Emilia Pérez (2024): I am glad to feel woke(r) with this review, because I find most of the hate that Emilia Perez got to be unjustified. I’ve always liked Audiard’s movies and, sure, I get why some people might be peeved at the cultural sledgehammer he used to portray Mexican characters, fitting them neatly into certain (criminal) stereotypes. That said, I think it all works well, even the musical parts which have seen a ridiculous level of derision. The story has heart, even if it asks the viewer to do some serious disbelief suspension, and the movie is very well acted all around. It seems that this week is about how on-screen performances can really lift the movies they are in, so with that said, while this isn’t 10+ Oscars material, I think Emilia Perez deserves some attention. 7
10 Things I Hate About You (1999): There is a quaintness about 90s teen movies. They are not the all-inclusive buffets of more modern fares and also not the raunchy bouts of the 00s, filling a different kind of space. Naturally, they feel off in bits and parts, but something like 10 Things embraces the inconsiderate, sometimes reckless mean-ness that often manifests itself at that age. The key to success is to make the characters something more than just placeholders, particularly in the case of Kat. She appears distant, stuck-up, corrosive, but in the love story that unfold with P. Verona, an actual human being shines through. The cast is, of course, excellent, with Jula Stiles, Heath Ledger and Joseph Gordon-Levitt elevating what’s left to elevate to one of the 90s most iconic high-school adventures. 7
Novocaine (2025): Every time I want to say Jack Quaid’s name, my first instinct is to say “Randy” #unfortunate. Jack’s career has blown up after The Boys and he makes for a decent leading man, particularly in today’s scene where less masculine leads have their fair share of chances. Here he plays a very tame assistant manager at a bank, on the premise that he’s never developed socially very much, because…he can’t feel pain? Well, maybe that’s not the reason for it, don’t think too much at any time here, because it might hurt. I reckon this doesn’t take itself too seriously and when it goes for fun, it’s at its best. For a movie that doesn’t take itself very seriously though, it almost feels like a missed opportunity that it takes so few chances. But, then again, I think it all comes together well enough for an above average flick, thanks to particularly those moments that are more out there. 7
The Outfit (2022): Think Knives Out plot devices, but a more contained setting and more serious tone. It’s all decent fun and gripping to see how this crime story pans out, but the main reason to watch it is the phenomenal Mark Rylance performance in the lead. Sure, the whole cast is excellent, but Rylance is the one who gets the wryness into this. Get it? Get it? It’s very old-school, which is also what limits its scope, which is not surprising, given that it comes from writer/director George Moore, who also penned The Imitation Game (and incredibly won an Oscar for it). But this one is so well…sewn together that it overcomes this shortcoming with verve. 7
Ex-Husbands (2023): Three generations of men make for three ex-husbands in this otherwise balanced and observational piece of filmmaking from Noah Pritzker. The story focuses particularly on the characters of Griffin Dunne and James Norton, father and son, who are both trying to hold on to failing relationships. They are joined by Miles Heizer, the younger son, who is still getting to grips with his sexuality. It’s a movie about men and their perceived shortcomings, of getting to grips with leading a life that just is, of managing inadequacy, veering into depression, and staying on course. Maybe not as grim as it sounds, but not easy breezy either. It might not excel, but it captures a vibe. That’s best one can ask of 2025, no? 7
tributary stu 