Movie Reviews
Fancy Dance (2024) – Movie Review
Fancy Dance, 2024.
Directed by Erica Tremblay.
Starring Lily Gladstone, Isabel Deroy-Olson, Ryan Begay, Shea Whigham, Audrey Wasilewski, Crystle Lightning, Tamara Podemski, Patrice Fisher, Ryan RedCorn, Lillian Faye Thomas, Casey Camp-Horinek, Tyler Tipton, Dennis Newman, Trey Munden, Arianne Martin, Blayne Allen, Michael Rowe, Hauli Gray, Blake Blair, Kylie Dirtseller, and Cory Hart.
SYNOPSIS:
Following her sister’s disappearance, a Native American hustler kidnaps her niece from the child’s white grandparents and sets out for the state powwow in hopes of keeping what is left of their family intact.
Infuriatingly, displacement is common among minorities, especially natives. Co-writer/director Erica Tremblay’s Fancy Dance tells such a tale, highlighting the distinction between the effort, or lack thereof, child protective services, local authorities, and even FBI agents funnel into cases under certain circumstances. If it involves white relatives, authorities will feel more pressed to investigate and likely be more prominent in the outcome.
This is also a complicated story, so that’s not to absolve Lily Gladstone’s Seneca-Cayuga nation clan member Jax, who does sneak her 13-year-old niece Roki (Isabel Deroy-Olson) away from the white grandparents Frank and Nancy (Shea Whigham and Audrey Wasilewski) she has been forced under the guardianship of following yet another disappearance from her troubled mother (longer than usual and still missing) and the powers that be believing a slight criminal record has made the aunt unfit to take over those responsibilities. Considering Jax has normalized stealing and theft to Roki and does have a history of selling drugs, there is a small amount of concern, but nothing that should kickstart uprooting someone away from their people, home, and culture.
The inquisitive, good-natured Roki is also excited for the annual powwow not just for the traditional symbolic dancing but also because she believes that, regardless of where her mom is now, she will be there, and they will be reunited during a ceremonial dance. What exactly the relationship is like between daughter and mother feels underexplored and isn’t exactly spoken about, but it’s also apparent that there is a darker truth, with Jax urging her local reservation cup brother JJ (Ryan Begay) to convince authorities with the more pull that the situation this serious this time, or to break some ground in the case himself.
Working together with screenwriter Miciana Alise, Erica Tremblay also portrays the white grandparents, particularly Nancy, as more misguided than outright villainous, which goes a long way in further grounding the narrative. They don’t understand how important the powwow is to Roki (who has already been practicing her moves and has a cute jacket picked out as part of her outfit), claiming they must get her settled into this suburban home hours away from the reservation. Frank also seems to incorrectly assume that it would be wise to keep Roki away from that “mess,” referring to nearby drug dealers, prostitution, and the alarming amount of missing person cases that could be related to some shady surrounding white men. Meanwhile, Nancy cluelessly believes ballet lessons will replace something deeply entrenched in Roki’s identity and sense of self.
This is important to note since, when Jax essentially kidnaps Roki to figure things out (she is along for the ride since they will be going to the powwow), it’s even easier to be on her side and to feel that instant frustration when all types of authorities instantly jump to assist the white grandfather. And even if Jax is not necessarily the most positive influence in some areas, there are also tender moments among the thieving and squatting in rich people’s homes, such as managing Roki through her first period. In many respects, Jax feels like a friend to Roki, who hasn’t yet embraced the fact that it’s time to be a second mom.
The chemistry between Lily Gladstone and Isabel Deroy-Olson is airtight and sweetly expresses a mimicry bond but convincingly conveys their trust-breaking, as the latter becomes wiser to the former not telling the full truth about her missing mother. Their wonderful performances continuously overcome the shakier, more overblown story beats (such as something involving a firearm). Furthermore, Lily Gladstone is tremendous, maneuvering between steely toughness, desperation, and vulnerability. Between avoiding authorities on this road trip, piecing together clues about her sister’s disappearance, and pestering her brother JJ to investigate some of those revelations, it brings out a nuanced, emotionally layered performance.
Even if Fancy Dance falls into some melodramatic trappings elsewhere, the resolution of the mystery aspect is realistically bleak. It makes the case for not just an unfortunate element of reservation life but also what continues to happen because it’s seemingly unimportant to local authorities. It’s not all gloom, though, as the final moving scene is earned, fits the characters’ journey, and celebrates the culture.
Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★ ★
Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the Flickering Myth Reviews Editor. Check here for new reviews, follow my Twitter or Letterboxd, or email me at MetalGearSolid719@gmail.com
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Movie Reviews
Miyamoto says he was surprised Mario Galaxy Movie reviews were even harsher than the first | VGC
Nintendo’s Shigeru Miyamoto says he’s surprised at the negative critical reception to the Super Mario Galaxy Movie.
As reported by Famitsu, Miyamoto conducted a group interview with Japanese media to mark the local release of The Super Mario Galaxy Movie.
During the interview, Miyamoto was asked for his views on the critical reception to the film in the West, where critics’ reviews have been mostly negative.
Miyamoto replied that while he understood some of the negative points aimed at The Super Mario Bros Movie, he thought the reception would be better for the sequel.
“It’s true: the situation is indeed very similar,” he said. “Actually, regarding the previous film, I felt that the critics’ opinions did hold some validity. “However, I thought things would be different this time around—only to find that the criticism is even harsher than it was before.
“It really is quite baffling: here we are—having crossed over from a different field—working hard with the specific aim of helping to revitalize the film industry, yet the very people who ought to be championing that cause seem to be the ones taking a passive stance.”
As was the case with the first film, opinion is divided between critics and the public on The Super Mario Galaxy Movie. On review aggregate site Rotten Tomatoes, the film currently has a critics’ score of 43% , while its audience score is 89%.
While this is down from the first film’s scores (which were 59% critics and 95% public) it does still appear to imply that the film’s target audience is generally enjoying it despite critical negativity.
The negative reception is unlikely to bother Universal and Illumination too much, considering the film currently has a global box office of $752 million before even releasing in Japan, meaning a $1 billion global gross is becoming increasingly likely.
Elsewhere in the interview, Miyamoto said he hoped the film would perform well in Japan, especially because it has a unique script rather than a simple localization as in other regions.
“The Japanese version is a bit unique,” he said. “Normally, we create an English version and then localize it for each country, but for the first film, we developed the English and Japanese scripts simultaneously. For this film, we didn’t simply localize the completed English version – instead, we rewrote it entirely in Japanese to create a special Japanese version.
“So, if this doesn’t become a hit in Japan, I feel a sense of pressure – as the person in charge of the Japanese version – to not let [Illumination CEO and film co-producer] Chris [Meledandri] down.
“However, judging by the reactions of the audience members who’ve seen it, I feel that Mario fans are really embracing it. I also believe we’ve created a film that people can enjoy even if they haven’t seen the previous one, so I’m hopeful about that as well.”
The sixth outing in the director’s chair for filmmaker Kirk Jones, I Swear dramatizes the real-life story of touretter John Davidson (played by Robert Aramayo). Tourette’s Syndrome, for those unfamiliar with the condition, is a nervous system disorder that causes various tics, the most prolific being erratic and explicit language. However, as I Swear expertly showcases, the syndrome is far more than ill-timed outbursts of curse words. Davidson’s story is one of societal frustration, finding your people (both with and without the condition), and using your voice to help others rise. The subject and subject matter are handled with absolute care and understanding under Kirk’s measured vision and Robert Aramayo’s BAFTA-winning performance.
The film kicks off with the greatest exclamation to democracy ever uttered (*%#! the Queen!), as a nervous John Davidson prepares himself before entering an awards ceremony hosted by Britain’s royal family. Right away, the film tells us what it is: a triumph over adversity that blends humor and human drama with education. It’s an important setup, as the film flashes back to Davidson’s 1980s youth, where we see his time as a star soccer recruit flatline as his condition takes hold. Davidson’s life spirals from there. Some aspects, like school bullying and accidental run-ins with authority figures, are expected but important to empathizing with young Davidson’s (young version, played with heart by Scott Ellis Watson) new everyday life. The more tragic, a complete meltdown of his family system, is unsettling if quick. His father (Steven Cree) is never given enough screen time to explore his alcohol coping tendencies. However, his mother Heather’s descent into easy fixes and blaming is crushing and convincing. Harry Potter series actress Shirley Henderson (Moaning Myrtle) gives a layered performance as Heather. Someone who loves her son, but also feels cursed by him as the entire family exits the picture. It’s bitter, she’s tired, and fills each conversation with ‘only medication and your mother can save you’ energy.
From there, the viewer and Davidson find refuge in a host of characters. Maxine Peake plays Dottie, the mother of a childhood friend and a retired mental health nurse. Screen vet Peter Mullan plays maintenance man Tommy Trotter. Together, they help Davidson build a life and an understanding of himself that carries the film forward into its second half. After that, the film is primarily a 3-actor show as director Kirk fills the screen with these tour-de-force performances. Peake and Mullan are great vessels to get the film’s main message across: patience, love, and a shared responsibility between the diagnosed and those who understand their struggle can help change the path for people quickly left behind by a normative world. Together, they are the soul of the movie, with the filmmakers clearly hoping the audience will follow their lead after they exit the theater (in my case, the beautiful Oriental Theater for the Milwaukee Film Festival). Both performances are perfectly warm and reflective and shouldn’t be left out in discussions of I Swear.
I say this because the movie is anchored by The Rings of Power actor Robert Aramayo, who leaves Elrond’s elf ears behind to bring an acute naturalism to his performance of main character John Davidson. Aramayo’s physicality and timing of the fitful Tourettes Syndrome never feel out of place or overplayed. In fact, the movie as a whole does an amazing job of never veering into sentimentality. While many moviegoers left with tissues dabbing their eyes, the filmmaking never felt like it was forcing that reaction out of audiences. It straddles the line between feel-good and reality with every story beat and lands squarely on the side of letting the real inform our feelings. Anyone with an ounce of empathy will grasp the film’s message and hopefully take it with them into life.
I Swear continues at the Milwaukee Film Festival on Tuesday, April 21st, and releases nationwide April 24th, 2026, courtesy of Sony Pictures Classics.
Pizza Movie (2026) Director: Nick Kocher and Brian McElhaney, Star: Gaten Matarazzo and Sean Giambrone
Somehow, I got through an hour of this movie. I was seconds away from turning off in the first fifteen minutes because of the juvenile humor. Pizza Movie is too silly, repetitive, and the characters are annoying. Stranger Things Gaten Matarazzo and Sean Giambrone star as college friends, Jack and Montgomery. College angles are rarely seen in films right now, and that’s the one saving grace of the film. Similar to high school, people are also trying to fit in. The story and visuals were too corny. You can only watch someone’s head exploding for so long without letting yours.
The Super Mario Galaxy Movie (2026) Director: Aaron Horvath and Michael Jelenic, Stars: Chris Pratt, Charlie Day, Anya Taylor-Joy
I never saw the first Super Mario Brothers Movie when it was out, but I heard it got positive reviews. My brother always loved playing Super Mario video games as a kid, and I’d watch him. I tagged along with my friends to see Super Mario Galaxy Movie, and it’s a cute and fun film. I like it when movies explore the video game world. The animation creates unique worlds and characters. The characters are split into their own storylines, and for me, I felt like it worked. It adds more action, especially for kids who are seeing the films.
Emily in Paris Season 5 (2025) Creator: Darren Star, Stars: Lily Collins and Ashley Park
After a bright spot in season 4, I thought season 5 of Emily in Paris would continue its growth in the story and its protagonist, but no, it’s all drained out in the usual Emily (Lily Collins) mishaps. Ashley Park (Mindy) has become too good for this show. Emily and Mindy waste several opportunities because of their love lives. The whole relationship angle is ruining it. I don’t understand why Alfie (Lucien Laviscount) is still in the show. I thought writers learned their lesson, but by the last episode, they’re continuing to bring the past into an apparent season 6.
Sarah’s Oil (2025) Director: Cyrus Nowrasteh, Stars: Naya Desir-Johnson and Zachary Levi
There’s always history lurking right beneath our noses. Sarah’s Oil (2025) tells the true story of Sarah Rector, an Oklahoma-born African American girl who became the first black female millionaire in the U.S. Naya Desir-Johnson is fierce and driven as Sarah. Zachary Levi is also along for the ride as Bert, a man who helps Sarah. Kate (Bridget Regan) was another favorite character as an intelligent woman. Cyrus Nowrasteh was drawn to the subject for its story and its themes. Nowrasteh’s direction is compelling as he unearths a hidden story from history. The film is streaming on Amazon Prime.
Jack Goes Boating (2014) Director and Star: Phillip Seymour Hoffman and Amy Ryan
Jack Goes Boating (2014) didn’t quite work for me, largely because of its slow pace and uneven storytelling. The film stars the late Seymour Hoffman as Jack, who also directed the film. This was Hoffman’s first and only time in the directing chair. Amy Ryan also stars in the film, giving a solid performance. This was also based on a play that Hoffman starred in. Jack wants to participate in a swim championship. That’s hardly what the film is about, tracking other characters’ stories. While the film aims for quiet intimacy, it ultimately drags, making it an underwhelming viewing experience.
You Kill Me (2016), Director: John Dahl, Stars: Ben Kingsley, Tea Leoni, Luke Wilson
Meet You Kill Me (2016), yet another film that I found in the museum of underrated gems. The concept revolves around Frank (Ben Kingsley), a hitman, who is sent to an A.A. meeting to get his mind focused again. A different story happens, where Frank falls in love with Laurel (Tea Leoni). Leoni is one of my favorite actresses. It also stars the funny Luke Wilson. I liked the trio’s dynamics. You Kill Me is a mental health movie. It’s okay to make changes if you’re not happy. I recommended that you keep an eye out for this movie.
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