Movie Reviews
A Different Man Might Be Overthinking Things
Sebastian Stan is very good in this droll, distant drama about being unable to escape yourself, but it’s Adam Pearson who brings the film to life.
Photo: A24
Adam Pearson doesn’t show up until maybe two thirds of the way through A Different Man, and while that’s by design, once he did, I really wished he’d been there from the start. Pearson, whose first acting role was as one of the men the Scarlett Johansson alien picks up in Under the Skin, has neurofibromatosis, the same genetic condition responsible for the facial deformity that the film’s protagonist, Edward (Sebastian Stan), has then is cured of. A Different Man, which was written and directed by Aaron Schimberg, is filled with internal rhymes, from the repeat appearance of the Toni Morrison novel The Bluest Eye to mentions of the dog Edward doesn’t actually own (though he does briefly acquire a cat). Pearson’s character, Oswald, is the most significant of these acts of thematic alliteration — an outgoing foil to the sullen Edward who looks a lot like Edward did before his treatment but who’s comfortable in his skin in a way that Edward has never been. But Pearson, as happy-go-lucky charmer, also brings a burst of much-needed vitality to this droll but overly thought-through film. He’s a living, breathing complication to the considerations of representation and authorship that Schimberg explores. But he’s also a full-fledged character shouldering his way into a work that can otherwise feel claustrophobic in its concerns, like listening to someone having an argument with themself.
It’s hard to find a criticism of A Different Man that the film doesn’t articulate itself. In particular, there’s the matter of Edward’s passivity, which Edward complains about when he ends up starring in an Off Broadway play that no one else knows was actually inspired by his life (it’s a long story). Edward is awkward, jumpy, prone to going through life as though anticipating a blow that’s yet to come. He looks like Woody Allen, someone says in passing, an observation that may not be visually true — Stan is at that point wearing prosthetics that create the look of someone with facial tumors — but that’s spiritually dead-on. With his high-waisted pants and rounded shoulders, Edward is impossible to pin down in terms of age or relative hipness, as though he grew up untethered to the normal markers of time. Or to other people — Stan plays the character with a tenderness that doesn’t dilute his prickly desperation, which comes out when an attractive aspiring playwright named Ingrid (The Worst Person in the World’s Renate Reinsve) moves into the apartment next door. He yearns with his whole body to be seen as a romantic possibility — but also is so unused to physical contact and so prepared for rejection that he flinches away from her.
It’s hard to imagine how someone who tries so hard to make himself invisible ended up wanting to be an actor, but when Edward auditions for roles he inevitably doesn’t get, we see that he’s good. The one part he does get is in a corporate anti-discrimination video that serenely assures its viewers that strong reactions to atypical faces is natural, just a fight-or-flight reaction from their reptile brains. A Different Man, which was shot in 16-mm film that gives an extra lived-in texture to its world of beat-up New York apartments and cramped Off Broadway venues, has a keen sense of the absurd that leads to scenes in which Edward watches from his apartment as a jingle-blasting ice-cream truck tries to navigate around the ambulance taking away a neighbor’s body. Schimberg, whose last feature was a riff on the 1952 exploitation film Chained for Life that also starred Pearson, has a keen interest in what goes unsaid when it comes to someone who’s going through life with an appearance that sets them apart, and how that desire to be careful and correct can create its own sense of isolation. Edward may not face grade-school cruelty anymore, but being treated with kid gloves by people who won’t actually be upfront about what’s on their mind is its own kind of torment.
It’s torment that leads Edward to undergo an experimental procedure with miraculous results that leave him looking, well, like a movie star. Stan’s gotten a lot of praise for this role, though what makes his work so compelling is his willingness to do very little in his scenes, both in and out of the prosthetics — to withdraw into Edward’s own paralyzed self-consciousness. For someone who frets about connecting with others, Edward isn’t always present himself, prone to retreating into his own head as the sound fades around him, and struggling to connect with the version of himself Ingrid writes for the stage when she believes Edward died, not realizing that the handsome actor she’s chosen for the role is actually her former neighbor. That’s one of the reasons Pearson, when he bursts onscreen as a charismatic Englishman who’d been told about the play by a casting agent, feels like such a relief. Oswald provides an easy solution to the ironic issues about authenticity that Edward finds himself facing when he starts wearing a mask to re-create his past appearance.
But, chatty and confident and funny, Oswald is also a much-needed counterpoint to Edward, who, even when given the opportunity to start over with a new face and name, can’t escape his own insecurities, a character constantly and exasperatingly stuck in one place. The slipperiness and span of time that A Different Man covers make it feel like a junior version of Synecdoche, New York, Charlie Kaufman’s drama about a theater director making his inward-burrowing dream project. But Schimberg’s film is more distant and less personal, and it’s only really when Pearson shows up that it’s clear how much we needed the fresh air he brings with him.
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1986 Movie Reviews – Dangerously Close, Fire with Fire, Last Resort, and Short Circuit | The Nerdy
by | May 9, 2026May 9, 2026 10:30 am EDT
Welcome to an exciting year-long project here at The Nerdy. 1986 was an exciting year for films giving us a lot of films that would go on to be beloved favorites and cult classics. It was also the start to a major shift in cultural and societal norms, and some of those still reverberate to this day.
We’re going to pick and choose which movies we hit, but right now the list stands at nearly four dozen.
Yes, we’re insane, but 1986 was that great of a year for film.
The articles will come out – in most cases – on the same day the films hit theaters in 1986 so that it is their true 40th anniversary. All films are also watched again for the purposes of these reviews and are not being done from memory. In some cases, it truly will be the first time we’ve seen them.
This time around, it’s May 9, 1986, and we’re off to see Dangerously Close, Fire with Fire, Last Resort, and Short Circuit.
Dangerously Close
I would love to tell you what the point of this film was, but I’m not sure it knew.
An elite school has turned into a magnet school, attracting some “undesirables,” so a group of students known as The Sentinels take up policing their school, but will they go too far?
The basic plot of the film is simple enough, but there is an oddball “twist” toward the end tht served no real purpose and somehow turns the whole thing into a murder-mystery. Mysteries only work when you know you’re supposed to be solving them, and not when you’re alerted to one existing with 15 minutes left.
Decent 80s music, some stylistic shots, absolutely no substance.
Fire with Fire
Oh wait… I may want to go back and watch Dangerously Close again over this one.
Joe Fisk (Craig Sheffer) is being held at a juvenile delinquent facility close a high-end all-girls Catholic school. One day while running through the forest as part of an exercise he spots Catholic schoolgirl Lisa Taylor (Virginia Madsen) and the two fall immediately in love because… reasons.
This film is just so incredibly lazy. The ‘love story’ really can just be chalked up to ‘hormones.’
Last Resort
Once again I am baffled how Charles Grodin kept getting work so much through out the 1980s.
George Lollar (Grodin) is a salesman in Chicago in need of a vacation. He loads up the family and takes them to Club Sand, which turns out to be a swingers resort as well as surrounded by barbed wire to keep rebels out.
There are a lot of talented people in this movie such as Phil Hartman and Megan Mullally, but the film lets them down at every turn with half-baked ideas of jokes. Supposedly, Grodin rewrote nearly the entire script and I think that explains a lot about how this film feels like unfinished ideas. It’s a Frankenstein monster of a script with half-complete ideas that feel like they are from completely different movies.
Short Circuit
Lets just get this out of the way: What in the world was Fisher Stevens doing?
NOVA Laboratory has come up with a new series of military robots called S.A.I.N.T. (Strategic Artificially Intelligent Nuclear Transport). Following a successful demonstration for the military, Five is struck by an electrical surge and finds itself needing ‘input.’ After inadvertently escaping the lab, it wands into the life of Stephanie Speck (Ally Sheedy), who cares for animals and takes Five in. Dr. Newton Crosby (Steve Guttenberg) is trying to get five back, while the security team wants to destroy it.
Overall, the film is thin, but harmless. The 80s did seem to love a ‘technology being used for the wrong reasons’ theme, and this falls into that camp. What is mind-blowing, however, is Stevens as Ben Jabituya, Crosby’s assistant. Not only is he wearing brown face, but he’s doing a horrible Indian accent and later reveals he was born and raised in the U.S.
His whole character is mystifying.
Honestly, a couple of decades ago I may have recommended this movie, but it’s a definite pass now just for being offensive.
1986 Movie Reviews will continue on May 16, 2026, with Sweet Liberty and Top Gun.
By ABBIE BERNSTEIN / Staff Writer
Posted: May 8th, 2026 / 08:34 PM
AFFECTION movie poster | ©2026 Brainstorm Media
Rating: Not Rated
Stars: Jessica Rothe, Joseph Cross, Julianna Layne
Writer: BT Meza
Director: BT Meza
Distributor: Brainstorm Media
Release Date: May 8, 2026
AFFECTION is an odd title for this tale. While it is about a number of topics and emotions, fondness isn’t one of them. Obsession, definitely. Love, possibly. The kind of general warm fellow feelings associated with “affection”? No.
There have been a lot of movies lately in which characters – mostly women – are grappling with false identities and/or false memories imposed upon them, mostly by men.
Let us stipulate that the protagonist (Jessica Rothe) in AFFECTION is not an android or in an artificial reality. However, we can tell something is way off from the opening sequence. A car is stalled on a tree-bordered highway. Rothe’s character is lying face down on the asphalt beside it, possibly dead.
But then the young woman rises, dragging a broken ankle. She experiences a full-body seizure. Fighting to recover, she sees oncoming headlights and tries to run, only to be hit by a car.
The woman wakes up in a bed she doesn’t recognize, next to a man (Joseph Cross) she likewise is sure she’s never seen before. One big confrontation later, the man says his name is Bruce – and that the woman is his wife, Ellie.
Ellie insists that her name is Sarah Thompson, and she is married to someone else, with a son. When she sees her reflection in a mirror, she doesn’t relate to the face looking back at her.
Bruce counters that Ellie has a rare neurological condition that causes her to block out her waking life and believe her dreams are real. This is why they agreed, together, to move to this isolated house, without the kinds of interruptions that can hinder Ellie’s recovery.
The set-up is presented in a way where we share Ellie’s skepticism. But Ellie and Bruce’s little daughter Alice (Julianna Layne) immediately identifies Ellie as “Mommy!” Alice appears to be too young to be in on any kind of deception, so what is going on here?
AFFECTION eventually explains this via a helpful videotape, though it’s so convoluted that viewers watching on streaming may want to replay the sequence to make sure they understand the exposition.
Writer/director BT Meza musters a sense of menace and lurking weirdness, as well as making great use of his location.
We still have a lot of questions, many of which are still unanswered by the film’s end. It may not matter to the points AFFECTION is trying to make, but a better sense of exactly how all this started might help our investment.
As it is, despite a heroically versatile performance by Rothe, a credible and anguished turn by Cross and appealing work from Layne, we’re so busy trying to piece together what’s important and what’s not and how we’re supposed to feel about all of it that it can be hard to keep track of the action as it unfolds.
Agree or not, Meza’s arguments are lucid and illustrated clearly by AFFECTION’s events. However, the movie is structured in a way that becomes more frustrating as it goes. We comprehend it intellectually but can’t engage viscerally.
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The hosts gave their reviews and assigned the following star ratings:
Deanna: ★★★★.5
Allison: ★★★.25
Julia: ★★
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