Throughout his filmography, Yorgos Lanthimos is interested in themes of love and obsession, often explored with characters, who seem to be living on the edge of normal society, as evident in 2009’s Dogtooth, which centered on a husband and wife who keep their children ignorant of the world outside their property well into adulthood. 2024 is already quite the year for the Greek director as his previous outing Poor Things has been a critical and commercial success that has won four awards at this year’s Oscars, and now his latest feature Kinds of Kindness is finally released. 

Amidst the Frankenstein-like science and “furious jumping”, Poor Things is more of a crowd-pleaser through its story of self-discovery within the harsh reality of the otherwise outlandish world. Reunited with his long-time collaborator/co-writer Efthimis Filippou, Kinds of Kindness – set in modern-day New Orleans – is closer to Lanthimos’ earlier work like The Lobster and The Killing of a Sacred Deer, where people are plunged into situations that effectively shake up their lives and lose any touch of humanity in order to get out of it. 

Since Lanthimos’ films often challenge you, though not without some dark humor creeping into the mix, Kinds of Kindness is essentially three films for the price of one, with the same seven actors – Emma Stone, Jesse Plemons, Willem Dafoe, Margaret Qualley, Hong Chau, Joe Alwyn and Mamoudou Athie – appearing in each one in a different role.

The first of which, titled “The Death of R.M.F”, is about Robert Fletcher (Plemons) who follows every order that is given to him by his controlling boss, Raymond (Dafoe), until he refuses to do an act which causes his life to fall apart. Similar to Lanthimos’ 2019 short film Nimic, it is a darkly funny study of a man who regrets this one decision and how it spirals out of control, with an extraordinary turn from Plemons, who tries to maintain his composure and yet it looks he’s about to break. 

Considering the disturbing outcome of the first narrative, it feels tamed compared to the second story, “R.M.F. is Flying”. Left emotionally devastated after the disappearance of his wife Liz (Emma Stone), a marine biologist, police officer Daniel (Plemons) receives a call saying she has been rescued. As she returns home, her strange and seemingly reversed behavior leads to Daniel suspecting her of being an imposter. As well as being more disturbing and ambiguous than the other two narratives, “R.M.F. is Flying” cements a central theme which is somewhat meta to the film’s multiple casting of the same actors, playing characters who are wrestling with their own identity. Playing a married couple that is becoming more about obsessive delusions, leading to horrific abuse, Stone and Plemons are amazing in roles where you can’t tell whose side you should be on, if any. 

As great as Emma Stone is in the first two narratives, it is in “R.M.F. Eats a Sandwich” where she really gets to shine, and yes, this is where she performs her improvised dance that has been used in the film’s promotion. In this third and final instalment, Emily and Andrew (Stone and Plemons) are two cult members who are looking for a woman with the ability to bring back the dead. Considering this is the closest to a Coen Brothers film, where it almost feels like an enjoyable crime caper, what could easily be a cautionary tale about not joining a sex cult led by Dafoe’s Omi, the story makes a dark implication into why Emily would choose the life of a cultist, as seen in a scene where she revisits her old life as a mother and a wife. 

Considering the hopeful nature and visual experimentation of Poor Things, whether consciously or not, it feels Lanthimos wants to return a world where there is no positive outcome of anybody, whilst cinematographer Robbie Ryan, shooting on 35mm Kodak film, presents a stunning, if mundane look of the many settings of New Orleans. Amongst the loose connective tissue between these three tales, including the brilliant cast and similar locations, the only sense of hope that Kinds of Kindness is the dreams that some of the characters have and no matter how nonsensical they are, it is better than the harshness that the real world can throw at them. One dream involving dogs delivers the biggest laugh-out-loud film of the entire film.

‘Kinds of Kindness’ review: Darkly comedic anthology explores humanity

Kinds of Kindness

Returning to the director’s roots, so to speak, Kinds of Kindness is strange, uncomfortable and challenging, if you can adjust to the tone of this near-three-hour anthology piece, you will enjoy this experience where you don’t know whether to laugh or pleasantly appalled at.

An incredible cast – with Emma Stone and Jesse Plemons taking center stage – that go into strange places by playing three separate roles.

Three distinct storylines that are a darkly comedic exploration of love and obsession, a recurring theme in Lanthimos’ filmography.

Balancing moments of dark humor, with profound ideas about identity and purpose…

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…even though the lack of easy answers and the lengthy running time will challenge a good section of the audience.

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When Hayao Miyazaki announced that 2013’s The Wind Rises would be his “final” film, many suspected that an artist of his caliber would eventually return to create again if given the chance.

Release Date: 07/14/2023 Runtime: 124 minutes Director: Hayao Miyazaki Rotten Tomatoes: 97% iMBD: 7.6/10 Where to Watch: Apple TV, Amazon Prime Video, Fandango at Home, Google Play Movies, YouTube

Ten years later, the legendary Japanese animator, known for classics like Spirited Away, Castle in the Sky, and Princess Mononoke presented us with perhaps his definitive work. This new magnum opus combines the finest elements of his previous films into something sure to be considered the greatest Hayao Miyazaki film of all time.

In the story, eleven-year-old Mahito loses his mother in a hospital fire during World War II

His father soon remarries—his late wife’s sister—moving them to the countryside where he can apply his manufacturing profession to the war effort and support his family as they welcome a second child. Behind their new rural home looms a strange, abandoned tower, and around the pond on the estate grounds flies a mysterious heron.

When his new mother enters the forest in the delirium of pregnancy, the entire estate goes searching for her. Only Mahito knows that the path to finding her leads into the tower.

The heron lures Mahito inside, and he soon finds himself in a dreamlike world that would make L. Frank Baum and Lewis Carroll proud

Unlike The Wizard of Oz or Alice in Wonderland, this narrative leads Mahito into a “world of the dead”—not in the morbid sense typical of Western mythology, but a beautiful realm where spirits migrate between planes of existence. From there he finds himself embarking on an adventure deeper into the world of dreams and death, where he ultimately learns to come to terms with the loss of his mother.

Like the greatest fairytales and childhood fantasies, The Boy and The Heron navigates its mythological story with a dream-logic familiar to anyone who’s plumbed the landscapes found in the deepest sleep.

What sets this film apart from similar narratives—in addition to its uniquely Shintoist approach to mythology—is the masterful cinematography and animation displayed across every frame

From beginning to end, this film showcases a master and his team working at the peak of their craft. It’s a childhood adventure on par with other classics in the genre, sure to take audiences of all ages on a journey they won’t soon forget, and one that begs for a second viewing by the time the credits roll.

About our Admit One Author

Isaac Frankel is a freelance writer and content creator specializing in reviews and analysis of cinema, interactive media, and mythological storytelling. He was raised in Prescott, AZ, wrote his first non-fiction book in 2013 after graduating from Tribeca Flashpoint College with a degree in Game & Interactive Media Design, and currently produces content for the YouTube channel: Off Screen.

More of his work and current projects can be found at www.isaacafrankel.com.

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Boom. Crack. Crunch. That’s the nature of Trigger Warning, starring an in-form Jessica Alba as an active-duty Special Forces commando, Parker, who comes to her hometown after her father’s demise. Alba performs throat-slashing, bone-crunching stunts in some supremely well-executed action sequences. In one scene, after saving her male friend, Spider (Tone Bell), she quips, “Sup! Damsel in distress.” There is a lot to like in this action thriller, even though it occasionally suffers from some convenient writing and perhaps has a protagonist who’s almost invincible.

Director: Mouly Surya

Cast: Jessica Alba, Anthony Michael Hall, Mark Webber, Jake Weary, Gabriel Basso

Streamer: Netflix

We first see Alba’s character, Parker, as she is in mid-combat, trying to take down terrorists. Parker, who has an espionage background, suspects that there might be foul play around her father’s death. The truth about it unravels around all the mayhem. The violence is not all about the gun. In an impactful stunt scene, after her rifle is knocked down, she coolly grabs a knife and stabs him in the heart. Soon enough, we understand where she got the knife from, and why there’s some poetic justice being dispensed as she wields it to threaten intruders, slash tyres, and more. For the first half hour, the film maintains an aura of suspense about the protagonist’s personality and motives, but once the cat gets out of the bag, the rest of the film, even if with enterprising stunt scenes, turns into a routine revenge thriller.

Once perpetrators get identified around the halfway mark, it’s just a matter of scores being settled. It’s here that the convenient writing proves to be a bit of a dampener. We learn early on that Spider is good at cyber-hacking, but later, how this skill comes in handy isn’t exactly a great moment. A bigger issue perhaps is how Parker is invincible. Even when unarmed and handcuffed, no enemy can truly dominate her. This means that when she does slide out of tough spots, it’s not exactly a surprise.

All said, Trigger Warning does have quite a bit going for it. The writing, for instance, ensures that Parker isn’t just fighting a personal battle. Her resistance is also for the greater good of the country, resonating with her values as a soldier. So, even if it’s a film with flaws, Jessica Alba’s stunt dynamism is eye-catching. If you are considering checking this film out, just remember that it’s about a protagonist that shoots first and asks questions later.