There’s a real element of surprise within Eric Larue, the directorial debut of actor Michael Shannon. Given the nature of the story and his efforts in front of the camera, something incredibly intense would not have been a shock. So, to have this film be so much more of an observational character study is a wonderful little surprise. Shannon takes a premise that won’t have audiences immediately come running an crafters a movie that’s incredibly appealing, especially for its central performance.
Eric Larue has a very soft touch, which is a welcome aspect of this drama, which has no shortage of emotions on display. The restraint helps put the focus on Judy Greer in the lead role, which is great considering how impeccable her work is. Shannon and Greer are working beautifully in concert with each other, leading to moving cinema on a small yet impactful scale.
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Janice LaRue (Greer) is coping, or at least trying to cope, with something no mother should ever have to. Her son Eric has murdered three of his high school classmates, sending a ripple of anger, confusion, and pain throughout her town. Janice appears almost catatonic on the outside, going through life in a haze. On the inside, however, she’s dealing with the same things as everyone else, only magnified. While her husband Ron (Alexander Skarsgård) has found comfort and even hope at a new church, Janice finds it hard to do the same. Her faith is not offering her solace, despite her pastor Steve Calhan (Paul Sparks) encouraging her to come to services, as well as to potentially meet with the mothers of Eric’s victims.
As Janice deals with everyday life, pondering what that meeting could achieve for her and the town, Ron is over at Redeemer, a church led by Bill Verne (Tracy Letts) and offering a friendship, as well as perhaps more, with co-worker Lisa (Allison Pill). He’s on his own journey, while Janice can’t even go back to work without harassment, as well as her manager suggesting she’s less than welcome. Through it all, we observe grief, the limits of faith, and the human experience on the whole.
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Judy Greer has rarely been better than she is here, turning in a quietly devastating performance. So few filmmakers give her this sort of opportunity, so she more than makes the most of it. There’s a ton of observing her facial expressions, or sometimes the lack thereof one, and she absolutely runs with it. It’s impeccable work. Alexander Skarsgård is all but unrecognizable, playing smaller and more timid than I’ve ever seen from him before. Skarsgård is very good, as are Tracy Letts, Allison Pill, and Paul Sparks in supporting roles. Smaller supporting players include Kate Arrington, Jennifer Engstrom, Lawrence Grimm, Nation Sage Henrikson, Annie Parisse, and more, but Greer is the star of the show.
Director Michael Shannon, making his filmmaking debut, takes Brett Neveu‘s play (Neveu also penned the adaptation) and makes an immediate impression behind the camera. There’s curiosity and empathy on display, trusting his audience not to make any of the themes too obvious. Shannon also has brilliant casting across the board, with everyone feeling perfect for their parts, led by Greer’s staggering turn. Shannon has a soft touch and a natural feel for character studies, so whatever he chooses to make next, I am 100% seated for it.
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Eric Larue is not always an easy watch, and in fact can be pretty touch at times, but it never overwhelms you. Those curious about Michael Shannon’s director chops, as well as those who have been yearning to see Judy Greer in a starring role, you’d do well to seek this one out. It will stay with you long after the credits roll.
Often when the word of mouth begins to spread and hype the newest “best movie ever”, the viewer has to take these opinions with a mound of salt. But as the week two financial gate for Obsessionjumped over twice as high as its debut, people started paying attention. With a Youtuber at the helm and the critics lauding this romantic horror film as the second coming, it was time for this particular reviewer to see what the hype was all about.
Obsessionis written and directed by Curry Barker (Milk & Serial 2024). It stars Inde Navarrette (Superman & Lois TV Series 2021) as Nikki and Michael Johnston (9-1-1 TV Series 2026) as Bear. Bear is in love with Nikki, but he lacks the gumption to ask her out. On a whim, the bashful Bear buys a “One Wish Willow”, a magical totem that, when broken, allows the bearer one granted wish. Bear wishes for Nikki to love him, but this love comes at the ultimate cost.
The acting is the first thing that the audience will become obsessed with in Obsession. Navarrette is poised for a breakout year and would fit very well as a new-age “final girl” in the horror genre. Johnston is no slouch either, as he brings a lot of layers to Bear, but Navarrette is the one that’ll haunt your dreams for weeks. The actors told the stories on their faces, and Navarrette’s sudden screams make for the most natural jump-scares in ages.
Barker’s writing in Obsessionis as crafty as his pacing. Bear is a really likeable guy who becomes unlikeable for trying desperately to hold onto his dream scenario. Nikki is a helpless victim who’s so terrifying that it’s hard to get close enough to help her. This movie takes the dime-a-dozen “monkey’s paw” trope seen in things like Wishmaster (read our retro review here) and Wish Upon and gives it a fresh spin without getting overcomplicated.
Obsessionalso thrives in its technical prowess. The quiet sound design and still characters make the movie a genuinely unsettling experience. The usage of rewinding shots gives Nikki a chilling economy of movement, while speeding up shots creates sudden peril and makes scenes instantly uncomfortable. The viewer never gets a chance to truly catch their breath, but the stakes continue to grow with every scene.
It’s very easy to see why Obsessionhas audiences buzzing. It’s the kind of movie that’s going to hold a spot at the top of lists at year’s end, but if the chance arises to see it in a large theater, the experience will be even more rewarding.
Starring: Marshall Williams, Richard Harmon and Alex Essoe Directed by: James Kondelik Rated: NR Running Time: 108 minutes
Our Score: 1.5 out of 5 Stars
Survival horror is the ultimate guilty pleasure because you can amplify any life-or-death situation into the paranormal, horrific, thrilling, or cruelly dramatic extremes it finds itself in. So why doesn’t “Pitfall” come close to tickling “The Ritual,” “The Blair Witch Project,” or “Wolf Creek” vibes?
Woods and grief feel like a ritualistic trope at this point as “Pitfall” opens on Scott (Marshall Williams) and Ashley (Alex Essoe) mourning the death of their parents. For reasons that may or may not be revealed later, they join three friends on an ominous trip that quickly introduces the titular pitfall, a massive trap designed to kill prey.
The movie constantly battles convention with unpredictability. The problem is that at more than 100 minutes long, there’s plenty of time to sit around and wonder where the story is heading. If “Pitfall” moved with the frantic pace of a Tuesday afternoon soap opera on meth, maybe I’d be swept up in the chaos. Instead, I found myself waiting for reveals that felt more eye-rolling than shocking.
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I really wanted to like “Pitfall” because of how invested it is in physical violence, emotional trauma, and psychological brutality. Unfortunately, the movie never convinced me it knew what to do with those ideas. By the time it arrives at its revelations and ultimate purpose, “Pitfall” feels less like a title and more like a review.
As a lowkey, throwback family drama, The Breadwinner is an amusing extension of comedian Nate Bargatze’s humor and vibe, providing some breezy entertainment and wholesome messages.
About the Film
The “dads are big dummies around the house” gag is far from a novel idea, but as a skilled comedian knows, it’s not always the subject that matters, but how you talk about it that makes or breaks the joke. Comic Nate Bargatze is as good as anyone at doing that, blending a dry and self-deprecating delivery with a refreshingly clean brand of comedy. His cinematic debut in The Breadwinner is exactly what might be expected. As a lowkey, throwback family drama, The Breadwinner is an amusing cinematic extension of comedian Nate Bargatze’s humor and vibe, providing some breezy entertainment and wholesome messages.
As one of the biggest and most influential comics in the world right now, the main draw in The Breadwinner is Nate Bargatze himself. Many Christians have latched onto him due to his trademark “clean comedy” that swims refreshingly upstream of the regular vulgarity and shock jock tendencies in the comedy world. For “clean comedy” to work, both the “clean” and the “comedy” need to be present. The Breadwinner mostly passes the test but does better at the first than the second. It is more a clean and wholesome drama than a hilarious comedy.
During an opening voiceover, Bargatze remarks, “This might sound a bit old fashioned….” He’s speaking about the traditional family dynamic of a husband “breadwinner” and the stay-at-home mom (a family structure the film eventually challenges for a more modern understanding). “Old fashioned” is also a good description of the film itself. The Breadwinner feels a bit like a Christian film made in the 1990s, or as if a sitcom like Full House had ever made a theatrical feature film. Whether this is a harsh criticism or a ringing endorsement may depend on the desires and expectations of the audience.
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I suspect that “old fashioned” is exactly what many Christian audiences want. Not “old fashioned” as in “outdated”, but as a nostalgic throwback to a simpler time and to conservative values. Much of the film is exactly that, both a wholesome affirmation of family and a movie that is easily accessible for families. At the same time, some of the film’s messages may be a bit muddy or progressive for some viewers (see themes below).
To be “clean” is only part of the equation, and the absence of vulgarity doesn’t inevitably result in effective “comedy”. My biggest problem with The Breadwinner is that, despite featuring an often-hilarious comic, the movie just isn’t all that funny. This may partially be a matter of taste, and how much (or little) you jive with the comedic sensibilities of Bargatze himself. During the film’s closing credits, recordings of his various standup sets are shown, revealing how his jokes have been directly incorporated into the movie. It’s a fascinating glimpse into the adaption process of jokes from the stage into a film and highlights the synergy between the film and Bargatze’s comedy.
As an observational comic, Bargatze’s strength is in his ability to find hidden humor in the middle of relatable, everyday life (even more relatable to me, as the movie was filmed 10 minutes from my house). While some of the events in the film’s third act do elevate the spectacle and stakes (such as letting a horse loose to inside the house), many of the gags are built on relatable family experiences (keeping up with laundry, cooking, helping emotional children navigate the challenges of growing up ). Hearing Nate Bargatze do a comedy set and find humor in these mundane life experiences can be hilarious, but actually seeing those mundane experiences play out on screen is a bit more, well, mundane.
The Breadwinner is not necessarily boring, but it’s also not always all that exciting. There was no laughing out loud in my theater, and I can’t recall any standout moments that I’d be excited to revisit or to watch with someone else. Basically, all the funniest moments are featured in the movie’s marketing trailers, so how you feel about those is a gauge for how much you will enjoy the film.
Overall, The Breadwinner is fine as a film that will land well with its target audience. Still, I think it would be great as a sitcom show like a real-world Bluey. I genuinely cared about the family and would enjoy spending more time with them. The film’s lowkey stakes and everyday family life vibe would translate perfectly to the small screen while giving Bargatze an opportunity to showcase more comedic range than just a struggling “Mr. Mom”. Even so, fans of Bargatze and his brand of humor, or audiences just looking for some squeaky-clean family entertainment, may find exactly what they’re looking for here. It may not be a great film, but it’s a hard movie to dislike. The Breadwinner has plenty of heart and charm to be endearing and provides enough moderate chuckles to send audiences out of the theater with a smile.
On the Surface
For Consideration
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On the Surface—(Profanity, Sexual content, violence, etc.).
Language: There are a few uses of “God.”
Violence: None.
Sexuality: There are a couple mild innuendos (for example, a roofer remarks that his ex-wife left him a review that “his tools don’t get the job done”).
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Other: Frequent drug and alcohol abuse is shown.
Beneath The Surface
Engage The Film
Family Dynamics
The central theme in The Breadwinner is identity and where it’s found. Nate Wilcox (Nate Bargatze) finds his identity as the best car salesman at his dealership. He must determine where his purpose and self-worth come from when he’s required to stay at home with the kids while his wife, Katie (played by Mandy Moore), navigates a similarity drastic transition from stay-at-home mom to thriving businesswoman. Their children face similar challenges, struggling to not allow external factors (such as school spelling bee competitions and cute boys) to determine who they are. It’s a wholesome message, and one that works for any age demographic. The film ultimately suggests that identity must come from the love and unity of a family.
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Where the message gets a bit muddy is in the nuances of how the film answers those questions. The film’s tagline is “Let the dad era begin.” The so-called “dad era” begins when Nate finally decides that instead of trying to follow mom’s hardline established family organizational system he instead needs to develop a new system that works for him. As a dad myself, the “dad era” is actually pretty great, requiring the children to take on more responsibly while emphasizing trust and partnership rather than a rigid top-down scheduling structure. Nate’s motivations are ultimately selfish (he lies and returns to work) but seeing him as a stay-at-home dad rather than a “poor substitute mom” is commendable. Unfortunately, the film seems to disagree, suggesting that the success of a stay-at-home dad is only in how closely they can mimic mom.
His wife slips effortlessly from stay-at-home mom to big-time business owner, while he is a bumbling disaster as a homemaker. It is seemingly easy to be a working dad and hard to be a domestic mom, falling into the trap of many Hollywood films that struggle to be pro-woman (good!) without also being anti-man (bad!). The Breadwinner doesn’t go quite that far. It’s not anti-man, but it fails to celebrate or show the strengths of dads and men. Even a few moments of Nate helping his wife with her own role reversal would have gone a long way to showcasing the complementary difference and strengths within the family.
Daniel holds a PhD in “Christianity and the Arts” from The Southern Baptist Theological Seminary. He is the author/co-author of multiple books and he speaks in churches and schools across the country on the topics of Christian worldview, apologetics, creative writing, and the Arts.
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