How we watch television in 2024 has changed radically since this intrepid writer was a wee lad. Back when we were kids, with the internet and streaming a thing of rumour and something out of the 70s dystopian sci-fi film that would lead to the rise of machines and the demise of the human race (which might still happen, of course), we had to make sure we carved out the time to see the show we wanted because then it would disappear. No repeats, no catch-up, no YouTube. Consumption and consumerism have become different beasts in the decades since and, in their sophomore feature, Jane Schoenbrun dissects our relationships with the box with the big glow, just one of the many narratives flowing through this intoxicating new film.

1996: Owen (Justice Smith and Ian Foreman) is a young teenager in a Clinton-era America struggling to find his place in life, school, and his general surroundings, feeling conflicted about his relationships with other people, his mother, and his sexuality. At a teacher/parent conference-style evening, he meets Maddy (Brigette Lundy-Paine, stunning) who, to Owen, is a much more together person than himself, exuding cool aloof, and confident. Maddy confides that she likes girls, whereas Owen states he likes TV shows, and soon enough she recommends he watch her favourite television show, The Pink Opaque, which may help him through some tough times as it did her: part Buffy the Vampire Slayer, part David Lynch nightmare, the two lead characters may hold some answers for them, both in this world and in the world of the show.

For anyone coming into this one cold, make sure it stays that way but one way to prep yourself is to devour Schoenbrun’s debut feature We’re All Going To The World’s Fair. Released in 2022 at the height of the pandemic after its Sundance debut a year earlier, it showcased the writer/director’s unique prowess as a filmmaker and immediately put them on the map in a big way. A coming-of-age narrative is never the most challenging of genres to tap into but under their visual intensity and knack for the visceral and the challenging, it made the usual cliches feel new and fresh as it delved into internet culture, fan forums, and how we can get lost in new worlds that replace our own. With Glow, they set their sights on our consumption of television and our over-reliance on them for escapism and, by extension, being seen. 

The characters of the show-within-the-show may be fake but for Owen and Maddy they allow them to feel comfort, to feel seen, and to feel the love and affection their real world hasn’t provided: whether it’s part of a family dynamic or their own curiosities and sexuality, it allows them safety and guidance where those around them haven’t been able to. Indeed, it delves deep into our fascination as humans with the old gogglebox and how much we rely on it to service our everyday needs and affections, even if it means missing everything going on around us – heck, we even observe people in social experiments, people dancing on TikTok and watch other people watch the television in some bizarre Truman Show-esque nightmare that only gets more and more compelling. 

With panache, colour, and dense, intriguing texture, Schoenbrun’s exhilarating filmmaking is to be admired and applauded, taking us on original adventures through old pastures and making us look, think and feel everything very differently, even if a few notes don’t quite hit the heights of the rest of them. It will polarise audiences, for sure, but in a cinema landscape that is becoming increasingly more predictable, their voice is one to be shouted about through the flatscreens. 

Cuckoo is a stylish horror movie screening at the Fantasia Film Festival. Gretchen (Hunter Schafer, Euphoria) has moved to the Bavarian Alps with her father and stepmother. Not wanting to be there, she constantly calls her mother who is back in the United States. Between sending voicemails to her mother, Gretchen must also contend with a series of odd occurrences involving sick guests at the resort she has taken a job. On top of all that, a creepy woman seems to have an interest in her.

While the film introduces a number of characters, it essentially serves as a showcase for Schafer. Despite being built on a foundation of Final Girl tropes – her parents think she is hysterical, for example – there is more to her than heavy bandages and teenaged brooding. Gretchen has all the resourcefulness and personality that makes for an endearing protagonist. Whether it is quiet moments of contemplation or frantic encounters involving brain numbing cacaws, Schafer is engaging. 

Regrettably, the same cannot be said for all of the other characters. Her stepmother Beth (Jessica Henwick, Game of Thrones) seems to be there to be an antagonist to Gretchen, but she never does anything particularly sinister. Her father Luis (Marton Csokas, The Last Duel) has more depth to him, but it is not enough to form an opinion of him.

Dan Stevens as the mysterious Mr. Konig is fantastic, however. The pleasant attitude is over the top and the villainy borders on cartoonish in a combination of qualities that would make someone overbearing in real life but a delight to watch on screen. Some of the best moments in Cuckoo involve him just interacting with others.

The movie sets up a creepy atmosphere that will keep audiences on the edge of their seats. The beautiful setting is the perfect contrast to the uneasiness that hangs over everything.. The excellent score also adds to the feeling of discomfort. Cuckoo is more about providing an experience than telling a story. This will not sit well with everyone. The first two acts take time creating a tone, before the third act dives headlong into chaos. Even in its quieter moments, Cuckoo does not take too much time explaining things. There is enough to know what is going on, but just barely. And anyone looking for motivation will be disappointed.

Cuckoo may not pack the emotional punch it is going for in its tale of grief, but the scares are very effective. The villain is a hell of a lot of fun and Schafer holds her own as the increasingly injured hero. It may not reveal all of its secrets, but it is a hell of a ride.

The Fantasia International Film Festival takes places from July 18 – August 4. Check out the latest news HERE

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Chino XL, the New York rapper known for warring with Tupac Shakur and for his dense, evocative wordplay, has died. He was 50.

In a statement posted to Instagram, the family of the rapper, born Derek Keith Barbosa, said, “Our father had many titles — King of Punchlines, Puerto Rican Superhero — but the most important one was Girl Dad. And what he gave us most in that role was his strength, straightforwardness, and ability to be super realistic. The main thing we are feeling now is that our Dad is at peace, and so we are at peace.” The statement did not list a cause of death but noted his death occurred Sunday.

The rapper was born in the Bronx to a family of Puerto Rican descent. He quickly excelled at rapping, signing to Rick Rubin’s American Recordings at 16. His debut album, “Here to Save You All,” was released in 1996 to critical acclaim. That album’s best-known single was “Riiiot!,” which featured the instantly infamous line “I’m trying not to get f— like Tupac in jail. ”

That lyric infuriated Shakur, who soon released the track “Hit ’Em Up” and included Chino XL among those he wished would “die slow. … My .44 make sho’ all y’all kids don’t grow.”

Barbosa released three more albums: 2001’s “I Told You So,” 2006’s “Poison Pen” and his final LP, 2012’s “Ricanstruction: The Black Rosary.” That last album, hailed as his best work, featured the harrowing song “Father’s Day,” about taking his cancer-stricken child to the hospital. “If only my feeble hands could remove / This neuroblastoma tumor from your adrenal glands,” he raps. “This is a father’s shame / That I can’t save you from everything.”

He also recently guested on rap legend Rakim’s new album, “G.O.D.’S Network (Reb7rth).”

Along the way, Barbosa volunteered at a youth architecture program for disadvantaged kids. “I have been on this planet for several decades, and I have moved in some pretty radical circles, but personally, I cannot recall meeting a melanated architect in my whole life,” he told Rolling Stone in 2018. “Just for these children to know it’s a thing, that’s important.”

He also was an actor, booking roles on “Reno 911!” and “CSI: Miami” and appearing in the 2003 film “Alex & Emma” with Kate Hudson and Luke Wilson.

Several notable figures in the rap world, including podcaster Joe Budden, lamented his death online.

His family’s statement said that Barbosa is survived by his children, Chynna, Bella, Lyric and Kiyana; stepson Shawn; grandchildren Emmy, Emery, Chris, Luis and Dyani; his mother, Carole; and his former longtime partner Stephanie.