Movie Reviews

‘Sentimental Value’ Review: Renate Reinsve, Stellan Skarsgard and Elle Fanning Illuminate Joachim Trier’s Piercing Reflection on Family and Memory

Published

11 months ago

May 21, 2025

‘Sentimental Value’ Review: Renate Reinsve, Stellan Skarsgard and Elle Fanning Illuminate Joachim Trier’s Piercing Reflection on Family and Memory

One of the constants in the intimate films of Joachim Trier is his ability to bring out the very best in his actors. With emotional acuity, he mines their inner lives for truths that seem subcutaneously to connect his cast to his characters. Actors don’t so much play roles in the Danish-Norwegian director’s work as live inside them. His transcendent 2022 feature, The Worst Person in the World, is both a romantic comedy and an anti-rom-com, a close study of a woman navigating a messy transitional period, alive with intergenerational insights and foibles most of us can recognize from some point in our lives.

Trier’s exquisite new film, Sentimental Value (Affeksjonsverdi), shifts its gaze from romantic to familial love, at times harmonious and at others tainted by resentment and anger. The director’s observation of the mutable contracts between sisters, and even more so, fathers and daughters, is intensely affecting in a movie freighted with melancholy but also leavened by surprising notes of humor. As always with Trier’s films, its depth of feeling sneaks up on you without announcing itself.

Sentimental Value

The Bottom Line

Genuine sentiments, fully earned.

Venue: Cannes Film Festival (Competition)
Cast: Renate Reinsve, Stellan Skarsgard, Inga Ibsdotter Lilleaas, Elle Fanning, Anders Danielsen Lie
Director: Joachim Trier
Screenwriters: Joachim Trier, Eskil Vogt

2 hours 12 minutes

There are faint traces of Bergman in Sentimental Value, but also Chekhov and Ibsen, pulled into a contemporary world where they deepen our understanding of history and memory in relation to the characters. With grace and empathy, it explores the volatile power of art and the cost of making highly personal work, to artists and to the people they have hurt.

That aspect is amplified by the living, breathing presence of an Oslo family home, a place that looks like a fairytale cottage, nestled among the soothing greens of the garden and looking onto expansive views of the city. But it’s also a fortress of sorrow, of pain remembered, embedded in its walls.

Renate Reinsve, the luminous star of The Worst Person in the World, plays Nora, an acclaimed stage actress who pours her anxieties into her taxing roles. As a child, she wrote an essay for class about her family’s house and the history it contains of people who lived there before her, precociously attributing it sentient properties.

A hilarious early scene taps Reinsve’s natural gift for physical chaos comedy as Nora is gripped, not for the first time, by crippling stage fright. She misses her music cue (the portentous opening notes of The Shining’s main title theme) while having a full-scale meltdown and refusing to be coaxed by her director to go on. Kasper Tuxen’s agile camera follows her as she dashes from her dressing room to the backstage area, throwing herself at her fellow company member and married lover Jakob (Anders Danielsen Lie, from Worst Person and earlier Trier films). Tearing at her costume and hair, she pleads with him to fuck her, or failing that, slap her. He opts for the latter.

At their mother’s wake, Nora is the calm one while her normally composed sister Agnes (Inga Ibsdotter Lilleaas), an academic historian, is a mess. Retreating upstairs, Nora listens at the heating grate, just as she did as a child eavesdropping on her parents’ arguments or her therapist mother’s conversations with patients; she is startled to recognize the voice of her father Gustav (Stellan Skarsgard), an unexpected arrival.

A once lauded film director who hit a 15-year fallow patch, Gustav abandoned the family when the girls were young, moving to Sweden and divorcing their mother. The reunion is more than a little awkward. Further complicating matters is the fact that their mother got the house after the divorce, but the papers were never signed, meaning Gustav now owns it.

Trier and his longtime co-writer Eskil Vogt draw us in quickly to the family dynamic, establishing the sly ripples of humor that run through even the darker scenes.

Gustav tells Nora he needs to speak with her while he’s in town, later showing her a script that he says might be the best thing he’s ever written and a great comeback for him as a director. He offers her the lead role of a young mother, transparently based on his own mother’s tragic story, though he denies it.

Nora wants no part of the movie or of him, calling him a drunk who has caused the family nothing but pain. She adds that he has never shown much interest in her work and barely even seen her on stage, which he justifies without apology by saying he doesn’t care for theater.

This is a marvelous role for Skarsgard, who gets to play up Gustav’s self-importance and lack of accountability along with his flirtatious charm as the movie progresses. The theater/film divide seems to confirm Nora’s view of him as the enemy. He doubles down on it later, confessing, “It’s not that I hate theater. I just hate watching it.” Sure enough, he then fails to show at her opening night.

Determined to go ahead with the film, he casts American star Rachel Kemp (Elle Fanning), whom he met while being honored at a film festival. She’s jaded with Hollywood and with the projects she has lined up, roles to which she feels no connection.

Rachel responds emotionally to a screening of the movie that put Gustav on the map many years back, a WWII drama about orphaned Jewish children trying to escape the Nazis that ends on a lingering closeup of a young girl’s haunted face.

That role was played by Agnes, who says the film shoot was the only time she ever got to be at the center of her father’s universe. When he approaches her about putting her son Erik (Oyvind Hesjedal Loven) in the new movie, she instantly refuses, though that doesn’t stop him from going around her to try convincing the boy what fun it would be. The DVD selections that he turns up with as a gift on his grandson’s ninth birthday are priceless. Less kid-friendly films would be hard to find.

Playing an egotist with a roguish appeal to which only his daughters are immune, Skarsgard stirs in wry humor (and a funny Netflix dig) about being an aging arthouse director whose success is behind him. He visits his longtime cinematographer Peter (Lars Väringer) in the swanky house paid for by his work on Lasse Hallström films. But during the 15 years since they last worked together, Peter retired; he’s keen to do the movie, but his frail physical state makes Gustav drop the offer. Gustav later asks his producer Michael (Jesper Christensen), “Am I too old for this?”

Trier and Vogt delicately layer in allusions to grief and sadness being passed down to successive generations, both in scenes Gustav rehearses with Rachel and archival records Agnes finds of her grandmother, who was tried for treason, imprisoned and tortured during the German occupation.

Despite the frequent touches of humor, the movie’s swirling mix of past and present builds pathos, yielding one of Trier’s characteristic stylized flourishes in which the faces of multiple generations wash over each other, staring into the camera as one person morphs into the next.

Around this time, Rachel starts to feel uncomfortable about doing the film, realizing it’s not her story to tell. In one of the movie’s loveliest scenes, she approaches Gustav about pulling out; he shows her more paternal fondness than he’s probably ever shown his daughters. Skarsgard is unexpectedly moving as Gustav acknowledges to himself the ways he failed his family, his arrogant certainty abruptly falling away.

There are gorgeous moments late in the movie between the sisters that indicate how their roles have switched since childhood. Nora looked after Agnes when they were girls, but Agnes now serves as protector of her more fragile sister, just as she took on caregiver responsibilities with their dying mother. As wonderful as Reinsve is, Ibsdotter Lilleaas, who’s mostly unknown outside Norway, matches her every emotional beat. “How did it happen?” Nora asks Agnes. “You turned out fine and I’m fucked up.”

Unlike the Hollywood version of this story — the kind of script Rachel Kemp might have passed on — there’s no neat and tidy reconciliation. But Trier keeps tricks up his sleeve that provide surprises and leave open a window just enough to let in a sliver of hope.

For what might have been a standard family melodrama in less capable hands, Sentimental Value is uncommonly rich in emotional rewards and contemplative in its reflections on the places where we live becoming a permanent repository for our memories, remaining there even after we move on. The movie’s poignancy accumulates gradually, every supple turn expertly modulated as the presence of generations past becomes more tangible.

Cinematographer Tuxon (who also shot Worst Person) takes great advantage of the crystalline Scandinavian light, giving the chamber piece a panoramic amplitude. As always, Trier makes beguiling music choices, deep cuts that gently help shape the mood — the way he did with the Harry Nilsson songs and Art Garfunkel’s “Waters of March” cover in Worst Person.

Here, he bookends the movie with two songs brimming with tenderness and warmth: Terry Callier’s “Dancing Girl” and Labi Siffre’s “Cannock Chase.” Anyone whose soundtrack selections run from Roxy Music to Michael Nyman, New Order to Pastor T.L. Barrett & the Youth for Christ Choir, makes you want to score an invite to explore their album collection.

The whole cast is superb, but it’s especially gladdening to see Reinsve working again with a director who draws out every ounce of raw feeling in her, but also makes you think — even in this often dark and predominantly dramatic context — how good she might be in screwball comedy.

One scene comes to mind that’s just a delight, when Nora and Agnes are in the house sorting through things, deciding what they might want to take as keepsakes.

Nora chooses a vase that Agnes wanted and when they see Gustav arriving with Rachel through the window, Nora backs out of the room like a bad driver, almost smashing the vase but catching it in time, running out the back door, across the yard and through a gap in the fence still clutching it. As she walks briskly toward the camera it seems like perfect continuity with her character Julie running in The Worst Person in the World.

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Movie Reviews

Why Critics Despise The Super Mario Galaxy Movie (But Audiences Love It)

Published

4 hours ago

April 6, 2026

Press Room

Why Critics Despise The Super Mario Galaxy Movie (But Audiences Love It)

The verdict is in, and critics have widely panned The Super Mario Galaxy Movie while audiences have universally praised the family-friendly sequel. This follow-up to the fan-favorite The Super Mario Bros. Movie has been in theaters for about a week since its debut on April 1, and it has already had the best box office opening in 2026, earning more than $190 million over its 5-day domestic weekend. Worldwide, it has amassed $372 million, making it the fifth largest global opening ever for an animated film. Despite the movie being a massive box office hit, however, the review scores are terribly low for the video game adaptation, and there are several reasons why.

Fans vs. critics on The Super Mario Galaxy Movie

As of April 6, The Super Mario Galaxy Movie has a mediocre 42% Tomatometer score from a total of 175 reviews on Rotten Tomatoes while holding a fantastic 89% Popcornmeter score from over 5,000 verified user ratings. That’s a stark 47-point difference between critics and users.

A similarly wide disparity can be found on Metacritic as well, where the sequel has a “generally unfavorable” Metascore of a 37 based on 45 reviews, despite it earning a “generally favorable” user score of a 7.9 (basically, a 42-point difference).

This gulf between professional reviews and user reviews for this sequel likely isn’t too surprising by fans of the original 2023 Super Mario Bros. movie. That film earned a 59% Tomatometer but a 95% Popcornmeter on Rotten Tomatoes, and it has “mixed or average” 46 Metascore but a “universal acclaim” user score of 8.1.

To be fair, the range of critic scores for the film is vast on Metacritic, with about seven reviews above a 60 and fifteen reviews below a 40. ComingSoon’s Jonathan Sim give it a “Good” 7 out of 10 rating, noting that “it doesn’t necessarily deepen the emotional or narrative complexity of the franchise, but it refines what worked before amplifies it on a grander scale.” However, many other reviews are far less kind, particularly the 0 out of 5 rating from The Times that calls the film “ugly, overbranded, lifeless digital marketing vomit” and a review from Vulture that says it’s like being “asphyxiated in a ball pit filled with candy.”

Meanwhile, multiple user reviews on Metacritic are shocked at the reviews. One called the low Metascore “absolutely ridiculous,” while another asked readers to ignore the critics altogether. A different user wrote, “It’s wild to see professional critics giving this a zero. It feels like they’ve never actually picked up a controller.” And to that person’s credit, we did find that a few critics who gave low scores admitting that the film wasn’t meant for them or that they had never played a Mario game before. Indeed, the movie is chock full of Nintendo references and easter eggs, something that Mario fans will appreciate far more than anyone who doesn’t know or care about the difference between a Super Mushroom and a Fire Flower.

More broadly speaking, The Super Mario Galaxy Movie has more than several traits that critics tend to dislike but that audiences enjoy. The first is that it’s a quick-paced, action-packed film, which features a handful of battles with Mario, Luigi, Yoshi, Princess Peach, Toad, Fox McCloud, Bowser, Bowser Jr., and Wart. Another is that it’s a comedic adventure with cartoonish gags that are age-appropriate for kids and humorous to Mario fans who are in on the joke. On top of that, the film is a family-friendly video game adaptation, a genre that doesn’t usually score well from critics. A Minecraft Movie, another box office smash that earned $960 million worldwide (and also starred Jack Black), was equally slammed by critics with a 47% Tomatometer but lauded by audiences with an 84% Popcornmeter.

Taken altogether, the movie was almost made in a lab for reviewers to despise and for audiences to praise as a nostalgic love letter to Nintendo. Regardless, despite how critics feel, they’ll need to brace themselves for more, since the Nintendo Cinematic Universe is looking like it will come sooner than later.

Movie Reviews

I Know Exactly How You Die – Review | Indie Slasher | Heaven of Horror

Published

16 hours ago

April 6, 2026

Press Room

I Know Exactly How You Die – Review | Indie Slasher | Heaven of Horror

Watch I Know Exactly How I Die on VOD

The director of I Know Exactly How I Die is Alexandra Spieth, who ensures a tight pace and some gorgeous shots. She previously directed Stag and created and starred in the web-series [Blank] My Life. The screenplay comes from Mike Corey, and I do really like the plot and evolution of this story.

As already mentioned, the star Rushabh Patel is the executive producer. As a result, this movie is billed as “Rushabh Patel’s I Know Exactly How I Die“, which I am not a fan of. Unless Rushabh Patel is famous in ways I am not familiar with – nor is IMDb, as this is his first and so far only credit there.

This is like people wondering if Something Very Bad Is Going to Happen is connected to Stranger Things, because the media keeps referring to it as a new show from The Duffer Brothers. Sure, they produced it, but Haley Z. Boston created the original story and wrote the screenplay. And she’s not even a newcomer.

Okay, rant over, but I just don’t understand the marketing and press decisions of it all.

Anyway, as already mentioned, the practical effects in I Know Exactly How I Die are gorgeous. Any slasher fan should enjoy the concept of the plot as well as those amazing practical effects. And yet, you will have to endure a little terrible CGI, but this is an indie production, so budget restraints come into play. Of course, so does choosing the best talent, and that did not happen for CGI here!

I Know Exactly How You Die is out on VOD from April 7, 2026. You can rent it on Digital HD from your preferred platform, including Prime Video and Fandango at Home. The film will also be available on DVD.

Movie Reviews

‘Super Mario’ fans ignore weak reviews and send sequel to $372.5 million global box office debut, biggest opening of the year for a studio film | Fortune

Published

1 day ago

April 5, 2026

Press Room

‘Super Mario’ fans ignore weak reviews and send sequel to 2.5 million global box office debut, biggest opening of the year for a studio film | Fortune

Mixed reviews didn’t dissuade mass audiences from buying tickets to the “The Super Mario Galaxy Movie,” which scored the biggest opening of the year for a Hollywood movie. The Illumination and Nintendo co-production earned $130.9 million over the weekend and a massive $190.1 million in its first five days in North American theaters, according to studio estimates Sunday.

Universal Pictures released the sequel globally on Wednesday, capitalizing on kids’ spring break vacations in the week leading up to the Easter holiday. With an estimated $182.4 million from 80 overseas markets, the film is looking at an astronomical $372.5 million debut — the latest hit for the PG rating. Mexico is leading the international bunch with $29.1 million from 5,136 screens, followed by the U.K. and Ireland with $19.7 million.

The animated sequel, Illumination CEO Christopher Meledandri’s 16th movie in 16 years, is the industry’s biggest debut since “Avatar: Fire and Ash” launched over Christmas. The Chinese movie “Pegasus 3,” which was not a Motion Picture Association release, has the slight edge for the 2026 global record, however.

It’s also a dip from the first film, which opened to $204 million domestically during the same five-day time frame in 2023 ($147 of that was from Friday, Saturday and Sunday). “The Super Mario Bros. Movie” went on to be the second biggest movie of 2023, with over $1.3 billion in box office receipts.

“The Super Mario Galaxy Movie,” which features returning voice actors Chris Pratt, Jack Black, Anya Taylor-Joy and Charlie Day, had a massive footprint in the U.S. and Canada, where it played in 4,252 theaters, including 421 IMAX and 1,345 premium large format screens. It made $15 million from the IMAX screens alone.

“It’s exactly the kind of broad, crowd-pleasing release that brings people into theatres,” AMC Chairman and CEO Adam Aron said in a statement.

It also cost around $110 million to make, not including marketing and promotion expenses. But it arrived on a wave of less-than-stellar reviews. Its Rotten Tomatoes score is currently sitting at a lousy 40%. Ticket buyers were more enthusiastic, however.

The family audience gave the movie five out of five stars according to PostTrak exit polls, while general audiences gave it four stars and an A- on CinemsScore. Audiences skewed male (61%) overall, although when it came to families attending there were slightly more moms (52%) than dads.

“These kind of audience reaction scores just point to a ridiculously strong run, not only throughout the spring, but likely into the summer as well,” said Jim Orr, Universal’s president of domestic distribution.

“The Super Mario Galaxy Movie” will open in Japan later this month.

Last year, the first weekend in April hosted the launch of another video game blockbuster, “A Minecraft Movie,” which had a bigger three-day debut ($162.8 million) but didn’t have a “Project Hail Mary” in a strong second place, meaning the weekend overall is still up around 5%.

As expected, “The Super Mario Galaxy Movie” ended the two-week reignof the Ryan Gosling-led sci-fi hit “Project Hail Mary,” which landed in second its third weekend in theaters where it added $30.7 million, bringing its running domestic total to $217.2 million. Worldwide, it’s made $420.7 million to date.

Third place went to A24’s provocative new movie “The Drama,” starring Zendaya and Robert Pattinson, which made an estimated $14.4 million from 3,087 theaters. The film’s stars have been on a massive and charming press blitz to promote their R-rated movie about a engaged couple grappling with an unnerving revelation, which cost a reported $28 million to produce. The reveal has drummed up a fair amount of cultural discourse. While reviews have been more positive than not (82% on Rotten Tomatoes), it got a less promising B CinemaScore.

“Hoppers” and “Reminders of Him” rounded out the top five. And the box office outlook looks bright overall, up around 30% from last year.

“There’s no better opening act for a great summer than a huge month of April powered by a mega blockbuster like the ‘The Super Mario Galaxy Movie,’” said Paul Dergarabedian, comscore’s head of marketplace trends.

Top 10 movies by domestic box office

With final domestic figures being released Monday, this list factors in the estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore:

1.“The Super Mario Galaxy Movie,” $130.9 million.

2.“Project Hail Mary,” $30.7 million.

3.“The Drama,” $14.4 million.

4.“Hoppers,” $5.8 million.

5.“Reminders of Him,” $2.2 million.

6.“A Great Awakening,” $2.1 million.

7.“They Will Kill You,” $1.9 million.

8.“Dhurandhar The Revenge,” $1.9 million.

9.“Ready or Not 2: Here I Come,” $1.8 million.

10.“Scream 7,” 915,000.