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Fresh Kills (2024) – Movie Review

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Fresh Kills (2024) – Movie Review

Fresh Kills, 2024.

Written and Directed by Jennifer Esposito.
Starring Emily Bader, Odessa A’zion, Jennifer Esposito, Domenick Lombardozzi, Annabella Sciorra, Nicholas Cirillo, Ava DeMary, Stelio Savante, Franco Maicas, David Iacono, Anastasia Veronica Lee, Taylor Madeline Hand, Maya Moravec, Nicole Ehinger, Luciana VanDette, Amanda Corday, Annie Pisapia, Camryn Adele Portagallo, Colleen Kelly, Beatrice Pelliccia, Charlie Reina, and Bettina Skye.

SYNOPSIS:

Follows the story of the loyal women of an organized crime family that dominated some of the boroughs of New York City in the late 20th century.

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A film for anyone who wonders about the specifics of what goes on in the lives of the mothers, daughters, and granddaughters part of a mobster family household, writer/director/producer/star Jennifer Esposito’s Fresh Kills, for all its clunky pacing and overreaching ambition, is fresh and packs a cumulative punch about this inescapable lifestyle.

Spanning several points in time across the 1980s and 1990s while primarily fixated on tightknit sisters Rose and Connie, Fresh Kills homes in on how these girls, especially as they grow up, couldn’t be any more different from one another, especially when it comes to the privilege of wealth and the expectations of being born into a family dynamic where the women stay at home while the men are involved in the Staten Island Mafia.

Played by Anastasia Veronica Lee and Taylor Madeline Hand as young girls before turning things over to Emily Bader and Odessa A’zion upon growing up, the former, Rose, is the quiet one (you would be forgiven if you assumed she was mute during the first 15 minutes or so) whereas Connie is upbeat and playful. Connie is seen encouraging Rose to “fly” by spreading apart her hands while being boosted on top of her knees. It’s a silly game they play in front of their new home, still innocent of what their father, Joe Larusso (Domenick Lombardozzi), does for a living. Moments later, an unnerving dialogue exchange is overheard in the garage, somewhat clueing them int to different extents. Little do the girls know, it seems no women born into this type of toxic family dynamic truly get to fly, at least independently.

Then there is the matriarch Francine (Jennifer Esposito), aware and horrified by much of her husband’s actions. At one point, in hysterics, she exclaims that she needs to get away. Yet, much like Connie when she ages, she sticks up for this spoiled lifestyle, whether from fashion, a spacious home or simply being blessed with a healthy family. Once upon a time, she did dream of being something more, apparently approached to get into modeling, yet instead ended up around the arm of Joe. Naturally, Connie becomes her favorite since she is the one to embrace and carry on the more traditional roles, whereas Rose finds herself talked down to over having goals beyond marriage and motherhood.

There is the instinct to label Francine a bad mother for trying to enforce such a status quo, and even the screenplay from Jennifer Esposito never fully gets around fleshing out all of the multidimensional characters; she comes across as a complex figure. She is someone who gave up on her dreams and has not chosen to actively go against a daughter trying to make something of herself (Rose is interested in beauty just like her mother was) and escapes something that she knows has been dysfunctional, hostile, unhealthy, and traumatic for quite some time.

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The performances from Emily Bader and Odessa A’zion are also rich, going beyond playing two characters gradually transitioning into opposites. Connie is played with such tornado-like ferocity, preaching family first and asserting that she has made the right choice in getting married and having a child, one suspects that she is trying to convince herself just as much as she is verbally tearing her sister down. Meanwhile, Rose gradually tries to come out of her shell and embark on a different path, but at every turn, she is devastatingly and tragically reminded of what she has been born into and might never escape. Naturally, Domenick Lombardozzi is wisely kept off to the side (this is not a mobster movie about the crimes themselves), but is also part of an emotional scene with Rose that ends on such a powerful note you can’t help but pity him. It’s a vicious, towering toxic masculinity takedown.

As mentioned, the pacing in Fresh Kills is sometimes off, with jumps forward in time frustratingly undercutting other developing character dynamics. One also wishes Jennifer Esposito felt more confident as a filmmaker, doing away with unnecessary needle-drops to heighten the importance of certain moments. However, she does find cohesive, full-throttle momentum for her passion project in its third act, which is riveting, heartbreaking, and empowering, retroactively shading in more depth to what comes before.  

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

https://www.youtube.com/watch?v=embed/playlist

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Ron Brown’s movie reviews: ‘Project Hail Mary’ and more

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Ron Brown’s movie reviews: ‘Project Hail Mary’ and more

Lisa Dent

Weekdays 2-6pm

A native of Rockford, Lisa Dent, heard 2 pm to 6 pm weekdays, began her radio career in Fort Atkinson, Wisconsin in 1981. She has worked at stations in Minneapolis, San Diego, Seattle, and Houston. Dent returned to Chicago in 2002. (Click for more.)

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Movie Reviews 2026: Ukrainian and World Premieres

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Movie Reviews 2026: Ukrainian and World Premieres

The world of cinema and TV series offers hundreds of premieres every year, but not all of them are worth the time spent. Viewers are increasingly looking not just for entertainment, but for meaning — stories that leave an aftertaste, make them think, or help them experience strong emotions. That is why reviews are becoming an important guide: they help separate truly high-quality content from loud but empty hype. UNN has reviewed the most anticipated premieres and selected films worth watching.

“Kakhovka Object” (war drama)

The film shows war not only as combat operations but also as a test of human dignity, character, and choice. Through the fate of the main character, the viewer sees how difficult it is to make decisions in extreme circumstances when every step can affect the lives of others. The director masterfully combines psychological tension with realistic details, creating an atmosphere of complete immersion. The film is not only about war but also about human responsibility, strength of spirit, and the ability to remain human in the chaos of events.

“Mavka. The True Myth” (romantic fantasy)

The premiere will take place on March 1, 2026. This is a continuation of the Ukrainian fantasy tradition, where national myths and legends come to life on screen. The film reveals Mavka’s inner world, her desire for love and freedom, as well as the conflict between the human and the magical. The animation promises to be bright and detailed, and the story is universal: it touches on the themes of choice, self-discovery, and responsibility for one’s feelings. This film will be a good example of modern Ukrainian animation, capable of captivating both children and adults.

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“When Will You Divorce?” (corporate comedy)

A comedy about personal life and work relationships that raises questions about the balance between career and personal feelings. The film humorously shows how easy it is to get confused in one’s own emotions, trying to satisfy the expectations of others. The authors successfully combined light life situations and ironic dialogues, which makes the viewing entertaining but not superficial. This film is for those who appreciate modern humor and recognize themselves or colleagues in the characters. 

“Odyssey” (epic adventure drama)

A large-scale adaptation of Odysseus’s travels after the Trojan War. The film shows not only the hero’s physical trials but also his inner transformation: courage, ingenuity, patience, and moral choice in critical moments. The artistic design and the use of modern technologies to create epic landscapes and battle scenes are impressive. The director managed to combine a classic story with a modern cinematic rhythm, which makes “Odyssey” not only spectacular but also emotionally deep. 

“Lord of the Universe” (sci-fi, action)

The film transports the viewer into a vibrant magical world where heroes fight for justice, and the line between good and evil constantly shifts. This is a story about courage, self-sacrifice, and responsibility for one’s own destiny and the destiny of others. The combination of special effects, a fantasy world, and an adventure plot makes the film attractive to a wide audience. But the main thing is not the effects, but the internal struggle of the characters, which gives the film depth and meaning.

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“Scream 7” (2026)

The return to the famous slasher franchise proved unsuccessful. Despite the direction of series veteran Kevin Williamson and the comeback of Neve Campbell and Courteney Cox, the film received mostly negative reviews from critics. 

Thus, 2026 promises to be a landmark year for Ukrainian and world cinema. Even with fewer premieres, there is a tendency towards a deep elaboration of characters, psychological conflicts, and moral issues, which makes modern films and series not only entertainment but also a way of understanding human life and the modern world.

“You Are Space” breaks records: Ukrainian sci-fi attracts over 326,000 viewers10.02.26, 21:04 • 6852 views

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Movie reviews reveal A Poet and All That’s Left of You dominate March with perfect 100% scores – Art Threat

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Two masterpieces just shattered critical consensus on Rotten Tomatoes. Both A Poet and All That’s Left of You have garnered rare perfect 100% scores from critics, dominating March 2026’s excellence rankings. These dual releases represent a historic moment for international cinema.

🔥 Quick Facts

  • A Poet: 100% Rotten Tomatoes score from critics celebrating Simón Mesa Soto‘s Colombian drama
  • All That’s Left of You: 100% Certified Fresh multi-generational Palestinian epic by Cherien Dabis
  • Release Timeline: Both films expanding dramatically in theaters March 2026 after festival triumphs
  • Critical Moment: Rare simultaneous perfect scores elevate international storytelling into mainstream spotlight

A Poet Achieves Unanimous Critical Acclaim

Simón Mesa Soto‘s A Poet stands as one of 2026’s finest achievements. Starring Ubeimar Rios as Oscar Restrepo, a once-promising writer turned tragic failure, the film examines fatherhood’s weight with devastating wit and elegance. The Colombian-Swedish-German co-production premiered at Cannes Film Festival’s Un Certain Regard section last year and has conquered every distribution market since.

The ensemble cast includes Rebeca Andrade, Guillermo Cardona, and Humberto Restrepo, delivering layered performances that anchor the film’s four-chapter structure. Critics hailed the film as a triumph of tone, mixing tragicomic observation with genuine emotional devastation. The New York Times called it “The Romance of Misery”, recognizing its ability to find beauty in human failure. The film’s philosophical depth and formal precision explain its unprecedented critical consensus.

Title A Poet (Un Poeta)
Director Simón Mesa Soto
Lead Actor Ubeimar Rios as Oscar Restrepo
Rotten Tomatoes 100% Certified Fresh
Theatrical Status Expanding in March 2026

All That’s Left of You Shatters Records as Palestinian Saga

Cherien Dabis wrote, directed, and starred in All That’s Left of You, a sweeping three-generational epic set in the Occupied West Bank spanning decades of family trauma and resilience. Featuring Saleh Bakri, Mohammad Bakri, Adam Bakri, and Maria Zreik, the film follows a teenage boy swept into a pivotal protest with consequences that ripple through his family’s future.

Produced by Watermelon Pictures, the film premiered at Sundance Film Festival 2025, where it immediately earned Certified Fresh status and near-universal praise. Filming relocated to Cyprus, Greece, and Jordan after production complications, yet the result feels seamlessly authentic. Critics point to Dabis’s multi-media mastery (she directs, performs, and produces) as essential to the film’s emotional authority. The film’s scope rivals the greatest epics while maintaining intimate character work that defines recent international cinema.

All That’s Left of You arrived in selected theaters on January 9, 2026 and steadily expanded throughout early March. The film’s 100% Rotten Tomatoes score reflects not just critical respect but genuine reverence for Dabis’s artistic vision. This achievement represents Palestinian cinema reaching its greatest artistic and commercial moment.

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Why These Two Films Dominate March 2026’s Conversation

Rarity defines these simultaneous perfect scores. A Poet and All That’s Left of You occupy the rare 100% Tomatometer tier reserved for films of historic excellence. The 2026 FilmFare recognized both as front-runners for major awards, acknowledging how they’ve elevated the expectations for drama itself. Industry observers note that achieving perfect critical consensus in today’s fractious landscape represents not consensus but unanimous recognition of artistic achievement.

Both films reflect cinema’s global moment. Simón Mesa Soto‘s Colombian vision and Cherien DabisPalestinian perspective prove that international storytelling now commands the cultural conversation. Rotten TomatoesOfficial Rankings place both films in its exclusive Certified Fresh top tier. March 2026 becomes the month cinema decided: universal critical acclaim belongs to filmmakers willing to transcend borders.

“All That’s Left of You is a sweeping multigenerational epic that captures the thematic breadth of great cinema while exploring what it means to endure generational trauma.”

Rotten Tomatoes Critics Consensus, Officials

The Future of International Cinema Starts Now

Both films expand to more theaters through March 2026 and beyond. A Poet hits streaming services and digital platforms simultaneously, making it accessible to audiences beyond Select Release cities. All That’s Left of You continues rolling out across regional markets, having already secured international distribution. Industry observers expect both to capture major festival awards at upcoming spring cinema celebrations.

These perfect scores matter beyond accolades. They signal to studios, streamers, and investors that audiences hunger for international voices and authentic storytelling. March 2026 becomes a watershed moment where Colombian drama and Palestinian cinema proved they belong in the conversation with any major market release. The critical paths of A Poet and All That’s Left of You forecast how cinema itself will evolve toward greater global representation.

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Where Can Film Lovers Watch These Perfect-Score Masterpieces?

Both films remain available in theatrical releases across the United States and expanding internationally. A Poet plays select theaters with plans to widen release through spring 2026, while All That’s Left of You continues broader theatrical circulation. Check major ticketing platforms for showtimes and streaming availability. International audiences should consult local cinema schedules for release dates and language availability. These 100% Rotten Tomatoes achievements deserve the big screen experience both directors envisioned.

Sources

  • Rotten Tomatoes – Official Tomatometer scores and Critics Consensus for both films
  • The New York Times – Critical analysis and reviews of A Poet’s artistic achievement
  • Watermelon Pictures – Official distribution and production information for All That’s Left of You

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