Connect with us

Movie Reviews

‘Rumours’ Review: Cate Blanchett and Alicia Vikander Play Clueless World Leaders in Guy Maddin’s Very Funny, Truly Silly Dark Comedy

Published

on

‘Rumours’ Review: Cate Blanchett and Alicia Vikander Play Clueless World Leaders in Guy Maddin’s Very Funny, Truly Silly Dark Comedy

World leaders at a G7 conference politely bicker, copulate in the bushes and work on wafty, content-free speeches while a worldwide apocalypse commences — politicians, they’re just like us! — in collaborating Canadian directors Guy Maddin, Evan Johnson and Galen Johnson’s frequently hilarious latest feature.

Although they’ve kept busy with a steady stream of shorts, the trio haven’t made a feature with actors since the fantastical The Forbidden Room from 2015. With a proper beginning, middle and end, and barely any tributes to silent cinema or interactive tricksiness, Rumours may arguably be Maddin’s most conventional film ever, or at least since The Saddest Music in the World (2003). That is, if you can call a film conventional that’s got furiously masturbating bog zombies, a giant brain the size of a hatchback, and an AI chatbot that catfishes pedophiles. All the same, it’s a hoot, even if the energy flags in the middle.

Rumours

The Bottom Line

The last laugh before it all burns down.

Advertisement

Venue: Cannes Film Festival (Special Screening)
Cast: Cate Blanchett, Roy Dupuis, Denis Monochet, Charles Dance, Nikki Amuka-Bird, Rolando Ravello, Takehiro Hira, Alicia Vikander
Directors: Guy Maddin, Evan Johnson, Galen Johnson
Screenwriter: Evan Johnson, based on a story by Guy Maddin, Evan Johnson and Galen Johnson

1 hours 58 minutes

For those who like to keep score on these sort of things, this is also the first film directed by Maddin, let alone brothers Evan and Galen Johnson, that’s been programmed in Cannes’ official selection. Apart from the fact that it’s a welcome rib-tickler that breaks up this year’s festival’s monotonous procession of poverty porn and disappointments by fading auteurs, Rumours’ path to the Croisette was almost certainly smoothed by the presence of major names in the cast including Cate Blanchett, Alicia Vikander, Charles Dance and French star Denis Ménochet (Beau Is Afraid, Peter von Kant). That cast and the festival showcase won’t do any harm to the film’s commercial prospects. Bleecker Street recently announced they’ve acquired the rights for U.S. distribution.

The satire here isn’t necessarily aimed at any specific politician given that the characters are all clearly living in a fictional world, one where ideology barely seems to matter. Nevertheless, there’s a distinct sharpness in the way the script, credited to Evan Johnson but based on a story by all three directors, pokes the bears. Pointedly it lampoons the airy, non-committal language of world summits, the promises that mean nothing, and the outcomes that achieve little in a world that, while admittedly always in crisis, really is on the verge of burning up thanks to climate change.

Advertisement

The film’s most consistent running joke — worked so hard it goes from guffaw-inducing to stale to weirdly suddenly hilarious again, as if through attrition — concerns how seriously the seven world leaders take the process of drafting a joint statement full of platitudes, corporate-speak, psychobabble and song lyrics as they sit in a little woodland gazebo. So absorbed are they in their work, broken up into subgroups like high-schoolers assigned a class project, that they don’t even notice that their aides and servers have all mysteriously disappeared, leaving them alone in the woods.

In other ways, the leaders resemble middle-managers enjoying their annual conference with its catering, photo opportunities and time off from troublesome spouses — a particular concern for Canada’s prime minister Maxime Laplace (The Forbidden Room’s Roy Dupuis, rocking a man bun with an undercut like an aging pop star). Broad hints are dropped that Maxime had a fling with the United Kingdom’s otherwise goal-directed prime minister Cardosa Dewindt (Nikki Amuka-Bird). This year he’s caught the thirsty eye of host-country Germany’s elegant Chancellor Hilda Ortmann (Blanchett, showing off strong comedy chops, even in the way she Germanicizes her vowel sounds).

The United States’ President Edison Wolcott (Charles Dance, slyly self-parodying) is more interested in getting some sleep and keeps nodding off, a gag that may be sheer coincidence but weirdly parallels what’s going on at the minute with Donald Trump at his criminal hush money trial. Another cute gag has the film never explaining why the American president has such a plummy British accent, and the one time he’s about to share why gets interrupted.

Rounding out the democratic world powers, Ménochet’s French President Sylvain Broulez is a grandiloquent blowhard who probably talks more than Japan’s reticent Tatsuro Iwasaki (Takehiro Hira) and Italy’s bumbling beta-male Antonio Lamorte (Rolando Ravello) combined. Both of the latter two, however, are aces as slow burns and understated reaction shots, especially Ravello.

Alicia Vikander, speaking only in her native Swedish for a change, shows up halfway through the film as the president of the European Commission, Celestine Sproul, when Maxime stumbles across her in the woods with the aforementioned giant brain, which you’ll have to watch the film to understand.

Advertisement

Not that understanding is really the point here. Rumours operates on a surrealist plane of its own, making up the rules of its universe as it goes along. Shall we have millennia-old boneless bog people who come to life and menace the guests, it asks itself, and the answer is yes, why not? What if the non-source music swells and bursts like the melodramatic score of a soap opera at times? Sure!

The whole thing sometimes feels like a skit show that just barely holds together until the filmmakers and cast bring it all home for a terrific climactic closure, in which all the buzzwords and banalities get to be rolled up into one triumphant speech shouted into the void as world burns. Like the best comic fantasies, Rumours has more than a grain of tragic truth to it.

Full credits

Cast: Cate Blanchett, Roy Dupuis, Denis Monochet, Charles Dance, Nikki Amuka-Bird, Rolando Ravello, Takehiro Hira, Alicia Vikander, Zlatko Buric, Tomi Kosynus, Ralph Berkin, Alexa Kennedy
Production companies: Buffalo Gal Pictures, Maze Pictures, Square Peg, Thin Stuff Productions, Walking Down Broadway
Directors: Guy Maddin, Evan Johnson, Galen Johnson
Screenwriter: Evan Johnson, based on a story by Guy Maddin, Evan Johnson and Galen Johnson
Producers: Liz Jarvis, Philipp Kreuzer, Lars Knudsen, Guy Maddin, Evan Johnson, Galen Johnson
Executive producers: Ari Aster, Cate Blanchett, Phyllis Laing, Jorg Schulze, Joe Neurauter, Devan Towers, Tyler Campellone, Lina Flint, Mary Aloe, Gillian Hormel, Andrew Karpen, Kent Sanderson, Adrian Love, Michael O’Leary, Stefan Kapelari, Moritz Peters, Blair Ward, Anders Erden, Lauren Case, Eric Harbert, Michael Werry, George Heuser, Jacob Phillips, Stephen Griffiths, Christopher Payne, Dave Bishop, George Hamilton, James Pugh, Janina Vilsmaier, Fred Benenson, Morwin Schmookler, George Rush
Co-producers: Judit Stalter, Simon Ofenloch
Directors of photography: Stefan Ciupek
Production designer: Zosia Mackenzie
Costume designer: Bina Daigeler
Editor: John Gurdebeke, Evan Johnson, Galen Johnson
Music: Kristian Eidnes Andersen
Music supervisor: Jillian Ennis
Casting: Avy Kaufman
Sales: Protagonist Pictures

1 hours 58 minutes

Advertisement

Movie Reviews

MOVIE REVIEW: Pixar’s Hoppers is laugh-out-loud funny

Published

on

MOVIE REVIEW: Pixar’s  Hoppers  is laugh-out-loud funny

The Snapshot: Pixar comes out swinging with an energetic and cuddly comedy that pairs big laughs with an earnest message about living alongside nature.

Hoppers

9 out of 10

G, 1hr 44mins. Animated Sci-Fi Family Comedy.

Directed by Daniel Chong.

Starring Piper Curda, Bobby Moynihan, Kathy Najimy, Jon Hamm, Dave Franco and Meryl Streep.

Now Playing at Galaxy Cinemas Sault Ste. Marie.

Advertisement

True all ages fun is increasingly hard to find, and hoping for great, original works out of Hollywood is only getting rarer from the major studios. Thankfully, Disney and Pixar’s Hoppers is making the search a little easier.

Director Daniel Chong (best known for the TV series We Bare Bears) has masterfully directed a frantic masterpiece that is worthy to stand among iconic greats in Pixar’s esteemed catalogue. Filled with bustling action, a brave moral standing, and an endless parade of cuddly animal heroes, Hoppers is a dam great time.

A beaver dam great time, that is.

The story is a bit unusual, set in the northwestern town of Beaverton, Oregon, where a local University student and nature activist named Mabel (Piper Curda) is in a constant fight with the town’s development-driven mayor (Jon Hamm) over a highway expansion over a local glade and nature preserve.

Things gets wild, however, when Mabel’s consciousness gets sucked into a beaver robot through a process called “hoppers” – and suddenly becomes a literal friend of the forest, setting off a chain of events I dare not spoil.

Advertisement

One of the strongest elements in Hoppers is Jesse Andrews’ terrific screenplay, built on a story structure that has made Pixar’s work stand out among family entertainment for the last 40 years. (Part of this film’s release, co-incidentally, marks the studio’s 40th anniversary this year.)

Not only has Andrews filled the plot with multiple organic surprises that repeatedly heighten the stakes of Mabel’s quest to save the glade, but the script also balances the peacefulness of nature to – anchor the story – with the frazzled panic of modern human life to develop the humour.

Getting these juxtaposing elements to work is done swiftly by Chong, Andrews and the talented voice ensemble bringing it altogether. The actors above are all commendable, but the scene stealer is Bobby Moynihan (of SNL fame) as beaver leader King George.

Moynihan’s George is smart, sincere, and socially aware that teaches Mabel some core lessons without making it overly obvious to the audience. Still, the film as a whole effectively gets its messages across about what a realistic plan for living in harmony across species actually looks like – and how to go about trying to do the right thing.

Advertisement

Pixar’s original works have struggled for several years, mainly upended by the COVID pandemic ruining the box office prospects of multiple great movies, including Soul, Turning Red and Onward.

Get ready now for Hoppers to take the spotlight both commercially and among repeat viewings for kids – the film is laugh out loud funny and filled with heart. This is the best original film from Pixar since Coco almost a decade ago.

Read more here: You can’t miss Pixar’s Coco (2017 review)

The only small critiques, in fact, is that the main conflict doesn’t fully emerge or develop until halfway through the film, and the pacing is a bit slow until we get to the actual animal “hopping” that comes at the end of the first act. What’s also missing is the ethereal discovery of poignancy that made Pixar’s earliest filmography seem truly special.

Still, don’t let these small quips deter you. Hoppers is the first great film of 2026 and an absolute blast watching at the cinema.

Advertisement

Children, parents, grandparents, neighbours, your mailman – everyone should see it this weekend. And seeing it sooner is a great way to encourage the development of more original, thoughtful and fun movies like this to be made.

Hop to it, beavers!

Advertisement
Continue Reading

Movie Reviews

‘Jab Khuli Kitaab’ movie review: A heartfelt exploration of love’s endurance

Published

on

‘Jab Khuli Kitaab’ movie review: A heartfelt exploration of love’s endurance

Pankaj Kapur in ‘Jab Khuli Kitaab’
| Photo Credit: ZEE5

Cracks in conjugality constitute a common conflict device in Hindi cinema. Usually, the male commits the bhool and expects forgiveness. Most fissures appear early, but what if a grandmother reveals a long-buried truth? Can the man accept it as easily as he expects forgiveness? Seasoned actor and theatre practitioner Saurabh Shukla gives new meaning to a prescribed book, making us both chuckle and reflect.

Being a cinematic adaptation of his play, the constraints of the medium are not completely erased, but it shines as a heartfelt exploration of love’s endurance.

The film’s core premise revolves around a decades-old secret — Anusuya’s (Dimple Kapadia) confession of an indiscretion early in their marriage — that surfaces after she awakens from a coma. This revelation forces Gopal (Pankaj Kapur) to re-examine 50 years of trust through the lens of this buried truth as a forgotten ad hoc presence in his life threatens to become a permanent peeve. Enter Negi (Aparshakti Khurana), a young client-chasing lawyer who becomes an unlikely facilitator of tough conversations, legal proceedings, and emotional confrontations.

A still from the film

A still from the film
| Photo Credit:
ZEE5

Jab Khuli Kitaab (Hindi)

Director: Saurabh Shukla

Advertisement

Duration: 115 minutes

Cast: Pankaj Kapur, Dimple Kapadia, Aparshakti Khurana, Sameer Soni, Nauheed Cyrusi, Manasi Parekh

Synopsis: Gopal and Anusuya’s decades-long marriage is shaken by a revelation.

Though the transgression is a distant memory, its emergence shatters Gopal’s sense of shared space with Anusuya. He questions whether the life he built was an illusion. The woman he cared for seems suddenly unfamiliar. The film asks questions that may seem flimsy but persist in memory. For instance, Anusuya’s love for poetry that Gopal never really discovers, or the concept of marzi (inclination) in relationships.

Meanwhile, the revelation shakes the family unit. The parents initially try to shield the children from the truth, but the tension inevitably seeps in. Initially, it seems the son and son-in-law are bitten by the Baghban bug, but as the film progresses, the writing provides space for a dialogue on how companionship extends beyond the couple.

The film quietly reflects on the role of memory in a marriage, treating it as a central force that both sustains and disrupts long-term bonds. Gopal’s growing dementia suddenly seems like a cure for his marital problem. Without underlining, Shukla also explores the impact of the revelation on Gopal’s social psyche. Suddenly, a seemingly progressive man starts behaving like a parochial uncle, as we find dozens of them around us these days. Is it always the personal that shapes the political socialisation? Another uncle reminds us that laughing too much leads to days of sorrow, as if the Almighty has assigned us a quota of happiness.

Advertisement
A still from the film

A still from the film
| Photo Credit:
ZEE5

Kapur’s masterful control shines through in Gopal’s progression from bewilderment and stubborn pride to vulnerability and, eventually, the rediscovery of love. Over the years, Kapur has shone in the estuary of comedy that holds a tragedy in its fold. He lives the script’s shifting tones. From the tender caregiving scenes in the beginning to the profound internal shift in demeanour and body language toward the film’s resolution— the transformation feels earned and believable.

It is hard to believe Dimple as a wilting wife, but soon we realise it’s the gravitas in her voice and personality that makes Anusuya a believable picture of regret and resilience.

We know the coma is more like a metaphor, but the medical aspect is treated with a heavy hand. The plot unfolds in a somewhat linear and foreseeable way, with the revelation and its consequences following expected beats. The contrivances, the dot-to-dot mechanics of storytelling, surface in the second half as if the director is keen on arriving at the crux without peeling the layers properly. But it is the chemistry between Shukla and Kapur that prevents this bittersweet dramedy from becoming schmaltzy. 

Jab Khuli Kitaab is streaming currently on ZEE5

Continue Reading

Movie Reviews

‘Hoppers’ movie review: Big ideas and smart emotional beats fuel a great adventure

Published

on

‘Hoppers’ movie review: Big ideas and smart emotional beats fuel a great adventure

In cinema logic, sharks, especially great whites, make excellent characters in animation. From Bruce in Finding Nemo to Mr Shark, the master of disguise in The Bad Guys, these apex predators turn their great gummy mouths with many pointy teeth into jolly good fellows.

In Hoppers, the 30th animation film from Pixar, there is a great white called Diane (Vanessa Bayer), who, despite being a scary assassin, has such sweet, shining eyes and a warm smile that one cannot help but grinning back.

Hoppers (English)

Director: Daniel Chong

Voice cast: Piper Curda, Bobby Moynihan, Jon Hamm, Kathy Najimy, Dave Franco

Storyline: A fierce animal lover uses a new technology to converse with animals and save their habitat from greedy, self-serving humans

Advertisement

Runtime: 104 minutes

We first meet Mabel (Piper Curda) as a little girl trying to set all the animals in school free and being sent home for her pains (and also because she bites one of the teachers trying to stop her). Her busy mother drops Mabel with her grandmother (Karen Huie) who shows her the peace and quiet that can be hers if she only stops to listen.

The glade where grandmother Tanaka teaches her this valuable life lesson becomes a special place for Mabel. Years later, after her grandmother has passed, 19-year-old Mabel is a college student and still fighting for animal rights.

Matters come to a head when the mayor of Beaverton, Jerry Generazzo (Jon Hamm) plans to blow up the glade to build a freeway. Mabel tries to get signatures from the citizenry to stop the freeway plans, but that comes to naught as people quickly turn away from the zealous Mabel.

Frustrated, with no recourse in sight, Mabel chances upon a beaver making its way to her university’s biology lab. First worried that her biology professor Sam (Kathy Najimy) is doing some unspeakable animal experiments, Mabel is nonplussed to find that Sam, with her colleague Nisha (Aparna Nancherla) and graduate student Conner (Sam Richardson), have developed a revolutionary technology to transfer human consciousness to robot animal.

Advertisement

Mabel uploads her consciousness into a robot beaver and sets off to thwart the mayor. Seeing the world from the animals’ perspective gives Mabel a unique point of view. Hoppers has jokes, chases, largeness of heart and solid science — not consciousness-switching with robot animals or flying shark assassins but the fact that beavers are the environmental engineers of the natural world.

The voice cast is wonderful, from Bobby Moynihan as the beaver king, George to Dave Franco as Titus, the prickly butterfly who becomes the insect king after Mabel accidentally kills his mum — the Insect Queen, played with terrifying grandeur by Meryl Streep.

The animals are delightfully delineated, from the spaced-out beaver, Loaf (Eduardo Franco) to Ellen (Melissa Villaseñor) the grumpy bear. The animation is lovely, with each of the animal and human characteristics clearly outlined. From the mayor’s grasping to Sam’s brilliance, Mabel’s fervour to Loaf’s stillness, and the different animal monarchs’ regality, it is all given marvellous life.

ALSO READ: ‘The Bride!’ movie review: Maggie Gyllenhaal’s glam-goth Frankenstein can’t hold its stitches

The “pond rules” ensure that the animals are not completely anthropomorphised — a sticky point in animation films where carnivores and herbivores hang together without even a sneaky licking of lips!

Advertisement

Smart, funny, exciting, honest, and touching, Hoppers is the kind of film you can watch with the bachcha party and elders alike, with a happy grin. And then there is Diane of the red, red lips and sparkly white rotating teeth — yes, Hoppers boasts that level of detailing.

Hoppers is currently running in theatres

Published – March 06, 2026 07:08 pm IST

Advertisement
Continue Reading

Trending