Author: Chad Liffmann

Film Review: “Wolf Man”

Wolf Man has a simplistic horror appeal, but is that enough?

Charlotte (Julia Garner) stares into the increasingly lupine eyes of Blake (Christopher Abbott) in ‘Wolf Man.’

From Leigh Whannell, the Australian director of Upgrade and the masterful modern-day reimagining of The Invisible Man, comes his new take on a Universal Monsters horror classic, Wolf Man. Distilling the werewolf mythos into a visceral it-all-happens-in-one-night movie, Wolf Man is efficient in its pacing and scares. However, the film lacks the emotional gravitas of a romantically strained family trying to reconnect during extreme circumstances. So, because Wolf Man clocks in at under two hours, is pleasantly ultra-predictable, and contains quality thrills, it’s a great choice for a frivolous movie night. Continue reading “Film Review: “Wolf Man””

Film Feature: Chad’s Top 20 Films of 2024

It’s been an odd year for movies, partly due to the lasting effects of labor strikes. There are very few masterpieces, and just as few disasters. Instead, 2024 featured a lot of solid 3-3.5 out of 5 star films, a healthy selection of entertaining fare that enabled the theater industry to finish the year far ahead of what many analysts had feared (box office-wise). Well, without further ado, here’s my ranked Top 20 best films of 2024 (and don’t forget to check out Carrie’s Top 10 Films of 2024 as well):  Continue reading “Film Feature: Chad’s Top 20 Films of 2024”

Film Review: “Nosferatu”

Eggers takes Nosferatu for a chilling, seductive spin

Lily-Rose Depp stars as Ellen Hutter in director Robert Eggers’ NOSFERATU, a Focus Features release.

In his films, Robert Eggers (The Witch, The Lighthouse, The Northman) loves to explore ancient rituals and antiquated language. Remaking Nosferatu, director F.W. Murnau’s 1922 German silent film based on Bram Stoker’s Dracula, seemed like a perfect fit due to the story’s gothic style, devilish rituals, and old-fashioned dialect. Eggers’ Nosferatu is a darkly seductive version of the classic horror story, with enough theatricality to make it the director’s most widely accessible film to date. Continue reading “Film Review: “Nosferatu””

Film Review: “Babygirl”

Kidman and Dickinson play with power dynamics in Babygirl

In case anyone doubts her, Nicole Kidman remains one of the most talented movie stars, still working, and proves it again in Babygirl. Kidman exists among a tiny group of actors who can effortlessly disappear into their diverse set of challenging roles. Babygirl represents another winning entry in her extensive filmography, which is a monumental testament to the longevity of her acting prowess. Babygirl is writer/director Halina Reijn’s follow-up to her comedy horror sleeper hit, Bodies Bodies Bodies. On the surface, the two films have very little in common, but within their respective stories is an incisive exploration of power dynamics and modern concepts of gender roles. Continue reading “Film Review: “Babygirl””

Film Review: “Mufasa: The Lion King”

Mufasa is a princely improvement, but still no match for the original King

The 2019 photorealistic remake of the 1994 classic The Lion King was a global box office sensation, but lacked the joy, energy, and instantly-memorable character portrayals of the original. When Oscar winner Barry Jenkins (Moonlight) announced he’d be directing a follow-up to the 2019 film, the choice seemed a peculiar one for the accomplished filmmaker. Upon watching Mufasa: The Lion King, however, we can clearly see (and feel) that Jenkins cared passionately about the thematic elements of the proposed prequel. Combined with original songs by Lin-Manuel Miranda and improved character designs, Mufasa: The Lion King is a superior follow-up to the 2019 film, even if it still fails to break new ground in any meaningful way. Continue reading “Film Review: “Mufasa: The Lion King””

Film Review: “The Brutalist”

The Brutalist is a towering achievement in epic visual storytelling

Ten thousand words could be written about the surreal, dizzying shot of an upside-down Statue of Liberty in The Brutalist, Brady Corbet’s epic tale of a Hungarian immigrant’s experience in America. The Statue of Liberty sequence lasts no more than twenty seconds, yet a skewed opinion of a burgeoning nation’s dreams, hopes, and promises lie within its symbolism. The Brutalist is filled with amazing imagery like the Statue of Liberty shot, and monumental performances to match them. With The Brutalist, from its musical score to its costuming, Corbet has assembled a modern masterpiece, a staggering filmmaking achievement that weaves together the majesty and tragedy of the American Dream into a captivating and intimate story. Continue reading “Film Review: “The Brutalist””

Film Review: “Nightbitch”

Nightbitch is a reductive maternal fable stretched thin

Being a mother is difficult. While I can’t personally attest to the difficulties of motherhood, I understand that to be objectively true. I’ve also seen many films across multiple genres that tackle the hardships of motherhood, from Freaky Friday to The Babadook. Many of these films depict how maternal hardships can be understood on deeper levels, or seen from a previously unexplored perspective. Facing the demands of motherhood, and depending on the genre, protagonists go on a journey of self-discovery through side-splitting humor, terrorizing horror, or tear-jerking drama. Nightbitch is a dark comedy that focuses so resolutely on the most fundamental difficulties of being a parent – losing sleep, social and professional sacrifices, too much to do and not enough time to do it – that the film’s creative supporting elements fail to make an impact. Continue reading “Film Review: “Nightbitch””

Film Review: “Queer”

Guadagnino’s soul-searching adaptation is a mixed bag of moods

If you’re familiar with the literary works of William S. Burroughs, then perhaps you won’t be surprised that film adaptations of his novels contain a strong sense of surreality, auto-biographicality, and intense intimacy. The latter characteristic is also prevalently featured in the works of director Luca Guadagnino (Call Me By Your Name; Challengers). Despite Guadagnino and Burroughs’ shared love for portraying romantic physicality, and Daniel Craig’s impressively daring and vulnerable performance, Guadagnino’s adaptation of the Burroughs short novel, Queer, tries and often fails to properly balance the two artists’ stylistic approaches. Continue reading “Film Review: “Queer””

Film Review: “The Order”

Hoult and Law bolster The Order’s thrilling real-world drama

This has been a monumental year for Nicholas Hoult. He has starred in four films: The Garfield Movie, Juror #2, The Order, and the upcoming Nosferatu. It’s difficult to envision a wider-range of films for an actor in one year, and The Order may be his most consequential role. In The Order, Hoult shares the spotlight with Jude Law, who is also playing against type. The film follows a series of real-life events that took place in the Pacific Northwest in the 1980s, with themes that continue to be relevant given the U.S.’s turbulent state of current political affairs. Procedural and moody, The Order avoids preachiness in favor of character exploration and thrilling action set pieces. Continue reading “Film Review: “The Order””

Film Review: “Gladiator II”

Gladiator II forgoes emotion in favor of blood and spectacle

In the summer of 2000, Gladiator reinvigorated audiences’ desire for the sword-and-sandal epic. This subgenre had mostly been relegated to the “classics” section of movie rental stores, with the likes of Spartacus and Conan the Barbarian. And yet, the subgenre died out again after the Gladiator copies had their swings at glory in the early-2000s. Unfortunately, very few directors like Sir Ridley Scott have the talent to produce a sword-and-sandal epic. So here we find ourselves, in 2024, and Sir Ridley is again hoping to re-popularize the subgenre with Gladiator II, a sequel to the Best Picture and Best Actor Oscar-winning 2000 film. While undoubtedly entertaining from start to finish and featuring a stellar Denzel Washington performance, Gladiator II suffers from the flaws of “sequelitis” and an insecurity about whether audiences recall the original film. Continue reading “Film Review: “Gladiator II””