Challengers works beautifully as a dance between three characters: Tashi Duncan (Zendaya), Art Donaldson (Mike Faist) and Patrick Zweig (Josh O’Connor). The non-linear storytelling impacts the relationship between Patrick, Art and Tashi throughout the film. Writer Justin Kuritzkes uses the fast pace of a tennis match while retelling the history between the three of them. The audience gets to know them on and off the court while building their relationship.

At its core, Wicked is about self-acceptance and embracing each other’s differences. The film opens with “No One Mourns The Wicked,” which celebrates the Wicked Witch of the West’s death. Glinda (Grande) floats down in a bubble and pops her circle of safety with her wand.

Within the first moments of meeting Glinda, Grande portrays the emotional weight of her past friendship with Elphaba and how this is a devastating end to her story. Grande delivers a nuanced performance in this opening number as she emotes layers of her pain while addressing the people of Oz.

The more she spends time with Ivan, the quicker she falls for him. It doesn’t become about the money for her, it’s about the life she would lead with him to get her out of the current lifestyle. In a way, Anora perfectly encapsulates the immediate gratification those in their early twenties ache for. How can one live a lavish lifestyle so they don’t have to struggle? Social media has damaged this perception immeasurably that a life of delusion is better than living in a bleak reality.

Reitman wastes no time pulling you into Studio 8H with everyone. LaBelle embodied Lorne Michaels and his intensity. He believed in this vision so much that his resilience was the frenetic surge that ran through the building. LaBelle was constantly moving, and the power of his performance came through his reactions more than any burst of dialogue. You could see the gears moving behind his eyes, which complemented the constant shift from scene to scene.

‘Saturday Night’ review excerpt

Fontaine and Berger worked wonderfully together. The cinematography sets the tone of deceit and creates an unsettling undertone throughout. The lighting was utilized effectively when contrasting whom to trust within the conclave. Volker Bertelmann’s striking score fluidly entered when new information was discovered. The score amplified all these components, including the screenplay by Peter Straughan with one of Fiennes’ best performances.

Fargeat places the audience in Elisabeth’s shoes effortlessly as we begin to think taking “the substance” is a great idea. Moore’s performance is captivating and conveys so much power through her emotional breaks. After taking “the substance,” Elisabeth is split in two with her counterpart, Sue (Margaret Qualley). The body horror in The Substance is grotesque, and so well-executed that it does more than shock viewers. While Fargeat transforms these women’s bodies through “the substance,” there’s also an appreciation for women’s bodies. Moore and Qualley bare all. To have their characters work so seamlessly side by side, striving for the same acceptance by society, was incredible to watch.

When Samuel starts his internship at Romy’s company, their first conversation is very telling of the type of person he is. The age gap isn’t the concern; it’s what Samuel has to offer Romy. Romy is taken aback by his control when speaking to his dog: the stern voice, the intensity in his eyes, and the hard stare. Even though this is towards his dog, Romy’s thoughts spiral, and she’s intrigued by his presence. They begin this torrid love affair as Reijn’s dialogue is delivered so sensually by Kidman and Dickinson. Their chemistry is palpable, and their vulnerability with each other -considering what they do – is what grounds the sexual fantasy.

A cathartic journey of generational pain and the guilt that comes w privilege due to sacrifices made. It’s an emotional & heartfelt exploration of sadness being projected & not truly felt. Kieran Culkin is fantastic and delivers one of the best performances of the year. He shows that grief and loss isn’t linear and can affect so much of our daily life. Jesse Eisenberg’s script is incredibly heartfelt and devastating.

Eggers brilliantly chose to keep the camera on Nicholas Hoult while Count Orlok roamed around him. The fear in Hoult’s eyes and beads of sweat trickling down his temple built an unsettling feeling towards Count Orlok without even showing him. Eggers used character reactions to amplify the terror of the demon vampire plaguing society.