Movie Reviews
F1 THE MOVIE Review
Dominant Worldview and Other Worldview Content/Elements:
Strong but not fully developed Christian, moral worldview where the main race car driving hero kneels to pray silently before races, there are references to a racing “miracle” during the big race and references to pulling a “Hail Mary,” and movie promotes friendship, teamwork, a strong mother-son relationship, the importance of fathers (both the veteran hero and his rival teammate learn both their fathers died when they were young and the veteran still has a photo of him with his father as a young boy), doing the right thing is extolled at least twice, sacrifice wins the day and solves the major plot problem, and veteran racing hero pursues the feeling of ecstasy and peace that sometimes comes when driving a race car (the movie depicts it almost in a spiritual sense as if it brings the character closer to God, though, of course, the hero’s pursuit would be better if it were focused on Jesus), but there are some pagan, hedonistic and selfish motivations in the characters, though the movie has a very strong pro-capitalist or pro-business viewpoint (the veteran hero is trying to help his friend save his Formula 1 racing company, and teamwork and hard work are mentioned and depicted as very important to accomplishing that goal, such values are, of course, American values that also have a biblical tradition), plus two major female characters in the race car company have a feminist goal of being just as respected as the men in that male-dominated field, and there’s an apparent image of a Muslim mosque when the movie shifts to the final Formula 1 race of the annual season, which occurs in Abu Dhabi;
Foul Language:
About 43 obscenities (including one “f” word), one strong profanity (which perhaps can be considered somewhat borderline), where someone exclaims “Sweet Baby Jesus,” three GD profanities, four light profanities, and one of a racing team’s advisor/coach jokingly uses an obscene gesture against another team’s advisor/coach later in a race after the second guy had mouthed an “f” word at him earlier;
Violence:
Violence includes a few intense car crashes, including one where a car bursts into flames, and another driver pulls the driver out of his fiery car (the injured driver just burned his right hand, so he must sit out of the F1 racing circuit for three races to recover), past footage of a Formula 1 race shows a driver lying unconscious in the road, ,any intense car racing scenes, some lesser examples of crashes and spinouts and tires hitting tires during races, and team rivals have shoving match in one scene;
Sex:
No depicted lewd sex, but fornication is implied when an unmarried couple kisses passionately and then wake up in bed next to one another (the man has a nightmare about a major racing crash and sits up and gets out of bed while the woman is still sleeping in the bed), and race car driver’s manager wants them to find a girl when they visit a disco bar;
Nudity:
Upper male nudity as driver work out or walk around in a two or three scenes, and young driver goes to a disco with his manager and there are girls in some slightly skimpy clothes or dresses;
Alcohol Use:
Some brief alcohol use, especially in a disco scene;
Smoking and/or Drug Use and Abuse:
Someone smokes a cigarette but no illicit drugs; and,
Miscellaneous Immorality:
Strong miscellaneous immorality overall such as corrupt businessman forges some papers against the racing car company in the movie so he can buy the company at a lower price after the big race, but his plans are foiled, and the hero is a nomad who’s had one marriage annulled and two divorces over period of 30 years (the story is that the crash that ended his Formula 1 racing career left him adrift and brought out his worst qualities until he found some peace as a nomad going from race to race while living in a van), it’s said that the hero once had a gambling problem, and he still likes to place an occasional informal bet, and when the hero’s friend gives him a chance to race the second half of the Formula 1 circuit again the hero is not above breaking the rules occasionally (though he at first does it on the racetrack to make the other drivers respect him and his teammate).
F1 THE MOVIE stars Brad Pitt as a veteran race car driver who clashes with a young racing phenom when an old friend of Pitt’s character, played by Javier Badem, asks his friend to help train the younger man in Formula 1 racing, 30 years after the veteran driver had a huge wreck that ended his own promising career in that pinnacle of international racing. F1 THE MOVIE has some of the best, most exciting racing scenes ever filmed, tells a compelling redemptive story with engaging characters where teamwork and sacrifice win the day, and includes some positive Christian references, but it has lots of light to medium foul language, plus five strong obscenities and profanities, an implied bedroom scene and some other, more concerns.
The movie begins with veteran race car driver, Sonny Hayes, meeting his old friend, Ruben Cervantes, who now owns a Formula 1 racing team. Thirty years ago, Sonny was a Formula 1 rookie phenom. However, he was a little reckless and suffered a major crash that wrecked his career. So, now Sonny is a racing nomad who lives in a van and goes from race to race.
Ruben offers Sonny $5,000 to be the second driver on Ruben’s Formula 1 team. Ruben also wants Sonny to help train the main driver, a young black racing phenom named Joshua Pearce, who’s still a little green or inexperienced. Riben also gives Sonny a first class plane ticket to the next grand prix race near the village of Silverstone in England. Ruben’s Apex Grand Prix team hasn’t won a race all season, and the board of directors is about to sell the company if the team can’t turn things around. Sonny seems reluctant, however, to take Ruben up on his offer.
The time for the preliminaries at Silverstone is about to start. Ruben thinks Sonny has decided not to come. However, a big smile appears on his face when Sonny suddenly arrives, grinning sheepishly, and informs Ruben he went to the wrong entrance.
Things don’t go well at first, though. Joshua rubs Sonny the wrong way when Joshua gets angry at a female on the pit crew who makes a mistake. Also, during the Silverstone race, Sonny won’t let Joshua pass him when Sonny manages to running ahead of Joshua. Sonny thinks Joshua is being a bit rude and acting entitled to passing Sonny. It also irks Joshua when Sonny ruins the race for them by deliberately bumping tires with the other drivers, and both his and Sonny’s car spin out of the race. The rest of the team isn’t too happy about it either. However, Sonny informs them that one of the reasons they’re not doing so well so far is because the other drivers don’t respect them. Thus, there’s a reason for Sonny’s apparently reckless behavior.
Things get even worse when Sonny advises the team to let Joshua keep waiting to change tires toward the end of another race so that, when he does change tires, Joshua will have fresher tires than the other drivers. At that point in the race, it’s started to rain. Using the team’s com system, Sonny advises Joshua to run fast on a straightaway but slow down on an upcoming curve. Joshua doesn’t listen and doesn’t slow down, and crashes. His car catches fire, and Sonny has to get out and run to Joshua’s car to pull him out of the burning car.
Happily, Joshua only burns his right hand slightly, but it means he’ll have to sit out the next three races on the circuit. However, Joshua’s loving mother, who travels with Joshua wherever he goes, isn’t happy. Joshua didn’t tell her that he ignored Sonny’s warnings about the curve. So, she’s extremely upset and reads Sonny the riot act. Sonny doesn’t tell her what really happened, though.
Naturally, without the fireworks between Sonny and Joshua, the team starts to do better when it gets a temporary replacement. So, when Joshua finally returns to the team, the question becomes, Can Sonny and Joshua bury the hatchet and finally become a team that can win?
Other twists occur, of course, to add more jeopardy to the story and its conflicts. Also, the movie finally reveals why Sonny never tried to return to the Formula 1 circuit and why he can’t quit racing.
F1 THE MOVIE has some of the most riveting racing scenes ever made. It tells a compelling redemptive story with engaging characters where teamwork and sacrifice win the day. The movie also promotes friendship, a strong mother-son relationship and the importance of fathers. It also has positive Christian references. For example, Bard Pitt’s racing hero, Sonny, prays silently before each race. The movie also has references to a “miracle” happening during one race and references to throwing a Hail Mary pass in football, an idiom that the racing team uses during one of its strategy sessions. In addition, the movie reveals that Brad Pitt’s character keeps racing, despite his age, because he’s pursuing the moment of ecstasy and peace that sometimes comes when a racing driver has become one with his machine on the track during a race. The movie depicts that moment in a spiritual sense, as if the driver is becoming closer to God. Of course, in reality, the hero’s pursuit would be better if it were focused overtly on Jesus.
F1 THE MOVIE also has a strong pro-capitalist or pro-business viewpoint. Brad Pitt’s character is trying to help his friend, Ruben, keep his racing company. The movie clearly shows that hard work and teamwork are crucial to making that happen.
Sadly, however, the movie also has lots of light to medium foul language, plus five strong obscenities and profanities. There’s also an implied bedroom scene between Brad Pitt’s character and the team’s female technical director, played by Kerry Condon. So, MOVIEGUDIE® advises extreme caution for F1 THE MOVIE. The movie would get a bigger audience if it eliminated more than half, or most, of the foul language.
Movie Reviews
Movie review: A24’s “Marty Supreme” is a mixed bag of humor and intensity
Josh Safdie’s “Marty Supreme” arrives with all the energy and confidence of an aspiring athlete – even one of the table tennis variety.
The film is packed with vivid period detail and striking cinematography that brings 1950s New York to life. On a purely technical level, the movie succeeds. It’s visually inventive, rhythmically paced and often laugh-out-loud funny.
The plot is also engaging, moving at a fast pace to keep up momentum for over two hours. Safdie builds a world where table tennis is more than a game; instead becoming a stage for obsession, ego and ambition. Even as the story dips further and further into chaos, the narrative stays entertaining and unpredictable enough to keep audiences invested.
But as strong as the filmmaking is, the movie’s impact is limited by its abrasive lead. Timothée Chalamet’s Marty Mauser is undeniably watchable, yet consistently unlikable. His selfishness, impulsive decisions and willingness to steamroll everyone around him creates a major disconnect between Mauser and the audience.
Chalamet’s performance is committed and his intensity drives several of the film’s most engaging scenes. Still, it is difficult to root for a character who rarely shows the vulnerability or growth needed to anchor a story this ambitious. For many viewers (myself included), that emotional detachment will shape the entire experience.
The film’s tone may also catch audiences off guard. For a movie centered on table tennis, “Marty Supreme” is extraordinarily vulgar. Its R rating is well earned, with explicit sexual content, coarse language and several violent scenes that land with surprising force. From consensually dubious spanking scenes to Holocaust jokes, the film more than toes the line between bold and unsettling. The contrast between the lightness of the sport and the heaviness of the film’s content is intentionally jarring, but the shock factor can overshadow the story’s strengths.
Even so, “Marty Supreme” remains a compelling watch. Safdie’s direction is inventive, the pacing is tight and the supporting cast (including Gwenyth Paltrow and Tyler, The Creator) bring welcome depth to the film’s darker impulses.
The result is a movie that is engaging and frequently funny – but also brash and not particularly easy to love.
Whether viewers leave impressed or unsettled will depend on their tolerance for its unlikable hero and its unexpectedly graphic approach. For all its craft and confidence, “Marty Supreme” is the kind of film that invites debate and, for some, a fair amount of discomfort.
If nothing else, it proves that a table tennis movie can surprise you – for better and for worse.
“Marty Supreme” is set for a public release on Dec. 25, with specific times varying by theatre. If you are interested in attending a showing, consider taking advantage of discounted AMC tickets, available for reservation through the Center for Leadership and Engagement here at Simmons.
Movie Reviews
Movie Review 2025 with 11 Films of the Year
Image: Wicked: For Good – Movie Poster
Another year is drawing to a close, and it’s time for our cinema review! In 2025, we saw many franchises return to the big screen, along with sequels to cult classics and new adaptations of legendary stories. From sci-fi and horror to musical adaptations, a wide range of genres offered fresh releases. Whether all of it was truly great is for everyone to decide individually – here is our trailer recap!
While Disney continues to push its live-action remake strategy (Snow White, Lilo & Stitch), Pixar at least delivered a brand-new animated feature with Elio.
When it comes to video game adaptations, several titles were released this year – most notably the Minecraft adaption A Minecraft Movie starring Jack Black and Jason Momoa, the second installment of Five Nights at Freddy’s, and the Until Dawn film, which was heavily criticized by the community.
In Germany, Bully Herbig delivered a sequel to his comedy Der Schuh des Manitu with Das Kanu des Manitu, bringing the characters from one of his most successful films back to the big screen.
Just before Christmas, James Cameron launched the third part of his hit film series Avatar. Sequels also arrived for Jurassic World, the DCU, the Conjuring universe, and the popular animated film Zootopia.
Director Guillermo del Toro took on a new adaptation of the absolute sci-fi horror cult classic and novel by Mary Shelley: Frankenstein has now been brought back to life by the creator of films such as Pacific Rim and The Shape of Water.
When it comes to adaptations, arguably the most popular musical of the year: with Part 2, the Wicked hype has returned once again.
Movie Reviews
Movie Review – The Testament of Ann Lee (2025)
The Testament of Ann Lee, 2025.
Directed by Mona Fastvold.
Starring Amanda Seyfried, Lewis Pullman, Thomasin McKenzie, Matthew Beard, Christopher Abbott, David Cale, Stacy Martin, Scott Handy, Jeremy Wheeler, Tim Blake Nelson, Daniel Blumberg, Jamie Bogyo, Viola Prettejohn, Natalie Shinnick, Shannon Woodward, Millie-Rose Crossley, Willem van der Vegt, Esmee Hewett, Harry Conway, Benjamin Bagota, Maria Sand, Scott Alexander Young, Matti Boustedt, George Taylor, Alexis Latham, Lark White, Viktória Dányi, and Roy McCrerey.
SYNOPSIS:
Ann Lee, the founding leader of the Shaker Movement, proclaimed as the female Christ by her followers. Depicts her establishment of a utopian society and the Shakers’ worship through song and dance, based on real events.
The second coming of Christ was a woman. Narrated as a story of legend and constructed as a cinematic epic, co-writer/director Mona Fastvold’s The Testament of Ann Lee tells the story of the eponymous 18th-century preacher who occasionally experienced divine visions guiding her on how to teach her and her followers to free themselves and be absolved of sin.
This group, an offshoot of Quakers known as Shakers, did so by stimulating and intoxicating full-body rhythmic dancing movements set to many hymns beautifully sung by Amanda Seyfried and others. The key distinction between the group, and arguably the toughest selling point of the film aside from the religious nature of it all, is that Ann Lee asserted that the only way to achieve such pure holiness is by giving up all sexual relations, living a life of celibacy (as evident by some laughter during the CIFF festival screening when she made this decree, which quickly subsided as it is relatively easy to buy into her mission and convictions).
It shouldn’t necessarily come as a surprise that Mona Fastvold had trouble getting this one off the ground. Perhaps what finally secured the project’s financial backing was all those awards The Brutalist (directed by her husband Brady Corbet and co-written by her, flipping those duties and credits this time around) either won or was nominated for, which was notably another film that almost no one had interest in making. The point is that this should serve as a reminder that there is an audience for anything and everything.
Whether one doesn’t care about religious movements or is a nonbeliever, The Testament of Ann Lee is remarkably hypnotic in its craftsmanship. It features a flat-out career-best performance from Amanda Seyfried, who blends all of her strengths as an actor and unleashes them at the peak of her talent. Yes, there are moments of tragedy and trauma, but the film refuses to wallow in misery, chartering her Shakers movement with hope, miracles, and perseverance as the journey takes them from Manchester to Niskayuna, New York, in search of expanding their follower base while dealing with other setbacks within the movement and personally.
Chronicling Ann Lee’s life with precise editing that rarely drags (and mostly fixates on the early stages of the Shakers movement and decade-plus long attempt to battle sexism as a female preacher and find a foothold amidst escalating tensions between British and Americans), the film also offers insight into the events that gave her a repulsion for sexual intimacy, her marriage with blacksmith Abraham (Christopher Abbott), and dynamics with her most loyal supporters which includes brother William (Lewis Pullman) and Mary (Thomasin Mckenzie, also serving as the narrator). Given the unfortunate nature of how most women, especially wives, were expected to have zero agency compared to their male counterparts and deliver babies, it is also organically inspiring watching her find a group with similar beliefs willing to trust her visions and take up celibacy. Whether or not all of them succeed is part of the journey and, interestingly enough, shows who is genuinely loyal and in her corner.
This is no dry biopic, though. Instead, it is brimming with life and energy, mainly through those “shaking” sequences depicting those outstandingly choreographed seizure-like dance numbers (typically shot by William Rexer from an elevated overhead angle, looking down at an entire room, capturing a ridiculous amount of motions all weaving together and creating something uniformly spellbinding). The songs throughout are divinely performed, adding another layer to this film’s transfixing pull. Nearly every image is sublime, right up until the perfect final shot. Admittedly, the film loses a bit of steam in the third act as one awaits a grim confrontation with naysayers who feel threatened by her position, movement, and pacifism regarding the burgeoning American Revolution.
Still, whatever reservations one has about watching a religious movement preaching peace and celibacy while laboring away building a utopia (an aspect that puts it in great juxtaposition with The Brutalist) will wash away like sin. That’s the power of the movies; even someone who isn’t religious will find it hard not to be swept up in Ann Lee’s life. Fact, fiction, bluff… it doesn’t matter; the material is treated with conviction and non-judgmental respect. In The Testament of Ann Lee, Amanda Seyfried channels that for something holy, empowering, infectious, and all around breathtaking.
Flickering Myth Rating – Film: ★ ★ ★ ★ / Movie: ★ ★ ★ ★
Robert Kojder
https://www.youtube.com/watch?v=embed/playlist
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