A Seattle moviegoing lifestyle magazine
Directors Kelly O’Sullivan and Alex Thompson leverage the chemistry of a real-life family in crafting a drama about a working-class Chicago-area household. When we first meet the family in a principal’s office as they’re still reeling from the aftershocks of an unspecified trauma and the mounting stress of a looming lawsuit.
Kenji goes out on his first mission as the Ultra hero and finds himself stuck with Emi, a pint-sized Kaiju. He’s convinced by his estranged father that he has to keep Emi safe and raise her as his own.
Inside Out 2 finds us once again in the head of Riley, the young girl we grew with and cried for in Inside Out. This time, she’s just just a girl, she’s hit puberty and with it a whole host of new emotions. Riley hasn’t just grown up, she’s a star hockey player with two best friends and fantastic grades… so she’s on top of the world. Overnight, her emotional buddies (Joy, Anger, Disgust, Sadness and Fear) find their world crashing around them as “construction” is doing a complete overhaul of her emotional stability.
In a Violent Nature (2024 | Canada | 93 minutes | Chris Nash) Any filmmaker who takes on the tropes of horror cinema with …
These are three films Morgen was incredibly eager to view and it ended up being a mixed bag of contentment and disappointment. She talks of a French meta-film about film, an over-the-top South Korean dark comedy, and an intimate portrait of male prostitution.
With a smattering of films Morgen was able to see during SIFF, she tells us why these three, that are all set to have a wider release or show at a SIFF cinema near you, are worthy of your time… or at least strange enough to experience for yourself.
Richard Linklater serves up a very tasty slice of an incredibly loopy premise. Glen Powell gobbles it up and makes it work through the power of pure, unrelenting, leading man handsomeness. Nothing wrong with pairing a director who knows how to have a good time with an actor who’s ascending to movie star supernova. Here the daffy vaguely-true story meshes with an intensely charming performance into a delightful gumbo.
Into each generation a new Donnie Darko is born. With Lynchian threads as applied to post-millennial trans awakenings, grounded in a deep love for Buffy the Vampire Slayer, and coming with its own slew of possible interpretations, Jane Schoenbrun’s eerie, visually entrancing, and sonically inventive cautionary love note to the nineties just might be it for the Zoomies.
Ten years after introducing Charlize Theron’s iconic Furiosa in Mad Max: Fury Road, George Miller once again revisits the post-apocalyptic Australia he created back in 1979. The latest entry fills in fifteen years of backstory for the title war rig driver-turned-liberator by way of five chapters of audacious set pieces. As fan service, it’s exceptional. As stunt coordination, it’s reliably jaw dropping spectacle. But in terms of storytelling, it’s about as essential as a Doof Warrior and a flame-throwing electric guitar on a desert-racing military convoy. Which is to say that even if you don’t absolutely need it, there’s nothing wrong with making sure that you’re having a good time.
The Primevals (2023 | USA | 90 minutes | David Allen) It sounds strange with hindsight, but there was a time when …
