The Lady in the Van (2015): I had seen this when it came out, but just recently came across the book, read it and wanted to revisit the movie. It’s pretty fantastic that this is a real story that happened in Allan Bennett’s life, even with minor embellishments (they are just a few compared to the book, generating some suspense where there would otherwise be none). Benentt’s writing is in typical wry British fashion and it comes off wonderfully through the likes of Maggie Smith and Alex Jennings. The stakes are never very high and TLitV is party a voyeuristic experience, but it all comes together very smoothly, blipping just in the mushy finale. Possibly. 7
My Dead Friend Zoe (2024): Kyle Hausmann-Stokes draws on his experiences in the US Army and the tragedies that have befallen his fellow combat people to draw attention to the dire state of civilian reintegration of military personnel. The inspiration features two men, but the movie features two women, for reasons that are both artistic and, I gotta sit on my prejudice here, easier to sell. But regardless of this, it is a familiar story – up to a point – that works thanks to the very strong cast. Led by Sonequa Martin-Green and Natalie Morales, with Ed Harris and Morgan Freeman in support, the complexities of reintegration take on real faces. The movie features many combat veterans and does well to honour them, but whenever I watch war stories, it’s hard for me to stay in the personal drama and be put off by the absurdity of it all. 7
Eternal You (2024): It makes sense that there would be people hawking AI for bereaved people. Eternal You looks at this without going into too much depth, but it turns out you don’t need to go to deep to already be in concerning territory. While interviewing people who have lost dear ones and people who set up AI language models to replicate the ones who were lost, the movie tries to keep a neutral stance in as far as the morality of it all goes. Clearly, there’s something troubling if not predatory in making this a business, especially since there’s nothing fundamentally real in the “recreated person”. But if the effects of this interaction are somehow soothing to the beneficiaries, does it mean that there should be a space for this kind of therapy to exist? This is just scratching the surface, because there are companies out there where you can preemptively prepare journal-like entries, so that they may recreate an ever-more-faithful version of the one who has passed. And, if allowed, this industry will keep proliferating in many ways, for sure. Trying to not be appalled by it all, it’s an intriguing enough idea that Eternal You manages to plant into our heads. 7
Last Breath (2025): I usually enjoy submarine/underwater movies – there’s something particularly taut about being locked into a marvel of engineering, with no way out. Last Breath, based on a true story and boasting a quality cast, led by Woody Harrelson (well, kind led), should fit the mould perfectly. Yet, in its pacing and structure, I felt it failed to really engage me. It’s an interesting enough watch that looks good too, but I don’t think it’s all that exciting, particularly compared to more successful iterations on the topic. I’m pretty sure the documentary, also by director Alex Parkinson, is a better go-to. 6
Heart Eyes (2025): It’s been four years since Josh Ruben’s last movie, the highly entertaining Werewolves Within (2021). He carries on here in his established style, making adjustments to another typical horror genre – the slasher. Someone is killing people for Valentine’s Day and the killing’s going well, with little impact on the commercial appeal of the hallowed celebration. It’s a fun little movie, but it’s also closer to formula than Ruben’s previous efforts. I thought it could have taken more chances, but all in all it works for what it is. 6
tributary stu 