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Luca Guadagnino – 'Queer' movie review

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Luca Guadagnino – 'Queer' movie review

Luca Guadagnino – ‘Queer’ review

Nobody has had a better year than Luca Guadagnino – the commercial success of Challengers simultaneously revitalised the erotic thriller and made tennis seem like a vaguely appealing sport. However, I had several qualms with the film (for reasons that I won’t get into), but mostly because it felt like a story with no substance, which is very much in contrast to the nuanced emotional layers present in his earlier work. And when I saw that Queer was being sold as a ‘new love story’, I felt tepidly intrigued and wary. But after a less immediate and underwhelming gush of praise towards Queer, I wondered whether that pointed towards a less commercial or palatable story, and after seeing it at the London Film Festival, I felt both disturbed, relieved and thrilled by what I had seen. My theory had been confirmed – Guadagnino had redeemed himself.

As an adaptation of the William Burroughs novel, Queer tells the story of William Lee, a middle-aged expat living in New Mexico whose monotonous and lonely existence is disturbed by the presence of a much younger man called Eugene. While Guadagnino is undoubtedly a master at voicing the many heartaches and pains that come with actually being in a relationship, Queer is the first that explores the deep loneliness of unreciprocated love as someone who is queer, painting it as this deeply fracturing and out of body experience, with William yearning for intimacy but unable to openly express this. 

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William spends his time in seedy bars and clubs, sitting in deserted corners as he scans the room for bodies and other silently longing men, searching for validation and scraps of love that could temporarily lift him from the shackles of being unseen. As someone who has built a career on the image of hyper-masculinity, there could be no better man than Daniel Craig to play the William; completely transformed from his usual aura of effortless charm to being haunting and pitifully desperate as he skulks the streets in search of human connection and everything that lies between the cracks. He awkwardly tries to meet the gaze of the men around him; looking for an unspoken acknowledgement of attraction as he locks eyes with each stranger, painfully viewing every loaded glance and gesture as the one to finally save him. He intensely pines for anything that vaguely resembles attention, with his eyes burning holes into everyone that meets his gaze.

It captures the suffocating loneliness of being queer in a place where your identity has to be discreet, trying to communicate your humanity through a lingering touch and hoping that someone will silently understand while most recoil and are repulsed by the implications of your existence.   

After meeting Eugene, William becomes completely infatuated by the idea of being close to him, meek and unsure of himself as he tries to express his desires through coded glances and awkward gestures, anxiously asking for reassurance from his one queer friend on whether or not Eugene is one of them. “I want to talk to you, without speaking”, he finally says, mustering the courage to boldly express the feeling that is usually silenced.

Despite Eugene’s cryptic response that reveals little about the hidden depths William suspects they both share, the two begin spending time together, even when it is clear that Eugene doesn’t care for him in the same way. Drew Starkey is hypnotic in the role, drawing you in with his stoic demeanour and sinister silence, leaving you feeling as mesmerised and frantic as William, whose feverish infatuation only grows the longer it goes unreciprocated. His obsession slowly becomes an addiction, unable to tell between healthy and unhealthy desires, and he loses himself in a delusional hope that engulfs him entirely. Through the use of eerie and slightly grotesque dream sequences, we see William’s inner world as the line between fantasy and reality fades, dreaming of a hand that will graze his knee or lightly brush over his ribcage, wanting something so pure and simple that it feels cruel when you realise it isn’t possible.

Queer is perhaps Guadgnino’s most experimental film to date, and he masterfully uses this jarring tonal style to explore queerness as a surrealist experience that slowly twists you into a disembodied figure, with William’s image being likened to that of a centipede, with nauseating sequences of bugs that crawl across bed sheets and skin, comparing his existence to that of an insect. The surrealism comes from the intense alienation of being treated as ‘other’ by the people around him for daring to express his need of wanting to be loved/seen, becoming a discombobulated and ghost-like figure that has been dehumanised as a result of his queerness.

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The Italian director goes against the lush romanticism he is known for by creating a grimy and uncomfortable visual style in his portrait of loneliness and desperation, which is only slightly hindered in some scenes by the slightly dodgy visual effects. However, whatever is lacking in the visual effects is made up for in the incredibly visceral and unnerving sound design, with a horror-like score being used during the love scenes to play on the idea that William’s sexuality is perverse and something to be feared, with a raw undercurrent of danger pulsing through each interaction with Eugene. The needle drops are no exception, with Sinéad O’Connor’s ‘All Apologies’ setting the tone during the opening credits, with one mesmerising use of Nirvana’s ‘Come As You Are’ while Craig haunts the streets.

William hides his lack of fulfilment behind a facade of joviality, but despite this, he continuously tells people that he feels ‘disembodied’. After watching Guadagnino’s haunting odyssey of delusion and dehumanisation, you too will feel fragmented and broken, devastated by Wiliam’s innocent pursuit of connection as he turns himself inside out to be accepted, going to each far corner of the world to make himself worthy for the one he loves.

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Movie Reviews

MOVIE REVIEW: “THE KINDERHOOK CREATURE” is a fantastic deep dive into one of cryptozoology’s lesser-known mysteries – Rue Morgue

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MOVIE REVIEW: “THE KINDERHOOK CREATURE” is a fantastic deep dive into one of cryptozoology’s lesser-known mysteries – Rue Morgue

By BREANNA WHIPPLE

Starring Bruce G. Hallenbeck, Martha Hallenbeck and Paul Bartholomew
Directed by Seth Breedlove
Small Town Monsters

Whether you are a skeptic or a believer, it cannot be denied that certain pockets of our planet are hotspots for unusual activity. You’d be hard-pressed to find a person unfamiliar with the mysterious disappearances in the Bermuda Triangle, for example. Furthermore, places like Skinwalker Ranch in Utah have been documented extensively after multitudes of reports of various phenomena – UFOs, ghosts, cryptids, ancient shapeshifting elemental spirits that consume human flesh… it has it all. The Pacific Northwest is another location of intrigue with phenomena ranging from UFOs and cryptids to ghosts and sea monsters. 

More often than not, all that is supernatural seems to flow collectively. It’s not at all uncommon for grey aliens to come with a side of poltergeists and shapeshifters. Evidently, where there is smoke, there is fire. And Kinderhook, New York, is one such place ablaze with the high strangeness.

Nestled in the Hudson Valley, Kinderhook is an old town with even older legends. Despite being over 100km from the village of Sleepy Hollow, Kinderhook was the inspiration for Washington Irving’s The Legend of Sleepy Hollow. (Ichabod Crane was modelled after a Kinderhook schoolmaster; plaques honour this fact in the small community.) At a glance, one can sense an otherworldly ether in this place where the veil is seemingly especially thin.

THE KINDERHOOK CREATURE is a companion piece to The Kinderhook Creature & Beyond: A Personal Reminiscence by Bruce G. Hallenbeck. Naturally, Hallenbeck guides the unfolding events chronicled in the doc. Growing up under the care of his beloved late grandmother, Martha Hallenbeck, in a home surrounded by dense woods, he has memories that read like a choose-your-own-adventure novel. An unseen, incomprehensible, supernatural threat to shock and astound lurks around every corner. Martha was once quoted as saying, “I’d love to live in a haunted house!” Bruce’s apt response was, “Grandma, I think you do.” 

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“Haunted” feels like an inappropriate description.  What happens in Kinderhook is so fantastical that it is difficult to fit under a single umbrella. White, bloblike apparitions are only the tip of the iceberg. A sargantuan beast with red eyes, the doc’s eponymous creature, has been seen stalking nearby. Strange noises emanate from the woods, UFOs have been spotted, objects have levitated and strange dreams have been had… Something is very different in Kinderhook. 

To call THE KINDERHOOK CREATURE a wild-ride would be a gross understatement – the film is so full of so many unexpected twists, turns and encounters that it is a curious wonder why the area hasn’t been more widely acknowledged in cryptozoological circles until now. Again, director Seth Breedlove and the Small Monsters team have shone their spotlight on a tiny, strange corner of the world. On top of fantastic interview content, the documentary is chock-full of archival footage. Masterfully edited, THE KINDERHOOK CREATURE is made with love and attentive care, which is much deserved for a field of interest that isn’t always taken very seriously.

Of course, mystery is the source of the allure. As a species, we simply cannot know everything. Not every mystery can be solved, regardless of how advanced we become. Apelike humanoid sightings have been reported for as long as Indigenous people have been recording history with hide and stone. Theorists pore over speculations of time-travelling advanced beings, primitive species, protectors of the forest… It all sounds outrageous to those who have yet to open their mind to the possibility that there are forces at work that we simply cannot comprehend. One can easily write off the Patterson-Gimlin film as a hoax, but how can one explain the similarities in sightings from around the globe, again, for decades, if not centuries? One of the tales told in THE KINDERHOOK CREATURE mentions a sighting of a family of the Bigfoot-like cryptid. A similar occurrence is documented in the 1956 book The Long Walk by Sławomir Rawicz – a dramatic, first-hand account of a group of Gulag escapees in the 1940s that encountered a family of Yeti-like creatures in the Himalayas after fleeing Siberia on foot.

Even in the specific cases presented in THE KINDERHOOK CREATURE, there are curious synchronicities spanning a century. A woman speaks of an instance in 1981 when she and a friend skipped school to pick apples. While biking down a dirt road flanked by corn fields on both sides, they encountered a massive creature that towered above the stalks. Its gait was so wide that it was able to jump across the road with ease, its apelike arms swinging. What the girls likely did not know was that 100 years earlier, in 1881, livestock regularly went missing in the area. Locals eventually found a cave with piles of bones lying outside the entrance. Upon this discovery, they encountered a similar beast. They shot at it, nearly missing it. However, it left a mysterious lock of brown hair behind.

Breedlove has proved time and time again that Small Town Monsters is the reigning champion of quality cryptozoological documentaries. Aside from the obvious fun that naturally comes with investigating strange phenomena, much of the film focuses on Hallenbeck’s relationship with his grandmother. The bond they shared was beyond unique. They seemed to share an abundance of love, joy, fun and an appreciation for the mysterious. 

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We can learn a lot from these stories, exploring history, fear and curiosity. With THE KINDERHOOK CREATURE, Small Town Monsters again proves that cryptids and the legends that surround them will never get boring.

THE KINDERHOOK CREATURE: IN THE SHADOW OF SASQUATCH is available now on digital platforms. 

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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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