Afleveringen
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Film critic Megan Loucks, better known as Wonder Meg, comes on THE MOVIES to share who she is using only four films.
The Lansing, Michigan native and I chat about an encyclopedia of topics: motherhood, growing up in a tight-knit family, the Snyder Cut fandom (Meg co-founded Justice Con, an virtual charity convention that brought together Snyder Cut, DCEU, and comic book fans to raise money for the American Foundation for Suicide Prevention), a lifelong devotion to fantasy stories, pillow fort architecture, the art of physical media collecting and so, so much more.
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Meg's four films:
LA BELLE ET LA BETE (1946) dir. Jean Cocteau (watch on Max or YouTube)
DO THE RIGHT THING (1989) dir. Spike Lee (watch on Netflix)
EXCALIBUR (1981) dir. John Boorman (watch on Internet Archive)
LADY BIRD (2017) dir. Greta Gerwig (watch on Max)
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Follow Meg on Instagram, YouTube. Read her interview with THE PENGUIN production designer Kalina Ivanov on Wonder Watchlist & other reviews on InSession Film.
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Thanks once again to Universal Pictures Home Entertainment for shipping me a review Blu-ray copy of THE WOMAN IN THE YARD!
This has been a good way to catch up on movies I missed in the theaters. The teaser for this movie sucked me in right away because it's simple: a family living at a farm house, with no neighbors as far as the eye can see and almost as far as the foot can walk...but then they see a creepy veiled woman, dressed in all black, sitting at the end of the driveway.
There's the thinnest veneer of civility in our daily lives. All it takes to send us into paranoid or hostile spirals is one uninvited person approaching our space. Shit, we really are just animals, aren't we?
Now imagine this person carries herself with the kind of calm yet firm demeanor reserved only for folks who know they can back up what they say. They can overpower you at any time and the only reason this movie doesn't end in five minutes is strictly due to the fact that they're not just here to rob or pillage or fight. There's something deeper going on.
This Woman (Okwui Okpokwasali) is here for Ramona (Danielle Deadwyler). She's the matriarch of a young family: young teen Taylor (Peyton Jackson) and elementary-aged Annie (Estella Kahiha). Ramona's husband has just died in a car accident; the movie starts with her getting around on crutches.
Taylor's trying to be the man of the house with the limited resources a 14-year-old has: no groceries, no license, no electricity. Bills pile up; Ramona lies in bed, rotting in her own mind. It's within this scenario the Woman arrives, revealing she knows more about Ramona and her family than any stranger ever should.
The movie plays out like a wind-up toy, setting up all the necessary pieces and letting the tension play out, watching Ramona and the kids try to figure a method of escape or deterrence. As the Woman grows closer, almost at the pace of shadows cast by a gliding Sun, secrets are revealed and Ramona's state of mind continues to warp, influenced by the Woman's otherworldly presence. Collet-Serra crafts genre set pieces that work as metaphors for Ramona's deteriorating mental illness, though leave me focused more so on how this works within the movie's world rather than how Ramona's mind is reflected within these scares.
I've always appreciated Deadwyler's gusto in pursuing a wide variety of projects (this to I SAW THE TV GLOW to THE PIANO LESSON, TILL and the upcoming siege thriller 40 ACRES carves a wide swath). She plays so much internal strife within her eyes and expressions; there's a woman who's fighting not only to survive, but also stave off this nagging reminder that she never wanted this kind of life. This isn't the plan she had for herself. It's hard not to wallow in self-pity. Deadwyler carries all of this in a way that never feels maudlin, always relatable.
The movie doesn't overstay its welcome, coming in at a breezy 88 minutes. Some sci-fi elements threaten to overstuff the story and I wish they'd been developed more throughout the movie rather than explained within the climax. Regardless, the movie, much like most of Collet-Serra's filmography sits at a comfortable 5-6 out of 10, perfect for a lazy Saturday afternoon.
The Blu-ray release? I can't understand why I'd pick up a "Collector's Edition" without so much as a commentary. The two featurettes into the making of the movie and design of the Woman are nice, but in 2025, falls below the standard for home video ownership.
Streaming's already made Blu-rays rarer and more expensive; this sparse set of bonus features wouldn't make me feel any better about dropping $20 for the disc. It shouldn't entice you to do the same.
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Zijn er afleveringen die ontbreken?
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I interviewed John Maclean, the director of the coming-of-age samurai revenge movie TORNADO. The titular character is a teenage girl (Koki) avenging her father's murder at the hands of a band of thieves led by Sugarman (Tim Roth) and his son Little Sugar (Jack Lowden).
I swear I didn't mean for this episode to drop on Father's Day but it feels appropriate. The movie features two sets of father and child struggling with communication and good old-fashioned rebellion. It doesn't matter that Fujin (Takehiro Hira) nurtures and disciplines his daughter while Sugarman has left his son to fully grow into adulthood with little more than an idea of how to lead a group of ruffians. Either way, kids will roll their eyes. They'll pull a 180 to spite whatever you say.
Maclean and I discussed the importance of leading by example, the necessary shift of perspective from one who rejects their parents' tutelage to one who embraces it with warmth.
But don't worry, I didn't forget this is a samurai flick, spraying blood and sword-slashed limbs as Tornado's wind-blown hair shrouds her face in captivating mystery. You know I had to talk the Kurosawa influence, especially one shot that genuinely looks like an anime finisher.
This was a fun conversation. Maclean is a thoughtful guy, in love with so many different facets of what film has to reveal. I hope y'all enjoy this as much as I did recording it.
Pre-order TORNADO on Fandango at Home
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The titular character of TORNADO is a teenage girl played by Kôki, living with her Japanese father (Takehiro Hira) as a marionette/samurai performer in 1790s Britain. When Tornado swipes a bag of stolen gold from a gang led by the villainous Sugar (Tim Roth), the gang murders her father and thus begins the revenge of this tale.MacLean borrows from Kurosawa while showing off the (often over-the-top) samurai action but the best parts of this story are all character-based, primarily the dual father-child relationships regarding Sugarman and Little Sugar (Jack Lowden) & Funji with Tornado. I think it's gentler and more nuanced than what the trailer reveals so I'm pleasantly surprised.
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First things first: Thank you for 200 episodes! It's been continuously joyful to keep showing up for y'all, to chat about the art form that fuels my love and obsession. I gave myself a goal to get here by December, so the fact that it's May tells me I've put a decent-sized proverbial fire under my ass.
Today, I interview Bille August, the director of the new romantic drama THE KISS, about soldier-in-training Anton (Esben Smed) courting wheelchair-bound aristocrat Edith (Clara Rosager) in 1913 Denmark.
At first, this sounds like the stuff of airport love novels, but Anton's main concern is to pull himself up by the bootstraps out of poverty. This pursuit of upper class ends up creating a rift between his feelings for Edith because his prejudice, quiet though unchecked, ensures, in his mind, that a serious romantic relationship would be judged negatively by his community.
He does care for her, so he won't be callous as his fellow soldiers do behind her back, but he also won't defend her. He overcompensates with compassion to soften any blow regarding blowing off plans or sneaking in a lie to cover his whereabouts. Compassion bleeds into pity, reflecting the warning posted in the title of the Stefan Zweig novel on which the movie's based: BEWARE OF PITY.
August and I spoke about pity, the idea of too much compassion being the real villain of a decidedly thorny, frustrating story. Anton hits too close to home regarding how we pity others, how our own prejudices go unexamined due to cowardice. In this, the movie's evergreen.
THE KISS is currently playing in select theaters.
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THE KISS is based on Stefan Zweig's novel BEWARE OF PITY. Pity is the word. It's the emotion that keeps Anton (Esben Smed) at an arm's length from Edith (Clara Rosager).
Anton is a poor kid trying to raise his social status by rising through military ranks. Edith is the wheelchair-bound daughter of the wealthy Baron Løvenskjold (Lars Mikkelsen). He makes her laugh. She loves his company. He looks strapping in uniform. She's gorgeous. The movie's called THE KISS. The poster has them an inch away from locking lips; this should be a romance for the ages, right?
Not necessarily. Anton's quest for a higher class leaves him susceptible to external (and subsequently internal) judgment. The ableist muttering from other soldiers and cries of "You're not really with her, are you?" are enough to keep him quiet. He doesn't join in the jeering but he also doesn't defend her.
The prejudice is quiet yet strong. He flakes on commitments; he lies to her. He clearly enjoys spending time with her but a wheelchair-bound wife isn't great for the image. That's enough for him to justify his distance by extending too much compassion, by doubting Edith's abilities, pushing back on any of her attempts to let loose. Compassion festers into pity. Pity is myopic: It only sees a person for what they can't do, who they can't be.
This makes for an appropriately frustrating lead. I think it's going to frustrate because for the most part, Anton's a stand-up guy. But he's got that prejudice. He recognizes it and cowardly remains inert about it. A lot of us can probably see ourselves in Anton and as much as we fear other people's judgments, we fear our own the most. THE KISS isn't the most riveting movie, but it made me point the finger back towards myself.
THE KISS is currently playing in select theaters.
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ADA: MY MOTHER THE ARCHITECT is a documentary directed by Yael Melamede, the daughter of the titular mother, Ada Karim-Melamede.
Karim-Melamede is one of Israel's finest architects, receiving the Israel Prize for architecture in 2007, an honor she shares with both her father and brother. She co-designed Israel's Supreme Court with her brother from 1982 to 1992. This was a move intended to only keep her separate from her American-based husband and three kids for a year. 40 years later, Ada continues to live alone in Tel Aviv.
This tension between mother and daughter is inherent to the story, but never beholden to it. Yael, a self-proclaimed failed architect in her own right, approaches interviewing her mother against a typical cradle-to-career-to-family path. She gets Ada to talk the most by asking about architecture.
It's through Ada's breakdowns of five concepts that Yael is able to blend a primer on architectural appreciation with her mother's history. This movie coming in the wake of THE BRUTALIST's success last year doesn't surprise me. What it does do, however, is expand the horizons of my understanding. You can look at a pretty building all day, but once you understand how the architect chooses, characterizes, synthesizes each decision, almost like a filmmaker blocking each frame? It's hard to ever again look at a building with merely a passive gaze.
Via Ada's conversations about architectural roots, the role of one's heart, the passage of time and the need to respect the past when it comes time to carve a creative future, I learn about this woman's devotion to the environment, history, the fulfillment of a grand ideological promise, and mostly, the benefits of creating within a community.
What Yael Melamede is able to pull off in 80 minutes is astonishing. I shouldn't have expected any less from someone with such a history in design. ---
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This week, the Academy of Motion Picture Arts and Sciences announced some new rule changes regarding eligibility and voting for the Oscars.
The main change? Oscar voters are, as of this season, REQUIRED to watch all nominees in each category they vote in. Why this wasn't a rule beforehand is beyond me, but y'know, if the best time to throw water at a burning house is at the start, the second best time is now.
Along with this is some language regarding generative AI, new submission deadlines, updates to the voting process for the Animated Short Film and Cinematography categories, and the rule reveal for how the new category for Best Casting will be decided.
I was fully ready to let this Oscars news be the full episode, but Thierry Fremaux and his band of merry folx had different plans. Part deux of the 2025 Cannes Film Festival lineup dropped yesterday, adding 16 films to the official selection, including Kristen Stewart's directorial debut THE CHRONOLOGY OF WATER and Lynne Ramsay's DIE MY LOVE (which will be featured In Competition).
How can I pass up an opportunity to talk about even more potentially kickass movies? Do you SEE the name of this podcast?---
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This week, the Cannes Film Festival announced its lineup for their 78th edition. Taking place in the beachside town of Cannes, France from May 13-24, the festival opens up the movie lover's summer to the widest swath of exceptional global cinema, blockbuster premieres and the first glimpses of next year's Oscars contenders.
This episode sees me fumbling through pronunciations to share the movies announced and highlight the ones that look most rad (Ari Aster! Spike Lee! Julia Ducournau!). Pop a squat and let's look forward to the summer movie season!
For more information on the festival, click here!---
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Just because ANORA wears the Oscars' Best Picture crown doesn't mean the movies nominated turn to dust. In fact, as the Best Picture nominees slowly trickle out to home video, discussing them feels more pertinent. A movie's lifespan isn't limited to the awards calendar, especially when it comes to WICKED.
Jon M. Chu's fantasy musical, based on the Broadway show, vacuumed up the world's cash to the tune of nearly $750 million, a testament to the musical's 20+ year success. This thing's been around long enough on its own to discuss it in generational terms.
But WICKED owes it all to THE WIZARD OF OZ, being a prequel exploring the college years of Elphaba (Cynthia Erivo) and Galinda (Ariana Grande), who will be known later in life as the Wicked Witch and Good Witch, respectively.
Grande's lovably bubbly narcissism makes me laugh. Even the camera can't stop following her hair flips and flighty trots across the sets. Erivo seems incapable of playing a false note. They carry years worth of pain behind a restrictive, poised demeanor, presenting confidence as a defense tower.
Our technicolor understanding of the land of Oz is muted by a change in perspective. We're not from Kansas anymore, Toto. Director of photography and frequent Chu collaborator Alice Brooks gives Oz a more tactile, European feel, at times flooding the background with natural light that gives the sets a lived-in presence. This isn't a Marvel Studios CGI nightmare (for the most part).
But this idea of a realistic Oz, marked by more serious ventures into ANIMAL FARM-esque allegories for fascist subjugations within a caste system, doesn't always gel with the magic or whimsy WIZARD OF OZ is known for. It feels as though each creative grabbed their own idea of what WICKED should be and stretched it in said direction. The result is something that doesn't coalesce but I'll be damned if I say I didn't have fun with it.
Though I'm still stunned Chu got a Critics' Choice Award for Best Director. Go home; y'all are drunk.
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THE LUCKIEST MAN IN AMERICA stars Paul Walter Hauser as Michael Larson, an ice cream truck driver who travels from Ohio to California with hopes of contesting for the Big Bucks on PRESS YOUR LUCK.
What follows is a lucky streak that'll put Larson in the history books...that is, if the game show execs don't discover his secret and pull the plug.
Director/co-writer Samir Oliveros has crafted a story for the outsiders, the people uncomfortable walking the tried-and-true paved paths to success. Michael's an anxious guy; he's got everything on the line and a history of increasingly risky methods of making it work. From the lighting to the sound design to Hauser's performance, the movie delves into Michael's interior, turning game show glitz against him, putting me in the perspective of a guy who sees his window of fame and quick cash shrinking by the second. The beast of a game board hums and growls, ready at any second to snap its jaws and send Michael back north. But much like an avid lion tamer, Michael's got some tricks up his sleeve and for once, the wild card has a foolproof plan, steeped in his authenticity. It makes for a brilliant character arc and gives THE LUCKIEST MAN IN AMERICA its tender, beating heart.
THE LUCKIEST MAN IN AMERICA is now available to watch at a theater near you. And when you return home, go catch Samir Oliveros' debut BAD LUCKY GOAT for free on Tubi. It's a goddamn gem.
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Samir Oliveros directs THE LUCKIEST MAN IN AMERICA, a comedy starring Paul Walter Hauser as a man who, in 1984, takes game show execs and a studio audience for the thrill of a lifetime as he aims to pocket the most money ever won on PRESS YOUR LUCK. The execs say he must be cheating. The audience cheers him on, a bumbling working-class zero given the opportunity of a lifetime.
I interviewed Oliveros about this kind of person, someone who doesn't wish to walk the safe, paved paths to success, instead carving out their own swath of the jungle. Where do the spirits of a guy chasing a game show streak and a Colombian filmmaker pursuing storytelling as a living with - limited - resources intersect? Let's find out.
THE LUCKIEST MAN IN AMERICA is available to watch on the big screen in a theater near you. Do your own spirit some good and give it a watch.
After you've returned, pop on Oliveros' debut, the quirky microbudget comedy BAD LUCKY GOAT, on Tubi. It's about a brother and sister who strike a goat with their dad's truck and have to scrounge up the money for the repair before he finds out. It plays a great balance of chilled-out island life against the desperation of someone who's seemingly going for broke to tell this story as if they'll never get another shot. Lots of playful camerawork, vibrant colors, and a bickering lead duo for the books. ---
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I missed Leigh Whannell's newest film, WOLF MAN, in theaters. Bit of a bummer since he's a director who's earned my highest personal honor of earning my view purely off of goodwill - no trailer, no social media post needed.
So what was I to do? Nothing, but that's where Universal Pictures stepped in and (thankfully) sent me a review copy of the WOLF MAN Blu-ray (Seriously, y'all. Thank you.)
WOLF MAN changes quite a bit from the original source material. The werewolf transformation develops not as a curse but rather, a disease, an infection. Instead of a fur-covered beast with extended snout, David Cronenberg's THE FLY inspires a look that stems from the idea of two separate genomes warring within the same body. It's more akin to the creatures in Alex Garland's ANNIHILATION.
But where WOLF MAN differs the most is in its family story. Christopher Abbott plays Blake, husband to Charlotte (the seriously-needs-a-goddamned-Oscar-as-of-like-yesterday Julia Garner) and father to Ginger - nickname Snaps? - (Matilda Firth). After his father's death, Blake inherits the remote Oregon farm in which he spent his childhood (complicated at best, emotionally abusive at worst).
Upon arrival, Blake and family are attacked by a mysterious creature. Blake sustains a scratch wound and if you've seen a werewolf movie, you know that in here lies the inevitable. It's just a matter of time.
But the real tragedy of WOLF MAN doesn't just lie in the creature of it, but rather the character. Blake desperately tries to be a kinder, less angry father and husband than the example he experienced. But old environments bring that nature-nurture battle back to a head. Some wounds may simply be too deep to overcome.
This movie may be paced a little wonky and some of the ideas are executed a little too silly for its own good, but goddamn, did this hit hard for this father of a 4 and 1.5 year old.
On the director's commentary, Whannell talks about the need to follow one's own barometer for success. If you laugh or cry or fear your own material, it'll translate. And I'm so happy to report Whannell, for me, at least, is 3 for 3.
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Today on IN FOUR FILMS, we ask Tara Giancaspro: "Using only four films, who ARE you?" She's a New Jersey-based writer, poet, songsmith, pop culture muser, frequent podcaster, actress, production assistant, music video extra and doting mother to two cats, Simone & Lugosi. To call her a multi-hyphenate just feels like I'm underselling it.
Tara's four movies:
SLEEPING WITH OTHER PEOPLE (2015) dir. Leslye Headland
NETWORK (1976) dir. Sidney Lumet
ALL THAT JAZZ (1979) dir. Bob Fosse
BACK TO THE FUTURE (1985) dir. Robert Zemeckis
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Subscribe to Tara's Substack: https://substack.com/@taragiancaspro
Follow Tara on Twitter/Instagram: @sweatylamarr
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Ami Canaan Mann directs AUDREY'S CHILDREN, the story of Dr. Audrey Evans (Natalie Dormer), an oncologist whose staging system revolutionized the way we treat childhood cancers. Before the '70s, the pediatric neuroblastoma survival rate was 10%. After implementing her work, the survival rate is now over 80%.
I interview Canaan Mann about meeting Dr. Evans, her collaborations with Dormer & director of photography Jon Keng and the time spent on Robert Redford's set that helped shaped her path to become a director.
AUDREY'S CHILDREN premieres in theaters on March 28. Showtimes can be found here: https://www.audreyschildren.com/theaters---
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AUDREY'S CHILDREN stars Natalie Dormer as Dr. Audrey Evans, the oncologist whose staging system revolutionized how childhood cancers are treated. Before her work in the '70s, these cancers were handled with a sort of one-size-fits-all approach. The result of Evans' research was a categorization of cases, impacted by age, tumor location, length of time diagnosed with the disease and more. She advocated for more aggressive chemotherapy regiments, sometimes utilizing a combo of drugs. This wasn't a popular idea at the time, but given that era's survival rate for pediatric neuroblastoma patients was merely 10%, I think said situation couldn't hurt from tougher solutions. Nowadays, the survival rate's jumped up to over 80%.
Evans' work didn't just stop in the clinic; she recognized that a child's success with treatment depended on their family's ability to sustain the burden. If they couldn't afford the treatment or the housing required to be close to their kid, families would be forced to cut the help short. Unacceptable. As a result, Dr. Evans partnered with the Philadelphia Eagles football team and McDonald's to open the first Ronald McDonald Charity House.
Dr. Evans was indefatigable, which makes Dormer's portrayal that much more impressive. She's in almost every scene, carrying her gait with poise and purpose despite whatever setbacks. It's even a pain getting records with which to build a case study. Never mind trying to nab funding. Never mind having to look at nerve-shredded families in the eyes and update them on the state of their dying kids.
But the upside is that the lighting seems to be on Audrey's side. Canaan Mann and director of photography Jon Keng frame their characters against large, backlit windows, which suggest that, even in a dour-looking hospital, the sun and beauty of nature are desperate to break through, giving these kids hope. I mean, it can't ALL be up to Audrey, her full-faced smile and baby blue heels, right?
AUDREY'S CHILDREN premieres in theaters on March 28. Find showtimes here: https://www.audreyschildren.com/theaters---
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I interview HOOD WITCH writer/director Said Belktibia about his new thriller, which sees Golshifteh Farahani play the target of a literal witch hunt through urban France. She makes a living selling mystical products and alternative healing remedies and after one of her clients dies by suicide, is accused and then chased by the mob. Now, she, along with her teenage son, need to escape the city before it's too late.
Belktibia and I spoke, with the help of a translator, about our increasingly global society, the responsibility required of each individual to examine and critique the messages received in modern media, Farahani's brilliance as an actress and human, and much, much more.
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HOOD WITCH stars Golshifteh Farahani as Nour, a single mom living in urban France who makes her living selling supplies for alternative healing, witchcraft, spells, you name it. She sees herself akin to the ones who sold shovels during the Gold Rush. If people want to believe, she'll happily oblige them.
However, after one of her clients dies by suicide, she's accused of murder by the client's father. Suddenly, Nour, along with her teen son, is the target of a literal witch hunt, fueled by the instant transmission of social media and the viral nature of mob mentality and conviction.
Said Belktibia, HOOD WITCH's writer/director, crafts a story in constant conflict, both physical and ideological. Does Nour actually have powers? Can illnesses be cured via spiritual means? What constitutes an individual's responsibility for critically thinking through the messages and calls to action bombarded their way on an instant, increasingly global basis?
These questions persist throughout the film, kept thrilling and moving by Farahani's ferocious performance and Belktibia's pulse-pounding sensibilities.
HOOD WITCH is now available to watch in select theaters and VOD. ---
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