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Film Review: 'A Different Man' is Surreal and Weird, Yet Also Strangely Compelling – Awards Radar

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Film Review: 'A Different Man' is Surreal and Weird, Yet Also Strangely Compelling – Awards Radar
A24

How much does what you look like define who you are? If you completely change your appearance, are you the same person? This is just one of many questions that A Different Man is pondering. The film is doing so in a fairly unusual manner, one that could even prove off-putting for some. However, if you can get on the movie’s wavelength, there’s something very compelling here. Some choices worked more for me than others, but throughout I found myself curious what would happen next.

A Different Man is far more surreal and weirder than you might be expecting, which should suggest just how strange this one gets. There’s a David Lynch vibe to things (alongside Woody Allen and especially Charlie Kaufman) that may affect audiences in different ways, but while at times it kept me at arm’s length, I never lost interest. Even when the plot goes a bit off the rails in the third act, I stayed engaged. The acting goes a long way, alongside just needing to see how the story resolves itself.

A24

Edward (Sebastian Stan) is an aspiring actor who, due to neurofibromatosis, has a face that gets a lot of lingering looks on the subway. He’s a sad sack, timid and withdrawn, even when acting in small parts. When a new neighbor, the playwright Ingrid (Renate Reinsve) moves in, she’s clearly flirting with him, but he’s barely able to recognize it, let alone act on it. It’s a very sad life, full of loneliness and surgeries, though when his doctor suggests a medical study with an experimental drug that could cure neurofibromatosis, he opts in. Shortly thereafter, his old face literally starts to peel away, revealing a whole new one. Instead of telling Ingrid or anyone else, he claims Edward has died and adopts a whole new identity.

Now living as Guy, a hot shot real estate agent, he’s become a ladies man. One day, he passes by an audition for Ingrid’s play, which he comes to realize is based on their brief friendship. Auditioning, he eventually gets the part while wearing a mold of his old face. The role is clearly written for him and is the one he was born to play, but in his new life, he’s faking it. It’s a struggle, made all the more complicated when Oswald (Adam Pearson) comes along, with all the confidence Edward lacked, while having the same affliction. A downward spiral for Edward/Guy begins.

A24

Watching Sebastian Stan crumble is very compelling, as it’s clearly the most challenging role of his career. Adam Pearson really breaks through, showing some truly impressive acting chops, while Renate Reinsve shows that The Worst Person in the World is no fluke and she should be a star. The three have very different interactions with each other, but they’re all quite good. Stan doesn’t have his performance suffer under the makeup, while when his actual face is on screen, he seems just as uncomfortable, as the script requires. Pearson and Reinsve are a little less well-rounded, but their talents shine through. The supporting cast includes Miles G. Jackson and Malachi Weir, as well as a wild cameo I won’t spoil.

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Filmmaker Aaron Schimberg certainly doesn’t hold back. He’s jamming a ton of ideas into a slightly under two hour running time. His direction supports the actors, while his screenplay is almost overflowing with thoughts. The first half worked better for me than the second half, with the final section a little too surreal, even for this plot, but it never becomes boring or repetitive. A Different Man has a lot to say and almost demands that you engage with it. Schimberg manages to pull off the act of casting Pearson opposite the role he’d actually have been born to play, which is just another layer of discussion. Like I said, there’s a lot going on here.

A Different Man is hardly perfect, and when it goes off the rails, it does feel like a very different picture, but the concept itself, as well as the acting, keep you from ever losing interest. Sebastian Stan is challenged like never before, Adam Pearson is showcased like never before, and the film itself is something rather new. It all makes for the sort of dramedy that A24 does very well, with this movie another example of that.

SCORE: ★★★

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Movie Reviews

Movie Review: ‘The SpongeBob Movie: Search for SquarePants’ – Catholic Review

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Movie Review: ‘The SpongeBob Movie: Search for SquarePants’ – Catholic Review

NEW YORK (OSV News) – Cartoon characters can devolve into dullards over time. But some are more enduringly appealing than others, as the adventure “The SpongeBob Movie: Search for SquarePants” (Paramount) proves.

Yellow, absorbent and porous on the outside, unflaggingly upbeat SpongeBob (voice of Tom Kenny) is childlike and anxious to please within. He also displays the kind of eagerness for grown-up experiences that is often found in real-life youngsters but that gets him into trouble in this fourth big-screen outing for his character.

Initially, his yearning for maturity takes a relatively harmless form. Having learned that he is now exactly 36 clams tall, the requisite height to ride the immense roller coaster at Captain Booty Beard’s Fun Park, he determines to do so.

Predictably, perhaps, he finds the ride too scary for him. This prompts Mr. Krabs (voice of Clancy Brown), the owner of the Krusty Krab — the fast-food restaurant where SpongeBob works as a cook — to inform his chef that he is still an immature bubble-blowing boy who needs to be tested as a swashbuckling adventurer.

The opportunity for such a trial soon arises with the appearance of the ghostly green Flying Dutchman (voice of Mark Hamill), a pirate whose elaborately spooky lair, the Underworld, is adjacent to SpongeBob’s friendly neighborhood, Bikini Bottom. Subject to a curse, the Dutchman longs to lift it and return to human status.

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To do so, he needs to find someone both innocent and gullible to whom he can transfer the spell. SpongeBob, of course, fits the bill.

So the buccaneer lures SpongeBob, accompanied by his naive starfish pal Patrick (voice of Bill Fagerbakke), into a series of challenges designed to prove that the lad has what it takes. Mr. Krabs, the restaurateur’s ill-tempered other employee, Squidward (voice of Rodger Bumpass), and SpongeBob’s pet snail, Gary, all follow in pursuit.

Along the way, SpongeBob and Patrick’s ingenuity and love of carefree play usually succeed in thwarting the Dutchman’s plans.

As with most episodes of the TV series, which premiered on Nickelodeon in 1999, there are sight gags intended either for adults or savvy older children. This time out, though, director Derek Drymon and screenwriters Pam Brady and Matt Lieberman produce mostly misfires.

These include an elaborate gag about Davy Jones’ legendary locker — which, after much buildup, turns out to be an ordinary gym locker. Additionally, in moments of high stress, SpongeBob expels what he calls “my lucky brick.” As euphemistic poop gags go, it’s more peculiar than naughty.

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True to form, SpongeBob emerges from his latest escapades smarter, wiser, pleased with his newly acquired skills and with increased loyalty to his friends. So, although the script’s humor may often fall short, the franchise’s beguiling charm remains.

The film contains characters in cartoonish peril and occasional scatological humor. The OSV News classification is A-I – general patronage. The Motion Picture Association rating is PG — parental guidance suggested. Some material may not be suitable for children.

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The Housemaid

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The Housemaid

Too good to be true? Yep, that’s just what Millie’s new job as a housemaid is—and everyone in the audience knows it. What they might not expect, though, is the amount of nudity, profanity and blood The Housemaid comes with. And this content can’t be scrubbed away.

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Movie Review – Avatar: Fire and Ash (2025)

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Movie Review – Avatar: Fire and Ash (2025)

Avatar: Fire and Ash, 2025.

Directed by James Cameron.
Starring Sam Worthington, Zoe Saldaña, Sigourney Weaver, Stephen Lang, Oona Chaplin, Kate Winslet, Cliff Curtis, Joel David Moore, CCH Pounder, Edie Falco, Brendan Cowell, Jemaine Clement, Giovanni Ribisi, David Thewlis, Britain Dalton, Jack Champion, Trinity Jo-Li Bliss, Jamie Flatters, Bailey Bass, Filip Geljo, Duane Evans Jr., Matt Gerald, Dileep Rao, Daniel Lough, Kevin Dorman, Keston John, Alicia Vela-Bailey, and Johnny Alexander.

SYNOPSIS:

Jake and Neytiri’s family grapples with grief after Neteyam’s death, encountering a new, aggressive Na’vi tribe, the Ash People, who are led by the fiery Varang, as the conflict on Pandora escalates and a new moral focus emerges.

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At one point during one of the seemingly endless circular encounters in Avatar: Fire and Ash, (especially if director James Cameron sticks to his plans of making five films in this franchise) former soldier turned blue family man (or family Na’vi?) and protector Jake Sully (Sam Worthington) tells his still-in-pursuit-commander-nemesis-transferred-to-a-Na’vi-body Miles Quaritch (Stephen Lang) that the world of Pandora runs deeper than he or anyone imagines, and to open his eyes. It’s part of a plot point in which Jake encourages the villainous Quaritch to change his ways.

More fascinatingly, it comes across as a plea of trust from James Cameron (once again writing the screenplay alongside Rick Jaffa and Amanda Silver) that there is still much untapped lore and stories to tell in this world. If this repetitive The Way of Water retread is anything to go by, more isn’t justified. Even taken as a spectacle, the unmatched and undeniably stunning visuals (not to mention the most expressive motion capture ever put to screen, movie or video game), that aspect is less impactful, being only two years removed from the last installment rather than a decade, which is not to be confused with less impressive. Fortunately for the film and its gargantuan 3+ hour running time, James Cameron still has enough razzle-dazzle to scoot by here on unparalleled marvel alone, even if the narrative and character expansions are bare-bones.

That’s also what makes it disappointing that this third entry, while introducing a new group dubbed the Ash People led by the strikingly conceptualized Varang (Oona Chaplin) – no one creates scenery-chewing, magnetic, and badass-looking villains quite like James Cameron – and their plight with feeling left behind, rebelling against Pandora religion, Avatar: Fire and Ash is stuck in a cycle of Jake endangering his family (and, by extension, everyone around them) with Quaritch hunting him down for vengeance but this time more fixated on his human son living among them, Spider (Jack Champion) who undergoes a physical transformation that makes him a valuable experiment and, for better or worse, the most important living being in this world. Even the corrupt and greedy marine biologists are back hunting the same godlike sea creatures, leading to what essentially feels like a restaging, if slightly different, riff on the climactic action beat that culminated in last time around.

Worse, whereas The Way of Water had a tighter, more graceful flow from storytelling to spectacle, with sequences extended and drawn out in rapturously entertaining ways, the pacing here is clunkier and frustrating, as every time these characters collide and fight, the story resets and doesn’t necessarily progress. For as much exciting action as there is here, the film also frustratingly starts and stops too much. The last thing I ever expected to type about Avatar: Fire and Ash is that, for all the entrancing technical wizardry on display, fantastical world immersion, and imaginative character designs (complete with occasional macho and corny dialogue that fits, namely since the presentation is in a high frame rate consistently playing like the world’s most expensive gaming cut scene), is often dull.

Yes, everything here, from a special-effects standpoint, is painstakingly crafted, with compelling characters that James Cameron clearly loves (something that shows and allows us to take the story seriously). Staggeringly epic action sequences are worth singling out as in a tier of its own (it’s also a modern movie free from the generally garish and washed-out look of others in this generation), but it’s all in service of a film that is not aware of its strengths, but instead committed to not going anywhere. There are a couple of important details here that one could tell someone before they watch the inevitable Avatar 4, and they will be caught up without needing to watch this. If Avatar: The Way of Water was filler (something I wholeheartedly disagree with), then Avatar: Fire and Ash is nothing. And that’s something that hurts to say.

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Without spoiling too much, the single best scene in the entire film has nothing to do with epic-scale warring, but a smoldering courting from Quaritch for Varang and her army of Ash People to join forces with his group. In a film that’s over three hours, it would also have been welcome to focus more on the Ash People, their past, and their current inner workings alongside their perception of Pandora. It’s not a shock that James Cameron can invest viewers into a villain without doing so, but the alternative of watching Jake grapple with militarizing the Na’vi and insisting everyone learn how to use “sky people” firearms while coming to terms with whether or not he can actually protect his family isn’t as engaging; the latter half comes across as déjà vu.

The presence of Spider amplifies the target on everyone’s backs, with Jake convinced the boy needs to return to his world. His significant other Neytiri (Zoe Saldaña), with rage building inside her stemming from the family losing a child in the climax of the previous film, encourages a more aggressive approach and is ready to kill Spider if him being a part of the family threatens their remaining children (with one of them once again a 14-year-old motion captured by Sigourney Weaver, which is not as effective a voice performance this time as there are scenes of loud agony and pain where she sounds her age). The children also get to continue their plot arcs, with similarly slim narrative progression.

Not without glimpses of movie-magic charm and emotional moments would one dare say James Cameron is losing his touch. However, Avatar: Fire and Ash is all the proof anyone needs to question whether five of these are required, as it’s beginning to look more and more as if the world and characters aren’t as rich as the filmmaker believes they are. It’s another action-packed technical marvel with sincere, endearing characters, but the cycling nature of those elements is starting to wear thin and yield diminishing returns.

Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★ ★ ★

Robert Kojder

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