Friday, July 11, 2025

Top 10 Tom Hiddleston Films

 


Sherman J. Pearson here for another Top 10. The Thin Man will be Tom Hiddleston's 10th film as an actor for LRF, which made it seem like a great time to tackle a Hiddleston-inspired Top 10.

Top 10 Tom Hiddleston Films
10. Ghost Stories
9. Run
8. The Thin Man
7. El Dorado 
6. The Rise and Fall of Ziggy Stardust and the Spiders from Mars
5. Mexican Gothic
4. Purgatorio
3. Inferno
2. Paradiso
1. American Outlaws

Release: Cleveland

Cleveland
Genre: Crime/Drama
Director: Edgar Wright
Writer: Jimmy Ellis
Cast: Ben Barnes, Daveed Diggs, Sterling K. Brown, Jennifer Connelly, John Gallagher Jr., Julia Fox, Josh Hartnett, Aaron Paul, Pablo Schreiber, Manny Jacinto, Ben Schwartz, Thomas Middleditch





Budget: $45,000,000
Domestic Box Office: $22,324,095
Foreign Box Office: $16,900,500
Total Profit: -$31,911,340

Reaction: Not the outcome anyone was hoping for - and probably not expecting either. For a Crime/Drama, the costs were probably too high considering there are no A-Listers to be found in the cast. We'll have to ask the accounting department how much the film grossed in the state of Ohio.




"Putting Edgar Wright at the helm of a slow-burn Midwestern crime drama is like asking Wes Anderson to direct Training Day. Sure, it looks cool, but the tone is all over the place. It’s stylish, yes—but Wright’s flair often undercuts the tension, turning what could’ve been a tight thriller into a genre smoothie. By the time the 17th side character (an exaggeration, but not by much) gets a monologue, you start wondering if the real crime was the runtime." - Charlie Sage, HBC-TV



"By the time we reach the violent boat standoff, the emotional stakes feel muddled beneath the sheer volume of betrayals and double-crosses. Its Edgar Wright turned up to 100 but the characters elevate the story, which may have been better off under different hands." - Seth Black - LA Times





"Cleve­land wants to be a gritty crime epic, but its bloated ensemble cast leaves too many characters underdeveloped and too many subplots undercooked. Ben Barnes and Sterling K. Brown do what they can, but the story buckles under the weight of its moving parts. There's a strong Midwestern noir somewhere in here—but it's buried under narrative excess and characters who vanish as quickly as they appear." - Katie Barnes, Washington Herald









Rated R for graphic violence, strong language, and some sexual content





Thursday, July 10, 2025

A Second Look: Hellraiser

 

Welcome back for another edition of A Second Look with Jeff Stockton! In this segment I will take a "second look" at a past LRF release with a fresh set of eyes. 

With horror remakes on the rise at the studio, I decided to take a second look at one of the earlier big attempts - Season 5's Hellraiser remake/reboot from writer John Malone. Not a writer known for horror, John Malone didn't write another horror project until last season's Phantasm: Awakening (another remake/reboot). I never wrote a formal review for Pascal Laugier’s Hellraiser when it dropped 28 seasons ago, but I remember my reaction clearly: a bold and visually baroque reimagining of Clive Barker’s sadomasochistic universe that mostly worked - emphasis on mostly. I admired its ambition and how it deepened the mythology with a time-hopping structure and a richer origin for Pinhead. But I also found myself wishing it pushed harder - less arthouse restraint, more actual terror. For all its gnarly flesh-tearing and bloodied elegance, the film leaned more into creepy atmosphere and grotesque awe than into true horror. It was a beautiful nightmare, but rarely a scary one. My memory of it settled around a solid B-minus.

Revisiting it now, Hellraiser feels stronger, even vital. Its craft has aged impeccably - the sets pulse with dread, and the Cenobites, especially Sean Harris’s haunted, quietly tragic Pinhead, remain one of horror’s most unique reinterpretations of evil. The film's layered structure, once slightly bloated, now reads as epic: a timeline of corruption, obsession, and ruin that spans centuries. Even moments I once found indulgent (the WWI prologue, the Duc de L’Isle's grisly demise) now play like essential strands in a grander tapestry. Yes, it still could’ve used one more draft to sharpen its scares and tighten its pace - but it dared to elevate a cult classic into something mythic. In a horror landscape that’s since grown more sanitized and algorithmic, Hellraiser feels refreshingly perverse, deeply mournful, and uniquely committed to its own vision of hell. 

Original Grade: B-

New Grade: B+


Now Showing: Cleveland

 
Cleveland
Genre: Crime/Drama
Director: Edgar Wright
Writer: Jimmy Ellis
Cast: Ben Barnes, Daveed Diggs, Sterling K. Brown, Jennifer Connelly, John Gallagher Jr., Julia Fox, Josh Hartnett, Aaron Paul, Pablo Schreiber, Manny Jacinto, Ben Schwartz, Thomas Middleditch

Plot: Cleveland, Ohio. The snow glistens on the pavement, under the illumination of the streetlamps. As we journey through the streets of Cleveland, we settle on two men in the middle of a street, but we cannot hear them. Everything is completely silent. Suddenly, a Blue Subaru comes out of nowhere, hitting one of the men. The car stops for a second before a cloaked figure emerges with a windscreen scraper, and proceeds to knock out the other man. The figure drags the other man into the trunk of the car, and drives off, the dead body still lying in the snow, staining it red.

The next day, detectives, Greg Williams (Ben Barnes) and Jared Heller (Daveed Diggs) talk to each other about Lebron James. They set out into the brisk Cleveland air, looking for clues.

In a different part of Cleveland, a man, Shaw Collins (Sterling K. Brown) sits at a desk with his wife, Mandy (Jennifer Connelly), next to him. The two of them are the heads of the Collins Crime Family. In front of them sits a mousy man, Ronald Earl Palmer or RE (John Gallagher Jr). Shaw tells him one of his men is dead, and another missing and, let’s face it probably dead as well. Shaw sends RE off to find out who is responsible, and/or to tie up any lose ends.

Back in downtown Cleveland, Greg and Jared are at the crime scene. Jared finds the tire tracks in the snow and asks to find out which tyre made those tracks. Jared discusses the dead man, Teddy. He says that he was a member of the Collins crime family, so either someone accidentally killed him and is in big trouble, or Cleveland may have a turf war on their hands.

Back at the Collins House, Shaw, and Mandy talk about Teddy, however as they talk it becomes clearer that Mandy is manipulating Shaw into thinking and saying what she wants, and it’s truly unclear who is actually in charge.

Greg and Jared find out the type of tires that made the tracks. The two of them go to interview every person in Cleveland with those tracks. These interviews lead them to Shaker Heights. Jared tells Greg that Shaker is a half hour outside of Cleveland, so he doubts the murderer came all the way out here. They interview the few people in the area with the tracks, with no results whatsoever. The two of them eventually get to a cute little house and knock on the door. A woman, Laura Bell (Julia Fox) opens the door and immediately welcomes them inside for a coffee. She says her husband is not home but will let him know they stopped by. They continue talking until the detectives say that they must go, they wish to be in contact with her husband soon. As they leave Greg says that if someone in that house, in this neighbourhood, committed any sort of crime, much less a murder, he has lost faith in the world. The two of them drive off. Not 30 seconds after they leave, a blue Subaru pulls into the driveway with a det on the hood. Out steps Laura’s husband Joe (Josh Hartnett), Laura greets him and says that the police officers were here. He is horrified to hear this. When Laura asks him what is wrong, the camera pans down through the floorboards into the basement, to reveal Merrill Flood (Aaron Paul) bound and gagged to a post.

Flashback: Joe Bell sits at a desk. He takes a deep breath before picking up his phone. “Hi, so sorry to bother you, this is Joe from…” He launches into his prepared telemarketing speech. The other line immediately hangs up, he sighs and gets set to do the whole thing again. An overhead shot of the office shows, each cubicle perfectly placed next to the other.

Later that day Joe drives home and greets Laura, the two share a nearly silent dinner, the silence only interrupted by questions from Laura, Joe only answers with one- or two-word responses. Joe wakes up the next morning and the same thing happens again and again.

One day Joe heads to work and picks up the phone. He dials the number but does not speak he just stares at the phone. The other line becomes impatient with him, until he snaps out of it, he throws his pre-written speech out the window and freestyles it. Another overhead shot of the office shows his fellow employees standing and staring at Joe. He eventually picks up steam and ends up closing the deal., the entire office stare in disbelief. Joe sits back with a cocky grin, stands up and leaves work. He smiles as he drives home, finally in control of his life. He calls Laura and tells her he wants to go out to dinner that night. As Joe arrives home, he takes Laura into the bedroom and immediately closes the door behind them.

Afterwards, Laura asks what’s gotten into Joe, he says that he finally has control of his life. At dinner the two of them have a great time. Joe and Laura jump in the car, Joe looks to Laura, “Wanna go for a joyride.” She nods. It’s innocent enough, the two are laughing and having a good time, until it begins to get out of hand. Joe smiles and hungers for the adrenaline, pushing the speed to dangerous limits. Laura tells him to slow down, but its too late. An exterior shot shows teddy and Merrill talking, we don’t know what about. Joe and Laura crash into Teddy. Everyone stops, Merrill, Laura and Joe, all frozen solid. Laura freaks out while Joe just stares at the body. Joe spots Merrill and realizes he saw the whole thing. Joe looks around the car and finds a windshield scraper. He grabs it and gets out of the car. Merrill has no clue what just happened, Joe clubs Merrill over the head with the scraper. He drags him into the car. They arrive at home, Laura has completely passed out, and Joe carries her up to bed. He then goes back to the car to get Merrill out of the trunk, but a neighbour stops him, so he has to slams the door onto Merrill’s fingers. When the neighbour leaves, Joe carries Merrill’s body to the basement, and proceeds to tie him up and gag him. Joe stands back looking at the tied up Merrill, with a small grin coming across his face. End Flashback

RE prowls the streets of downtown Cleveland, searching for any clues on Merrill’s whereabouts. He comes across the crime scene, still taped off, although only watched by one uniformed officer. RE surveys the officer, and walks up to the officer, he begins making small talk about the crime. RE lowers the guards guard and gets closer to him. He then quickly slits the guards throat. He disposes of the body and goes to the crime scene. After studying the tire tracks, the blood, and the imprint of the body on the snow, RE sets off.

Elsewhere in Shaker Heights, Joe waits in bed for Laura to wake up. She eventually does and tells a relieved Joe that she had the craziest dream last night, Joe killed a man. Joe lets out a nearly audible sigh of relief, as the camera smash cuts to Merrill in the basement. Joe manages for the whole day to keep Laura out of the basement.

Greg and Jared arrive at the crime scene, only to find it completely abandoned, with footprints around. They look around and eventually find the guards body, the blood from his throat frozen to his neck. Greg wants to instantly go after the culprit, but Jared says they need to take a second and truly figure the whole thing out. After a second the two set off.

Not even two blocks over, Shaw and Mandy sit in the only place we have seen them so far, staring out over the city, lamenting about the working class. Mandy subtly eyes Shaw.

RE still on foot reaches Shaker Heights and stands at the foot of the Bell household.

Greg and Jared walk the streets, they are unknowingly on the trail of RE, they find dead body after dead body around the streets of Cleveland. A few of these trigger flashes of the murders, mostly slit throats. All of this on his way to find Merrill. Greg and Jared theorise about these murders and the somewhat randomness of them all.

At the Bell house, Joe wakes up at 6 AM, and does something that seems routine; he goes downstairs, bringing Merrill some food, emptying his bathroom pail, locking the basement door and then shimmying out a half opened window just above the ground, the window being left open just a crack. He gets back into bed with Laura, right as she wakes up, and pretends his been there the whole time. She kisses him. The two of them have breakfast and after breakfast Joe leaves, slamming the door, accidentally as he does. The camera cuts toward the chair holding the basement door closed, and it is wobbling just a bit. After a second the chair falls completely, creating a loud thud for Laura to investigate. She swings open the basement door and walks down. She looks around at the foot of the stairs, with Merrill just out of sight, as she turns around, however, she hears a moan. She nearly jumps out of her skin as she investigates the noise, leading her to find Merrill. She takes off his gag, which leads to him immediately cursing her out, so she puts it back on him. Laura sits back and wonders what to do next, taking off Merrill’s gag once more. He tells her that her husband did this and that he’s crazy. She defends Joe saying he wouldn’t have done this without a reason, Merrill then explains he killed his partner. Laura begins talking with Merrill and oddly really connects with him. As time has passed she sees the clock, Joe will be home soon, she re-gags Merrill and runs back up the stairs closing the door behind her.

Later that night, a darkened figure walks up behind the house, shimmying down the half opened window into the basement. He turns on the single lightbulb revealing himself to be RE. He ungags Merrill and Merrill instantly breathes a sigh of relief, believing himself to be saved. RE tells him not so fast, and proceeds to take out a knife. Merrill instantly begins to protest, but RE regags him, and continues to cut off Merrill’s pinky finger. Merrill screams in agony, and RE finishes, dropping his knife just out of reach of Merrill and heads out.

Back in downtown Cleveland, Shaw receives an envelope from a private sender, and opens it up, revealing Merrill’s finger. Shaw sits at his desk, staring at the inside of the envelope, Merrill’s finger sitting inside. Mandy walks in, and instantly chastises Shaw for just sitting there. He opens the envelope fully and spills the finger onto the desk. Mandy screams and Shaw mocks her. Shaw then launches into a rant about how he should never have listened to her and have RE taken this job. Mandy gets upset because RE did what he asked. Shaw then yells that he didn’t want him to kill Merrill, but Mandy says he could have already been dead. The two settle down as Mandy leaves the room on a phone call, the finger rotting on the desk.

Back in Shaker, Laura brings down Merrill’s breakfast to find him passed out and a bloody stump where his pinky used to be. She ungags him and tries to revive him and he barely wakes up, mumbling about RE. He tells her he needs to go to a hospital and she needs to untie him, she sits and thinks about it.

Back in downtown Cleveland, Greg and Jared scour the streets looking for any clues as to who the killer is. As they are searching for clues they come across a blue Subaru and run the plates. It’s Joe’s car. They head inside the building and after a short while, Joe comes out telling them he would much rather answer questions at his house.

Back at the Bell house, Laura gets closer and closer to Merrill, about to untie him. RE’s knife glistens in the light, and a shotgun sits behind a separate post. Joe drives home escorted by Greg and Jared. They are a fee minutes away from the Bell house. Laura gives in, untying Merrill. As soon as he is untied, he grabs the knife and goes after her, however she is quick in her reactions and grabs the shotgun, shooting him square in the chest. Merrill lays on the ground dead, as blood oozes out of him. Laura stands, shaking and completely gobsmacked. A few beats later Joe, Greg and Jared walk in with Joe calling out to Laura, who he claims must not be home. The interview commences with the detectives asking a few questions to Joe, who claims that he wrecked his car against a tree. After a few more questions, Greg wants to go, feeling bad he wasted Joe’s time and Jared reluctantly leaves as well. When they pull out, Joe runs down to the basement and sees the carnage, with Laura standing above it. They both stand, shellshocked, above Merrill’s dead body. Outside the house, RE stands, lighting a cigarette and chuckling to himself, almost as if he knows what’s going on inside the house.

Two men sit in front of Shaw, one wearing an ascot (Pablo Schreiber), the other wearing a bowtie (Manny Jacinto). Shaw explains to them that their mission is to find and bring in RE, preferably alive, but “dead works too”. The one in the ascot speaks telling Shaw that they’ll make sure to bring him in, while the other remains silent. Shaw asks what’s wrong with him, and Ascot replies that Bowtie is actually a mute. The two hitmen leave as Mandy walks in, saying how he’s wasting their time, and RE is either gone, or just hiding out waiting to kill whoever Shaw sends after him. Shaw says, “I know, but let’s let them figure that out. And if they succeed? Hey, that’s an added bonus.”

Back at the Bell house, Joe and Laura sit staring at each other at the dinner table, Merrill’s body decomposing in the basement. They each discuss what to do with him, and eventually decide to toss him into Lake Erie. The two are about to head out, with Merrill in their trunk, when Greg and Jared stop them. Greg apologizes for all the interrogations and for ultimately wasting their time. Joe hastily says that it’s alright and he and Laura leave Greg and Jared behind. Jared reluctantly heads back to the precinct with Greg.

At the shore of Lake Erie, Joe and Laura stare into the inky blackness of the water below. They take the duffel bag filled with Merrill and in one heave, toss him into the depths of the lake. There’s no going back now.

At a local pub, RE sits, drinking, watching a news report about Teddy and Merrill on the TV. He finishes his drink, and slams the glass into the table. He takes one of the glass shards and throws it into the bartender’s neck. He then snaps off a leg from the stool on his right and plunges it into the man sitting on his left. The other maybe fifteen people sitting in the bar are flabbergasted, but even more so when RE takes out his pistol, but empties the ammunition from the grip. He proceeds to then grab a pool cue and repeatedly hit the other patrons with it, snapping it off against the pool table and stabbing multiple people in the chest, until it breaks off, still inside a man’s chest. He then goes hand to hand against the remaining five men, systematically taking them out one by one. When all the men are on the ground, he picks back up his pistol and his ammo, shooting everyone, even the dead men, just to be safe. RE casually pushes his stool back in and exits the bar, seventeen dead bodies behind him.

A local news report talks about the massacre as Greg and Jared arrive at the scene. Greg wants to survey the area, but for once, Jared tells him to take a second, and fully think about this. A random mass homicide, not too long after a man is killed and another goes missing. Jared tells Greg that more likely than not, the events are connected. Jared wants to go to talk to the only known crime family in the area, the Collins’ and now it’s Greg’s turn to reluctantly agree.

Meanwhile, Shaw and Mandy sit, watching the news report about the massacre. They both know it was RE, but they sit in silence and refuse to speak about it. At the Bell household, Laura and Joe sit in their living room, the door locked and the shades drawn. Laura is absolutely petrified, but Joe is oddly excited. They’re criminals now. They’ve each killed a man.

Greg and Jared arrive at the Collins headquarters, and walk in, flashing their badges to everyone. Behind closed doors, various criminals scurry around trying not to be caught by the detectives. They go up the elevator and make it to the top floor. They greet Shaw and Mandy at sit down opposite Shaw at his desk. They tell him they know the massacre was brought on by one of his men, but are aware that he obviously will never admit to it. Shaw tells him that he really wants this scoundrel brought in. Greg raises his voice, saying he knows Shaw ordered the hit, bringing out his gun under the table. Shaw fires back verbally, telling Greg and Jared to do their jobs, and that they’ve got nothing on him. Now Shaw has his gun out under the table too. The two men stare each other down, until Jared tells Greg that they need to go. As Jared and Greg drive off, Shaw opens his cell phone and calls Ascot. “Those detectives” says Shaw, “Take care of them.”

Two officers, Abbott (Thomas Middleditch) and Hardy (Ben Schwartz) roam the streets of Cleveland, occasionally slipping or stepping in gum. These are Officers Hardy and Abbott. They talk to each other about whatever movie just came out, when they spot something out the corner of their eye; RE Palmer breaking into a car. Abbott meekly tries to yell out and stop him, and Hardy says they should call the police. RE drives off, and Hardy and Abbott follow, but forget to turn their siren on.

About three blocks away, at the Collins’ headquarters, Shaw talks with Mandy about how he hasn’t heard anything from Ascot or Bowtie, and she suggests they go into the fray themselves.

Two blocks away from there, Greg and Jared are walking around when Ascot and Bowtie walk up to them. Ascot punches Greg in the face, and Bowtie knees Jared in the gut. They tell them to stop snooping around, or else things will have to get more deadly, and walk off to find RE.

RE is now on the highway, with Hardy and Abbott on his trail. RE pulls off and Hardy and Abbott almost drive off the road trying to follow him. They have no idea where he’s going.

At the Bell house, Joe and Laura discuss going to the Bahamas or Cancun or something. Laura still can barely function but Joe is living for every second of this. He helps her pack and the two are about to leave, when they open the door to find RE standing there with a gun.

Shaw and Mandy get in their car, finally heading to Shaker Heights, to finish off RE. Greg and Jared also are heading to Shaker as Jared wants to question Joe again. Bowtie and Ascot are heading to Shaker to finish the job they had. Hardy and Abbott are (slowly) tailing RE, leading them to Shaker as well.

Meanwhile, in Shaker, RE holds Laura and Joe at gunpoint in their living room. He rambles on about nonsense when Laura tries to stand up. He changes his carefree tone to something more evil, “SIT DOWN BITCH!” he roars. Laura, even more scared than normal, complies, sitting down. RE then says that in maybe about 5 minutes two officers will be walking in the door. He’s going to shoot them, he continues, and if Laura or Joe say anything, he’ll shoot them too. He leaves to go get some water, and again tells Joe and Laura that he will not hesitate to kill them both if they move at all. Joe tells a scared-shitless Laura that he won’t kill either of them, because he needs them as a bargaining chip with the police. Laura snaps back in a whisper that their only two options are to die or to go to prison. Joe says don’t worry, they’ll both be alright. RE walks back into the room, pointing his gun at the two of them, saying all they have to do now is wait. Once the officers bust in, and are killed, he’s taking them in his car up to Lake Erie, where he has a boat waiting for him. He’ll pass them back to the detectives and he’ll go scot-free. Right at that moment, the door busts open and without breaking eye contact with the Bell’s, RE shoots the two men bursting in. They each fall to the floor. Joe looks confused at the bodies, and says to RE, “Those aren’t policemen.” RE turns and sees Bowtie and Ascot on the ground, each with a bullethole in their heads. As RE turns back around, Joe is standing up and punches RE square in the face. RE drops his gun and Joe begins to wrestle with him. He yells to Laura to pick up the gun, but Laura can’t. He scuffles with RE some more until he yells again at Laura to pick up the gun. She does and shakily aims it at the two men, but right at that moment, in runs Officer Abbott. Laura, taken by surprise, accidentally shoots Abbott in the face, killing him. Hardy runs in afterwards, but Joe gets up off of RE, takes the gun from Laura and shoots Hardy on purpose. He then shoots RE in the chest, drops the gun, and tells Laura they need to go. Laura can’t get over that Joe just willingly shot two men, including a police officer, and that she just killed another man. Joe struggles to get Laura out the door when Greg and Jared burst in. They see the four dead bodies and point their guns at Joe and Laura. They’re about to make the arrest when Greg yells at Joe to turn around. Before he can, RE, who’s standing right behind him, shoots him at point blank range in the back of the head. He then shoots Greg in the shin, and Laura runs out the backdoor and gets in the car. She drives off, and RE gets in his car, driving after her, Jared brings Greg into their car and tails them both. Joe’s body lay on the ground, a smile on his face.

Shaw and Mandy finally arrive at the Bell house and see the five dead bodies, Mandy knows where RE is going. They get back in their car and begin to drive. About three miles further on the road, Laura is driving, with RE behind her and Greg and Jared behind them. She sobs at the steering wheel until she eventually reaches Lake Erie, with a boat right at the shore like RE had said. She gets out of her car and runs towards the boat, but RE, Greg and Jared arrive as well and a massive standoff occurs. RE, with blood all over, and a bullet hole in his chest points his gun at Laura and Jared has his gun pointed at RE, with Greg still in agony in the car. Jared tells Laura that if she can admit that Joe was solely responsible for the murders they can offer her immunity. RE says that’s bullshit, and they can’t offer her anything. Right then, Shaw and Mandy pull up, and Shaw gets out of the car, reprimanding RE like a disappointed mother. RE, without hesitating, shoots Shaw dead. Laura and Jared are taken aback, but even more so when Mandy gets out of the car stepping over Shaw’s body nonchalantly and reveals she’s been working with RE the entire time. She says they’re going to get in the boat, and no one will die. If any of them even think about firing, RE will kill them all so fast they’ll all be dead before any of them even hit the ground. Jared, flabbergasted, watches as Mandy and RE board the boat and sail off to Canada.

Laura, having not given up Joe, faces ten years in prison. About one year later, a black car pulls up to the police station, dropping off a duffel bag. Now-chief Greg opens the door and unzips the bag to reveal RE’s dead body.


Wednesday, July 9, 2025

Release: The Thin Man

 
The Thin Man
Genre: Mystery/Comedy
Director: Richard Linklater
Writer: Carl Flimmer
Based on the novel by Dashiell Hammett
Cast: Tom Hiddleston, Zoey Deutch, Rosamund Pike, Guy Pearce, Jonathan Bailey, Nell Tiger Free, Peter Jacobson, Stephen Graham




Budget: $50,000,000
Domestic Box Office: $67,483,949
Foreign Box Office: $39,120,000
Total Profit: $8,006,816

Reaction: As Richard Linklater's first directing job with the studio in 14 seasons, this one just managed to squeak by at the box office for a small profit.




"Despite its polished production and strong leads, The Thin Man is a misfire that mistakes surface-level charm for substance. Richard Linklater’s direction leans heavily on old-Hollywood aesthetics, but what should feel like a playful homage comes off as mostly self-indulgent. The mystery is painfully predictable, with a barrage of flat interrogations and an underwhelming climax that feels less like a payoff and more like a shrug. Even the usually charismatic Tom Hiddleston and Zoey Deutch seem constrained by the script’s forced quirkiness and dated repartee." - Camille Rhodes, The Bay Herald Tribune


"Richard Linklater brings a stylish, witty revival to The Thin Man, transforming Dashiell Hammett’s classic mystery into a breezy Hollywood whodunit. The glamorous setting and brisk pace give the movie a nostalgic allure, but it’s the chemistry between its leads that makes this murder mystery sparkle. While some subplots fade into the background, the film delivers enough charm, intrigue, and laughs to satisfy fans of both noir and screwball comedy." - Cal Crowe, Washington Globe


“While perhaps wrongly advertised as a comedy, The Thin Man takes us to the world of old Hollywood where the characters are aplenty. The ensemble cast do a good job with what is given to them. Hiddleston and Deutch are the least interesting characters, but the others are written well enough to make up for it. A film I liked but didn’t love, The Thin Man is a welcome addition to Flimmer’s filmography.” - J. Darrell Ellington, Behind the Camera









Rated PG-13 for some suggestive material, brief language, and thematic elements





In Development

 
The Hammer of Thor: The Frost War: Some more familiar faces will be back for the second adventure in the Marvel Universe for Thor and company. Sung Kang (Amnesiac, The Hammer of Thor) is back as Hogun, Jeanne Tripplehorn (Magic, American Gigolo) is back as Frigga, Caitriona Balfe (The Hammer of Thor, Rediscovered Harmonies) is back as Amora, while they will also be joined by new face Thomas Ian Griffith ("Cobra Kai", xXx) as the king of the Frost Giants, Laufey. Roar Uthaug is back as director once again from a script by Roy Horne.

Danya: The latest animated film from director Genndy Tartakovsky and writer Jacob Jones has filled out its voice cast with the additions of Ruth Codd (How to Train Your Dragon, "The Fall of the House of Usher") as a spiritual woman, Ginnifer Goodwin (Buddy Games: Spring Awakening, "Once Upon a Time") a mother bear who helps the main character after her transformation, and Abi Monterey (The Curse of Bridge Hollow, "Doom Patrol") an antagonist. 

The Legend of Zelda: The Legend of Zelda animated film is also completing its voice cast with the hiring of Bryan Cranston (Batgirl, Uncharted 4), Jonathan Pryce (Batman: Knightfall, Mexican Gothic), and Wunmi Mosaku (Sinners, Call Jane). Cranston will voice Ganondorft, the King of Gerudo. Pryce will voice the Great Deku Tree, while Mosaku will voice the Gerudo Sage Soul. Jon Watts is directing from an adaptation by Dawson Edwards.

Never Seeing Kristina Again: Writer Alex Conn (Dean, Watchmen) is back with another teen dramedy - Never Seeing Kristina Again. Gabriel LaBelle (The Fabelmans, Saturday Night) will lead the cast as Tom, a shy, idealistic theater kid with a hopeless crush on a classmate named Kristina. Rachel Sennott (Hideaway, Slowly Dying), Brigette Lundy-Paine (After This Death, I Saw the TV Glow), Anna Cobb (Bones and All, We're All Going to the World's Fair), and Tanner Buchanan (Batman Beyond, Becoming Carole Lombard) have also joined the cast. Sennott will play Tom's cool cousin who mentors him alongside her girlfriend, Harper, who will be played by Lundy-Paine. Buchanan will play a jock who gives Tom bad advice. Cobb, meanwhile, will play the object of Tom's infatuation, Kristina. Kelly Fremon Craig (Ordinary Angels, Are You There God? It's Me Margaret) is set to direct the ensemble picture.

The Lone Ranger: It was announced at the Season 33 LRF Comic-Con that Jacob Elordi (American Gigolo, Starkweather) and Amber Midthunder (The Maid, Pocahontas) are set to star in a new adaptation of The Lone Ranger as the Lone Ranger and Tonto, respectively. They will be joined by Russell Crowe (Caesar Part II, Golden Girl) as the villainous Butch Cavendish, a railroad baron intent on eliminating Native American tribes that stand in the way of his ambitions. James Mangold (The Wolfman, A Complete Unknown) is directing the film from a script by Dwight Gallo (The Vintner, Scarface).

Either/Or: Meirad Tako (On Life and Living, Klitih: A Way of Life) is back behind the camera for a quiet story about a man grieving his father's impending death. Bryan Dormani (Klitih: A Way of Life, 172 Days), Amanda Rawles (A Brother and 7 Siblings, Death Nathan: Thank You Salma), and Mawar de Jongh (The Shadow Strays, Galaski) are set for three main roles in the story.

Tuesday, July 8, 2025

Now Showing: The Thin Man

 
The Thin Man
Genre: Mystery/Comedy
Director: Richard Linklater
Writer: Carl Flimmer
Based on the novel by Dashiell Hammett
Cast: Tom Hiddleston, Zoey Deutch, Rosamund Pike, Guy Pearce, Jonathan Bailey, Nell Tiger Free, Peter Jacobson, Stephen Graham

Plot: The camera moves elegantly between the tables of a luxurious lounge bar, with elegant men and women sipping cocktails and conversing in low voices. Sitting in the center of the scene, at one of the main tables, are Nick (Tom Hiddleston) and Nora Charles (Zoey Deutch). Nick caresses his glass of whiskey while observing the surrounding environment with apparent boredom, Nora on the other hand throws a witty remark, slightly provoking him with a mischievous smile. In the middle of their conversation, a letter is delivered. Nick opens it lazily while Nora, always curious and attentive, comes closer to read it in turn. The letter is an invitation to an exclusive party hosted by Vincent Carlisle, a powerful film producer he had known in the past. Nick mutters something with an absent-minded air, while Nora, amused, tries to press him and convince him that they cannot miss it. Nick finishes the drink with a sarcastic remark, but Nora's knowing smile suggests that they will most likely go to the party.

A few days later. Nick and Nora are greeted at the entrance of Carlisle's gigantic house, located in Beverly Hills with the hills of Los Angeles shining in the background. Nora is bright, visibly excited by the festive atmosphere while Nick maintains his usual detached look, with a hint of amusement under his mustache. Upon entering, they are immediately immersed in a world made of movie stars, directors and industry moguls. Nick and Nora begin to move with ease among the guests, exchanging ironic comments about the glitz and famous faces around them. Their chemistry is palpable even in the middle of the crowd although while Nora has fun exchanging a few words with the stars present, Nick seems more interested in finding the bar to taste some cocktails.

At one point, their attention is caught by a group of people who are laughing loudly. At the center of the scene is Vincent Carlisle (Guy Pearce). Carlisle is the classic tycoon: dressed in an impeccable tuxedo, with the affable and confident smile of someone who knows he is one of the most influential men in the city. Nora, always sociable, approaches elegantly to get noticed, immediately attracting Carlisle's attention. He greets her warmly, making an exaggerated and charming compliment. Nick, more withdrawn, observes the scene with an amused smile, apparently disinterested, but in reality always attentive to how his wife is being treated. The camera pans to Marilyn Hayes (Rosamund Pike), sitting off to one side with a glass of liquor, visibly irritated. Her elegance seems tired now, her eyes shine with contained anger. A few guests watch her from afar, murmuring behind her back. Marilyn, once a very successful actress, is now in decline, her career marked by continuous failures and scandals. As the guests begin to form small groups, gossip spreads among them. There are whispers about Carlisle’s career and how he has toyed with people’s lives, manipulating his position of power in Hollywood. There is talk of sabotaged projects, secret affairs, and broken promises. Nick listens discreetly, picking up on the climate of discontent surrounding Carlisle. In that moment Peter Landon (Jonathan Bailey), a young film director, quickly approaches Carlisle. The interaction between the two is tense from the start. Landon, with a face marked by frustration, nervously insinuates that Carlisle is deliberately blocking his film projects. The young director can't hide his anger, a project he cared a lot about has been put on hold, and everyone knows that Carlisle is behind this decision. Carlisle, with his usual superior smile, dismisses Landon's accusations with a shrug, as if the matter were insignificant.

As the party continues, it is announced that Carlisle has an important revelation to make. The guests gather in the great room, curious to know what the tycoon is about to announce. Carlisle, with his charismatic tone, announces his new film project, which according to him will be "the film of the year". The crowd applauds but some faces do not seem particularly happy, something Nick notices immediately. Suddenly a female voice rises from the crowd: Marilyn Hayes interrupts Carlisle with a cutting and venomous remark. The two begin to exchange cutting remarks with more or less veiled accusations publicly revealing a personal grudge. Peter Landon suddenly enters the discussion. In a sarcastic and provocative tone, Landon insinuates that Carlisle has always done his bidding in Hollywood, blocking projects of anyone he doesn't like and using his power to decide who succeeds and who doesn't. After this quick exchange the situation calms down with Carlisle who returns to speaking in an apparently calm manner. In the meantime Nora listens, fascinated as always by the social dramas while Nick begins to understand that that night could turn out to be more interesting than expected.

The party continues. Nick and Nora mingling among the guests, discreetly listen to snippets of conversations. The guests begin to speak openly about how Carlisle has accumulated enemies over the years. There are stories of canceled projects, contracts torn up at the last minute, and broken promises. Some whisper about Lila Carlisle (Nell Tiger Free), Vincent's young wife who had entered a few minutes earlier, and her alleged extramarital affairs. Others hint at financial scandals, well-hidden secrets that could come to light at any moment. Suddendly a scream tears through the place. Nora immediately grabs Nick's arm with eyes sparkling with anticipation and leads him towards where the scream was heard. Nick and Nora head towards the study together with a group of curious guests. The door to the study is open, and on the floor lies the lifeless body of Vincent Carlisle in a pool of blood. The scene is chilling: Carlisle has been killed with a shot to the head. The guests are left speechless in front of the crime scene, some whispering in fear, others trying to move away in horror. The chaos spreads quickly: screams, cries and demands for explanations intertwine, while the servants try to maintain a minimum of control. Nora observes everything while Nick studies the room with an expert eye, trying to grasp the first details of the crime even if he is visibly reluctant to get involved.

The police arrive a few minutes later, and with them Captain Arthur O'Reilly (Stephen Graham), a tired but determined looking middle-aged man. O'Reilly is an old friend of Nick's, and when he sees his former colleague there, a wry smile spreads across his face. Meanwhile, the guests are herded into the main room for questioning one at a time. Captain O'Reilly makes his way through the crowd, approaching Nick with a look of relief and concern. He knows this case is complicated: Carlisle was a powerful figure, with many connections in the film industry and other enemies. O'Reilly approaches Nick, greeting him with a mix of friendship and sarcasm, as if he knows he'll need his help, even though Nick, long retired, is no longer officially an investigator. After a few friendly exchanges, O'Reilly asks Nick to assist him in the investigation, knowing the former detective's sharp mind. Nick, visibly reluctant, initially tries to decline the offer, insisting that he has retired from that life and would rather enjoy the pleasures of Los Angeles. Nora, meanwhile, observes the conversation between Nick and O'Reilly with a mischievous smile. It is clear that she never had any doubt that Nick would be involved. Her amused expression and sharp gaze suggest that Nora is already thinking about helping out with the investigation, even if Nick would never admit it openly. While Nick tries to resist the captain's insistence, Nora inserts herself into the conversation, pushing with her usual charm and humor for her husband to agree to help out. She, of course, wants to be part of the action, and jokes that Nick is no better at saying no to mysteries than he is at turning down a good cocktail. Nick, after some initial resistance, finally relents, agreeing to help O'Reilly investigate although he says he will prefer to keep a low profile and work behind the scenes, as an outside observer. O'Reilly shrugs, knowing full well that once Nick gets into the thick of the case, he won't be able to help but immerse himself completely.

The police begin questioning the guests one by one, but it is clear that many of them have something to hide. Marilyn Hayes, still visibly shaken by the altercation with Carlisle before his death, sits on the sidelines with a cigarette in her hand and stares into space while Peter Landon tries to maintain a calm appearance. Nora makes witty and provoking comments to Nick to get his opinion on possible suspects. Nick, in his classic sarcastic style, limits himself to answering cryptically, but it is clear that he has already started gathering information. There are many suspicious faces among the guests: each one seems to have a reason not to like Carlisle, and Nick notices it immediately. Lila Carlisle, the young and beautiful wife of the deceased, seems visibly shaken by crying all her tears quite loudly and Nick wonders if her grief is real or fake. In fact, Nick has collected rumors about an alleged affair between Lila and Peter Landon, making them both suspect in the eyes of many. Nora, almost amused, suggests that perhaps the love triangle between Lila, Carlisle and Landon could be at the center of the mystery. Nick, without answering, simply stares at the scene in front of him, knowing that the case is much more complex than it seems at first glance.

Nick and Nora, following O'Reilly, begin the interrogations. Nick and O'Reilly conduct the trial methodically and carefully while Nora, although kept at the sidelines by Nick out of caution, uses her social skills to carefully observe every reaction.

Interrogation of Marilyn Hayes. Marilyn is visibly annoyed and a little agitated, with smudged makeup and a tense look. Nick and O'Reilly ask her about the accusations made against Carlisle, and she does not hesitate to confirm her resentment. Nick, in a sarcastic tone, asks her to explain the nature of her accusations. Marilyn responds with wounded pride, recounting how Carlisle has let her career fall into oblivion due to old disagreements. However, when asked where she was at the time of the murder, Marilyn manages to provide an alibi, declaring that she was in the company of the screenwriter Henry Westfield (Peter Jacobson) and other guests in the ballroom. Nora, watching the scene from a short distance away, senses that Marilyn may not be responsible, despite her fiery temper. She notices a note of sincerity in his voice and exchanges a meaningful look with Nick, who at the end of the interrogation joins her, giving a quick account of what they have just discovered.

Interrogation of Peter Landon. Peter, the young director, seems much more nervous than Marilyn. With evasive eyes and agitated gestures, he tries to appear calm, but Nick and Nora pick up every sign of his uneasiness. Nick, with his deliberately sardonic tone, insinuates that Landon had a lot to lose with Carlisle still alive, since the producer had blocked his projects. Peter, trying to defend himself, admits frustration but denies having had sufficient reason to kill Carlisle, although O'Reilly and Nick seem skeptical. Nora, carefully observing the young man, catches a look that Peter gives to Lila Carlisle, Vincent's widow, and raises an eyebrow, sensing that there could really be a relationship between the two.

Interrogation of Lila Carlisle. The girl, elegant and detached, is questioned immediately after Peter. Her beauty and coldness attract the attention of Nick and Nora. Lila answers the questions with a composure apparently not shaken by her husband's death and without the tears she had shed in public until shortly before. When Nick asks her to explain the details of her relationship with Carlisle, Lila shows a certain nonchalance, limiting herself to underlining her role as a "facade wife" in Carlisle's life. Nick's poorly concealed sarcasm emerges when he asks her if by chance she wasn't more worried about the inheritance than the loss. Lila avoids the direct question, but Nora, with a sharp look, takes the opportunity to playfully insinuate that Lila may have had a more economic than passionate motive. This puts Lila on the defensive, revealing a slight tension for the first time.

Interrogation of Henry Westfield. The last to be questioned is Henry Westfield, an alcoholic screenwriter who shows up for questioning with a bottle in his hand and a melancholic air. During the conversation, he confesses to Nick and O'Reilly that he had an idea for a successful film, which Carlisle, however, would present as his own. Henry, in a moment of alcoholic sincerity, reveals that he has had a deep grudge against Carlisle for years. Despite the suspicion, he seems more inclined to resignation than revenge. The man also talks about a possible letter in Carlisle's office that could be a real bombshell throughout the Hollywood industry. He also says that he himself had entered the office to look for it but found the man already dead and ran away. Nick and Nora exchange a brief comment: Henry does not seem like the type to plan such an elaborate murder, but Nick nevertheless notes that he is not a suspect to be discarded.


Nick and Nora sneak into Carlisle's study to search for more evidence. While rummaging through the producer's papers, the Charleses discover an incomplete letter, seemingly addressed to a European buyer, tucked away in one of the drawers. The letter hints at Carlisle's plan to sell his production company to an international company, information that would likely destroy the careers of many artists and directors under contract. After reading it, the two share a tender kiss. Nick's idea is that Carlisle was about to retire from the film industry and walk away with a large sum of money, leaving Hollywood in chaos. As they look through the documents, Nora humorously expresses her disappointment in Carlisle, considering his actions an extreme act of selfishness. Nick, chuckling, points out that Carlisle's cynicism may have led to his downfall. Nick also smells the letter, detecting a woman's perfume.

With the potential deal discovered, Nick and Nora gather the remaining guests to reveal the information they found. Nick begins to put the pieces of the puzzle together in front of everyone: a manipulative producer, artists blocked by contracts and a wife indifferent to the mourning, all possible suspects, all damaged by Carlisle's decision. The atmosphere in the room heats up again, and the reactions to Nick's revelations are not long in coming: Peter, in particular, reacts angrily, while Henry lets himself go with poisonous comments. At that moment Lila says she's going to the bathroom to fix her makeup, followed shortly after by Peter himself who leaves the room without being seen. Nora, however, notices and witnesses a passionate kiss between the two as well as exchanging phrases about Carlisle's crime. When Nora returns to Nick they exchange a knowing look: now they are sure that Lila and Peter were not only lovers, but also that they themselves were probably plotting to obtain Carlisle's assets. However, Nick is still not convinced that they are the real culprits despite having recognized the women's perfume that ended up on the letter as the one Lila had that night. Meanwhile, O'Reilly, determined to close the case, is convinced that Peter and Lila are the culprits, thanks to their obvious relationship and financial movements. Nick, while admitting that there is evidence against him, expresses doubts about the ease with which Peter and Lila's guilt seems to reveal itself, sensing that someone may be playing a more cunning game behind their backs. Nora, with her usual irony, teases him, telling him that perhaps he is looking for a complication where there is no need, but Nick is adamant. In the end, O'Reilly decides to continue following Peter and Lila's trail.

It's dawn now. Nick has a plan and convinces O'Reilly to go along with it. The two, along with Nora, begin to set the table for a delicious breakfast. Marilyn, Peter, Lila and Henry are invited to join them for breakfast, announcing an important announcement regarding the investigation. The guests arrive in the room one at a time, each with an air of tension and curiosity, and take their places around the elegantly set table. Nick, with a tone of casual cheerfulness, begins to reconstruct the case, emphasizing how Lila and Peter are the most likely suspects, but suggests that the apparent perfection of their alibi is too far-fetched to be true. Lila and Peter, visibly uncomfortable, try to defend themselves, but Nora gracefully interrupts them, observing that there is more to the matter. As Nick proceeds with his explanation, a seemingly innocent comment about Marilyn Hayes slips into the conversation. Marilyn has maintained a deceptively calm demeanor throughout breakfast, but begins to show signs of nervousness when Nick casually remarks that only those who knew Carlisle well would know of his solitary midnight cigar routine in his study. Nora casts a witty glance at Marilyn and points out that, of all the guests, she alone had a personal reason to hate Carlisle, having suffered more than anyone from the sabotage of his career. Nick, now more forceful, accuses her of orchestrating the murder not to defend her own reputation, but for revenge and to frame Lila and Peter, whom she knew to be lovers.

The woman tries to defend herself and remain calm but at a certain point, under pressure, Marilyn gives in. Snorting with a mixture of anger and resignation, she confesses that, years before, Carlisle had brought her to the top of her career only to then make her collapse from one day to the next when she had tired of her by also inventing false scandals. She admits that she had guessed Peter and Lila's plan to kill Carlisle and obtain his assets and that she had decided to act first, to prevent them from taking what she believed was rightfully hers. As she recounts the details, Marilyn lets go of an impassioned monologue on the ruin of her career and the injustices of Hollywood. Nick and Nora listen attentively, revealing a mixture of admiration and compassion for what turns out to be a wounded and determined woman. Before taking the woman away to the police station, she suggests to Nick that the perfume on the letter was his and not Lila's.

After a few hours, Nick and Nora, elegantly dressed, relax in a lounge bar each with a drink in hand. Nick makes an ironic toast, commenting on how, once again, they found themselves involved in a case that was supposed to be a simple social party.
Nora, laughing, responds with an affectionate joke, saying that maybe next time they will really be able to take a crime-free vacation as long as they stay away from parties, clubs, trains, and any place that could in any way attract danger. Nick, with his characteristic smirk, responds with a joking phrase, implying that, deep down, he loves this lifestyle and that a quiet life is not for them. She asks him how he knew of Marilyn's guilt and he chuckles that he didn't know and that he hoped it was her because otherwise he wouldn't have known how to solve the case quickly. As they chat, laugh and exchange joking comments, something catches their attention.

A small fox terrier, with a lively and curious look, approaches them, wagging its tail and sniffing around. Nora immediately bends down to pet it, fascinated by the dog's sweetness. Nick watches amused, making a sarcastic comment about the "new detective of the family", but can't hold back a smile when the dog jumps on him, visibly affectionate. After a few moments, they exchange a look, and Nick, with a half smile, realizes that they can no longer do without this new companion. Nora, beaming, suggests calling him "Asta", and Nick agrees with a nod, while petting the dog who now happily trots next to them. Nora jokes that perhaps, with a dog by their side, the next adventures could be a little more lively. Nick, with his typical irony, replies that Asta will be an excellent investigative assistant, ready to defend them and discover hidden clues.

The three leave the place. As they walk, the camera slowly pans away, leaving the couple and their new friend as they disappear into the city ready for a life together always full of mystery and new adventures.


SOCIAL SPOTLIGHT

 

Actors don’t just light up the screen — they light up the feed. Social Spotlight takes a look at how today’s stars promote their movies through the platforms that matter.

This round we have an X post from the official studio account....



Saturday, July 5, 2025

Last Resort Films: The Story So Far (Seasons 6-10)

 

Welcome to Last Resort Films: The Story So Far! Chad Taylor checking in here with a new series that will take a look back at LRF’s illustrious past, five seasons at a time. In this second edition, we will cover seasons 6-10.

When we last left off, LRF was gaining steam in its fifth season. More writers than ever had joined the fray and a variety of different genres, adaptations, and original stories were hitting the big screen. Last Resort Films was steadily gaining a foothold in the Hollywood landscape.



Season 6
The momentum of Season 5 carried forward for the studio with another season of high highs. Season 6 featured seven film with a Metascore of 80 or higher (and an eighth film at 79). Most notable among these was David Robert Mitchell’s Death Dream, a chilling remake of a relatively forgotten 70s horror film. After making a name for himself in films like Flicker, Cosa Nostra, and To the White Sea, Alden Ehrenreich continued his ascent into superstardom and won his first Best Actor Golden Reel Award.

Elsewhere, the studio saw some surprise box office hits, chief among them Peter Jackson’s manga adaptation Made in Abyss. John Malone and I debuted our original science fiction epic, Scion, which would go on to spawn its own franchise. Video game IP continued to be a hot commodity with Mass Effect 2, Uncharted, Alien: Isolation, and Grand Theft Auto all proving to be hits for the studio. Dead Space proved that not all video games were viable properties, joining High Society as big flops for the studio. Speaking of, George Miller’s High Society was one of the most talked-about films of the season given the box office failure relative to its starry cast, leading to a brief public back-and-forth between writer James Morgan and now-famous critic Jeff Stockton.

On the debuts front, Roy Horne made his LRF debut with his live-action remake of Perfect Blue, which earned Elle Fanning a Best Actress trophy and cemented her stellar season (alongside Made in Abyss). The GRAs largely belonged to Death Dream, collecting Best Picture, Best Adaptation, and 3 of 4 acting awards. The biggest surprise was perhaps Steven Soderbergh coming relatively out of left field to nab Best Director for Carmilla.

Best Picture: Death Dream
Best Director: Steven Soderbergh - Carmilla
Best Actor: Alden Ehrenreich - Death Dream
Best Actress: Elle Fanning - Perfect Blue
Best Adaptation: Death Dream by John Malone
Best Original Story: Scion by John Malone & Chad Taylor




Season 7
In conversations about LRF’s overall history, it is hard to say if any film from Season 7 would come up. That’s not to say that there were no good films - there were plenty! - just a lot that seems lost to time. Some of the studio’s biggest writers - John Malone (Ranger, Revolution), Dwight Gallo (The Lady in the Lake), Lon Charles (Stained) - had successful releases, but ones that don’t seem as talked about amongst their oeuvre.

The DC Universe continued its impressive wave of turning lesser-known characters into A-list names; Glenn Howerton’s Plastic Man debuted to rave reviews while Ryan Gosling’s Question series came to its conclusion. While Halo and Mass Effect logged more successful entries, this season largely belonged to original works.

My film, The Squared Circle, won Best Picture and Best Director that year but I still wonder what could’ve been with Daniel Day-Lewis in the lead role as originally intended. In The Death of an Honest Man, Dominic Wilkins conjured a script perfectly suited for Yorgos Lanthimos to make his debut at the studio. My personal favorite film from this season is Revolution, which was somewhat criticized at the time for being overstuffed but I appreciate the ambition on display there.

Best Picture: The Squared Circle
Best Director: Paul Thomas Anderson - The Squared Circle
Best Actor: Collin Farrell - The Death of the Honest Man
Best Actress: Christina Hendricks - The Question: The End
Best Adaptation: The Death of the Honest Man by Dominic Wilkins
Best Original Story: The Question: The End by D.R. Cobb




Season 8
Season 8 came out the gate hot, with Round 1 featuring one of its highest grossing films (Splinter Cell: Double Agent) and eventual multi-GRA-winning film Crowley. The season saw multiple debuts of writers who would become regulars, including Alex Conn (The Life of a Champion, Queen Mary) and H.G. Hansen (Eleanor & Park, Maximum Ride). In his third season, Roy Horne hit new heights with The Tower - a film that still haunts me from time to time.

I remember this Golden Reel Awards distinctly because it felt like it could in any which direction. When stacked up against Crowley, Cascade, and Nevada, Iowa, some thought Runaway had the longest odds to win Best Picture - in part because it failed to land a Best Adaptation nomination (a category in which none of those films were eligible). But the film ended up winning four of the final six awards that night, including Picture and three acting awards.

Best Picture: Runaway
Best Director: Nicolas Winding Refn - Crowley
Best Actor: Tom Hardy - Crowley
Best Actress: Haley Lu Richardson - Runaway
Best Adaptation: Grand Theft Auto: Vice City by Mo Cobb
Best Original Story: Cascade by Chad Taylor



Season 9
That shock value would also transfer over to the Ninth GRAs, which felt quite chaotic. At the box office, things were going great with the second highest money totals up until that point (Season 3 still held the crown). That’s in part due to multiple franchise installments lining up nicely for the studio, with Batman, Halo, Scion, and Mass Effect also being joined by newcomer God of War.

However, the season was a relative nadir for critical reception. Just three films nabbed a MUST SEE tag from Metacritic. One film stood fairly ahead of the pack, David O. Russell’s Spark of Madness. Calamity was its closest competitor, with Leonardo DiCaprio stealing Spark star Steve Carrell’s thunder a bit by winning his second Best Actor award. And then in another relatively surprising Best Picture result, To The Moon - a modest sci-fi dramedy from Charlie McDowell and Seth Overton - catapulted to a surprise victory.

On the debuts front, Jacob Jones made his debut with his satire Happy Nuke Year.

Best Picture: To the Moon
Best Director: David O. Russell - Spark of Madness
Best Actor: Leonardo DiCaprio - Calamity
Best Actress: Natalie Portman - One for the Ages
Best Adaptation: Batman: Caped Crusader by APJ
Best Original Story: Calamity by Mo Buck & Chad Taylor



Season 10
Reaching ten seasons felt like a monumental occasion at the studio. By season’s end, the studio had produced its 300th film in the span of only 15 months. And to mark that occasion, the studio celebrated with Justice League International - its most expensive and arguably most epic film to date, tying together the various DC superheroes who had been introduced to that point. It paid off in a huge way as it ended up breaking Batman: Caped Crusader’s record as the highest grossing LRF film to that point.

Mo Buck - one of the most prolific writers at the studio - won the second Lifetime Achievement Award this season. Funnily enough, this happened to be the debut season of Jimmy Ellis (Missing Men), who would later vy for the crown of most prolific himself. Overall, the season’s most acclaimed films had a darker undertone with films like Kite, Blackbird, and 7 Days. Best Picture contenders Ghost Town and Letter to Myself - featuring the first pairing of future Spider-Man duo Lucas Hedges and Elle Fanning - also carried a certain somberness, giving the tenth season almost a reflective tone. If you want something a little lighter from that time, I’ll say that Hands on a Hard Body is still one of my favorite adaptations I’ve ever done.

Best Picture: Ghost Town
Best Director: Barry Jenkins - Ghost Town
Best Actor: Bryan Cranston - 7 Days
Best Actress: Mackenzie Foy - Kite
Best Adaptation: Blackbird by Seth Overton
Best Original Story: Ghost Town by Chad Taylor


Friday, July 4, 2025

#TRENDING (SEASON 33)

 

In #Trending, we will look at some of the trends the studio has noticed behind the scenes and around the office water coolers....


#HorrorReboots
After the success of Amityville, Kruger, Magic, Friday the 13th, and Phantasm: Awakening, horror reboots have never been hotter than ever with the LRF community. The upcoming seasons could very well see further reboots of the Texas Chainsaw Massacre, Wrong Turn, Tales from the Crypt, Prom Night, and Valentine horror franchises if communications with writers are to be believed.

#Sequels
Like with reboots, messages to the studio are stocked with sequel pitches. Just later this season The Hammer of Thor, Supergirl, and We Know Where You Live are awaiting sequels. Future seasons could see further sequels from the series of 1984, X-Men, The Punisher, Superman, The Crow, Batman, James Bond, and more.

#DCFlops
The DC Comics Universe, for 31 seasons, seemed infallible. But now there have been two hard flops in a row - which seems to have shifted some of the writing output around. Could we see more big name sequels? Or will we see a cooling off period with fewer films released for the DC world? Only time will tell, but the topic is certainly #trending.

Thursday, July 3, 2025

The Trades with Reuben Schwartz (Season 33)

 

Hello and welcome to the latest edition of The Trades! My name is Reuben Schwartz and this is my annual look at the news, casting, rumors, and general happenings at the studio each season.

Let’s talk box office. It’s fair to say that things have been slow thus far, lacking any huge hits. Perhaps the most notable standout is a lack of a major comic book film. The two adaptations, Watchmen and Lucifer, both failed to make a profit - which is not a total surprise given their eccentric approaches. The three set for the second half of the season (Thor, Supergirl, and Black Panther) will likely fare better, but it is time to wonder if the dominance of superhero films is starting to fade at LRF.

The studio has seen a few new potential franchises emerge, however. Power Rangers was a moderately successful blockbuster, and likely doing even better in the merchandising realm. Metroid continues the trend of successful video game adaptations, proving to be a great start for rookie writer Dawson Edwards. Even bigger expectations are on Edwards’ next video game film, The Legend of Zelda, in Round 7. The wildly popular franchise has long eluded the big screen and looks to follow in the footsteps of Season 17’s Super Mario, still the studio’s biggest animated hit.

On a positive front, Season 33 has shown that there is a market for more modestly-budgeted films. Continuing a larger trend at the studio of late, films like The Night Stalker and The Essence really show horror to be a viable genre going forward. In Round 5, Sniper hit with critics and audiences alike and didn’t cost a fortune. This isn’t to say that the studio will totally embrace this “singles and doubles” approach in favor of going for home runs, but seeing these results has to be encouraging for bolstering a varied slate.

As for the GRAs, the aforementioned Night Stalker and Broadway Joe have thrown their names into the hat. It’s a safe bet to say both lead actors will be in vying for Best Actor, but neither film is what you’d expect from a traditional Best Picture front-runner. Will one of those emerge in the second half of the season? Depending on how things go, films like Cedar Ridge, Boys from the Forest and Before Love Came to Kill Us could become quiet acting contenders despite not making a major splash in their initial release.

Looking ahead, we’ve already discussed the potential for bigger box office receipts. There’s no major sledgehammer like The Avengers or Justice League on the horizon but you never know what may surprise. On the awards front, a lot of eyes are on Splendour has the latest Lon Charles true crime story - with the added oomph of the main roles being recognizable public figures. I look forward to seeing what else the studio has in store and checking back in at season’s end!

Wednesday, July 2, 2025

GOSSIP RAG (SEASON 33)

 

In this segment, we will delve into the inside dirt on some of the latest and upcoming LRF releases and the studio's stars....




JEREMY ALLEN WHITE
Jeremy Allen White doesn’t just play Joe Namath—he apparently tried to become him. For his leading role in Broadway Joe, the actor dove headfirst into the life of the NFL icon, reportedly spending months buried in archival footage, mimicking Namath’s swagger, and training with ex-NFL coaches to nail that signature on-field flair. Sources say White went so method he refused to take off an old Namath-era Jets jersey—despite it hanging loosely off his much smaller frame—and could be heard reciting vintage Noxzema ad lines between takes. “He even started walking like him,” one crew member laughed. “It was half quarterback, half lounge lizard.”




DANNY RAMIREZ
Night Stalker, the grisly biopic released earlier this season, drew critical acclaim for Danny Ramirez’s bone-chilling turn as real-life serial killer Richard Ramirez. To tap into the darkness, Ramirez reportedly consumed hours of documentaries, trial footage, and taped interviews—studying the killer’s every gesture, stare, and sinister whisper. But sources close to the actor say the transformation didn’t come without a price. Ramirez has allegedly been haunted by nightmares long after production wrapped, struggling to shake the role’s lingering grip. “It got under his skin,” one insider admitted. “Even off-set, he carried that energy with him—it was like he brought something back from the abyss.”




MILLIE BOBBY BROWN
There was plenty of morphin’ drama behind the scenes of the latest Power Rangers reboot—most of it quietly orbiting around Millie Bobby Brown, who landed the coveted role of Kimberly, the Pink Ranger. While Brown was reportedly professional and far from a diva, insiders say the cast couldn’t help but notice the star treatment she received. From a supersized trailer to an entourage of personal assistants and catered perks, Brown’s elevated status became an unspoken elephant in the Command Center. “She wasn’t rude or difficult,” one source noted. “But let’s just say the rest of the Rangers definitely didn’t get the pink carpet rolled out for them.”




JIM JARMUSCH
Bringing Watchmen to life is no small task—just ask Jim Jarmusch. The indie auteur, best known for his slow-burn character studies and poetic silences, was handed the keys to the DC Comics crown jewel earlier this season, and the results were… less than super. Sources say Jarmusch struggled mightily with the demands of the $100 million, effects-heavy production—ten times the budget of anything he’d helmed before. Cast members like Joseph Gordon-Levitt, Justin Timberlake, and Matthew Fox reportedly grew frustrated with Jarmusch’s improvisational style and meandering pacing, which clashed with the precision blockbuster filmmaking typically requires. “It felt like he was trying to shoot a Sundance drama on a Marvel schedule,” one crew member quipped. The film’s box office crash and lukewarm reviews suggest the experiment in auteur-driven superhero cinema may have been more watch out than Watchmen.




CHRISTOPHER WALKEN
Christopher Walken is reportedly not dancing with excitement over the upcoming release of Splendour, the controversial dramatization of Natalie Wood’s tragic final night—which features Michael Pitt portraying a younger Walken himself. Sources close to the legendary actor say he has no plans to see the film or Pitt’s performance, but has already instructed his legal team to monitor the project closely for any scenes that might cross the line into defamation. Walken, long reluctant to publicly revisit the incident, is said to be deeply uneasy about the film’s potential to stir up long-buried speculation. “He’s not interested in reliving that night or seeing it twisted for entertainment,” one insider revealed. With Splendour poised to reignite public curiosity, Walken’s silence may speak louder than words—but his lawyers are reportedly on standby, just in case.