Wednesday, November 5, 2025

Now Showing: Macbeth

 
Macbeth
Genre: Historical/War/Drama
Director: Robert Eggers
Writer: Jimmy Ellis
Based on the play by William Shakespeare
Cast: Benedict Cumberbatch, Rebecca Ferguson, James McAvoy, Brian Cox, Fionn Whitehead, Aaron Taylor-Johnson, Samantha Colley, Jerome Flynn, Robert Carlyle, Paul Dano, Bonnie Aarons, Sophia di Martino, Dixie Egerickx

Plot: Thunder and lightning crash above a Scottish moor. Three haggard old women, the witches (Bonnie Aarons, Sophia di Martino & Dixie Egerickx), appear out of the storm. In a chanting tone, they make plans to meet upon the heath, after the battle, to confront Macbeth. As quickly as they appeared, the weird sisters vanish into the cold and bitter air.

At a military camp near his palace, King Duncan of Scotland (Brian Cox) asks a wounded captain (Jerome Flynn) for news about the Scots’ battle with the Irish invaders, who are led by the rebel Macdonwald. The captain, who was wounded helping Duncan’s son Malcolm (Fionn Whitehead) escape capture by the Irish, replies that the Scottish generals Macbeth and Banquo fought with great courage and violence. The captain then describes for Duncan how Macbeth slew the traitorous Macdonwald. As the captain is carried off to have his wounds attended to, the Thane of Ross (Paul Dano), a Scottish nobleman, enters and tells the king that the Thane of Cawdor has been discovered to be a traitor, aiding the army of Norway during battle. Duncan decrees that the Thane of Cawdor be put to death and that Macbeth, the hero of the victorious army, be given Cawdor’s title. Ross leaves to deliver the news to Macbeth.

A heavy fog eerily hovers over the battlefield as Macbeth (Benedict Cumberbatch) and Banquo (Aaron Taylor-Johnson) make their way to the camp, where Duncan awaits them. Macbeth is the first to realize the three witches standing before him, wearing long black cloaks that cover their entire body. The men shrink in horror at the sight of the horrid sisters; Banquo even asks them if they are human, for they don’t resemble inhabitants of the Earth. The weird sisters, in the same chanting tone as before, hail Macbeth as Thane of Glamis (his original title) and Thane of Cawdor. Macbeth is baffled at this second title, as he has not yet heard of King Duncan’s decision. The witches also prophesize that Macbeth will be king in the near future. Stunned and intrigued, Macbeth presses the witches for more information, but they have turned their attention to Banquo, speaking in yet more riddles as they claim that even though he will not rule Scotland, his future descendants will. Macbeth implores the witches to explain what they meant by calling him thane of Cawdor, but they vanish into thin air.

At the king’s palace, Duncan hears reports of Cawdor’s execution from his son Malcolm, who says that Cawdor died nobly, confessing freely and repenting of his crimes. Macbeth and Banquo enter; Duncan thanks the two generals profusely for their heroism in the battle, and they profess their loyalty and gratitude toward Duncan. Duncan announces his intention to name Malcolm the heir to his throne. Macbeth declares his joy but notes to himself that Malcolm now stands between him and the crown. Plans are made for Duncan to dine at Macbeth’s castle that evening, and Macbeth goes on ahead of the royal party to inform his wife of the king’s impending arrival.

In Macbeth’s Castle, Lady Macbeth reads to herself a letter she has received from Macbeth. The letter announces Macbeth’s promotion to the thaneship of Cawdor and details his meeting with the witches. Lady Macbeth murmurs that she knows Macbeth is ambitious, but fears he is too kind-hearted to take the steps necessary to make himself king. She resolves to convince her husband to do whatever is required to seize the crown. A messenger enters and informs Lady Macbeth that the king rides toward the castle, and that Macbeth is on his way as well. She resolves to put her natural femininity aside so that she can do the bloody deeds necessary to seize the crown. Macbeth enters, and he and his wife discuss the king’s forthcoming visit. Macbeth tells his wife that Duncan plans to depart the next day, but Lady Macbeth declares that the king will never see tomorrow. She tells her husband to have patience and to leave the plan to her.

Duncan, the Scottish lords, and their attendants arrive outside Macbeth’s castle. Duncan praises the castle’s pleasant environment, and he thanks Lady Macbeth, who has emerged to greet him, for her hospitality. She replies that it is her duty to be hospitable since she and her husband owe so much to their king. Duncan then asks to be taken inside to Macbeth, whom he professes to respect and admire dearly.

Inside the castle, as oboes play and servants set a table for the evening’s feast, Macbeth paces by himself, pondering his idea of assassinating Duncan. He declares his willingness to risk eternal damnation but realizes that even on earth, bloody actions result bloody consequences. Lady Macbeth enters and tells her husband that the king has dined and that he has been asking for Macbeth. Macbeth declares that he no longer intends to kill Duncan. Lady Macbeth, outraged, calls him a coward and questions his manhood. He asks her what will happen if they fail; she promises that as long as they are bold, they will be successful. Then she tells him her plan: while Duncan sleeps, she will give his chamberlains wine to make them drunk, and then Macbeth can slip in and murder Duncan. They will smear the fallen king’s blood on the sleeping chamber guards to frame them for the killing. y will smear the blood of Duncan on the sleeping chamberlains to cast the guilt upon them. Astonished at the brilliance and daring of his wife’s plan, Macbeth agrees to proceed with the murder.

Banquo and his son, Fleance, walk through the torch-lit halls of Macbeth’s castle. Fleance says that it is after midnight, and his father responds that although he is tired, he wishes to stay awake because his sleep has lately inspired cursed thoughts. Macbeth enters, and Banquo is surprised to see him still up. The latter says that the king is asleep and mentions that he had a dream about the “three weird sisters.” When Banquo admits that he is starting to believe the witches’ prophecy, Macbeth shuts him down and says that he must sleep and the two agree to discuss the witches’ prophecies at a later time.

Banquo and Fleance leave, and suddenly, in the darkened hall, Macbeth has a vision of a dagger floating in the air before him, its handle pointing toward his hand and its tip aiming him toward Duncan’s chamber. Macbeth tries to grasp the weapon and fails. He wonders whether what he sees is real or a “dagger of the mind.” Continuing to gaze upon the dagger, he thinks he sees blood on the blade, then abruptly decides that the vision is just a manifestation of his unease over killing Duncan. The night around him seems thick with horror and witchcraft, but Macbeth musters up the courage to do his bloody work.

Macbeth sneaks into the Duncan’s room and sees the two chamber guards sleeping on the floor beside his bed. He creeps towards the bed, grasping the dagger firmly in his right hand as he looks upon the sleeping king. He sits on the edge of the bed and is surprised when he sees Duncan’s eyes open slowly. Macbeth ruthlessly covers the king’s mouth as he slits his throat with the dagger; blood sprays on his face and floods the white sheets of linen. Lady Macbeth lays awake in her room, waiting for her husband to return. Macbeth enters, his hands and face covered in blood, and says that the deed is done. Lady Macbeth at first tries to steady her pale-faced husband, but she becomes angry when she notices that he has forgotten to leave the daggers with the sleeping chamberlains so as to frame them for Duncan’s murder. He refuses to go back into the room, so she takes the daggers into the room herself, saying that she would be ashamed to be as cowardly as Macbeth. As the door to their chamber shuts, Macbeth walks over to a bowl of water and begins washing the blood from his hands. The water suddenly turns into a viscous red liquid, reminding Macbeth of the blood coming from the king’s open throat. He yells out and throws the bowl against the wall, breaking it and looking down as he witnesses the water turns back to normal.

A porter stumbles through the hallway to answer the knocking, grumbling comically about the loud noise. Macduff (James McAvoy), a Scottish noble living in Fife, enters and complains about the porter’s slow response to his knock. Macbeth enters, and Macduff asks him if the king is awake, saying that Duncan asked to see him early that morning. Following a dry gulp, Macbeth says that Duncan is still asleep. Macbeth volunteers to guide him to the king’s chambers, Macduff accepts.

After walking into Duncan’s room, Macduff comes running from the room, shouting that the king has been murdered. Lady Macbeth, Malcom, and other noblemen rush towards the scene as Macduff explains the grisly details of the scene. Lady Macbeth feigns horror by fainting into the arms of two councilmen, who help her away from the scene. Macbeth, who entered the chamber following Macduff’s hollering, walks out and tells the remaining people at the scene that the king’s chamber guards were responsible for the murder, for their hands and faces were drenched with blood. He then declares that in his rage he has killed the chamberlains.

Alone in his room, Malcom realizes that he is not safe in Scotland, for he who murdered his father is probably trying to kill them next. He exits the castle and mounts a horse, riding off to England in utter fear and cowardice.

In the royal palace, Banquo paces and reflects upon the coronation of the new king, Macbeth. The witches foretold that Macbeth would be king and that Banquo’s children would eventually sit on the throne. If the first prophecy came true, Banquo thinks, feeling the stirring of ambition, why not the second? Macbeth enters, attired as king, and is followed by Lady Macbeth, his queen. The king and queen invite Banquo to attend the feast they will host that night; he accepts and says that he plans to go for a ride on his horse for the afternoon. Macbeth mentions that they should discuss the problem of Malcolm, since he has fled from Scotland and might be plotting to steal the crown. Banquo tells him not to fret about Malcom as he leaves the palace, leaving the paranoid king to his lonesome.

Macbeth enters a room where two assassins wait for him, comically remarking at the stormy weather outside. The king previously explained to the assassins the task at hand: kill Banquo and his son, Fleance. Macbeth reiterates the importance of Fleance’s death, for he knows the three witches foretold that Banquo’s children will take his place. The men fall to their knees as a show of loyalty to King Macbeth and pledge to successfully complete the task.

Elsewhere in the castle, Lady Macbeth expresses despair and sends a servant to fetch her husband. Macbeth enters and tells his wife that he too is discontented, saying that his mind is “full of scorpions.” He feels that the business that they began by killing Duncan is not yet complete because there are still threats to the throne that must be eliminated. Macbeth tells his wife that he has planned “a deed of dreadful note” for Banquo and Fleance and urges her to be jovial and kind to Banquo during the evening’s feast, in order to lure their next victim into a false sense of security.

It is dusk, and the two murderers linger in a wooded park outside the palace. Banquo and Fleance approach on their horses and dismount. They light a torch, and the murderers set upon them. The murderers kill Banquo, who dies urging his son to flee and to avenge his death. One of the murderers extinguishes the torch, and in the darkness Fleance escapes. The murderers leave with Banquo’s body to find Macbeth and tell him what has happened.

A large wooden table is heaped with a feast. Macbeth and Lady Macbeth enter as king and queen, thanking the nobles sitting at the table for attending their feast. On the corner of his eye, Macbeth catches one of the assassins beckoning him with his index finger. The king ushers the assassin into a separate room and asks him if the deed is done, to which the assassin replies that although Banquo was killed, Fleance was able to flee. Macbeth punches the wall in anger and says that if only the “worm” had died, his throne would be secure.

Returning to his guests, Macbeth goes to sit at the head of the royal table but finds Banquo’s ghost sitting in his chair. Horror-struck, Macbeth speaks to the ghost, which is invisible to the rest of the company. Lady Macbeth makes excuses for her husband, saying that he occasionally has such “visions” and that the guests should simply ignore his behavior. She then quietly snaps at Macbeth, questioning his manhood and berating him with a series of insults. The ghost disappears and Macbeth apologizes for his behavior, lifting his glass and offering a toast to his company. Suddenly, Banquo’s specter appears once more and shocks Macbeth into further reckless outbursts. Continuing to make excuses for her husband, Lady Macbeth sends the alarmed guests out of the room as the ghost vanishes again.

In their quarters, the king and queen discuss the feast and it’s abrupt ending. After berating her husband’s behavior once more, Lady Macbeth changes the subject by telling her husband that a servant-spy has told her that Macduff has fled to England and he is rumored to be plotting against the crown with Malcom, the former king’s son. Macbeth takes the warning into account and tells his wife that he will visit the witches again the next morning; the two go to sleep.

In a dark cavern, Macbeth gathers with the three weird sisters. He asks the witches to reveal the truth of their prophecies to him. To answer his questions, they summon horrible apparitions, each of which offers a prediction to allay Macbeth’s fears. First, a floating head warns him to beware Macduff, Macbeth says that he has already guessed as much. Then a bloody child appears and tells him that none of woman born shall harm him. A few hours later in the palace, Macbeth sits on his throne as the Thane Of Ross informs him that Macduff has been seen together with Malcom in England. The furious king demands for the Thane Of Ross to gather his best troops to capture Macduff’s castle and to kill Macduff’s wife and children.

Lady Macduff sits in her castle holding a piece of paper. The paper is a letter from Macduff telling her that he has fled to England; he gives her no reason as to why he did so. She begins sobbing before tearing the letter into pieces and cursing her husband under her breath. Suddenly, screams are heard from the palace as several of Macbeth’s troops begin killing everyone in the castle. Lady Macduff attempts to run away before a soldier is able to capture her and kill her with three stabs to the stomach.

The Thane Of Ross enters the throne room in Macbeth’s palace, informing the king that the deed is done and Lady Macduff, along with her children, have been slain. Macbeth expresses his delight and sends the Thane Of Ross away with nothing but a swat of his hand. Lady Macbeth enters and questions whether her husband is being too arrogant about what he can and cannot get away with. Corrupt with power, he shuts her up and claims that since none of woman born shall harm him, he is invincible.

In England, Malcom and Macduff take a stroll through a park and talk about the suspicious death of Duncan. Macduff says that he suspected Malcom at first, but after the death of Banquo he has his suspicion set on the king himself, Macbeth. Malcom states that the throne is rightfully his and that his decision to flee was rash and impulsive. The Thane of Ross approaches on horseback and it is revealed that he has been loyal to Malcom the whole time, working as a spy for the young prince. He frantically tells Macduff that his wife and children were slain; orders given from Macbeth. The furious Macduff convinces Malcom that now is the time to strike against the king and they begin preparing their plan of attack.

At the palace, a servant rushes into Macbeth’s room and tells him that there is an emergency, for Malcom and his troops are storming the castle. The king has an air of confidence behind him, for the witches told him none of woman-born could hurt him. He readies his sword and walks out of the throne room, striding toward the castle door with his head held high. However, as soon as he exits the room, he sees his queen’s dead body slumped on the floor, a bloody dagger beside her body, and her wrists slashed open. Macbeth begins a speech about how meaningless life is, saying that his wife was going to die someday. With little to no motivation, he continues his way towards the castle door.

As Malcom’s troops storm the castle, Macbeth strikes those around him vigorously, insolent because no man born of woman can harm him. Elsewhere on the battlefield, Macbeth at last encounters Macduff. They fight, and when Macbeth insists that he is +invincible because of the witches’ prophecy, Macduff tells the king that he is not of woman-born since he was born by caesarean section. Fear floods through Macbeth’s body and he loses his footing in the battle and Macduff begins taking the upper hand.

Malcom enters the battle. He doesn’t fight, but instead he watches as his generals dominate Macbeth’s troops. He sees Macduff fighting Macbeth and he can’t help but feel a sense of joy upon watching his father’s killer feel fear. Macbeth’s crown falls off of his head during battle and as he goes to grab it, Macduff takes the opportunity to behead him. Malcom’s troops ultimately slay all of Macbeth’s troops and stand over their dead bodies with pride.

The rightful heir, Malcom, walks through the dead bodies until he arrives at Macbeth’s head which has rolled a few feet away from his body. He picks it up by the hair and looks into it’s blank eyes while taking the crown off. Malcom looks around as his troops kneel and pledge their allegiance to the new king of Scotland.

Years later, Macduff walks through an empty field while wiping his battle-bloodied sword. He has just fought on a great battle to defend King Malcom and is now returning to Scotland in order to announce his success to the king. From the fog ahead, three cloaked figures appear, they are old and grizzled. Macduff asks the three weird sisters what they want of him and at the same time the three say, “all hail Macduff, who shall be king hereafter.”



Director's Cut: Stained

 

Stained - Director's Cut
Genre: Biography/Political
Director: Craig Gillespie
Writer: Lon Charles
Cast: Matthew McConaughey, Bel Powley, Naomi Watts, Allison Tolman, Paul Giamatti, Hank Azaria, Lindy Booth, Sophia Lillis, Mary Kay Place, Mandy Patinkin, Andre Braugher

Plot: With her parents' connections, Monica Lewinsky (Bel Powley) moves to Washington DC for an unpaid internship at the White House under the hard ass Chief of Staff, Leon Panetta (Hank Azaria). Panetta takes her in for a meeting in the Oval Office with President Bill Clinton (Matthew McConaughey) to take notes. Lewinsky is awe-struck by not only getting to meet the President, but also getting to spend time in the Oval Office. Throughout the meeting Clinton interupts the subject at hand and asks Lewinsky questions about herself. Lewinsky is clearly flattered, but Panetta does his best to keep the meeting on track. After the meeting, Panetta walks off, but Clinton tells Lewinsky that he's having some lunch brought up and invites her to stay and eat with him. Clinton asks Lewinsky if she's single, and she tells him that she just moved to DC and hasn't had time to meet anyone yet. Clinton opens a Styrofoam container of fried chicken under his desk, offering her a drumstick. A tabloid with a headline about a supposed “Clinton love child” sits on the desk, which he casually uses as a napkin. 

Before his next meeting with Panetta, Clinton asks him to bring Lewinsky along. After the meeting, Clinton locks the door to the Oval Office and sits on the couch next to Lewinsky. He puts his hand on her leg and she kisses him. They begin making out, and Clinton ends up masturbating Lewinsky with a cigar case. Afterward, Clinton stresses to Lewinsky that she can't tell anyone about what happened. She agrees and asks when she can see him again. Not long after, Lewinsky is promoted to a paid position with the White House Office of Legislative Affairs. Lewinsky and Clinton continue their affair, even though Panetta and her other superiors are suspicious of how much time she is spending with the president. Bill, amused, teases Monica about being more reliable than half his Cabinet. Monica beams, mistaking the joke for flattery. Panetta walks by the Oval Office repeatedly, muttering “Jesus Christ” every time he sees Lewinsky’s shoes outside the door. Other staffers smirk and whisper that she seems to have her own private pass to the Oval Office. Monica, oblivious, takes the whispers as proof she’s special.

Clinton is in the Oval Office with his wife Hillary (Naomi Watts). She is trying to coax him into eating a salad for lunch when Lewinsky enters the office wearing a blue dress. Clinton explains to Hillary that Lewinsky is there to take some notes for Panetta, who is out sick. When Hillary leaves, Clinton throws the salad away and calls the White House chef and asks for some fried chicken, which will be ready in 30 minutes. The trash can is already filled with uneaten salads. Clinton sits behind his desk and compliments Lewinsky's blue dress. He then slides his chair back slightly, and Lewinsky gets on her knees underneath the president's desk and gives Clinton a blowjob. When Clinton ejaculates, some of it gets onto Lewinsky's dress.

Lewinsky is soon transferred to new position at the Pentagon in the public affairs office by Panetta after multiple White Office employees start talking about how much Lewinsky has spent around the President. At the Pentagon, she becomes fast friends with co-worker Linda Tripp (Allison Tolman). Lewinsky confides in Tripp that she has been having an affair with President Clinton. Tripp persuades Lewinsky to save any gifts she gives her and to not dry clean the semen-stained blue dress, even though Lewinsky wants to wear it to her upcoming family reunion. Tripp says she needs to keep the dress in case she is later accused of lying about the affair. Lewinsky is unsure why it would ever come to that. Tripp then tells Lewinsky that she looks fat in the dress and shouldn't wear it in public again. Tripp also mutters, “careful, Monica — people who cross the Clintons don’t always live long. Just ask Vince Foster.” Monica laughs nervously. 

Linda Tripp begins trying to shop a book about a secret affair the president is having to literary agent Lucianne Goldberg (Mary Kay Place). Goldberg instructs Tripp to secretly record any phone conversations she has with the president's mistress. As she snacks through the meeting, Goldberg brainstorms titles that sound more like pulp novels than political exposés, delighted at the scandalous potential. Goldberg starts talking about the tapes to colleagues, with word eventually reaching the lawyers of Paula Jones (Lindy Booth), a former Arkansas state employee who had filed a sexual misconduct lawsuit against Clinton when he was governor of Arkansas. When Paula hears about the tapes, she fumes that nobody believed her story first, convinced the President always escapes while his victims get laughed at.

Meanwhile, the Independent counsel on Paula Jones' lawsuit against Clinton, Kenneth Starr (Paul Giamatti) also finds out about Tripp's recordings while investigating Clinton and Hillary for their involvement in a failed business venture call Whitewater. Intrigued, he contacts Tripp to meet for lunch. Over lunch Tripp spills to Starr that she is aware of a relationship between Clinton and Lewinsky, and informs him about the stained dress. 

Paula Jones' lawsuit against Clinton has slowly and quietly worked its way through the courts and is now set to appear before the Supreme Court. Clinton testifies under oath that he has not had any sexual relations with Lewinsky or Jones. When questioned further, Clinton comments that his answers do depend on what the meaning of the word "is" is. Clips of his testimony are replayed endlessly on late-night shows, the evasive phrasing turned into a national punchline. Lewinsky signs an affidavit stating she has never had a sexual relationship with Clinton, at the request of Jones' lawyers. They were hoping to prove that Clinton has displayed a pattern of workplace harassment, but she did not give them the answer they were looking for. Hillary watches the testimony alone at Camp David, her face blank, her fingers tightening around a wine glass.

Over another lunch, Tripp gives Starr the tapes she has recorded of her conversations with Lewinsky in exchange for immunity from prosecution. Starr fully incorporates the Lewinsky-Clinton relationship into his investigation on Clinton. Tripp tells Starr that she is scheduled to meet up with Lewinsky for dinner. Starr arranges for the FBI to wire Tripp to record her dinner with Lewinsky. At dinner, Lewinsky talks to Tripp about how painful it is to not be able to reveal her relationship with Clinton because she is truly in love with him. Outside, agents in a surveillance van take notes furiously. Linda nods sympathetically during the dinner, but later brags on the phone to Goldberg about how gullible Monica is.

Jones' lawyers leak to the media the existence of the semen-stained dress, which is immediately picked up by the media. In order to do damage control, Clinton denies the reports on televisions, stating that he did not have sexual relations with Ms. Lewinsky, all the while Hillary stands by his side. In an interview on the Today Show, Hillary Clinton dismisses the affair allegations as a vast right-wing conspiracy against her husband - the kind of polished lie she knows how to deliver better than Bill himself. Backstage, Hillary coldly instructs aides to make sure Chelsea doesn’t watch the coverage

Starr tells Lewinsky that if she cooperates and turns over the dress for DNA testing that he will grant her immunity and not pursue prosecution for perjury. Lewinsky hires William Ginsburg (Mandy Patinkin) to be her lawyer. Ginsburg meets privately with Starr to tell him that they want to get things done quietly, but without his client having to plead guilty to anything. Ginsburg, bumbling, gives contradictory answers to reporters on the courthouse steps, accidentally comparing Monica to “young starlets.” Reporters exchange smirks, treating him more like a tabloid character than a serious lawyer. Monica watches one of the interviews on TV and buries her head in her hands, realizing her lawyer is making her sound like a punchline. Paula Jones is in court, but the supreme court judge dismisses her sexual harassment suit over a lack of evidence.

With media pressure mounting, Clinton agrees to testify before a grand jury voluntarily. FBI technicians show up at the White House to take a DNA sample of the president to compare against a sample taken from the stain on Lewinsky's dress. Agents snap latex gloves with exaggerated seriousness, labeling a bag “PRESIDENTIAL FLUIDS.” Clinton hums Elvis under his breath as they swab him. Clinton testifies for more than four hours to the grand jury. He admits to inappropriate contact, but doesn't admit to lying about it. When he returns home, Hillary sits across from him at the dinner table in silence, her untouched salad wilting between them, the only sound the clink of Bill’s fork as he eats fried chicken.

Hillary tells Clinton that got himself into this mess and he's going to have to get himself out of it without any words of support from her or Chelsea (Sophia Lillis). That evening he speaks to the nation in a televised address, admitting that he had a relationship with Ms. Lewinsky that was not appropriate. Hillary takes Chelsea on a trip to Camp David to give Clinton some time to clean up his mess and to keep Chelsea away from as much of the media scrutiny as possible. Chelsea snidely tells her mom that everyone at school already knows about what dad did. Hillary tries to brush it off, but Chelsea points out that the scandal has made her a social outcast.

Starr turns in his final report on Clinton to Congress. Even though it started as an investigation into Whitewater, his 445-page report only mentions the failed business venture a handful of times, with the Lewinsky affair making up the bulk. Clerks wheel in boxes of the report like a Costco shipment. One lawyer asks Starr if he wants the clean copy or the sticky notes. Other lawyers highlight words like “semen” and “cigar,” marveling at how much the legal report reads like tabloid erotica. Congress releases the report to the public. Meanwhile, Clinton's approval rating actually goes up a few points.

Clinton receives a phone call informing him that the House of Representatives have voted to hold an impeachment hearing regarding possible charges of perjury and obstruction of justice. Clinton discusses the possibility of resigning with Hillary. Clinton believes the impeachment hearing will go his way, citing the unsuccessful impeachment of Andrew Johnson. He tells Hillary he doesn't want to go out with his tail between his legs like Richard Nixon. Clinton delivers his State of the Union address as the new year begins, in which he doesn't mention the investigation or impeachment at all. In the hallways, aides mutter comparisons to Nixon, adding that at least Nixon never had to deal with DNA evidence on a dress. Hillary, seated in the gallery, stares at her husband with arms crossed.

During the impeachment proceedings, Clinton has his personal lawyer, Vernon Jordan (Andre Braugher) reach a settlement with Paula Jones' attorney that doesn't require him to admit any wrongdoing. Hillary is seriously considering ending her marriage with Clinton, even after she releases a statement reaffirming her commitment to their marriage. She and Chelsea return from Camp David, but she is very cold toward Clinton. After several stressful weeks, Clinton is acquitted of the charges against him... barely. As the verdict is read, Bill grins in relief while Hillary refuses to clap, Chelsea sitting stone-faced between them. Bill leans forward as if to reach for Hillary’s hand, but she pulls her hand away.

Clinton sits in a White House sitting room, playing along with Miles Davis' "My Funny Valentine" on his saxophone. Hillary enters the room and stands next to her husband. On the television behind them, coverage cycles from reports of his acquittal to rising approval numbers, before landing on a pundit shouting about shadowy Arkansas conspiracies. Hillary shuts the TV off, leaving only the squeak of Clinton's saxophone.

-Linda Tripp was fired from her job at the Pentagon on the final day of Clinton's presidency.

-Paula Jones used part of her settlement to pay for a new nose.

-Following the scandal, Monica Lewinsky started her own line of handbags, hosted a reality show and became a corporate spokeswoman.

-Hillary Clinton was elected to the US Senate in 2001, was named Secretary of State in 2009, and came up short in two campaigns for President of the United States.

-Bill Clinton owed millions of dollars in legal fees by the end of his presidency. He also gave up fried chicken for health reasons.

-Despite leaving the White House deep in debt, the Clintons are now worth hundreds of millions of dollars - officially from speeches and books, unofficially from decades of influence-peddling dressed up as public service.


Tuesday, November 4, 2025

Release: The Guns of Peridido

 
The Guns of Peridido
Genre: Western/Action/Adventure
Director: Michael Bay
Writer: Jacob Jones
Cast: Austin Butler, Joaquin Phoenix, Isabel Merced, Harrison Ford, Paulina Chavez, Corey Stoll






Budget: $80,000,000
Domestic Box Office: $91,479,389
Foreign Box Office: $40,348,095
Total Profit: -$20,982,996

Reaction: On paper, the box office gross for The Guns of Peridido is actually pretty good for a western. However, the budget was pretty high for the genre due to the high salaries of talents like Butler, Phoenix, Ford, and even director Bay - which meant that pretty good was not good enough at the box office this time.




"The Guns of Peridido is a rugged, well-shot western that rides into town with style, but doesn’t always fire on all cylinders. Director Michael Bay reins in his usual bombast, but the results feel uneven as the script does not play to his strengths as a helmer. Austin Butler brings presence to the lead role, but the script gives him little to do - there’s not enough evolution to make his transformation from brooding outsider to symbolic savior feel earned. Joaquin Phoenix chews the scenery with calculated menace, but even his performance feels confined by familiar tropes and by-the-numbers conflict. For all its promise on paper, The Guns of Peridido doesn’t quite maximize the talents of its cast and crew, but there’s enough sincerity and grit here to satisfy genre fans." - Dave Manning, Ridgefield Press


“The Guns of Peridido is an overwrought Western that piles on familiar tropes (mysterious drifter, tyrannical boss, rebellious daughter, wise mentor) without offering much new. Michael Bay’s glossy direction can’t disguise the film’s bloated runtime and repetitive, melodramatic beats. Despite strong efforts from Austin Butler and Joaquin Phoenix, even the emotional high points feel predictable and overplayed. There are glimmers of sincerity in its themes of generational change, but Peridido ultimately mistakes volume for weight.” - Freddie Poulter, TheWrap.com


"The Guns of Peridido is an overcooked, overlong western that thinks it's reinventing the genre but mostly recycles it with extra gunpowder and some bizarre tonal shifts. Austin Butler broods through his paint-by-numbers antihero arc, Joaquin Phoenix channels 'creepy frontier cult leader' with gusto, and the plot throws every dusty cliché into the saddlebag -corrupt sheriffs, doomed romances, outlaw redemption, and somehow even a mechanical waterhorse. Michael Bay directs like he’s trying to make Tombstone into Transformers, and while the film flirts with deeper themes about legacy and control - but that's quickly left by the side of the dusty trail." - Sammy Schwartzman, Happy Time Podcast









Rated PG-13 strong Western violence, some language, brief sexual content, and thematic material.





A SECOND LOOK: TO THE MAX

 

Welcome back to A Second Look! This time around I am taking a look back at what is still the only collaboration between two titans of LRF writers - Lon Charles and Chad Taylor.... TO THE MAX!

When To The Max first hit theaters in Season 15, I was immediately taken by how confidently it spun real-life crime into a gleefully heightened black comedy. The film follows spoiled Bay Area teen Max Wade (Noah Centineo), who goes from selling fake IDs to stealing Guy Fieri’s Lamborghini, shooting at a romantic rival, and finally landing in prison—all while treating his criminal escapades like a coming-of-age joyride. Matt Spicer directs with slick energy, and Lon Charles and Chad Taylor’s script balances absurdity and consequence in a way that recalls Goodfellas by way of Ferris Bueller. I praised the movie’s high-wire tonal mix and the sharp chemistry between Centineo, Jack Kilmer, and Tony Revolori, whose bumbling sidekicks gave the story its moral (and comic) contrast. It also seemed like Centineo - after a string of love interest roles in teen girl flicks - had finally found a role that played to his strengths.

Nearly 20 seasons later, To The Max holds up surprisingly well. The absurdist tone that once felt risky now reads as bold. The exaggerated, stylized world filmmakers created still crackles with energy, and Centineo’s performance remains his best—vain, reckless, and weirdly sympathetic. The inclusion of Guy Fieri as himself is still a comedic masterstroke, even if the cultural relevance of the Mayor of Flavortown has probably dimmed a bit with time for any new audience members. A few of the supporting performances now feel thinner, but the film’s propulsive pacing, biting humor, and confident absurdity have aged gracefully. To The Max still embodies what so many true-crime satires try and fail to achieve: gleeful chaos with real bite.

Original Grade: B+

New Grade: A-

Monday, November 3, 2025

Now Showing: The Guns of Peridido

 
The Guns of Peridido
Genre: Western/Action/Adventure
Director: Michael Bay
Writer: Jacob Jones
Cast: Austin Butler, Joaquin Phoenix, Isabel Merced, Harrison Ford, Paulina Chavez, Corey Stoll

Plot: Out in the sleepy deserts of Oklahoma, a young man rides about on his horse, keeping an eye out for any sign of life. In narration, it’s revealed that this man has just moved out of his father’s ranch, looking to find opportunities out in the open world. His name is Damien (Austin Butler), and sure that might align himself with the devil, but he’d like to think he’s a good man in principal.

Damien’s travels lead him to a quiet, desolate town known as “Peridido”. Despite this, Damien finds that all the buildings are in great shape. He assumes it just became a ghost town, only to hear someone screaming. Several bandits snatch a young woman’s golden watch. Determined to make a stand, Damien calls out to the bandits and pulls out his gun.

Damien chases the bandits all over town, even if some of his bullets whistle through windows. Eventually, one of the bandits pulls out a gun of his own, threatening to shoot himself. When the bandit does, however, Damien ducks out of the way before shooting him straight in the head. His partner in crime flees the scene.

Damien returns to the lady, handing her the golden watch. The woman is grateful, giving Damien a hug when another shot is fired. Damien and the woman take their eyes off each other and look towards the opposite end of Peridido, where a man dressed in all black slowly makes his way towards the scene, calling for Kitty (Isabel Merced). Kitty runs off, thanking Damien for the help. Confused, Damien stares at the enigmatic man.

Damien examines the town, coming across a small, quaint little hut. As Damien examines his new home, however, he feels an ominous presence lurking behind him. He looks behind his back, finding the same man who was wearing all black. Damien readies his gun, ready to shoot…

…only for the man to claim he comes in peace. He’s heard that Damien saved his daughter and wanted to give his thanks, introducing himself as Sanchez (Joaquin Phoenix), the line of defense in this town. Damien clearly unnerved even as Sanchez assures him that he’s trustworthy. This leads to Damien to ask why Peridido feels so deserted.

Sanchez chuckles good-naturedly, Peridido isn’t a ghost town, it’s a bustling city. Around here, Sanchez is the law of the land. Anything that happens is run through by him and if they try to go against him…

“Well, that ain’t important now, is it?”

Sanchez tips his hat, preparing to head off, before stepping towards Damien:

“Stay in your lane and nothin’ bad’ll happen to ya.”

That evening, Damien tries to sleep, only for what Sanchez told him to ring through his ears, bringing him into a nightmarish landscape where Damien tries to outrun a whip, while an ominous voice tells him to watch his back.

The next day, a sleepy Damien wanders about Peridido, stumbling inside a saloon called the “The Bellcow”, a hustling, bustling place filled to the brim with life. Immediately, Damien is greeted by a group of cowboys, all clamoring for his word, only for a young woman to step forward, wondering what all the fuss is about.

Upon capturing her first glance at Damien, she takes him to the stools, introducing herself as Helia (Paulina Chavez), Seeing how tense Damien is, Helia orders two root beers, her treat. Once the two start drinking, Helia asks Damien what he’s doing out here in Peridido.

Damien explains that he’s trying to find himself a new home after what happened in Kansas, but last night, he met a man named Sanchez and—

In a flash, the jovial atmosphere crawls to a halt as Helia prepares to explain the truth about Sanchez, only for the doors to open. Helia pulls out a gun, preparing to shoot…

…only to find that it’s the woman Damien saw yesterday. Helia urges him to keep hush, explaining that this is the daughter of Sanchez. She’s expected to inherit the town once he retires.

“You mean Kitty?” Damien asks, revealing that he got her watch back yesterday. Kitty looks around the bar, the dirty glares apparent. Helia steps aside, not wanting any form of trouble. Damien has no idea what’s going on, but Kitty’s aware.

The two have a spirited conversation about each other, ending with Damien now fully awake and in high spirits as Kitty laughs at his jokes. Damien and Kitty thank one another for keeping company, feeling a sense of camaraderie…

…a sense that is ruined when a gun shot rings through the Bellcow, creating a hole in the saloon door. Damien readies his gun, preparing for whoever steps in, only to find an unassuming man in a dress shirt and pants motioning for her to go. Kitty sighs, telling Damien that she has to go, thanking him for the time. The man looks back at Damien, giving him a small nod.

During the horse ride home, the man asks Kitty if Sanchez knows. She rolls her eyes, he’ll know when he burns in hell. Once the two arrive at Sanchez’s ranch, Kitty is immediately smothered by her father before he regains his composure, thanking Buster (Corey Stoll) for bringing her home.

After checking to make sure Kitty is alright, Sanchez takes her to his office, where all of the most important decisions are made. Someday, this will be Kitty’s realm and as such, she will be making these calls, all for the cause of keeping Peridido strong and safe.

“So was leading a genocide against several Native tribes a strong and safe decision?” Kitty asks.

Sanchez takes pause for a moment, reminded of his lowest point before taking in a sigh. He admits that there are things he isn’t proud of, with the treatment of the Natives being on top of that list, but ultimately, Sanchez sees it as “means to an end”.

Sanchez shifts the focus to Kitty’s whereabouts. Seeing a chance to mess with her father, Kitty asks about Damien. Sanchez takes a step back, having seen Damien around these parts. If he is to have the honor of dating his daughter, perhaps he needs to pay him a visit, gently shooing Kitty off.

That evening, Damien finds his horse and Buster engaged in a scrap, Damien comes to his horse’s aid, pinning Buster toward the wall, asking what he wants. Terrified, Buster points toward the note by the door, inviting Damien to the center of Peridido at high noon, telling him to bring his best.

Damien shows up in the middle of Peridido at high noon, gun in his hands as he calls out Sanchez. Suddenly, Damien hears Helia’s voice warning him to watch out, a gunshot going off. Damien dodges in the nick of time, finding Sanchez. He hopes he hasn’t scared Damien, he’s just heard of Damien’s arrangement with Kitty. Despite Damien’s objections, Sanchez is willing, as long as he proves himself.

Damien stares into Sanchez’s eyes, freezing as his mind turns the town leader into an eldritch monster. Seeing him struggle, Helia shouts that he accepts, forcing Damien’s hand. Per Sanchez’s request, Damien is given the first shot, one easily dodged by Sanchez, the bullet ricocheting off a window. At that point, Damien sprints away from Sanchez.

Out in the searing heat, the two play a game of cat and mouse as Damien hides in several buildings, including a small shop selling odds and ends. Every time Sanchez enters, Damien fires a few warning shots, all of them wildly missing, even hitting a few items on the shelves.

As Damien departs the scene, he crashes into Kitty. He tries to explain the situation, only for Sanchez to approach him. As Damien tells Kitty to go, he tries to fire one more warning shot. This time, however, Sanchez is ready for hit, aiming for the knee.

Damien collapses onto the ground, writhing in pain as Kitty watches in horror. Damien clicks his gun, only to find that he’s out of bullets. Sanchez declares victory, stepping up to Damien before taking his gun. He apologizes, but ultimately, this is the price he must pay for playing games.

As Sanchez leaves, Kitty calls for help, making sure Damien is okay, even as he fades…

The next day, Damien sits inside a hospital, being tended to for his wounds when he hears Kitty’s voice. Relieved that Damien is alive, Kitty apologizes profusely for what happened, only for Damien to stop her. He doesn’t need the apologies. He does, however, think that he needs to get out of here.

Damien hears another voice chime in, that of Helia, apologizing for getting him involved when he wasn’t ready yet. Damien reveals that it’s not that, it’s Sanchez himself. When he was younger, he worked on his father’s ranch. Damien’s father thought of himself as a master tactician, running a good farm. In truth, he ran by fear, cracking the whip when he misbehaved. Sanchez reminds him far too much of his father. Helia and Kitty express their remorse, the latter storming out of the hospital soon after. Helia stays inside, inviting Damien to her house once he gets better.

Out by his ranch, Sanchez watches as Buster adds several new bullets to Damien’s gun when Kitty slams the door open, demanding Sanchez tell her what he did to Damien. Taken aback at first, Sanchez explains that he merely wanted to test Damien’s worthiness. When Kitty relays to him that the bullet went in his knee and that he’s thinking of leaving Perdido, Sanchez thinks for a moment before admitting some gallows humor.

“Well, it’s not an eye for an eye, but a knee for your heart works just as well.”

It’s at that point Kitty gets in Sanchez’s face, asking why he thinks this is a laughing matter. Sanchez explains that he does so to cope with the choices he makes. Choices to keep Peridido safe. Choices that come with consequences, especially if someone goes against his word.

Kitty steps up to Buster, snatching Damien’s gun and aiming it towards the underling. If Sanchez truly believes his way is just, he’ll stand down and save Buster’s life. For too long, he’s made Peridido walk on eggshells, and if hearing this from his daughter isn’t enough…

Conflicted, Sanchez asserts that he loves her, only to lunge after to gun, causing Kitty to shoot Buster in the head, killing him in an instant. Sanchez chases after Kitty, a daughter clearly a step ahead of him as she sprints down the stairs and runs out the door.

The next day, a healed Damien arrives at Helia’s house out in the farthest reaches of Peridido. Upon entering, Helia takes Damien inside her laboratory, where she revels in her many inventions. Here, she hands Damien a new gun, tailor-made for him.

Impressed, Damien notices a unique contraption by the wall, asking about that. Helia declares it to be her greatest invention yet, the waterhorse, a mechanical horse that runs solely on water. Curious, Damien tries it out, only for the waterhorse to run out of fuel quickly. Helia isn’t surprised.

Seeing that Damien is confused, Helia introduces him to a piece of paper that’s been stuck on the door for a few years now. This paper is a formal decree by Sanchez himself that she is not to be treated as a civilian, but as a stranger. This means her freedoms are massively curtailed, including a mandatory 8:00 curfew, the inability to engage in combat, and the rationing of bare necessities, such as water.

In flashback, it is revealed that Helia was the first to really stand up to Sanchez, seeing how oppressive his rule had become. She tried to stage a rebellion, only to be gunned down and held captive by Sanchez for a number of days before the ruling. To this day, she thinks he’s trying to kill her the long way.

Upon telling this story, Helia grows woozy, having not had a drink since the saloon visit. Damien rushes over to the canteen, giving Helia a quick drink before asking what they can do. Helia knows of one person who could help, but no one’s seen him since he lost power. Feeling a new sense of determination, Damien suggests they pay them a visit.

Meanwhile, in the outer regions of Peridido, a young man is cornered by three bandits who claim that Sanchez needs him to pay his toll. The man begs for mercy, promising to pay him when he can land on his feet. The bandits pick up their guns, preparing to shoot, only for the tallest one to be shot in the back. The two remaining bandits turn to find a masked, androgynous person staring back at them with a pistol.

From there, a chase is on as the mysterious figure climbs up buildings and leaps onto roofs. When she sees the bandits have cornered her. She dives on top of them, landing several perfect shots to their heads, killing them in an instant. Once on the ground, she pulls out a mark, brandishing their faces with two words: “Rebel Alone” before taking off into the night.

In the warmth of the sun, Damien and Helia do their best to find this mysterious former leader, but the blistering heat proves too much for Helia and she passes out. In a panic, Damien checks on his canteen, finding that he’s run out of water. He gets down on his knees, tears streaming down his face…

“Now what’s all this crying about?”

An old man stands in view of Damien and Helia, gruff and stoic at the same time. Damien explains his plight to the man who immediately hops onto Damien’s horse, carrying Helia and telling the young cowboy to follow him.

Several minutes later, Damien arrives at a small ranch in the middle of nowhere, stepping inside the old man’s hut, watching as he gives Helia a drink. The man explains that they were lucky. Any later, and she’d have been a goner. The two head out toward the ranch, Damien watching as the old man stares into the distance.

Damien gingerly steps toward the man, asking if he could have a word. The man doesn’t speak, allowing Damien to stand by him. The two briefly chat about life before Damien brings up Peridido and his plight with Sanchez. The old man shudders at that thought, before asking Damien if he knows the stories. Damien…does not.

“Well, then it’s time you knew the legend of Toughstuff Tony.” (Harrison Ford)

Again told through flashbacks, Tony reveals himself to be a tough cookie who can work his way around a gun. Under his reign, Tony was a steadfast commander who was stern but also fair, keeping Peridido safe and free. As the years went on, however, Tony grew old and stubborn, struggling to keep up with the next generation of gunsmiths. It all came to a head during the great Apache war when, fed up with the mass number of casualties and seeing how Tony refused to stand down, Sanchez, his second-in-command, challenged Tony to a duel where, if he lost, he’d have to relinquish his role as sheriff. Sure enough, Tony was destroyed.

It proved to be for the better early on as Sanchez led his men to victory in said war, but as time passed, Tony would see Peridido be overtaken by a cult of personality and fear. Tony laments this fact, as Sanchez had such strong values, but wound up corrupting himself with absolute power. Most of all, however, Tony blames himself for letting it grow to this point.

Horrified, Damien expresses sympathy for the old man who merely tells him not to bring pity. He brought it on himself, revealing himself as Tony. Damien reveals that he has fought Sanchez before and believes all that Tony has said. Sanchez is a scary prospect in more ways than one. Damien asks Tony if he would consider teaching him how to fight back. Tony is reluctant at first, but upon seeing his want to prove himself accepts the offer.

That evening, Damien learns under Tony’s watch, missing and hitting targets all the while. It is there Tony teaches Damien the importance of discipline and technique, as the more accurate shots hit the hardest. Damien follows Tony’s words to great effect. As the days pass, the lessons continue until finally, Tony deems him ready for Sanchez. Damien thanks Tony for his help, vowing that he’ll do him proud. With Helia having long since been hydrated, the three go their separate ways, Damien wondering if anything has changed since the duel…

Back in Peridido, Sanchez hurriedly makes his way across town, carrying flyers and desperately asking the residents if they’ve seen Kitty. It’s not until he comes across Damien that he sees an opening. Damien is reluctant to trust Sanchez again, knowing what happened. Desperate, Sanchez makes a deal. If Damien can find “Rebel Alone” by sunset, there will be a rematch in three days time.

Damien accepts the deal, going in search of the Rebel Alone, always being one or two steps behind. As the sun sets, Damien sees three thugs circling a defenseless figure. The figure does everything in their power to fight back, even bloodying a nose, but the numbers game is too much and Rebel injures their knee. When one brute pulls out a knife, Damien sprints into action, shooting at the monsters as they flee the scene.

Damien checks on the figure, recognizing the black mask and wild rag. He’s found Rebel Alone. They shush Damien, however, pleading him not to tell anyone, taking off the mask to reveal Kitty. Damien helps Kitty up, taking her to his house.

After getting settled, Kitty explains that she’s been trying to be Peridido’s hero, declaring that Damien inspired her, it’s there Kitty makes a confession. Ever since Damien first got her watch back she’s been developing feelings for him. She doesn’t know what it is, but thinks it has something to do with his nature. Damien isn’t sure, all he knows is that he wants to keep the people of Peridido safe, but maybe that’s enough…

Damien and Kitty lean in for a kiss only for the door to swing open, revealing the three bandits from earlier, now restocked and ready for revenge. Damien and Kitty scatter all over the house, shooting at the thugs all the while. The shootout eventually catches Sanchez’s attention from afar, and he rushes to the scene of the crime. There, he finds Damien and Kitty fighting off the thugs. Feeling a sense of rage, Sanchez charges inside the house, gun in tow, shooting all the thugs behind their backs, killing them in an instant.

Sanchez soon turns his anger towards Damien, throwing him toward the wall. He thought they had a deal, but now he sees that he’s gone behind his back. Damien tries to explain, but Sanchez refuses to listen. He didn’t practice his due diligence and showed to him why he’s no hero. Now, he’s got to get even, and to him? It means doing what he should’ve done a long time ago. Damien closes his eyes, his life flashing before him…

When the bullet sounds however, Damien opens his eyes and finds, in horror, that Kitty took the bullet for her. Shocked, Sanchez flees the scene, leaving Damien to survey the damage. A tearful Damien begs Kitty to say something, anything. Wounded, yet in peace, Kitty tells Damien that it’s all up to him before dying on the floor.

Sanchez returns to his house, heartbroken. He walks across the living room, coming across several pictures of him and Kitty over the years, watching her grow into a woman of her own. In tears, Sanchez breaks into a violent rage, trashing the living room and later his office, ranting and raving about how it was all Damien’s fault before solemnly declaring that he’s going to kill him for Kitty’s sake.

All Damien can do the following day is lie on his bed when he hears a knock on the door. It’s Helia. Damien is an emotional wreck, weeping about how he couldn’t protect Kitty. Helia assures him that it’s not true. If anything, Kitty dies to save Damien. In fact, their impact make have been far greater than they ever imagined.

Helia takes Damien across town where he finds men and women coming together, protecting those who cannot defend themselves. When the townsfolk see Damien, they form a mob, each person idolizing the man who they now think represents Rebel Alone, to a point where they demand a speech.

Despite being unprepared, Damien gives a passionate speech for the future of Peridido, a kinder, gentler town where each person has a chance to do what is right. It is soon recorded by telegram that Damien wants something out of tomorrow’s rematch. If Damien wins, Sanchez leaves Peridido, never to return. If Sanchez wins, then he’ll leave.

The next day, the entire town gathers at the center for Damien and Sanchez’s rematch. Damien keeps his eyes out, no sight of Sanchez in sight. When Sanchez arrives, he stares Damien down, but notices that Damien no longer has the look of fear in his eye. In fact, this time, he hit the first shot, nearly clocking Sanchez in the eye.

Out in the sun, Damien and Sanchez again chase each other through the town, this time not engaged in a game of cat and mouse, but in full blown warfare, both hitting great shots but also dodging everything given to them. The fight eventually crashes inside the saloon, where bullets once again ravage the place until finally, Sanchez has Damien by a table, placing the gun by his mouth…

…only for Damien to fire first, aiming for the leg.

Sanchez stumbles back, just barely missing the bullet, Damien sprints out of the saloon, checking his fun, finding that he’s down to one bullet. Before he can do anything else, he is clocked in the back with a piercing shot to the legs.

Damien collapses onto the ground, Sanchez towering over him. Sanchez asks the crowd if this is their hero. Is this really the person they wish to trust when he has kept this safe for so long? A silence falls among the crowd until finally, Helia sounds off, trying to get under his skin.

Eventually, Damien comes to his senses, asking Sanchez his own questions regarding Helia and Tony, before asking the most important question of all. Who was it that got Kitty killed? Damien tells Sanchez that he still thinks he’s a hero, then he will gladly sacrifice his life and let him continue leading Peridido. Sanchez, now conflicted stares down Damien, aiming for his head…

…only to drop to his knees and lower his head in shame. Damien is right. He’s been living a lie ever since he defeated Tony. With that, Sanchez concedes the battle to Damien, handing him his gun back and resigning from his post as sheriff.

Sanchez walks up to Damien, helping him up before giving him one last word. Do better than I ever could. Damien nods, watching as Sanchez takes his final walk out of Peridido. Not only has Damien won, he’s shown Sanchez the error of his ways.

Several weeks later:

The town of Peridido appears brighter and chippier than it once did, patrons talking with one another, stopping by the newly repainted and refortified saloon and in general, being good citizens to one another, when a young boy is being menaced by three bandits.

All of a sudden, a gun shot is fired, and the bandits cast their sights on the sheriff of Peridido, on a shiny new waterhorse, the first of its kind. Once known as Damien Gunn, he has a new name paying homage to his fallen love, “Rebel Son”.


In Development

 

Texas Chainsaw Massacre: Flesh and Blood:
Richard Brake (Twisted Metal, Ghost Rider), Jeremy Howard ("Super Pumped", "Malibu Rescue"), Tracey Walter (Wakefield, 31), and Melora Walters (The Hater, "Pen15") have all signed on to join the new Texas Chainsaw Massacre film from director Bryan Bertino and writer Clive Steinbeck. The quartet will play members of Leatherface's family in the horror reboot.

Starlight: The star-studded Hollywood drama Starlight has completed its casting with the additions of Aimee Lou Wood ("Sex Education", "The White Lotus"), Giovanni Ribisi (American Gigolo, Believe It or Not!), Cecily Strong ("Saturday Night Live", "Schmigadoon!"), and Pamela Anderson (Sunny Days, The Last Showgirl) in supporting roles. Todd Haynes is directing the 1960s-set film from a script by Chad Taylor.

Material Girl: The Chloe Grace Moretz-led Madonna biopic has added Johnny Galecki (A Dog's Journey, "The big Bang Theory") as record producer Seymour Stein, Algee Smith (The Crow: Wings of Isaiah, Shooting Stars) as drummer Stephen Bray, Jovan Adepo (Scion 3, Babylon) as artist Jean-Michel Basquiat, and Lamorne Morris (Vindicators, Kylie Dates New York City) as record producer Reggie Lucas. Songbird scribe Diane Esposito penned the film, which is being directed by Alma Har'el.

Full Custody: Melanie Lynskey (Ninetween Minutes, Nineteen Eighty-Four - Part One), Marin Ireland (The Void, Harrelson), and Haley Joel Osment (Supercrooks, Jersey Devil) have joined comedian Shane Gillis' movie star debut, Full Custody. Lynskey will play the teacher of Gillis' niece and a potential love interest. Ireland will play Gillis' addict sister, while Osment will play Gillis' best friend. David Gordon Green is directing the comedy from a script by John Malone.

The Crow: Yomi: Mike Faist (Challengers, Revival) is headlining the latest Crow film for LRF. He will play Jamie Osterberg, an American studying in Japan when he falls in love with a local woman and is killed by the Yakuza. Minami Hamabe (Godzilla Minus One, Silent Love) has been cast as the female lead, a young Japanese woman caught between her love of Faist's character and a dangerous crime element. Famed Japanese film director Takashi Miike (Lumberjack the Monster, First Love) has been hired to direct the film. Jack Brown (We Still Know Where You Live, Amityville Horror) penned the film once again based on the Crow comics character.

Assata: Teyonah Parris (One By One, E.P.) is set to headline a biopic of Assata Shakur, a controversial Black power figure, fugitive, and convicted murderer. Brian Tyree Henry (Drawing Dion, Fractus) and Tessa Thompson (The Night Swim, Arizona) have also signed onto the film. Ryan Coogler (Fading Nights, The Beat Goes On) is set to direct the project from an original script by Dawson Edwards (Blade, The Legend of Zelda).

Friday, October 31, 2025

LAST RESORT FILMS: THE STORY SO FAR (SEASONS 11-15)

 

Welcome to Last Resort Films: The Story So Far! Chad Taylor checking in here with the latest installment in this series looking back at LRF’s illustrious past, five seasons at a time. In this third edition, we will cover seasons 11-15. Let's get started...

Season 11
Coming off of the high highs of landmark Season 10, LRF’s eleventh season was quieter all around. Many of the studio’s biggest franchises were absent and, for those that were present, it was typically some featuring more minor characters (like the DC Studios output of Martian Manhunter and Vixen). Dramas, some tense and some contemplative, filled the rounds between the likes of Suzanne, Beartown, and eventual Best Picture winner Buried Child.

Two highlights of this season for me were The Raven and Newbury Street. The Raven marked the completion of an LRF original series starting back in Season 1 with The Raven in the Night, continuing to Cosa Nostra in Season 5, and finishing in Season 11. The series remains one of the high points of crime storytelling at LRF. Meanwhile, Newbury Street brought a bit of a different vibe to the crime genre, with a match made in heaven between director Todd Field, writer Lon Charles, and star Matt Damon, who gives one of the best performances of his career.

Best Picture: Buried Child
Best Director: J.J. Abrams - The Stand
Best Actor: Matt Damon - Newbury Street
Best Actress: Patricia Clarkson - Suzanne
Best Adaptation: Buried Child - Chad Taylor
Best Original Story: The Raven - James Morgan

Season 12
When I think back on Season 12, I remember it fondly for being one of the most variety show-esque seasons in LRF’s storied history. LRF tends to be a little light on comedy, in part because it is hard for that genre to translate to international audiences. But Season 12 marked a high point for the genre, with Booster Gold: Lost in Time topping the box office and films like Don’t Hang Up and Doctor Love proving financial hits AND popular at the GRAs (including a rare comedy Best Picture win for the former).

In general, it was a strong time for critical hits at the box office. GRA contenders like Torso, Ypsilanti, and Cold rode positive word-of-mouth to big numbers for dark dramas. The star-studded casts certainly didn’t hurt! In general, I think all three are worth checking out as they feel a little lost in the annals of time. This why the variety sticks out so much to me, because it was a time where these “cold” crime thrillers were thriving right alongside the lighter comedic fare.

Best Picture: Don’t Hang Up
Best Director: Steven Soderbergh - Doctor Love
Best Actor: Brendan Gleeson - Our Father
Best Actress: Emma Stone - Under Pressure
Best Adaptation: Torso - John Malone
Best Original Story: Don’t Hang Up - Mo Buck & Dominic Wilkins


Season 13
This season was arguably the peak of the video game adaptation period of the studio’s history. Video game blockbusters dominated screens as many of the biggest franchises of early LRF were nearing their conclusion. Splinter Cell and Mass Effect saw their final entries this season, while Halo, God of War, and Skyrim also produced hits. Even the biggest hit of the season, Batman: Arkham, surely benefitted a bit from its associations with the popular video game franchise of the same name (in addition to featuring, you know, Batman).

One of the most notable events of the season, in retrospect, is the first collaboration between John Malone and Jimmy Ellis. Elysian was an immediate home run in their first at-bat, nabbing a rare trio of Best Picture, Best Actor, and Best Actress. It marked Alden Ehrenreich’s second Best Actor win and solidified him a spot in LRF’s Hall of Fame, as if he wasn’t there already.

Best Picture: Elysian
Best Director: David Lowery - The Crucible
Best Actor: Alden Ehrenreich - Elysian
Best Actress: Shailene Woodley - Elysian
Best Adaptation: The Crucible - Lon Charles
Best Original Story: Elysian - Jimmy Ellis & John Malone

Season 14
By Season 14, LRF felt like it had fully entered a new era after those early years. Over 400 films in, the studio now had a thriving stable of writers putting out quality work. This season alone featured projects from 22 different writers!

The biggest debut from this season was Superman, with the Man of Tomorrow making his first appearance for the studio from a highly-anticipated script from John Malone. This marked a symbolic step forward for the studio with bringing in some of the biggest superhero titles into the fold; before this point, most adaptations were limited to characters who were not actively being portrayed at the movies and that meant mostly B or C-list properties outside of Batman.

The Ellis-Malone combo was back in full force this season, following up their Best Picture win with an even more lauded collaboration in Control. However, it was Born in Brooklyn that nabbed the top prize at the GRAs—marking the first Best Picture win for Dwight Gallo, a season 1 original.

Best Picture: Born in Brooklyn
Best Director: Denis Villeneuve - Control
Best Actor: Robert Pattinson - Germinal
Best Actress: Florence Pugh - A Lost Sense of Heaven
Best Adaptation: Germinal - Mo Buck
Best Original Story: Control - Jimmy Ellis & John Malone

Season 15
As with any increment of five, reaching the fifteenth season felt like a huge accomplishment for this studio of ours. That door opened by Superman the previous season was clearly on display this season, with the X-Men making their debut—a franchise still going strong to this day!

Looking back, this season also feels like the last true time that the Mo Buck Writer’s Association was working in full force. This is is marked symbolically by the season starting off with Justice League Europe, a cross-team effort that had been building up over multiple seasons. The Halo franchise saw its conclusion this season with Halo 6, the fifth film in the franchise to be penned by Mo Buck. Impressively, the MBWA proceeded to put out three films rated 83 or higher on Metacritic: A Reputation, Of Rocks and Sand, and And the Birds Rained Down.

It’s hard to overestimate the impact that Buck had on the first era of LRF. The MBWA was a prolific machine, often putting out a high number of high quality films every season with a wide variety of genres. While there were still more films from Buck and company to come, this felt like a good opportunity to toast to their accomplishments and impact on LRF history.

Best Picture: Misfit
Best Director: Taylor Sheridan - Of Rocks and Sand
Best Actor: Ben Foster - Kurt & Courtney: All Apologies
Best Actress: Christina Hendricks - Misfit
Best Adaptation: And the Birds Rained Down - Mo Buck
Best Original Story: Of Rocks and Sand - James Morgan

__________________________________________________________________________

Box Office Top 20 (Seasons 11-15):
20. Star Wars: Knights of the Old Republic II - $537 million
19. Star Wars: Knights of the Old Republic - $572 million
18. Skyrim II: Dragonborn - $580 million
17. Uncharted 3 - $589 million
16. Scion 3 - $593 million
15. Hawkworld - $611 million
14. X-Men - $642 million
13. Flash Gordon - $645 million
12. Martian Manhunter - $651 million
11. Justice League Europe - $690 million
10. Halo: The Fall of Reach - $751 million
9. Silver Surfer: The Power Cosmic - $792 million
8. Mass Effect 3 - Part 1 - $809 million
7. Splinter Cell: Blacklist - $995 million
6. Halo 6 - $1.03 billion
5. Halo 5 - $1.08 billion
4. Mass Effect 3 - Part 2 - $1.197 billion
3. Superman: The Man of Tomorrow - $1.199 billion
2. Booster Gold: Lost in Time - $1.46 billion
1. Batman: Arkham $ 1.47 billion

Thursday, October 30, 2025

#TRENDING (SEASON 34)

 

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


#FullyBooked
Writers and producers may start to become frustrated as some directors have become quite in demand and have fully booked schedules until Season 40 and beyond. Directors such as Luca Guadagnino, S. Craig Zahler, Derek Cianfrance, Jeff Nichols, Leigh Whannell, Zack Snyder, Edward Berger, and Ana Lily Amirpour are reportedly among the list of filmmakers who have full schedules for the foreseeable future (until at least Season 40 if not beyond).

#HorrorGoldenAge
Thanks in part to writers like Jack Brown and Clive Steinbeck, it looks like LRF is in the midst of a "golden age" of horror films. We'll also be seeing some writers who don't traditionally write horror step into the genre, like Jimmy Ellis did last season and Joshua Collins did earlier this season. 

#CostlyFlops
In just the past few seasons, LRF has experienced some of the biggest box office flops in the studio's 34 season history - Ocean Pawn (lost $100 million in Season 31), Watchmen (lost $82 million in Season 33), and Robopocalypse (lost $90 million earlier this season).

Wednesday, October 29, 2025

The Trades with Reuben Schwartz (Season 34)

 
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.

On the GRAs front, this season is lacking any major heavyweights at the top through five rounds. The highest-rated film of the season thus far is X-Men: Age of Apocalypse, the fifth film in the long-running franchise and arguably the strongest entry yet. There is something to be said of that positive momentum, though it is hard to discern the film’s chances outside of Adaptation, Ensemble, and Villain.

Elsewhere, Holden Abbott’s Exodus is likely the next closest thing to a contender. The film is in a unique position as we rarely see a writer’s debut film immediately in contention for top honors but that would be the case here if the season ended today. The last time a writer’s first film was nominated for Best Picture? Joh Malone’s Flicker all the way back in Season 2. Since then, the shortest pipeline to a Best Picture nomination has been three films (done by Wyatt Allen and Diane Esposito most recently).

Another nice consistent storyline this season has been the continued ascent of some of LRF’s top young stars. Sadie Sink, Wyatt Oleff, Lucas Hedges, Jade Pettyjohn, Toby Wallace, and Damson Idris have landed more leading roles, while Elle Fanning, George MacKay, and Sydney Sweeney all have films announced for future rounds. There’s talk in the town of Sweeney’s return after a lengthy absence (last seen in Season 23’s GRA-winning performance for Poison Ivy: Minds Games); rumor has it that she has been highly selective with her projects since so it is nice to see her back on the big screen. All together, it feels like LRF’s newest wave of homegrown talent are becoming the stars of the moment.

Looking ahead, it is hard not to get excited about the crop of films to come. A Jimmy Ellis-Robert Eggers adaptation of Macbeth feels certain to be a visual treat and the material gives a lot of room for the actors to make their mark. Chad Taylor returns after a few seasons away with a Hollywood-set drama starring two of LRF’s biggest actresses, Jennifer Lawrence and Sydney Sweeney. Also in Round 7 we will finally see a Madonna biopic penned by Diane Esposito and headlined by LRF’s Supergirl Chloe Grace Moretz. Those three films alone seem like they have the potential to flip the Best Actress race on its head.

And then we have fun genre fare down the pipeline. A Michael Bay western? Sure! A John Malone-penned comedy (or at least dramedy) from David Gordon Green? I'm intrigued (and hoping it means more mainstream comedies from the studio!). James Wan trading one popular 90s video game franchise (Resident Evil) for another (DOOM)? Sounds exciting! And of course, it's Halloween season so I've already got my ticket for LRF's take on Leatherface. Do you think this one will be bloody?

I look forward to checking back in with you all at season’s end. For now, I’ll see you at the movies!

Tuesday, October 28, 2025

GOSSIP RAG (SEASON 34)

 

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





TODD PHILLIPS
The only invisible hand on Mises was the one pulling it straight into the red. Todd Phillips’ bold but baffling dramaedy about the rise of the Libertarian Mises Caucus — and its real-life founder Michael Heise — was a box office belly-flop, with scathing reviews targeting both its muddled messaging and lackluster execution. Lucas Hedges, portraying Heise, reportedly clashed with Phillips during production, frustrated by constant script rewrites, unclear direction, and what one source described as a “barely functioning” schedule. Even more baffling was the ballooning budget: originally projected at a more modest budget, costs spiraled out of control due to excessive reshoots and abandoned locations, ultimately landing right around $40 million — quite high for a film that mostly consists of people arguing in windowless rooms. Said one exasperated producer: “We spent Dune money to make a libertarian C-SPAN episode.”





DAMSON IDRIS
Damson Idris has been keeping secrets sharper than a vampire hunter’s katana. Long before his acclaimed turn in At Night All Blood Is Black rocketed him to awards-season royalty, Idris had already quietly locked in a deal with the studio to star as Blade in its Marvel Universe — a move kept so under wraps that even his agency wasn’t briefed on all the details. According to sources close to the project, Idris was selected after a private screen test left execs “speechless,” with one insider describing his performance as “controlled fury wrapped in leather.” Marvel reportedly began pre-vis and fight choreography around him months before his casting was even announced. 




JENNIFER LAWRENCE
It’s lights, camera, tension on the set of Starlight. Jennifer Lawrence and Sydney Sweeney are turning back the clock for the 1960s-set Hollywood drama, but insiders say the real drama is happening between takes. While Lawrence commands the higher salary and top billing, word from the set is that Sweeney has quietly become the center of attention - earning praise from the director, wooing the crew with her professionalism, and even having wardrobe and lighting tweaked to best suit her look. The tension, according to multiple sources, seems to stem less from anything Sweeney is doing and more from Lawrence's growing discomfort with how much focus has shifted to her younger co-star. “It’s not a diva clash,” one crew member noted. “It just feels like Jennifer’s used to being the golden girl - and suddenly, she’s not.”





MADONNA
Strike a pose - but not that pose. Sources say Madonna is fuming over Chloe Grace Moretz’s portrayal of her in the upcoming biopic Material Girl, which takes a gritty, unfiltered look at the pop icon’s rise from starving artist to pop dominator. The film paints a portrait of Madonna as a ruthless opportunist who used charm, sex, and sheer will to bulldoze her way to the top - leaving collaborators, lovers, and rivals scorched in her wake. While Madonna has publicly slammed the film as “fictionalized garbage” and is allegedly threatening legal action to block its release - or at least prevent use of her songs - studio insiders at Last Resort Films remain unbothered. Turns out, they quietly secured full music rights through Warner Music, which controls much of Madonna’s catalog, and didn’t need her personal sign-off. One exec summed it up with a smirk: “She may be the Queen of Pop, but we read the fine print.”





ERIC BANA
Eric Bana may scoff at method acting - he’s called it “silly” and “disruptive” in past interviews - but that didn’t stop him from putting in the work for his upcoming turn as Randy Weaver in Ruby Ridge, a dramatization of the infamous 1992 standoff that shook America’s trust in its own government. While Bana didn’t go full survivalist, he did reportedly spend weeks learning backwoods skills, wilderness isolation techniques, and handling vintage firearms to convincingly portray a man who fled society to live off the grid. When asked whether he sympathized with Weaver’s anti-government beliefs, Bana remained characteristically diplomatic, describing the story not as a political statement but as a personal one. “It’s a story about a family trying to survive,” he told one outlet.