MattyLuke-81663

20 Movies to watch (FINALLY) in 2025 (19/20)

"We might be through with the past, but the past ain't through with us."

Magnolia is a fantastic, epic melodrama with intertwined storylines, told over a bold 3-hour, 8-minute runtime that surprisingly flows well.

It is interesting to see how Paul Thomas Anderson has evolved as a filmmaker. Starting with Boogie Nights and Magnolia and continuing through his recent effort One Battle After Another, his films feel so different from one another that you can't believe the same guy who made the energetic Boogie Nights would be making something like There Will Be Blood or Phantom Thread.

It is an ensemble film in which everyone, including the lesser-known actors, is excellent and memorable. But the performance that stuck with me was Tom Cruise's. It is one of his best performances and the most complex character he has played. He plays Frank T. J. Mackey, a confident, vile misogynist guru who sells a self-help guide on how to be a "player" and sleep with as many women as possible without commitment. He panders to weak men who eat up every word he says. He's a total showman, with every physicality, delivery, energy, and tone. Cruise, of course, can play dangerous charisma effortlessly, but here we see a different side of him, a more complex and tragic character. There's a scene where this character is at someone's deathbed, and Cruise's acting is his finest achievement here. Emotionally raw, honest, and personal. Real tears are flowing, and his face is red; it didn't look like fake movie crying. There are some movies with somber scenes that are so sad that just thinking about them can make me emotional; this is now one of them.

But what also makes the scene even more powerful is Philip Seymour Hoffman's tearful reaction to Cruise's performance, which apparently wasn't scripted; it was his genuine response. Every time I watch a movie with Hoffman in it, it's a painful reminder of what we've lost.

Another special mention goes to Jason Robards as Earl Partridge. It was his final significant role before he died in 2000. Sadly, just as his character in this movie, Robards had terminal cancer while filming his scenes. He delivers a monologue about regret, and it is so powerful and upsetting - it's what a dying man with regrets would sound like. "This life... oh, it's so hard. So long. Life ain't short, it's long. It's long, goddamn it. Goddamn. What did I do?"

But Frank T. J. Mackey is not the only one-every character is uniquely complex and defined. Characters who are mess-ups, who mess things up for themselves and others. Some are tragic characters, some are terrible people, and some are in the middle. There's a lot of hurt from all of them, and with an extensive list of characters, it's hard not to find one or two we see ourselves in. We have all done or said something that carries painful regret. Decisions that still haunt us in every waking moment. Or the feeling that we haven't reached our potential, that we haven't given enough, and that we haven't given enough love to feel loved back. It's an emotional journey where we see them all going through it, separately and together. And we sit and watch it unfold. But instead of silently judging them, we observe with understanding.

It's a rollercoaster of a movie, done brilliantly.

"Professor, my dreams grow darker. Does evil come from within us, or from beyond?"

Every 50 or 100 years, we get another Nosferatu film-one of the best Dracula rip-offs of all time. For those who don't know, Nosferatu (German for "vampire") is an adaptation of Dracula. Still, some elements had to be changed to avoid copyright issues, which is why the story feels familiar. It's Robert Eggers' turn to take a shot at the material, and he delivers solid results. He is one of the best working directors we have now, as his period piece, which is close to accurate in its details of that time, has become a recognizable part of his style. It's so well-made that you're willing to overlook the fact that everyone speaks English with British accents despite having German-sounding names.

What Eggers brings to this version is a sense of Gothic melancholy, especially in that period's attitude toward women, with the character Ellen serving as the main anchor we follow. She's an example of someone born in the wrong generation. She defies the social norms expected of women at that time, as she's a free spirit with a strong sense of independence who suffers from great sadness and depression, which weren't fully understood at that time or by her. She feels alone in this world, and her vulnerability unintentionally draws in a monster from the darkest depths. There's a great scene when Prof. Albin Eberhart von Franz (Willem Dafoe) compliments Ellen by telling her that "in heathen times, you might have been a Priestess of Isis." She goes beyond the assigned roles of wife and the outcast society placed her in. It's an emotionally striking scene and the sweetest part in a dark film. It does what great horror films should do, which is that I didn't leave with fear, but in a state of mind that was woeful and had a long-lasting impact.

Everything on a technical level is outstanding-the shots, production design, costumes, score, etc. I love how it looks like black-and-white without actually being black-and-white. It makes even dull colors look beautiful. At times, it feels like a Romanticism painting.

Bill Skarsgård as Count Orlok is menacing. Even when the vampire isn't on screen, you still feel a sense of dread, as if his dark presence looms over the story and characters. I still can't believe this is Skarsgård, the same guy who plays Pennywise. Just the way he looks and talks is unrecognizable. Lily-Rose Depp as Ellen is astounding, the heart and soul of the movie. It's a physically and emotionally demanding role that she makes unforgettable. Both performances are their best work to date. Supporting roles from Willem Dafoe, Nicholas Hoult, Aaron Taylor-Johnson, Ralph Ineson, Emma Corrin, and Simon McBurney all deliver solid performances.

Overall rating: Succumb to the darkness while also feeling a bit festive this Christmas. Robert Eggers delivers the gloomy goods.

LIFF39 2025 #6

Comedy can be the most potent therapy for human suffering. No matter how tough life gets, it will always be funny. Comedians and comedic performers understand this deeply: despite life's struggles, the ability to make others laugh during dark times is a special gift for both the audience and the performer. There's nothing else like it.

'Is This Thing On?' explores that journey. It follows Alex (Will Arnett), who initially had no interest in comedy but starts doing stand-up as he faces a divorce and a midlife crisis. One night, wandering the streets, unsure of what he's doing, he enters a comedy club. Only comedians performing on stage can get in free; everyone else must pay. He signs up to perform and takes the stage, sharing his struggles with the crowd, who laugh a little. By the end, the experience lifts his spirits, and something inside him wakes up. He decides to follow this new path and even tries to fix his life. Though he's not as funny as a comedian-something almost every character in the film points out, including family and friends-it doesn't matter in the end. If you enjoy it and it gives you a new sense of purpose, it's not a waste of time or effort.

It wasn't the most exciting film I saw at this year's festival; I didn't think much about it afterward, but there's still a lot to appreciate. 'Is This Thing On?' is Bradley Cooper's third film as a director, and he also has a small supporting role. Compared to his previous two movies, it's the least flashy in terms of filmmaking, but for a story like this, I'm not sure if it needed to be. It's still a well-shot film.

Everyone's acting is the highlight. Will Arnett delivers a strong performance, once again channeling his BoJack Horseman character as a depressed man with complex emotions trying to rekindle his past life. Laura Dern is also excellent here. I mean, it's Laura Dern. What else would you expect from her? Bradley Cooper's character is named Balls, and yes, that is his real name. An eccentric character who pops in and out of the story, and whenever he appears, he's always up to something wacky. He got the most laughs, both from me and the audience.

So yeah, that's about what I took away from it. It's a heartfelt film about self-discovery that explores complex relationships and shows how comedy can save someone's life. Also, change it too. Even in middle age, it's not too late. The arts save lives.