The premise of Steffen Haars’ latest collaboration with Nick Frost (the two have also worked together on Krazy House, which premiered at Sundance earlier this year and received less-than-favorable reviews) in Get Away seems oddly familiar with its primary inspiration: Ari Aster’s Midsommar. The movie, written by Frost, tracks a typical family on holiday in Sweden, and things go predictably wrong. We quickly learn that they long to take the ferry to Svälta, where, every year, the inhabitants of its ‘commune’ craft an eight-hour play to remember their darkest day, known as Karantan. Expectedly so, when they arrive, the family, comprised of Richard (Frost), Susan (Aisling Bea), Sam (Sebastian Croft), and Jessie (Maisie Ayres), is unwelcome on the island. 

First, they are warned by a restaurant owner not to step foot in Svälta (if they want to remain alive, thus the title, “Get Away”). Then, they are told to leave by its inhabitants. However, they did rent an Airbnb and are, thus, reluctantly permitted to stay. There’s a political subtext that explains why they’re unwelcomed, but this doesn’t get exploited to its fullest extent. What instead follows rehashes plenty of narrative (and thematic) beats we have seen in a film like Midsommar, where the family is constantly frightened by Svälta’s community, whether being observed in secret or in planting a dead animal carcass at their front door. 

Suffice it to say things aren’t going well for this family…until Haars takes an abrupt right turn before its climax with one hell of a twist. Initially, the presentation of that reveal is respectable enough and relatively fun to watch. Haars saves all of the carnage (and a sick Iron Maiden needle-drop) for that part of the movie where the emotional connection with the protagonists is now at its highest because we now understand why they are here at this specific moment in Svälta. It’s something this reviewer won’t give away because many won’t see it coming, even if some clues in its opening section may point some astute viewers in this direction. 

After such a scene where the film’s blood-soaked gore is exacerbated by nifty practical effects and comically twisted violence, Get Away abruptly stops giving its central twist momentum and begins to peter out. The comedic punchline of that sequence is well-executed, and it gets undoubtedly over-the-top. Still, there’s an incessant disconnection with the protagonists that we begin to feel as soon as Haars takes that abrupt right turn and does nothing of interest with it. Perhaps the Midsommar sections of ‘bad things happening to certain family members who are gaslighted by others in thinking everything’s fine when it is not’ aren’t particularly inspired, but it at least puts the audience in a relatively safe place where they can attach themselves to the protagonists, because they know what’s coming. 

Because of this, the twist looks bold and certainly leans us forward to the screen once it occurs. However, when doing something like this, Haars (and, by extension, Frost) must commit to that abrupt shift and consistently make it a part of the movie’s identity. Unfortunately, it only seems to exist to distract audiences from the fact that its setting (and plot) feels awfully close to another – and better – movie. 

That said, the core relationship of Richard’s family in its pre-twist section is entertaining enough. Frost, in particular, is quite adequate, even if he plays an extension of the figures he portrayed in Edgar Wright’s Cornetto trilogy. Only when the movie reaches that twist does this character relationship become less interesting because it boxes all of the protagonists inside one-note attributes without ever fleshing them out. As a result, when Get Away reaches its comical ending, it doesn’t land with the emotional – or cathartic – feeling that it should. 

The funny thing about this is how the film’s pre-twist half set up a rather intriguing rivalry between the family and commune, with its leader (played by Anitta Suikkari) wanting to resurrect an age-old tradition that Svälta’s inhabitants are opposed to. There’s a debate within the village that could’ve truly fractured them and led the film to a subversively fun climax where, in any event, practical blood will pour down like there’s no tomorrow. It does, but not in the way you think. Of course, Haars definitely has fun killing people with as many vintage effects as he can, and we are also primed to enjoy watching this deliciously twisted feast of blood and guts. But at what emotional cost?

SCORE: ★★

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The first reviews for A Complete Unknown are in, and critics are mostly raving about the Bob Dylan biopic. 

Directed by James Mangold, the film follows Timothée Chalamet’s Dylan from January 1961 to his 1965 concert at the Newport Folk Festival. The singer-songwriter has just arrived in New York City from Minnesota and is ready to explore the city’s folk music scene and find chart-topping success. Along the way, Dylan stirs up controversy over his use of electronic instruments. 

Based on Elijah Wald’s Dylan Goes Electric! Newport, Seeger, Dylan, and the Night That Split the Sixties, A Complete Unknown is already receiving awards buzz. The biopic was nominated for three Golden Globes, including best motion picture – drama and best performance by a male actor in a motion picture – drama.

As of Tuesday afternoon, A Complete Unknown had a Rotten Tomatoes score of 74 percent from 58 reviews, and a 70 percent rating on Metacritic from 27 reviews. Chalamet is a producer on the film, which is set to hit theaters on Dec. 25 and also stars Edward Norton, Elle Fanning, Monica Barbaro, Boyd Holbrook and Scoot McNairy in supporting roles.

The Hollywood Reporter‘s chief film critic David Rooney calls Chalamet’s performance “electrifying — in every sense” and applauds the actor’s voice, which he says is “raw, nasal, scratchy but full of passion, anger and wry wisdom” and “near enough to the original to be unmistakable and yet colored by the actor’s persona to a degree that suggests something closer to symbiosis than impersonation.”

“Any Dylan fan or indeed anyone with a fondness for the music coming out of New York City in the first half of that tumultuous decade will find ample pleasures in Mangold’s expertly crafted film,” Rooney writes. “The period recreation is impeccable, and the many music performance sequences could not be more transporting, benefiting enormously from lead actors doing their own singing with estimable polish.”

The Guardian’s Peter Bradshaw writes that “Timothée Chalamet’s hilarious and seductive portrayal of Bob Dylan makes him the smirking, scowling and unwilling leader of his generation, whose refusal to submit to the crucifixion of folk-acoustic purity is his own crucifixion. Chalamet gives us a semi-serious ordeal of someone who is part Steinbeck hero, part boyband star, part sacrificial deity.”

The BBC’s Caryn James gushes about Norton, who is nominated for a Golden Globe for best supporting actor. 

“Edward Norton delivers a sly turn as Pete Seeger, who happens to be visiting at that moment and takes Dylan under his wing,” James writes. “As the film goes on, Norton is especially good at capturing the respect tinged with jealousy Dylan evokes in Seeger, benevolence turning to rigid disapproval when Dylan’s music begins to change. Like all the other supporting actors, Norton does his own singing, impressively.”

USA Today’s Brian Truitt compares A Complete Unknown to Mangold’s 2005 music biopic Walk the Line: “Mangold’s outing is an entertaining and magnetic watch, just as much as his standout Johnny Cash movie Walk the Line. The movie doesn’t bother with a backstory — only a photo album and mail addressed to ‘Robert Zimmerman’ nod to his past — and is much better for it. And while Chalamet nicely matches Dylan’s nasal delivery on all-timers like ‘Girl from the North Country’ and ‘Blowin’ in the Wind,’ his performances feel wholly authentic rather than annoyingly imitative.”

Brian Tallerico of RogerEbert.com writes that A Complete Unknown “is about all the variables that shape and warp creativity.” 

“Eschewing the often-shallow approach of the cradle-to-the-grave biopic to tell a formative chapter in music and world history, Mangold’s film fluidly captures the intersection of art and fame with solid performances, unshowy direction and organic editing,” Tallerico says. “As someone who generally loathes the ‘greatest hits’ storytelling of films about famous figures and how they often rely on the printed legend instead of doing anything, and someone who has a strong love for the music of the purposefully enigmatic Bob Dylan, I have to admit to expecting A Complete Unknown to be predictably out of tune. Like its subject has done so many times in his six-decade career, this one exceeds expectations.”

IndieWire’s David Ehrlich gave the music biopic a harsher review, writing that the film is “admirable yet deeply frustrating.” 

“Eager to defy the kind of beat-by-beat explainer that Walk the Line might have led people to expect from him, but also fundamentally not the sort of filmmaker who shares Dylan’s instinct for coloring outside the lines (or his contrarianism), Mangold struggles to portray Dylan as an enigma without reducing him to an empty shell — a hollow vessel for his own genius,” Ehrlich writes. “The musician spends most of the movie fumbling his way from one moment of divine inspiration to the next, seemingly as unsure as we are about what his songs mean or where they might come from.”

Poet and civil rights activist Nikki Giovanni, a prominent figure during the Black Arts Movement in the 1960s and ‘70s who was dubbed “the Princess of Black Poetry,” has died. She was 81.

Giovanni died “peacefully” Monday with life partner Virginia “Ginney” Fowler by her side, her friend and author Renée Watson said Tuesday in a statement to The Times. She had recently been diagnosed with cancer for the third time, Watson said.

“We will forever feel blessed to have shared a legacy and love with our dear cousin,” Giovanni’s cousin Allison “Pat” Ragan added in a statement on behalf of the family.

Watson and author-poet Kwame Alexander said that they, along with with family and close friends, recently sat by Giovanni’s side “chatting about how much we learned about living from her, about how lucky we have been to have Nikki guide us, teach us, love us.”

“We will forever be grateful for the unconditional time she gave to us, to all her literary children across the writerly world,” Alexander said in the statement.

Giovanni, born Yolande Cornelia Giovanni Jr., used her voice as a poet to address issues of Black identity and Black liberation. She was best known for her outspoken advocacy and her charismatic delivery and was a friend of fellow wordsmiths Maya Angelou, Sonia Sanchez, Gwendolyn Brooks, James Baldwin and Toni Morrison. She also became friendly with other cultural iconoclasts, including Rosa Parks, Aretha Franklin, Nina Simone and Muhammad Ali.

“My dream was not to publish or to even be a writer: my dream was to discover something no one else had thought of. I guess that’s why I’m a poet. We put things together in ways no one else does,” Giovanni wrote on her website.

Named after her mother, Giovanni was born June 7, 1943, in Knoxville, Tenn. She had an older sister, Gary Ann. Her family later moved north, and she spent most of her childhood in Cincinnati — a period she described in her writing as turbulent because her father was physically abusive to her mother.

Giovanni returned to Nashville in 1961 to attend Fisk, a historically Black university, where she studied history. A voracious reader since girlhood, she was admitted early, before she finished high school. Giovanni edited the university’s literary magazine and helped start the campus branch of the Student Non-Violent Coordinating Committee, the Associated Press said.

But she was expelled after just one semester because of her contentious relationship with one of the the school’s deans due to her political activism and opposition to the school’s stern rules and curfew. Three years later, she re-enrolled under a new dean, who agreed to wipe her record clean.

She completed her degree in 1967 and moved back to Cincinnati, where she edited a local art journal and organized Cincinnati’s first Black Arts Festival.

In 1968, she self-published her first volume of poetry, “Black Feeling Black Talk / Black Judgement.” Her poems grew out of her feelings about the assassinations of civil rights leaders Martin Luther King Jr., Medgar Evers and Malcolm X and the death of her grandmother.

In one of Giovanni’s early poems, “Reflections on April 4, 1968,” marking the day King was assassinated, she wrote, “What can I, a poor Black woman, do to destroy America? This / is a question, with appropriate variations, being asked in every / Black heart.” Her other works, including “A Short Essay of Affirmation Explaining Why,” “Of Liberation” and “A Litany for Peppe,” were described by the AP as militant calls to overthrow white power.

In addition to her adult poetry, she released two films, 13 children’s poetry books and 10 recordings, including her Grammy-nominated “The Nikki Giovanni Poetry Collection.” She was a frequent guest on the PBS talk show “Soul.” A film about her life, “Going to Mars: The Nikki Giovanni Project,” won the U.S. Grand Jury Prize for documentary at the Sundance Film Festival in January 2023. The film utilizes vérité and archival images to give audiences a glimpse into Giovanni’s mind.

“A poem is not so much read as navigated,” Giovanni wrote in her in 2013 book “Chasing Utopia.” “We go from point to point discovering a new horizon, a shift of light or laughter, an exhilaration of newness that we had missed before. Even familiar, or perhaps especially familiar, poems bring the excitement of first nighters, first encounters, first love … when viewed and reviewed.”

After teaching at a few universities domestically and guest lecturing abroad, she was recruited by an English professor named Virginia Fowler to teach creative writing at Virginia Tech.

“We are deeply saddened to learn of Nikki Giovanni’s passing,” the university said Tuesday on X (formerly Twitter). “Nikki will be remembered not only as an acclaimed poet and activist but also for the legendary impact she made during her 35 years at Virginia Tech.”

In 2007, that university became the site of one of the most deadly shootings in U.S. history, with 32 people killed and 17 injured on campus. The gunman — who was also killed — was a former student of Giovanni’s, and she had alerted school authorities previously about his troubling behavior in her class. Giovanni, a former creative writing instructor, said she took some of his writing to the school’s dean and told the dean that she could no longer teach him.

After the tragedy, she was instrumental in rallying people and restoring a sense of morale to a traumatized student body.

“I couldn’t allow him to destroy my class,” she told The Times in 2007. She delivered part of the convocation address at graduation that school year to roaring applause.

“We will prevail! / We will prevail! / We will prevail! / We are Virginia Tech,” she said at the ceremony.

As her spouse, Fowler has become an expert and keeper of Giovanni’s work and legacy. In an interview with the Fight and the Fiddle, Giovanni described how Fowler was an important pillar of support and that she was “so lucky to have found Ginny.”

“Her grandmother was the most important person to her,” Fowler said. “Their home in Cincinnati wasn’t happy because Nikki discovered that she would have to leave or she would have to kill [her father]. She went to live with her grandmother. She asked if she could stay.”

As Giovanni lived, so she wrote. She broke with cultural norms and gave birth to her only child, Thomas Watson Giovanni, in 1969, when she was 25 because “wanted to have a baby and I could afford to have a baby.” She told Ebony magazine that she didn’t want to get married and “could afford not to get married.” In her 1971 extended autobiographical statement, “Gemini,” she detailed her life growing up as a young single mother, which was taboo at the time.

Nikki Giovanni appears at the 2015 unveiling of the U.S. Postal Service’s Maya Angelou Forever Stamp in Washington, D.C.

(Jacquelyn Martin / Associated Press)

“Her life is the life of Black people,” said L. Lamar Wilson, who was mentored by Giovanni. “She documented it in every art form: film, television … from the 1940s to the present.” Wilson is now a published poet and professor at Florida State University.

Wilson was a reporter and copy editor working at the Atlanta Journal-Constitution when he made the case to report on Giovanni’s appearance in the city in 2007. During their interview, she stopped him and invited him to apply to the creative writing master’s program at Virginia Tech.

“Nikki changed the trajectory of my life. And I’m one of at least 25 people I could name to you who are very famous prominent writers who have the same story,” he said. “She has mentored us, she has been our friend, she has been our surrogate mother when we needed it. She has been our disciplinarian when we needed it, cautioning us about the pitfalls and the pratfalls of the publishing industry and of academia.”

As an educator, Giovanni is crediting with helping usher in a younger generation of Black writers.

Giovanni planned a celebration for “The Bluest Eye” author Morrison before the latter died in 2019. At the celebration, people read their favorite excerpts from her work, moving Morrison to tears.

As a winner of seven NAACP awards and countless more accolades for her achievements in poetry — Giovanni helped up-and-coming writers.

“I think she’s proudest of having opened the door for a lot of future … writers who came after her. They were able to come after her because she had opened doors,” Fowler said. “She is generous, she helps other people, she’s helped other artists, and that’s pretty unusual.”

In 2015, Times columnist Sandy Banks interviewed Giovanni on the heels of the Black Lives Matter protests in Ferguson, Mo.

“I’m not a guru. I don’t have the answers,” Giovanni said when Banks asked about guidance for young writers. “Just trust your own voice. And keep exploring the things that are interesting to you.

“All I can do is be a good Nikki. All you can do is be you,” she said.

Nikki Giovanni delivers closing remarks at a Virginia Tech convocation to honor victims of a mass shooting on the campus in 2007.

(Steve Helber / Associated Press)

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Longtime friend Joanne Gabbin — executive director of Furious Flower, the nation’s first academic center for Black poetry — believes Giovanni was proudest of her relationship with her grandmother. “Family is very important. I think it goes all the way back to what her grandmother shared with her, what her grandmother taught her, the values that her grandmother instilled in her,” Gabbin told The Times. “She had made a commitment to her grandmother that whatever she did, it would be excellent.”

In 2016, Gabbin and Giovanni, who had been friends for more than 30 years, were given a preview opening of the National Museum of African American History and Culture in Washington, D.C.

Gabbin said that while touring the museum, Giovanni encountered a “huge kind of a portrait” of herself displayed in the exhibit, marked in history as a literary legend.

Giovanni is survived by Fowler; her son, Thomas; and her granddaughter, Kai.

Kayembe is a former Times fellow. The Associated Press contributed to this report.