of cancer, Cora Lee became responsible for the well-being of 17 children - and at such an incredibly young age herself.

It is quite easy to be drawn into Cora Lee and her story. A steadfast and resilient woman who also manages to be quite warm, inviting, and deeply vulnerable, it is easy to understand how she became a safe person for the children in her care. And sadly, for the daughters of her husband, she was the only adult looking out of them. In a tale as old as time, Cora Lee discovered her husband was abusing his daughters. While, sadly, not unexpected, it is truly heart-wrenching to hear her recall that moment in her life. And what makes it all the more sickening were the continual protections for abusers in her community.

After leaving the FDLS with her children, Cora Lee fought to survive. Her story is harrowing and it is what makes her fantasy world of “Snowland” so fascinating. In order to endure her unimaginable hardship, she told stories which brought solace. But what was lying beneath that story of wonder were the dark experiences she weathered.

The documentary manages to allow the wonder in Cora Lee’s life to flourish, and allow that story to be the book ends to the unspeakable trauma she and her family lived through. “Snowland” is a document about the power of storytelling and the resilience of mothers in the face of cruelest of monsters.

Grade: B+
Pair This Film With: “The Other You” (2025) dir. Shoshana Rosenbaum; “Women Talking” (2022) dir. Sarah Polley

Slamdance Film Festival 2026 Review: “Brailled It”

By Morgan Roberts

Director: David Grabias
Stars: Salome Cummins, Isaiah Gauthier, Christopher Morgan
Runtime: 73 minutes
Year: 2026

Each year, the best English-speaking braille reading and writing individuals under-18 come to Los Angeles, CA compete in the Brailled Challenge. For one week, blind and low-vision kids are the majority in every room, connecting and making friends (and identifying rivals) as they compete in reading and writing challenges in distinct age groups. In the documentary film, “Brailled It” three participants put audiences in their shoes throughout the week-long competition.

It is an interesting concept to have low-vision and blind individuals are in control of the visuals for audiences. The film does open with a warning for audience members that the camera movements could be jarring or disorienting. I found the approach to be quite unique and engaging. It forces audiences without visual impairments to be mindful of their own relationship with that sense. How do I navigate spaces? What must it have been like for any of these teens to navigate these crowded spaces on their own? The film also uses auditory descriptions throughout. As the film progressed, I found myself relying more and more on the descriptions than all of the visuals themselves which I found quite striking.

While “Brailled It” as possesses these distinct points of view - and we have three of them - it also remains a coming of age film. We follow Chris, Isaiah, and Salome engaging in this completion, we also have them being kids. For instance, Salome holds herself to exceedingly high expectations. We hear her remarks after she has finished part of her competition where she expresses doubt in herself. Even at the awards ceremony, Salome is constantly preparing herself for disappointment. As someone who was a preteen/teenage girl, that self-critique was really honest and vulnerable to witness in the film. We see all of the kids struggle with their nerves, both for the competition and for their peers to like them. There is this widely universal quality to those insecurities, hopes, and fears.

Despite these perspectives, the intricacies of the competition(s) Salome, Isaiah, and Chris were competing in were a bit lost on me. In this more cinema vérité approach, this framework of the competition is not clearly defined. I found it hard to truly understand the stakes for each of these kids. How often have them come to these competitions? Do they participate in every challenge? What do these challenges look like? I was left with a lot of questions unanswered that, had we been able to fully understand this important narrative piece, I would have been able to feel more immersed in this world.

Nevertheless, “Brailled It” is a truly fascinating and thought-provoking film. It is certainly one I have been pondering since watching. As a documentary, it takes the cinema vérité to a new level in such a striking manner.

Grade: B
Pair This Film With: “Crip Camp: A Disability Revolution” (2020) dirs. Jim LeBrecht and Nicole Newnham; “Try Harder!” (2021) dir. Debbie Lum

Slamdance Film Festival 2026 Review: “BRB”

By Morgan Roberts

Director: Kate Cobb
Writers: Sydney Blackburn and Michael Waller
Stars: Autumn Best, Zoe Colletti, Beth Lacke, Keith Kupferer, Richard David, Dan Haller, Cristian Lager
Runtime: 93 minutes
Year: 2026

In Kate Cobb’s latest feature, “BRB,” is a nostalgic sisters roadtrip film filled with hilarity and heart. Dylan (Zoe Colletti) and Sam (Autumn Best) are left home alone when their parents (Beth Lacke and Keith Kupferer) go on vacation in an apparent effort to save their marriage, the two teens embark on a multi-state roadtrip for two wildly different reasons. Sam is a fifteen-year-old whose closest friends are the ones made in chatrooms dedicated to her favorite television show. When she admits to Dylan she has a crush on one of the other members in her fandom, her older sister convinces her to drive to meet her crush. Dylan herself does have ulterior motives as she has recently been broken up with by her musician boyfriend.

There is something particularly sentimental about the early days of chatrooms and internet fandoms. There is an innocence at this burgeoning of the internet. And it pairs perfectly with the roadtrip film. There are plenty of films in the genre all ranging in execution. “BRB” understands the perfect balance of roadtrip antics with important relationship building between the sisters. I find sibling dynamics truly interesting. I know my relationship with my sibling is one of the most imperative in my life. For many, your sibling (or siblings) is the only person who truly understands how your upbringing shaped you.

What “BRB” also does expertly is have throughly explored conversations. Sam, for instance, has body image issues which find themselves peppered throughout the film until it becomes more difficult to ignore. There are conversations about Dylan’s relationship with alcohol - fairly common for U.S. teens. Topics such as these, in lesser hands, would become either flippant and thrown in to have a half-baked conversation or appear after-school special-y. Instead, “BRB” finds the perfect balance of seriously tackling these through-lines without feeling preachy or judgmental. These, and other plot points, feel organic. I also really appreciate the inclusion of Sam’s disability. Best, an actor with a limb difference, has used the opportunities throughout her career to discuss better disability representations in films. As someone who grew up in the mid-aughts, differences were exploited for laughs. I just think on how demonstrative it was to see girls, for example, treated so poorly - I mean, menstruation was mocked by boys and men in the cinema that was popular in my youth . And to think about the very few decorations of disability as a source for mean-spirited and cruel “humor,” being the only depictions I was seeing demonstrates not just how much more still needs to be done, but how revelatory it is for films like “BRB” to exist. The film includes truly thoughtful and honest conversations about disability - and again, doing so in a not patronizing way.

“BRB” may use common film genres - road trip and coming-of-age - for its foundation, at its core is a beautiful, honest and authentic story about two sisters at crossroads in their lives. I really wish I had had a film like “BRB” to bring to sleepovers in my youth. Its impeccable script, great cast, and tight editing makes the film a real standout.

Grade: A
Pair This Film With: “The Edge of Seventeen” (2017) dir. Kelly Fremon Craig; “Unpregnant” (2020) dir. Rachel Lee Goldberg

Slamdance Film Festival 2026 Review: “Kings of Venice”

By Morgan Roberts

Directors: Sveinn Ingimundarson & S.D. Saltarelli
Runtime: 95 minutes
Year: 2025

Paddle tennis is a serious business. In the documentary, “Kings of Venice,” filmmakers Sveinn Ingimundarson and S.D. Saltarelli explore the characters dedicated to the sport. Obviously, it’s important to note that paddle tennis IS NOT pickleball. The game play, the court, and the equipment differ between the sports. But as pickleball has taken off with popularity, the defenders and players of paddle tennis aim to keep the sport alive - and relevant.

At Venice Beach, paddle tennis players flock to a tournament organized by Scott Freedman. Freedman was once the reigning paddle tennis champion, but now, much like the sport itself, Freedman’s relevance is waining. In an attempt to relive his glory days - and appease his ego - he organizes this tournament between paddle tennis teams. The sport itself does not have much money, making those who play exceedingly passionate. Freedman isn’t the only one. A whole host of individuals flock to Venice Beach to play paddle tennis on the courts there.

Freedman manages to raise the funds for a $50,000 1st place prize for the mixed-doubles team that wins the championship game. An easy adversary emerges when one of the teams is comprised of two pickleball players. Not only does the tournament become a litmus test of who are the best players in paddle tennis, but the legitimacy of the sport as a whole.

Despite there being tension during the championship itself, it is difficult to root for many of the players. There is an egotism that perfuses the film that makes it hard to see any of the players as true underdogs. Sure, the sport itself is the underdog, but the sometimes childish antics or outbursts that only white men could get away with make it hard to truly connect to the people at the center of this story. These are people who feel more like caricatures than actual humans, and it’s that surface-level exploration that leaves something to be desired.

“Kings of Venice” paints a portrait of an underappreciated sport but lacks an inquisitive interrogation into the people whose personalities are so deeply rooted in paddle tennis.  For people looking to learn more about paddle tennis, the film gives a great crash course in understanding the history of the sport and how it differs from pickleball (a sport that has risen in popularity over the past five or six years). Nevertheless, if we had been able to truly delve into the passionate athletes of the sport, it may have rounded out the examination of this world a bit more.

Grade: C+
Pair This Film With: “Battle of the Sexes” (2017) dirs. Valerie Faris and Jonathan Dayton

Slamdance Film Festival 2026 Review: “Danny Is My Boyfriend”

By Morgan Roberts

Directors: Lucy Sandler & Mechi Lakatos
Stars: Mechi Lakatos, Lucy Sandler, Michelle Thompson, Kate Heffernan, Rachel Brunner, Brooke Smith, Eli Powers, Maleah Goldberg, David Brown, Matilda Paulin
Runtime: 100 minutes
Year: 2026

Danny is her boyfriend. And also *her* boyfriend. After discovering they are both dating the same person, Lucy (Lucy Sandler) and Mechi (Mechi Lakatos) embark on a wild series of schemes to get even with the two-timing Danny. “Danny Is My Boyfriend,” directed by Lakatos and Sandler, boasts a cacophony of misadventures, outrageous ploys, and culminating a corybantic ending.

When Mechi and Lucy learn they are dating the same man, instead of a measured revenge plot, the two women clumsily move from one misguided attempt for revenge/reconciliation after another. There are times the pair work together to craft their plan, but largely, they are both separately confronting their own feelings of betrayal - and at times, exceptionalism - with the partner they once thought they knew.

The film has a frenetic energy, never slowing down as each plan begins to unravel, and a new ploy unfolds. The film’s dialogue is completely improvised - something I, as a mumblecore defender, find refreshing in film. It is this “yes-and” improvisation that keeps the film not only paced impeccably, but keeps audiences on their toes as to what could happen next. Lucy and Mechi are not alone throughout the film. We also see Lucy’s family and their enmeshed, messy dynamics. Lucy’s mother is played by veteran actor Brooke Smith, and it is an utter delight to see her in a role and film such as this. When the film has the actors playing off of one another, we truly get moments of gold. My favorite endeavor in the film is when there is a ruse to audition a bunch of actors to hire them to attempt to seduce Danny. It sounds preposterous, yes, but this is the comedic genius of this film.

“Danny Is My Boyfriend” also gets to the core of what makes films like this so special. There is an earnestness that permeates the film. While we may be adults having to confront those who have wounded us and also carry on with our Costco trip, we are also the sum of all the women and girls we used to be. As a van full of women scream sang “Breakaway,” I couldn’t help but marvel at this moment. It was one of the purest, most freeing moments in cinema I have seen all year. Sure, it is hilarious to see a group freestyle pitch, and key, and sometimes lyrics. But it was also the moment peppered between outlandish misadventures, felt so honest. I personally love a film that can not only have a good time, but ultimately wears its heart on its sleeve, even if just for a moment.

The film is a rollercoaster ride, but if you hop onto the wavelength of “Danny Is My Boyfriend,” you are sure to enjoy every surprising twist and turn. As well as the three-legged dog, Paul Wall. “Danny Is My Boyfriend” is a refreshing and hilarious comedy, that is equal parts whip smart and silly billy antics.

Grade: A
Pair This Film With: “Stress Positions” (2024) dir. Theda Hammel

Slamdance Film Festival 2026 Review: “The LeMieurs”

By Morgan Roberts

Director: Sammy LeMieur
Runtime: 75 minutes
Year: 2026

Death is the way of life for the LeMieurs. Generations of the family have worked as funeral directors. But their work took on new meaning at Tony’s funeral. Tony was young, far too young when he passed; and so, the family gathers, meticulously ensuring every detail is handled with the most care and consideration. This is how filmmaker Sammy LeMieur introduces audiences to his family in his documentary feature debut, “The LeMieurs.”

The sudden loss of his cousin - I’m assuming cousin because we’re not quite given the fullest picture of the family tree - isn’t the only change for the LeMieurs. Matriarch Beverly is aging, and her decline is becoming more evident as the days and weeks pass. It is not unfamiliar territory for many Americans. As the last of the Greatest Generation, the entirety of the Silent Generation, and the bulk of the Boomer Generation all age into older adulthood, societally, we are confronted by not just the complex needs of an aging loved one but of the rapid changes in family dynamics. It is one of the elements that makes this film stand-out. Through its specificity, it allows for audiences to ruminate on their own families, their own mortality, and the mortality of those around them.

The film is not morose, though. It is actually quite poignant in its pragmatism. Life itself is made of joyful greetings and sorrowful partings. At one point , one of Beverly’s son’s remarks, “It’s a blessing and a curse to live this long, isn’t it, Mom?” The documentary largely takes a cinema vérité approach, though, particularly with Beverly, Sammy becomes a character, a recognition of the person behind the camera. There are interviews that feel more like from a home movie with a curious kid asking the questions. But you begin to see a family begin to grapple with the rapid and sometimes unexpected changes happening around them. The film could benefit from some visual clues on who’s who and how folks are related given the LeMieurs have such a big family. There were moments I wasn’t quite sure which of Bev’s sons I was following. Nevertheless, the home video vibes and intimate portrait of this family were really great touches. Moreover, the film paints an interesting portrait of change, life, and loss over a four year span. Those reconnections with family were particularly poignant to see as Sammy focused on his own father and brother, the former a surgeon and the latter in the family business. It is thought-provoking how interconnected those fields are, and the core of what gives great meaning to those professions become apparent as the audience witnesses Bev’s health deteriorate, with her ultimately ending up in a nursing home.

“The LeMieurs” is a touching documentary which focuses on the lives of a family whose business is death. It is deeply personal, and allows audiences to ruminate on their own family structures. The last shot of the film particularly resonated with me as a viewer, and I think encapsulated the true thesis of the film.

Grade: B+
Pair This Film With: “Thank You and Good Night” (1991) dir. Jan Oxenberg

Review “Send Help”

By Morgan Roberts

Director: Sam Raimi
Writers: Damian Shannon and Mark Swift
Stars: Rachel McAdams, Dylan O’Brien, Edyll Ismail, Dennis Haysbert, Xavier Samuel, Chris Pang
Runtime: 113 minutes
Year: 2026

How would you fair trapped on a remote island with your shitty boss? In Sam Raimi’s latest film, “Send Help,” the ultimate survivalist cat-and-mouse game commences. Linda (Rachel McAdams) has worked at the same firm for years, dedicating her life to this ambiguous corporation. When the new CEO Bradley Preston (Dylan O’Brien), the company automatically becomes a boy club, with Linda now facing the possible loss of her job due to her frumpy appearance and rancid choice for lunch. But she’s given one final chance with an acquisition meeting. While en route, the private plane she, Bradley, and others are on crashes, with Linda and Bradley as the only survivors.

Dylan O’Brien and Rachel McAdams in “Send Help” | 20th Century Studios

“Send Help” squarely positions these two characters at odds with each other. It is not only the employer/employee dynamic which is introduced early on, but there is also subtext of extreme wealth versus working class. Sure, Linda works a more white collar job, sits in a cubicle all day. But she is certainly a cog in a machine that ensures Bradley and his inner circle remain rich without her being able to tap into the rewards of her labor. Nevertheless, on the island, Linda now has the upper hand, shifting the duo’s dynamics.

McAdams is exceedingly entertaining as she manages to clearly have a blast with the more absurdist fun in the film while ensuring the deeply human layers of Linda shine through. She exudes the same earnestness as Linda divulges about her personal life as she does hunting a boar in a truly outrageous scene. These films work well when humor and heart can be injected into them, and throughout her career, McAdams has demonstrated she is a true master of the craft as she effortlessly weaves both into this film.

As she screen partner for the majority of the film, O’Brien clearly understands is role. “Send Help” is very much a McAdams showcase, and O’Brien shows up without showing off. He plays Bradley as vain and petulant man child, who feels entitled to everything despite being well out of his depth. He plays more of a caricature which works perfectly for this film. Much like McAdams, he knows the film is aiming to be audacious in its choices and comedy.

Rachel McAdams in “Send Help” | 20th Century Studios

Where the film suffers is its runtime. It becomes too repetitive to always remain interesting. For a horror film with comedic elements, the fact it ventured anywhere past the 95 minute mark was a real detriment to the film. If it had been tighter, I think it could have maintained its pace and momentum. Additionally, as someone who struggles with Sam Raimi as a filmmaker, his fan service (or self-serving) nods to his other work felt forced. Moreover, some moments appeared to be inspired by Coralie Fargeat’s “The Substance,” and sadly became distracting in not the intended manner.

Despite some minor elements and runtime issues, “Send Help” is a rip roaring great time. With two actors clearly having a blast, it’s not difficult to get swept up in the do-or-die circumstances in the film. And ultimately, the film is a showcase for McAdams who balances the comedic beats, horror elements, and brings earnestness in all the right ways.

Grade: B

Pair This Film With: “Bodies Bodies Bodies” (2022) dir. Halina Reijn; “The Substance” (2024) dir. Coralie Fargeat; “The Watchers” (2024) dir. Ishana Night Shyamalan

Review: “H is for Hawk”

By Morgan Roberts

Director: Philippa Lowthorpe
Writers: Emma Donahue and Philippa Lowthorpe
Stars: Claire Foy, Brendan Gleeson, Lindsay Duncan, Denise Gough, Josh Dylan
Runtime: 119 minutes
Year: 2026

At a funeral recently, in one of the eulogies, someone remarked (and I’m paraphrasing) that to mourn is the burden we must endure for the honor of loving someone. And that sentiment permeates Philippa Lowthrope’s latest film, “H is for Hawk.” Based off of the memoir by the same name, the film follows Helen MacDonald (Claire Foy), after the sudden death of their father (Brendan Gleeson). His love of ornithology leads Helen to getting her own goshawk to train.

Admittedly, I haven’t read MacDonald’s memoir which was published back in 2014. There is a challenge not only transforming a true story, but a memoir. Many memoirs not only involve personal narratives, but internal thoughts and reflections. Thus, an adaptation can be tricky. How far do you lean into the interiority of the piece? Luckily for Lowthorpe, the film hinges upon the performance of Foy, who excels at interiority. In her criminally underappreciated work in Sarah Polley’s “Women Talking,” Foy oscillated between fiery emotion and demure, insular moments. In “H is for Hawk,” she leans heavily into restraint, coaxing the audience into this bereaved person’s inner world.

Claire Foy and Brendan Gleeson in “H is for Hawk” | Courtesy of Roadside Attractions

In the film, Helen is depicted not only has brilliant but a touch flighty. But even with her big and wild dreams, there’s a grounded nature anchoring her to her work, her friends, and her family, particularly her father. We see quick glimpses of her life before the loss of her father peppered throughout the film, many times juxtaposing her further decent into the black hole of grief. It is through her training of her goshawk Mabel that Helen begins to truly reckon with her profound grief. There were moments between Helen and Mabel that felt reminiscent of the classic Ken Loach film, “Kes.” But unlike Loach’s film, the feathered friend of the film is critically central. It is an amalgamation of both Helen’s grief and salvation. The cinematography from Charlotte Bruus Christensen soars when the goshawk is on screen.

The script was co-written by Lowthrope and Emma Donahue - writer of the book and film “Room.” There are times that the dialogue feels a bit on the nose, particularly when comparing Helen to the goshawk they’re training, but the script manages to capture Helen’s grief. While the film is patiently paced, there are moments it feels a touch slow, which, when coupled with more interior central performance can be a difficult to grab your attention. Nevertheless, the film manages to quickly win you back with Foy’s steadfast performance, the stunning cinematography, and the scripts thoughtful rumination on grief. The film can be tricky, since the central focus is not only on this grief, but trying to understand it through the lens of another person’s inner world only shown through cracks. I find that to also be the most compelling part of the film. There are others we encounter every day living through a grief so overwhelming, it begins to rob them of themselves. They live the burden of loving someone so deeply, that their loss becomes a mournful abyss. And yet, there is something that helps guide them through despair. For Helen, that guide was a goshawk.

Grade: B-

Pair This Film With: “All Dirt Roads Taste of Salt” (2023) dir. Raven Jackson; “Vagabond” (1985) dir. Agnès Varda; “Wendy and Lucy” (2007) dir. Kelly Reichardt

Review: “Train Dreams”

By Morgan Roberts

Director: Clinton Bentley
Writers: Clinton Bentley and Greg Kwedar; based off the book of the same name by Denis Johnson
Stars: Joel Edgerton, Felicity Jones, Kerry Condon, William H. Macy, Nathaniel Arcand
Runtime: 102 minutes
Year: 2025

The creative team behind such films as “Jockey” and “Sing Sing,” return with Netflix’s “Train Dreams.” The film follows Robert Grainier (Joel Edgerton), a man with was orphaned as a child, with no real roots of his own. He is a logger and railroad worker in the Pacific Northwest. He spends much of his time on the road, which doesn’t seem all that terrible until he meets Gladys (Felicity Jones). Soon, the pair are married, start their family on their very own homestead. It becomes harder to leave each time he needs work, and while he’s away, he is surrounded by a variety of men - some escaping from their lives, some unable to resist the allure of Mother Nature, some trying to start anew on the other side of the world.

Grainier (Joel Edgerton) in “Train Dreams: (2025) | Netflix

“Train Dreams” is a hypnotizing American epic, showcasing the great expanse of the West while being deeply grounded in these exceedingly moving performances. Edgerton has never been better; as Grainier - as most call him - Edgerton has an exterior of stoicism but a well of emotions underneath. You see that after one of his fellow railroad workers is killed in a racially motivated attack. He becomes haunted by his choices or, rather, inaction in such a moment. Moreover, you see that as he moves from lonely bachelor to husband and father. Living in the harshness and unforgiving nature, he still exudes a quiet care and compassion with his daughter. The interiority of Grainier makes Edgerton’s performance one of the most engaging, and ultimately heartbreaking, particularly as he is routinely confronted with the rapidly changing world around him.

Jones is equally sublime. She exudes a tenderness that you can’t help but be enraptured by, much like Grainier himself. The two-time Academy Award nominated actress is at her best when she can play with the interiority of her character and give texture in subtle, yet surprising ways. She’s not the main character, but her presence imbues the film. The film hinges upon her performance and subversively puts the audience in Grainier’s shoes effortlessly.

Other performances of note are that of Kerry Condon as Claire Thompson, a forestry worker, William H. Macy as Arn Peeples, a veteran logger, and Nathaniel Arcand as Ignatius Jack, a local storekeeper  While their screen time is brief, all three actors not only bring deep wells of emotion in their performances, but are impeccable scene partners for Edgerton, giving him the space and energy needed for their scenes. Their moment on screen are memorable and poignant.

Gladys (Felicity Jones) and Grainier (Joel Edgerton) in “Train Dreams” | Netflix

“Train Dreams” is also visually stunning. The cinematography by Adolpho Veloso is hypnotic and alluring, with the full beauty and power of nature captured in each frame. The look of the film is absolutely breathtaking and use the visual aspects of filmmaking to its full advantage. It is one of the best shot films of the year. Not only is the film stunning to look at, but the pacing is immaculate. Editor Parker Laramie has a patient, melodic pace, which fully captivates you. The long shots of nature, and the choices to really dig into a moment either in extended wide shots or in intimate close ups, make this film feel timeless.

Rarely do I leave a film completely speechless, but it felt as if I had the wind knocked out of me. From the beautifully human performances to the breathtaking cinematography, “Train Dreams” harkens back to the sweeping epics of cinema’s Golden Age. Few films have equally enchanted me and utterly devastated me the ways in which this film has done.

Grade: A+
Pair This Film With: “Causeway” (2022) dir. Lila Neugebauer; “First Cow” (2020) dir. Kelly Reichardt; “Nomadland” (2020) dir. Chloe Zhao; Old Joy

Review: “Roofman”

By Morgan Roberts

Director: Derek Cianfrance
Writers: Derek Cianfrance and Kirt Gunn
Stars: Channing Tatum, Kirsten Dunst, Ben Mendelsohn, Uzo Aduba, Peter Dinklage, Juno Temple, Emery Cohen, LaKeith Stanfield, Melonie Diaz, Molly Price, Lily Collias, Tony Revolori, Jimmy O. Yang, Kennedy Moyer
Runtime: 126 minutes
Year: 2025

For two years, Jeffrey Manchester (Channing Tatum) found himself robbing McDonald’s restaurants across the country. Meticulously planned, Manchester used the only skills he had following his time in the US Army to rob each McDonald’s, remaining calm and cordial to the workers inside. That is, until one day, Manchester’s robbery didn’t go as planned. While police could not confirm he was responsible for the 40-60 robberies attributed to The Roofman - Manchester entered buildings by hacking or sawing through the roof - he was ultimately sentenced to 45 years in prison.

In the film based on these true events, “Roofman” explores the real-life crimes of Jeffrey Manchester, investigating the ways poverty shapes of the lives of ordinary people, and how grace can be bestowed upon the most complicated people. Through voiceover, the film provides this background of Manchester’s life and what led to his incarceration which quickly became his escape. After escaping prison, Manchester lays low by hiding in a Charlotte, North Caroline Toys “R” Us store - remember those?! While in the store, he finds a place to hide during the day, roaming the store at night after disabling the security cameras. Soon, he becomes enamored by single mom, Leigh (Kirsten Dunst) who works at the store. It is his eventual desire to connect with Leigh that begins the biggest risk he’s ever taken: hiding in plain sight.

Channing Tatum and Kirsten Dunst in “Roofman” | Paramount Pictures

The film follows the actual events quite closely, while, understandably, making some alterations for the flow of the film. On paper, “Roofman” appears to be some combination of a heist film and a rom com, but the film happens to be far more. At the core of the film is a deeply human understanding of the complicated circumstances Jeffrey found himself in. We know that the leading driver for people to join the military is poverty. As of writing this, in the midst of a government shutdown, we are witnessing service members and their families utilizing food banks as pay days come and go without checks or deposits. “Roofman” doesn’t have to fully spell it out for its audience for people to grasp the ways in which poverty have shaped Jeffrey’s life and been the catalyst for his choices. The film also understands that you can contextualize without condoning Jeffrey’s actions. The comedy of the film works because, even as an armed robber, Jeffrey is polite, calm, seemingly caring despite his act of violence. The film expertly allows for both truths of Jeffrey to exist: he is trying his best to provide for his family and in doing so, is partaking in criminal activity.

We see Jeffrey even try to reckon with his own decisions as he begins attending church with Leigh, becoming a member of that community. There is a drive to provide for Leigh and her two daughters, but that ultimately comes from a place of self-interest. His desire for connection outweighs any possible consequences not just for himself but for Leigh. It is truly striking that a film marketed so heavily on the hijinks and romance could be so deeply moving and empathetic. But that is unsurprising from a filmmaker like Derek Cianfrance who has always excelled in the murky complexity of people. Nevertheless, unlike some of his past work, “Roofman” feels like a film that wears its heart on its sleeve. It is certainly elevated by its performances. Tatum is at his best here, delving so earnestly into Jeffrey’s reality and worldview. One Wikipedia search tells you that Jeffrey’s days at Toys “R” Us were numbered before being captured again, so, we have to understand that even with his extreme intelligence, there is a caring person who struggles the path he has chosen. Tatum has always been great at comedy, but there are many heartfelt and tender moments that set this performance apart. And even with his touching moments, it is Dunst who is the heart of the film. She so assiduously walks in Leigh’s shoes. There are moments of Leigh’s compassion cut through the core of a scene, recentering the moment from jovial and comedic, to deeply human and sympathetic.

Furthermore, aiding this film are a host of lived-in supporting performances. From fellow former 82nd Airborne Division member turned criminal Steve (LaKeith Stanfield) to Toys “R” Us manager Mitch (Peter Dinklage), Pastor Ron Smith and his wife Eileen (Ben Mendelsohn and Uzo Aduba) to Leigh’s daughters Lindsay and Dee (Lily Collias and Kennedy Moyer), the film is populated with supporting performances that make the world we’ve entered feel complex and layered. No part is too small, and each actor feels real - I understand this is based off of a true story, but news interviews and documentary footage can only tell you so much about a person. You feel you understand who these people are, how they relate to one another and the journey they take us on. There are many times when a film has numerous big names, many supporting characters, and it can feel as if people are underutilized or the space feels too crowded. But in “Roofman,” it feels natural to have these characters make up the fabric of this story.

“Roofman” manages to retain the extraordinary nature of the true story, while exploring profoundly compassionate moments rooted in the humanity of its subjects. With moving performances and Cianfrance’s attune execution, the film is a rollercoaster worth your time.

Grade: A-
Pair This Film With: “Can You Ever Forgive Me?” (2018) dir. Marielle Heller; “Kajillionaire” (2020) dir. Miranda July; “Mikey and Nicky” (1976) dir. Elaine May

Review: “A House of Dynamite”

By Morgan Roberts

Director: Kathryn Bigelow
Writer: Noah Oppenheim
Stars: Idris Elba, Rebecca Ferguson, Gabriel Basso, Jason Clarke, Greta Lee, Jared Harris, Tracy Letts, Anthony Ramos, Moses Ingram, Jonah Hauer-King, Malachi Beasley, Brian Tee, Brittany O’Grady, Gbenga Akinnagbe, Willa Fitzgerald, Renée Elise Goldsberry, Kyle Allen, Kaitlyn Dever
Runtime: 113 minutes
Year: 2025

A nuclear missile is headed towards the United States. Government intelligence agencies, military leaders, emergency response sectors, and the administration all must respond. Who is attacking them, why, and is this just the beginning? In a call back to Cold War-era anxieties, Kathryn Bigelow explores the tensions aid today, interrogating the current state of the world in a “what-if” scenario in her latest film, “A House of Dynamite.”

The film has a three-act structure. Each act watches the events unfold from various perspectives. The first act - which was my favorite - saw the initial discovery of missile launch from Fort Greely, Alaska and from the White House situation. At Fort Greely, an Army base, service members including Major Daniel Gonzalez (Anthony Ramos) race against the clock to launch anti-ballistic missiles in hopes of saving countless lives in a yet-to-be-determined target. Meanwhile, Captain Olivia Walker (Rebecca Ferguson) and her team in the White House Situation Room attempt to coalesce the President, the Defense Secretary, security advisers, and emergency response teams to determine the validity of this attack. It is in this act that the film works best. The tension throughout this portion of the film is palpable. The actors portraying the service members in Fort Greely so effortlessly set the tone of the stakes. This is elevated largely by Ferguson’s performance in the Situation Room and in particular with her main acting partner in the scene Malachi Beasley (who plays SCPO William Davis). Ferguson shifts through calm, cool, and collected to in denial to in survival so seamlessly. By the end of the initial act, there is a visceral reaction to the film.

Rebecca Ferguson in “A House of Dynamite” | Netflix

Sadly, “A House of Dynamite” never reaches Act I’s tone or tension, though later acts certainly divulge further information on the events which transpired. There are standout performances in the later acts with Moses Ingram as Cathy Rogers of FEMA, Tracy Letts as General Anthony Brady, and Jared Harris as Secretary of Defense Reid Baker. Nevertheless, with an ensemble this big, there is great work lost in the mix - Greta Lee as Ana Park, NSA’s North Korea expert, immediately comes to mind.

Given the state of the world geopolitically, “A House of Dynamite” feels like a call to action on the very real anxieties we all hold. In the same vein as Stanley Kubrik’s “Dr. Strangelove Or: How I Learned to Stop Worrying and Love the Bomb” or Sidney Lumet’s “Fail Safe,” the film wants to interrogate those fears and explore the possibilities if something such as this did occur. Unlike those Cold War films, “A House of Dynamite” quickly loses steam in the monotony of structure of the film. If there was some retooling to how the film played out, or trimming it into two acts, the film could have retained some of its steam. Moreover, while there is some ambiguity in the film that keeps it intriguing, the ending of the film does a disservice to it. Maybe because it was easy to compare the film to Lumet’s  “Fail Safe,” but if “A House of Dynamite” took some inspiration from the 1964 film’s ending, the film could have concluded on a much stronger note.

There is no denying Bigelow’s prowess as a filmmaker and storyteller. Her career has taken her to investigating themes of intelligence, purpose, the gray areas when trying to do what is “right.” It has been eight years since her last film, “Detroit” which was released in 2017. “A House of Dynamite” felt easier to connect to than her previous endeavor, and felt like a return to her wheelhouse even if it is a screenplay by Noah Oppenheim and not her collaborator on her previous three films, Mark Boal. Bigelow sets the stage for a tense thriller, but falters through the later acts. Luckily for “A House of Dynamite”, Ferguson gives a stunning performance making her work a true standout in the film.

“A House of Dynamite” begins a two-week theatrical run on Friday, 10 October 2025 and premieres on Netflix on Friday, 24 October 2025.

Grade: C
Pair This Film With: “Black Widow” (2021) dir. Cate Shortland; “The Peacemaker” (1997) dir. Mimi Leder

Review: “Eleanor the Great”

By Morgan Roberts

Director: Scarlett Johansson
Writer: Tory Kamen
Stars: June Squibb, Erin Kellyman, Chiwetel Ejiofor, Jessica Hecht, Rita Zohar, Will Price
Runtime: 98 minutes
Year: 2025

Eleanor Morgenstein (June Squibb) is at a crossroads in her life. Following the death of her best friend Bessie (Rita Zohar), Eleanor is moving back to New York City after living in Florida for years. She moves in with her recently divorced daughter Lisa (Jessica Hecht) and her grandson Max (Will Price). The Yorkville apartment begins to feel constricting as Eleanor spends long periods alone, even on Shabbat when no one joins her for dinner. Lisa signs up Eleanor for a group at the local Jewish Community Center (JCC), where she accidentally joins a Holocaust survivor support group. The only problem is that her survivor story actually belongs to Bessie. Nevertheless, this harrowing tale piques the interest of journalism student Nina (Erin Kellyman). Soon, Nina and Eleanor begin an unlikely friendship, one which connects Nina to her Jewish roots following the recent death of her mother. But as Nina continues to pursue the tales Eleanor tells, her father, news anchor Roger (Chiwetel Ejiofor), becomes involved, which jeopardizes Eleanor’s friendship with Nina.

“Eleanor the Great” is the feature directorial debut from Oscar-nominated actress Scarlett Johansson. A New York, native, Johansson infuses the city as an omnipresent character throughout the film, paying homage to the neighborhood that shaped her youth. The city is as much a character as Eleanor and the people who populate her world.

Eleanor herself is a tad of a prickly character. She is self-assured and while it demonstrates her independence, it can also come across as arrogant and belittling. But her harsh delivery comes from a desire to care for those around her, especially Bessie, who, even after her passing, Eleanor finds ways to continue to care for her memory. Eleanor also has a connection to her Jewish faith, seeking to have a bat mitzvah in her 90s. It’s this connection that leads her to Nina. Squibb shines in Eleanor’s layers. A woman so desperate for connection, she goes to great lengths for it. Squibb also fearlessly leans into Eleanor’s imperfections, giving her hues and shades which demonstrate that making mistakes and learning from them is a timeless journey. It’s a deeply human performance that is also aided by the great work of her frequent scene partner, Erin Kellyman.

Nina (Erin Kellyman) and Eleanor (June Squibb) in “Eleanor the Great” | Sony Pictures Classics

Kellyman brings a beautiful depth to her performance. Nina has recently lost her mother, her father - in his own grief - isn’t able to talk to Nina about her mom, and in an effort to connect with her parents, she finds avenues to interrogate their identities. To connect with her father, Nina deviates from creative writing and focuses her education on journalism. Rooted in her education is a desire to be seen by her own father. To connect with her mother, she begins to explore Judaism, with support and guidance from Eleanor. Kellyman allows Nina’s vulnerabilities and hopes and dreams shine in truly nuanced ways. Her characterization is far more interior, but it draws the audience in. Kellyman truly holds her own in many scenes with Squibb, adding a soft assured nature to juxtapose Eleanor’s sometimes abrasive demeanor. Her gentleness gives Eleanor room to soft a bit herself. Squibb and Kellyman truly are the highlights of this film.

While “Eleanor the Great” has heart and charm thanks to the performances of Squibb and Kellyman, the film wavers in its sources of conflict. The film feels as if it is trying too hard and trying to say too much when really, this is just a story about grief, living in bereavement, and what it means to be a person. Instead, we have unnecessary plot points and too much it plans to explore that what it is saying is far more superficial than it believes itself to be. For instance, the main source of conflict is Eleanor pretending to be a Holocaust survivor, sharing Bessie’s experience as her own. This could be plausible pre-2000, but given how easy it is to research someone on the internet, this catalyst is utterly baffling and unbelievable. Additionally, the threads of grief and Jewish identity aren’t able to co-exist without this mind-boggling source of conflict, which is a shame because these explorations, while very surface-level, are the more compelling aspects of the film. The film suffers from an inconsistent thesis,l which undermines the work of the actors.

There are moments where “Eleanor the Great” shines, and it is largely due to the captivating work of its actors. Sadly, because of a muddled execution, the film is difficult to believe, and, at times, frustrating to watch. My hope is that Johansson finds another story to return to directing. You can tell there’s talent as a director by the performances seen in the film; those are glimmers of hope. But you can’t help but wonder what Johansson would be able to achieve with a tighter script, a clearer thesis, and other personal avenues to explore. “Eleanor the Great” truly wears its heart on its sleeve but struggles to truly get to its emotional core.

Grade: C
Pair This Film With: “Laggies” (2014) dir. Lynn Shelton; “Late Bloomers” (2023) dir. Lisa Steen

Review: “Twinless”

By Morgan Roberts

Director: James Sweeney
Writer: James Sweeney
Stars: James Sweeney, Dylan O’Brien, Lauren Graham, Aisling Franciosi, Chris Perfetti
Runtime: 100 minutes
Year: 2025

There is a special kinship that twins share. What happens to those who lose their twin? And who enters their life as a way to fill that void? In his second feature film, James Sweeney explores how one man’s recent loss becomes another man’s obsession. Roman (Dylan O’Brien) journeys to Portland after the death of his twin brother Rocky (also portrayed by O’Brien). Struggling to cope, Roman remains in the city but finds a grief support group for “twinless” individuals. It is here that he meets Dennis (James Sweeney). The two men quickly befriend each other, with Roman gravitating toward the companionship Dennis is extremely willing to provide. But there’s more to Dennis’s story than what he’s initially willing to share.

As writer and director Sweeney is unafraid to make this dark comedy, well, dark. The trailer for “Twinless” certainly hooks you on the quirkiness of the film; yet, the film has a darkness which grows throughout the film, eventually permeating the world and the characters which inhabit it. It is difficult to write about the film without giving away the intriguing and surprising elements. It is a testament to Sweeney’s writing and vision. So frequently, we are anticipating plot points and certain beats. Sweeney doesn’t necessarily break rules, but he certainly tests the boundaries.

Elevating this film are the performances. O’Brien plays double duty as both twins. Even with some slight physical appearance alterations, O’Brien is able to fully flesh out both characters, highlighting their district personalities without minimizing the singularly unique bond shared by twins. We never see the twins together and O’Brien is still able to convey a closeness only twins can have. Moreover, O’Brien expertly weaves in Roman’s vulnerabilities with the shield of anger he reverts to. So infrequently do we get to see the internal struggle of societal expectations of masculinity with the emotional depth men have. It is through Roman’s imperfect journey with grief that we find his humanity. I find it rare to find male characters given the room to grieve in a complex, nuanced way.

Roman (Dylan O’Brien), Marcie (Aisling Franciosi), and Dennis (James Sweeney) in “Twinless” | Photo Courtesy of Roadside Attractions

In front of the camera, Sweeney brings Dennis and his prickliness to life. Dennis is quiet and introverted, but deeply lonely. His search for connection and companionship guides his journey. Yet, he can also be dismissive and a bit self-righteous, particularly with his co-workers such as Marcie (Aisling Franciosi). It can be difficult to toe the line between tenderness and thorniness, and yet Sweeney manages to ensure the spectrum of Dennis’s behaviors, desires, and attributes feel true. So often, the “unlikeable” character is left for minor characters or antagonists. Even when we encounter the anti-hero archetype, there is something honorable about their actions. Dennis and his yearning for connection feels authentic, but his other attributes are not diminished or excused if he fit into the typical character archetypes we see male characters fall into.

As a writer, Sweeney clearly understands the importance of world building, particularly how characters can greatly impact what the world feels like for audiences. Big and small, characters have some nuance or some layers which give us the sense of where they inhabit. In particular, the Marcie character greatly demonstrates this. In lesser hands, the eventual love interest of centra character would usually be quite one note. In “Twinless,” Marcie takes us by surprise with the glimpses into her world and those who populate it. It gives the audience the opportunity to be just as surprised as Dennis by the life Marcie leads that is not tied directly to Dennis or even eventually Roman. This attention to detail struck me as I would expect for this character to feel very serving to our main character; in this film, she is very important for both characters, and while used as a catalyst in propelling the film forward, it feels like the correct choice, and not forced.

“Twinless” garnered a lot of attention following its premiere at Sundance. Rightfully so. It is grounded in the humanity and existential desire for community and connection, whether that be due to the death of a loved one or something even more innate. While O’Brien gives a charming and thoughtful performance, Sweeney truly steals the show with his thorny performance. In front of and behind the camera, Sweeney’s voice and vision is singular and efficacious.

Grade: A
Pair This Film With: “Kajillionaire” (2020) dir. Miranda July; “The Pretty One” (2013) dir. Jenée LeMarque

Review: “It’s Never Over, Jeff Buckley”

By Morgan Roberts

Director: Amy Berg
Runtime: 106 minutes
Year: 2025

The conversation around Jeff Buckley has largely been shrouded by the events of his passing. His death, for many years, was incorrectly attributed to drugs and/or alcohol. Throughout his life, the albatross of being Tim Buckley’s son weighed him down a bit, particularly for comparisons to a man Jeff never really knew before Tim’s untimely death. But the truth and Jeff’s life lies somewhere in between these tragedies. His music, his artistry, his voice have long been muddled, and now, through interviews, archival footage, and his music, his story is brought to light in new ways in Amy Berg’s documentary film, “It’s Never Over, Jeff Buckley.”

Through interviews with his family and friends, archival footage, and his music, Berg delves into Buckley’s life. The son of teen parents, Buckley was raised primarily by his mother, Mary Guibert. In her interviews, Mary highlights Jeff’s early years, his musical interests. The film also delicately handles Jeff and Tim’s relationship. Noting Tim’s absence for much of Jeff’s life and their single meeting before Tim died of a drug overdose. His father’s death, along with his shadow hung over Jeff throughout much of his life. Hearing his mother and others talk about that displays that his father’s abandonment and unexpected passing had a larger impact on Jeff than maybe Jeff was able to fully discuss or comprehend. And even though the film touches on it, it does not dwell in a way that I think, in lesser hands, one would expect. It is not the only event (or ripple effects) which shaped Jeff’s life, and Berg ensures it is not the only aspect we explore as we aim to understand Jeff.

Jeff Buckley and Mary Guibert in IT’S NEVER OVER, JEFF BUCKLEY, a Magnolia Pictures release. Photo courtesy of Magnolia Pictures.

Berg paints a portrait of the art that influenced Jeff. Led Zeppelin, Nina Simone, Judy Garland, and Nusrat Fateh Ali Khan were huge influences on Jeff’s music. Berg gives a sense of that art and pairs it with the melodies, lyrics, and vocalizations Jeff explored in his music. Music documentaries can be exceedingly difficult with just the investment in the music alone. In addition to Jeff’s music, the film is filled with Zeppelin, Simone, and others to give audiences a tapestry of sound. They become puzzle pieces that begin to fit together as you hear how “The Man Who Got Away” influenced Jeff’s work. Moreover, for a musician who started by doing covers - and one of his most noted songs, “Hallelujah,” is a Leonard Cohen cover - you also get glimpses of how Jeff made covers uniquely his. He is not the only artist to make a name for themselves with a cover - or some artists really only do covers. What makes it compelling is how an artist can take a song and make it their own. We get snippets from footage from shows or his cover of “Hallelujah,” and his unique artistry, his vocalizations shine through.

His music plays a huge role in this documentary, weaving togethers the stories others share with the reflections of his own experiences of those reality in his songs. It is breathtaking to hear from Rebecca Moore, her relationship with Jeff, and the music that came from the end of their romance. Listening to Mary talk about her son, and hearing how that came to life in his work. Joan Wasser, his partner at the time of his death, discussing their relationship, and witnessing Jeff’s understanding of love. It is the most moving element of the film, and it brings him to life in a way. It finds new shades and meanings and little revelations which make the songs we’ve heard for three decades feel new.

Jeff Buckley in IT’S NEVER OVER, JEFF BUCKLEY, a Magnolia Pictures release. Photo credit: Merri Cyr. Photo courtesy of Magnolia Pictures.

Berg also does not shy away from the difficulties Jeff faced with the pressures of the music industry and the need to make a second record. Those pressures caused Jeff’s mental health to begin to waver, creating internal struggles that would manifest in agitation, rumination, and depressed mood. Considering Jeff’s untimely death has been attributed to the “rock start lifestyle,” it feels a bit risky to explore this part of Jeff’s story; but it would also be a disservice to his memory to omit it. Berg ensures that we hear from those who were around him during this period. Having a parent die young - Tim was only 28 years old when he died - did create a sense of dread in Jeff. You hear from others that he feared he would die young, just like his father. But, you also hear how he was navigating fame and industry pressures; how he was beginning to find peace and letting go of the elements he could not control. He wasn’t a perfect human, and his mental health certainly suffered with the need to make a second album, but he clearly was finding a way to move forward, feeling confident about the new music he was creating. When we do come to Jeff’s passing, the tragedy feels insurmountable all over again. 28 years later, it seems so unimaginable how much Jeff had to give and how short his time was on earth.

It is a fascinating and moving portrait of an artist and a human who used music to connect with others and themself. As younger generations discover Jeff Buckley’s music, “It’s Never Over, Jeff Buckley” is a documentary which pays tribute to the musician and the man who touched so many with his work. The film is deeply emotional and beautifully honors Jeff Buckley.

Pair This Film With: “Her Effortless Brilliance: A Celebration of Lynn Shelton Though Film and Music” (2020) dir. Megan Griffiths; “Miss Sharon Jones!” (2015) dir. Barbara Kopple; “Thank You and Good Night” (1991) dir. Jan Oxenberg
Grade: A

Review: “Don’t Let’s Go to the Dogs Tonight”

By Morgan Roberts

Director: Embeth Davidtz
Writer: Embeth Davidtz
Stars: Lexi Venter, Embeth Davidtz, Zikhona Bali, Fumani Shilubana, Rob Van Vuuren, Anina Reed
Runtime: 100 minutes
Year: 2025

How do we reckon with our past? Following fights for freedom from white colonization, oppression, and apartheid, nations in Africa began declaring independence. Many of the white inhabitants of these nations were forced to confront their own culpability in their abuses of the people of Africa. In Embeth Davidtz’s directorial debut, “Don’t Let’s Go to the Dogs Tonight,” the real life story of one family’s reckoning is told through the eyes of a young child.

The film is based off of the memoir of the same name by Alexandra Fuller. Admittedly, I have not read the book and thus, would be unable to fully compare this film to the source material. In this adaptation, Bobo (Lexi Venter) witnesses her family’s increased anxieties about their future as the people of Rhodesia (the nation we now call Zimbabwe) begin to decide their path forward following their long-fought struggle for independence. At 8 years old, Bobo is an inquisitive young person, peppering her family’s housekeeper (and servant), Sarah (Zikhona Bali) with questions. Sarah explains the customs and cultures prior to white colonization. During this fraught time, Bobo begins to wonder about her own place in the world and the choices being made around her.

Bobo (Lexi Venter) in “Don’t Let’s Go to the Dogs Tonight” | Sony Pictures Classics

Outside of Sarah, Bobo has largely dysfunctional adults to look up to. Her father, Tim (Rob Van Vuuren) is largely absent. And when he is present, he can be quite distant. Her mother, Nicola (Davidtz), is a racist alcoholic who feels entitled to the land stolen just a few generations before her. Nicola is cold, abrasive, and, at times, downright abusive. For those familiar with Davidtz in “Matilda,” it’s the polar opposite of Ms. Honey. Nicola has also experienced immense tragedy, losing several children. What the film does so well is contextualize these people, most notably Nicola, without condoning their actions or attitudes. It gives layers and nuance to exceedingly complicated people without excusing their behaviors.

With a tight runtime that doesn’t quite reach 100 minutes, there are some elements that feel a little underdeveloped, particularly when analyzing the history of the region. Much of the film comes from the perspective of an 8 year-old which means out understanding of events are explored at that level. Nevertheless, there are hints here and there which aim to paint a fuller picture, but don’t quite encapsulate that history. That said, if you are a researcher, the film does inspire a great Wikipedia deep dive into the history of the region.

Behind the camera, Davidtz has a clear and strong vision. It is evident that she understands Fuller’s story and aims to honor her truth, especially for who she was at that point in time. Davidtz is not shy in her depictions of racism, prejudice, and moments of pure evil, at the hands of the white adults we see in the film. It is largely critical of those who fought to continue to benefit from the disenfranchisement of others, on land stolen by their ancestors.

“Don’t Let’s Go to the Dogs Tonight” is a coming of age film during a tumultuous period of Southern African history. While the film has some underdeveloped ideas, as a filmmaker Davidtz clearly understood Fuller’s truth and the need to critique white colonialism from the not-so-long-ago past.

Grade: B
Pair This Film With: “Dahomey” (2024) dir. Mati Diop; “Mississippi Masala” (1991) dir. Mira Nair; “White Material” (2009) dir. Claire Denis

Tribeca Film Festival 2025 Review: “Maintenance Artist”

By Morgan Roberts

Director: Toby Perl Freilich
Runtime: 95 minutes
Year: 2025

How can trash be transformed into art? Mierle Laderman Ukeles has been one of New York City’s longest serving Artist in Residence. In 1977, she became the Artist in Residence at the New York City Department of Sanitation, and in the process began to reframe what sanitation, essential work, and community truly mean. In Toby Perl Freilich’s documentary, “Maintenance Artist,” Ukeles’ decades-spanning career as an artist was in full focus. Prior to her work with the sanitation department, Ukeles was making feminist art, highlighting the service and labor of women, thus creating a larger art form of “maintenance” art.

Her work with the NYC Department of Sanitation began at a critical time. The department had their budget slashed, staffing cut, morale amongst sanitation workers was decimated while the public lost trust in the department. Ukeles took this opportunity to begin to humanize the workers from the sanitation department, and understand how their labor impacts society.

Ukeles’ work has always focused on labor, particularly the underpaid and/or underappreciated. Essential work such as parenting, sanitation, restoration, preservation, that largely goes unnoticed when it’s operational but becomes an area of contention when it isn’t. It is a fascinating perspective to take. And it is also pertinent. Especially as work that is needed for our society to operate, work that is largely ignored or undervalued by people as a whole.

Still from “Maintenance Artist” | Tribeca Film Festival

All art is political, and there is nothing more political than interrogating the work we belittle while relying so heavily on the labor of others. As the film unfolds, we witness the lengths Ukeles took to really dig into what sanitation workers’ realities were like. Her approach is deeply human and deeply invested in their experience. Her art then transforms into a manner which bears witness to these realities far from the gaze of society. The film progresses in the same fashion - exploring Ukeles, her art, and her passion through interviews and through bearing witness to her art itself.

Freilich understands the totality of Ukeles, exploring the many facets and identities which weave together the tapestry of her humanness. It is through those identities we come to know Ukeles’ passion. Her art stems from her own experience as a mother, as a caregiver, as a misunderstood art student. As a feminist, a Jewish woman, as an artist, the way she moves through the world has informed the truths she has connected with, and in turn, the stories she wishes to tell. As we watch her meet with largely men who work in sanitation, her openness allows these tough exteriors to fade. Men begin to talk about their frustrations, their fears, their struggles. We learn many veterans began working for the city due to the yearning for the stability. Particularly for the Vietnam veterans of the group, once left behind by the U.S. government, they once again feel abandoned by New York City. Her art may not always be the tactile pieces such as the photographs and videos, but the magic that comes with being seen and heard.

“Maintenance Artist” is a stunning portrait of one woman who gave voice to thousands of underseen, undervalued, and underappreciated essential workers. Through her desire to highlight the most crucial work throughout society, Ukeles has managed to piece by piece transform how others view maintenance. Freilich’s keen eye and dedication to Ukeles’ work and vision ensures this documentary film feels insightful, inspiring, and powerful.

Grade: A
Pair This Film With: “All the Beauty and the Bloodshed” (2022) dir. Laura Poitras; “Maudie” (2016) dir. Aisling Walsh; “Showing Up” (2023) dir. Kelly Reichardt

Tribeca Film Festival 2025 Review: “Birthright”

By Morgan Roberts

Director: Zoe Pepper
Writer: Zoe Pepper
Stars: Travis Jeffery, Maria Angelico, Linda Cropper, Michael Hurst
Runtime: 90 minutes
Year: 2025

Zoe Pepper’s “Birthright” is a dark comedy that tackles every millennial’s worst fear: having to move back in with your parents. Expectant parents Cory (Travis Jeffery) and Jasmine (Maria Angelico) are down on their luck. Losing their housing in an already strained housing market, they turn to Cory’s parents, Lyn (Linda Cropper) and Richard (Michael Hurst). But Cory’s wealthy Boomer parents aren’t particularly thrilled to have their grown son and daughter-in-law move into their home unexpectedly. Soon, the cohabitating couples find themselves at odds, with tensions quickly rising.

Jasmine (Marie Angelico), Cory (Travis Jeffery), Lyn (Linda Cropper) and Richard (Michael Hurst) in “Birthright” | Tribeca Film Festival

Currently, given the stark financial differences between generations, this scenario is realistically nightmarish. The idea of having to go back to the affluent life you were raised in with nothing to show. And as millennials begin to enter their 40s, that widening gap is only more striking. Just two to three generations ago, someone in their 40s had moved into a more permanent home, had several children, job stability. Cory, like many in his generation has not been afforded the same luck. Despite having wealthy parents, he does not have work, he is just now starting his family, and it comes at the worst time when he and his wife had just been evicted from their home. It is a horror that is a reality for many.

Nevertheless, the film is rather unrelenting, showing the divide between the young couple and Cory’s parents. From the get-go, we are introduced to Richard and Lyn as controlling, conceited, snobbish, and inflexible. Right out of the gate, the actions of Lyn and Richard feel more appropriate for a final act of a film, and not the start of understanding interpersonal dynamics. This choice makes it quite difficult for the film to sustain that level of discomfort. By the last act, the antics have been so exaggerated and grating, that the end of the film could not come fast enough.

“Birthright,” while grounded in a really interesting and timely premise, the overall film feels a bit too much. The stakes are seen as high for so long that by the end, it is hard to care how any of these characters will come out of this. With everything heightened for so long with no real change, it makes it difficult to remain invested in the same cycle this family has found themselves in.

Grade: C
Pair This Film With: “Fish Tank” (2009) dir. Andrea Arnold; “Hatching” (2022) dir. Hanna Bergholm; “Run Rabbit Run” (2023) dir. Daina Reid

Tribeca Film Festival 2025 Review: “Tow”

By Morgan Roberts

Director: Stephanie Laing
Writers: Jonathan Keasey, Annie Weisman, and Brent Boivin
Stars: Rose Byrne, Octavia Spencer, Dominic Sessa, Ariana DeBose, Demi Lovato, Simon Rex, Elsie Fisher, Bree Elrod, Corbin Bernsen
Runtime: 105 minutes
Year: 2025

Amanda Ogle (Rose Byrne) is down on her luck. In desperate need for some form of employment, Amanda goes from interview to interview in her car, which also happens to be where she currently resides. Her job search is upturned when her car is stolen. Soon recovered, the car was brought to a tow lot. But in order to get her car back, she must pay a fee. That is money she does not have. Stephanie Laing’s “Tow” is based off an inspiring (and downright infuriating) true story of one woman’s tenacity and gumption to fight a corporation exploiting poverty.

Amanda (Rose Byrne) in “Tow” | Tribeca Film Festival

The film opens up with the following statistic: The number of people who live in their cars is between 1 and 3 million people. Amanda was not simply residing in her vehicle for the flexible lifestyle, but out of necessity. After struggles with alcohol usage, Amanda was forced to move into her 1991 Toyota Camry. Her car was her home. According to the National Alliance to End Homelessness, over 650,000 people were unhoused on a given night in January 2024. So when she is slapped with a several hundred dollar fee for a car that was stolen, she attempts to use every means possible to get her car back, leading her to eventually recruit the help of pro bono lawyer Kevin (Dominic Sessa) as they square off against a bullying corporate lawyer.

“Tow” does something quite special. It aims to humanize those experiencing homelessness. While not all shelters are built the same, we witness Amanda’s recollections and encounters with other residents and shelter director, Barb (Octavia Spencer). With our current political and societal climate, as well as the growing misconceptions and fear-mongering surrounding homelessness, it is refreshing to watch a film squarely in Amanda’s corner. Amanda is largely self-reliant, resilient, and resourceful. But even she is no match against a system designed for her to fail. The realty that countless unhoused folks are in similar situations. Fines, adding up, unable to pay, but seeking employment. Unable to find employment due to unstable housing and lack of transportation. Rinse and repeat.

“Tow” is a film with a lot of heart, centered on restorative justice, individual perseverance, and the power of community. Byrne gives a grounded and incredibly empathetic performance as Amanda as she fight back against a system which exploits poverty and further disenfranchises vulnerable members of our society.

Grade: B-
Pair This Film With: “Nomadland” (2020) dir. Chloe Zhao; “North Country” (2005) dir. Niki Caro; “Wendy and Lucy” (2008) dir. Kelly Reichardt

Tribeca Film Festival 2025 Review: “A Tree Fell in the Woods”

By Morgan Roberts

Director: Nora Kirkpatrick
Writer: Nora Kirkpatrick
Stars: Alexandra Daddario, Daveed Diggs, Josh Gad, Ashley Park, Kevin Pollack
Runtime: 96 minutes
Year: 2025

In Nora Kirkpatrick’s “A Tree Fell in the Woods,” two couples begin to confront their relationships in a secluded house during a New Year’s Eve snow storm. Mitch (Josh Gad) and Melanie (Ashley Park) meet their friends Debs (Alexandra Daddario) and Josh (Daveed Diggs) at a rental to pass the time between Christmas and New Year’s. Debs and Mitch go way back, knowing one another since childhood. One day, after the two are nearly killed by a tree falling in the woods, they return to find more than they had bargained for with their spouses.

From L to R: Josh (Daveed Diggs), Debs (Alexandra Daddario), Mitch (Josh Gad), and Melanie (Ashley Park) in “A Tree Fell in the Woods” | Tribeca Film Festival

The film plays out, at times, as a Comedy of Errors, with everyone harboring some secret that is closely revealed through the course of the film. It is claustrophobic, particularly as the setting begin to shrink during a snowstorm. “A Tree Fell in the Woods” then becomes a pressure cooker as they four people navigate their frustrations, their personal failings, and their desires under one roof. A benefit to the film is the cast, with some of them having particularly strong chemistry - Daddario and Diggs are incredibly believable in their roles. Having a history with comedy, Gad and especially Park know how to play to the mezzanine with the latter adding impeccable nuance and layers to her performance. It is a delicate dance between anger, resolute, and hope these actors have the play into, with some solid performances to show for it.

Unfortunately, some of the twists and turns do not the film’s bare foundation. The plot begins to wear thin and it becomes hard to retain traction for a good portion of the second act. By the third act, the film certainly rebounds, but has problems reaching the heights it was intending to explore. The film may have benefited from additional conflict or utilizing some devices from the third act sooner, and then building off of those.

Editor Henry Haynes swoops in as MVP with some moments in the third act truly standing out - in particular, a dance montage that was surprisingly and genuinely fun to witness. While “A Tree Fell in the Woods” is a bit of a rocky ride, there are certainly some amusing and touching moments found in this film.

Grade: C
Pair This Film With: “Friends with Money” (2006) dir. Nicole Holofcener; “I’ll Take You There” (1999) dir. Adrienne Shelly; “The Intervention” (2016) dir. Clea DuVall