The Idea of You, 2024.

Directed by Michael Showalter.
Starring Anne Hathaway, Nicholas Galitzine, Ella Rubin, Annie Mumolo, Reid Scott, Perry Mattfeld, Jordan Aaron Hall, Mathilda Gianopoulos, Meg Millidge, Cheech Manohar, Raymond Cham Jr., Jaiden Anthony, Vik White, Dakota Adan, Roxy Rivera, Graham Norton, Grace Junot, and Jon Levine.

SYNOPSIS:

Solène, a 40-year-old single mom, begins an unexpected romance with 24-year-old Hayes Campbell, the lead singer of August Moon, the hottest boy band on the planet.

There is no denying that The Idea of You, a romantic drama in which the meet-cute involves a 40-year-old divorced mom and artist unknowingly stumbling into a 24-year-old global celebrity pop star’s trailer under the assumption it’s a bathroom while taking her 16-year-old daughter and her friends to Coachella, is ridiculous. However, co-writer/director Michael Showalter’s film is also a reminder that it doesn’t necessarily matter how improbable a romance is so long as the screenplay does something compelling with the dynamic and would-be lovers.

Admittedly, it takes a while to get to that point since the film is based on what feels more like someone’s fantasy than a novel (Michael Showalter and Jennifer Westfeldt adapting the work of Robinne Lee), but once the film confronts the reality of how difficult such an unlikely relationship would be, not to mention how judgmental and nasty society and Internet culture can be, the screenplay from Showalter and Jennifer Westfeldt leans further into a more human, grounded side of these characters that Anne Hathaway and Nicholas Galitzine convey with gripping emotion. This also means that the second half sometimes feels like it’s rushing through its thornier, more adult, and engaging material, but there is just enough tackling every subject a film with this premise probably should, barring an unnecessary, hokey epilogue that reverts to something far-fetched.

Even setting those frustrations aside, it is admirable that Michael Showalter is comfortable embracing a romantic comedy formula, aware and confident that such tropes are less irksome when the endeavor is injected with characterization. Once the story goes in a serious direction, moving on from the will-they/won’t-they part of the attraction, one practically forgets the absurdity of how these characters were brought together. That is a true, telltale sign that something is working here. It all leads to several moments of piercing emotion between two people harboring trust issues, trying to make this relationship work.

Solène (Anne Hathaway) sees all the reasons she should try resisting superstar boy band singer Hayes’s (Nicholas Galitzine) charm; he is much younger, and she has a teenage daughter (Ella Rubin) who listens to their music (although Hayes is not her crush). The world, including the ex-husband (Reid Scott) who cheated on and left her, will judge the nature of the relationship.

Is it awkward when the father drops by to pick up his daughter with a much younger man answering the door shirtless? Sure. It’s also amusing. It’s also harmless, but when the gender roles are reversed, this age gap is generally an acceptable celebrity dating lifestyle. Leonardo DiCaprio seems determined never to be caught dead dating someone older than 25, Chris Evans just married a woman in her 20s, and Billie Eilish previously dated a man in his 30s. Even movies rarely touch on the reverse of this age gap, perhaps for several reasons, but I won’t dive into those hypotheticals.

What it does come down to is that people, especially men on the Internet, will always look for reasons to attack and hurl insults at women, as if that happiness threatens them. There is a moment where Solène takes charge, determined to make the relationship work despite that. We desperately hope they are successful, completely ready to be heartbroken if it doesn’t pan out.

For whatever reason, the film sidelines the teenage daughter at a summer camp, actively avoiding this intriguing trauma in favor of watching Solène accompany Hayes on his European tour (smartly aware that music and concerts are not the main attraction of this story) filled with bonding and sex (unfortunately, the PG-13 style despite an R rating, leaving one wishing the direction went for something more steamy and sensual. This section drags on, although there are noteworthy scenes showcasing how much more mature Solène is than these younger men (obviously), as well as how sincere Hayes is with his commitment. 

If it seems this review mostly only discusses the second half of The Idea of You, this is mostly a straightforward, corny rom-com until the ideas take hold. As such, it takes a while to get invested properly, but damn do Anne Hathaway and Nicholas Galitzine make a great on-screen pairing, age and social class gap be damned. The movie morphs from fantasy into something believably messy and real right before one’s eyes.

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

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A still from ‘Late Night with the Devil’

Over a year since its first premiere, Late Night with the Devil has finally emerged as a biting satire and a cautionary tale wrapped in the trappings of a Halloween horror special. Directed by Australian duo Colin and Cameron Cairnes, the film presents a deviously sinister narrative set against the backdrop of a 1970s talk show, delivering both nostalgia for the era and a fresh take on the plagues of mainstream media.

David Dastmalchian shines as the hapless Delroy, channeling equal parts charm and desperation. Once a rising star in the late-night circuit, the talk show host finds himself grappling with declining ratings and personal tragedy. Beneath Delroy’s slick smile lies a darkness that threatens to consume him whole. As the night unfolds and the studio descends into chaos, Delroy’s Faustian bargain becomes increasingly clear, serving as a prophetic admonition for the pitfalls of ambition in the cutthroat world of showbiz.

The Cairnes brothers’ meticulous attention to detail is evident in every frame, as they skillfully recreate the aesthetic of a ‘70s studio. From the vintage celluloid wash of period-appropriate equipment to the pitch-perfect performances that straddle the line between camp and sincerity, the film transports us back in time, immersing us in the bygone era of live TV.

The Australian filmmakers demonstrate a keen eye for parody, infusing every dialogue with sly wit and biting humor that all hint at a brewing tragedy about to unfold. The writing revels in its own absurdity while never losing sight of its thematic underpinnings. Through Delroy’s increasingly desperate attempts to salvage his show à la Network’s Howard Beale, the film skewers the shallowness of celebrity culture and the relentless pursuit of ratings at any cost. It’s a deliciously wicked send-up of an industry built on smoke and mirrors, where reasoning is often sacrificed on the altar of entertainment.

David Dastamalchian as Jack Delroy in a still from ‘Late Night with the Devil’

Delroy’s interactions with the eclectic cast of characters — including the creepy Lilly (played with frightening eccentricity by Ingrid Torelli), the charming psychic Christou (a scene-stealing turn by Fayssal Bazi), and a curmudgeonly skeptic Carmichael (played by Ian Bliss) whose sole purpose seems to remind us as the audience of how stupid we are from the get-go — is disconcerting to watch, each interaction provoking an uncomfortable wriggle in our seats in anticipation for the climactic tipping-point.

Without a doubt, the pièce de résistance of the film, much to the glee of horror aficionados, is its delightful medley of homage to genre classics. From John Carpenter’s gleefully grotesque embrace of practical body-horror to loving tributes honoring Linda Blair’s iconic, hair-raising transformation, the Cairnes’ love affair with the genre dances across the screen with a flair that’s uniquely their own.

While Late Night with the Devil is undeniably a horror film, it transcends genre conventions with the Cairnes brothers expertly balancing moments of tension and humour, keeping us hooked from start to finish. With its tongue planted firmly in cheek, the film delivers (nervous) laughs aplenty amidst the screams, serving as a wickedly entertaining romp through the darker corners of the entertainment industry. Though the film may lack some genuine surprises, its real strength lies in its sardonic observations on the industry and some chilling, atmospheric storytelling.

Late Night with the Devil is a devilishly clever satire that serves to expose the dangers of unchecked ambition and the seduction of sensationalism in the media. It’s a reminder that lurking within the neon glows of our living rooms (or perhaps just among the Jimmy’s) are the most malevolent monsters we willingly welcome.

Late Night with the Devil is currently running in theatres.

BLUELOCK THE MOVIE -EPISODE NAGI- is a retelling of the early events of BLUELOCK through the eyes of Nagi and Mikage. However, that’s not to say this is a recap or compilation film. Rather, a good 70% of the film is newly animated footage as the story follows their first meeting, their growing friendship, and the first few trials of the Blue Lock competition.

It is these additions to the story that are the most interesting. Not only do we get to see a completely different version of the soccer tag game that starts things off, but we also see how Nagi and Mikage deal with the other teams we saw Isagi and his friends confront in the early part of the TV series.

Of course, the real meat of the story is centered around the titular Nagi. We spend most of the film in his head—hearing his internal struggle to understand his opponents and himself. This allows us to see that his growth as a character isn’t the light switch flip it seems to be in the main anime but is instead a gradual process that culminates in his game with Isagi (and the choices he makes after).

Throughout the film, Nagi goes from being perpetually bored to not being bored when he’s with Mikage to caring about soccer after clashing with Isagi. This vastly improves his character by making him far more nuanced and understandable—which is important given how prominent he becomes in the series overall.

Mostly, BLUELOCK THE MOVIE -EPISODE NAGI- works as a standalone film. While knowing the rules of the various challenges within Blue Lock and how Isagi dealt with them adds an extra layer to the story, the focus on Nagi makes the film watchable even without that information.

…And then comes the last 10 minutes of the film.

This film’s climax is when Nagi must choose between Isagi and Mikage. Everything in the film builds to this choice. Thus, the logical conclusion point for the film is right after Nagi makes it. However, instead of doing this, the film becomes a montage cramming 12 episodes of action into 10 minutes. It’s visual chaos. It’s impossible to follow what goes on, and even the key moments with Nagi and Mikage from the series’ back half are almost completely cut. Or, to put it another way, this film would be far better if it were 10 minutes shorter.

As for the presentation, the film looks great—as good as the TV anime in most places and better than it in others. Nagi’s flame and skull motif looks great, and the visuals, in general, show just how invested Nagi is at any given moment in what’s going on. Conversely, the music is largely forgettable, but it does its job well enough.

In the end, BLUELOCK THE MOVIE -EPISODE NAGI- is a great companion piece to the original BLUELOCK and a halfway-decent standalone film. It would be even better if it weren’t for its final minutes (and their unnecessary need to catch us up to the end of the first season of the TV anime). Still, BLUELOCK fans will enjoy this one, even if it stumbles a bit on the landing.