‘3 Body Problem’
Netflix
Movie Reviews
SXSW Film & TV Festival 2024: All Of Deadline’s Reviews
The 2024 SXSW Film Festival kicked off March 8 in Austin with the opening-night world premiere screening of Doug Liman’s Road House remake starring Jake Gyllenhaal and Conor McGregor. It started nine days of debuts including for movies starring Rooney Mara, Isabelle Huppert, Gael García Bernal, Kristen Stewart and more. The Anne Hathaway romantic dramedy The Idea of You from SXSW stalwart Michael Showalter closed the fest on Saturday.
Keep checking back below as Deadline reviews the best and buzziest movies of the festival. Click on the titles to read the full reviews.
3 Body Problem
Section: TV Premiere
Director: Derek Tsang
Cast: Jovan Adepo, John Bradley, Rosalind Chao, Liam Cunningham, Eiza González, Jess Hong, Marlo Kelly, Alex Sharp, Sea Shimooka, Zine Tseng, Saamer Usmani, Benedict Wong, Jonathan Pryce
Deadline’s takeaway: 3 Body Problem’s biggest existential threats are just how redundant it all seems, and how every plot development can be seen from a galaxy away, like Omar Sharif coming over the desert on horseback in Lawrence of Arabia.
Arcadian
‘Arcadian’
Patrick Redmond
Section: Narrative Spotlight
Director: Benjamin Brewer
Cast: Nicolas Cage, Jaeden Martell, Maxwell Jenkins, Sadie Soverall, Samantha Coughlan, Joe Dixon, Joel Gillman
Deadline’s takeaway: The filmmakers attempt to navigate the tumultuous waters of a post-apocalyptic narrative, showcasing a world decimated by an unspecified catastrophic event. But despite a cast that promises gravitas and the tantalizing premise of a stark, survivalist drama, the film ultimately fumbles and fails to terrify.
Civil War
Kirsten Dunst in ‘Civil War’
Murray Close
Section: Headliner
Director: Alex Garland
Cast: Kirsten Dunst, Cailee Spaeny, Wagner Moura, Stephen McKinley Henderson, Jesse Plemons, Nick Offerman
Deadline’s takeaway: Ultimately, Civil War feels like a missed opportunity. In its attempt to navigate the complexities of war, journalism and the human condition, the film finds itself caught in the crossfire, unable to deliver the profound impact it aspires to achieve.
Desert Road
‘Desert Road’
SXSW
Section: Narrative Spotlight
Director-screenwriter: Shannon Triplett
Cast: Kristine Froseth, Frances Fisher, Beau Bridges, Ryan Hurst, D.B. Woodside, Max Mattern, Rachel Dratch, Edwin Garcia II
Deadline’s takeaway: Making her directorial debut, Shannon Triplett shows a sophisticated grasp of genre dynamics, with a bold use of space — a stretch of the Mojave Desert doubling for Death Valley — that proves more and more gripping as the film’s mysteries unfold.
The Fall Guy
Ryan Gosling in ‘The Fall Guy’
Universal Pictures
Section: Headliner
Director: David Leitch
Cast: Ryan Gosling, Emily Blunt, Aaron Taylor-Johnson, Hannah Waddingham, Stephanie Hsu, Winston Duke, Teresa Palmer
Deadline’s takeaway: The Fall Guy excels in its self-aware storytelling and stands as a hilarious and thoughtful tribute to the stunt community, blending action with a poignant exploration of the sacrifices made by these unsung heroes. It’s a testament to the spirit of collaboration and that defines Hollywood at its best.
Grand Theft Hamlet
‘Grand Theft Hamlet’
Altitude
Section: Documentary Feature Competition
Director: Sam Crane and Pinny Grylls
Cast: Sam Crane, Mark Oosterveen, Jen Cohn
Deadline’s takeaway: The film hits some rocks with its three-hour-plus running time, but the play-within-a-video-game premise is a winner, and there’s a lot to enjoy as the leads talk iambic pentameters while bullets fly, planes crash and bazookas unload.
The Greatest Hits
Lucy Boynton in ‘The Greatest Hits’
Searchlight
Section: World Premiere
Director: Ned Benson
Cast: Lucy Boynton, Justin H. Min, David Corenswet, Austin Crute, Retta
Deadline’s takeaway: The heartfelt and deeply human but flawed film’s exploration of music’s role in our emotional lives and history is a moving portrayal that offers audiences a reflective journey through the intricacies of love, loss and, ultimately, hope.
The Idea of You
‘The Idea of You’
Prime Video
Section: Headliner
Director: Michael Showalter
Cast: Anne Hathaway, Nicholas Galitzine, Ella Rubin, Annie Mumolo, Reid Scott, Perry Mattfeld, Jordan Aaron Hall, Mathilda Gianopoulos, Raymond Cham Jr., Jaiden Anthony, Viktor White, Dakota Adan
Deadline’s takeaway: The Idea of You shines when it delves into the introspection and self-awareness that comes with significant life milestones, but when it aims to capture the essence of shared vulnerability and trust it falters, stumbling over a narrative that feels uneven and, at times, contrived.
Immaculate
Sydney Sweeney in ‘Immaculate’
Fabia Lavino, Courtesy of Neon
Section: Headliner
Director: Michael Mohan
Cast: Sydney Sweeney, Alvaro Morte, Simona Tabasco, Benedetta Porcaroli, Giorgio Colangeli, Dora Romano
Deadline’s takeaway: Taking the reins as both lead actress and producer, Sydney Sweeney crafts a space for herself to explore a diverse array of characters, affirming her dedication to broadening her artistic range. A bold departure with the ending provides satisfying closure by finally subverting traditional expectations and concluding on an unconventional note.
Monkey Man
Dev Patel in ‘Monkey Man’
Universal
Section: Headliner
Director: Dev Patel
Cast: Dev Patel, Sharlto Copley, Pitobash, Vipin Sharma, Sikandar Kher, Sobhita Dhulipala, Ashwini Kalsekar, Adithi Kalkunte,, Makarand Deshpande
Deadline’s takeaway: The film leaves audiences with a profound message: In a world rife with injustice, sometimes radical action is necessary to forge new paths. Dev Patel’s directorial finesse and meticulous attention to detail suggest a promising helming future.
My Dead Friend Zoe
From left: Ed Harris, Natalie Morales and Sonequa Martin-Green in ‘My Dead Friend Zoe’
SXSW Film Festival
Section: Narrative Spotlight
Director: Kyle Hausmann-Stokes
Cast: Sonequa Martin-Green, Natalie Morales, Utkarsh Ambudkar, Ed Harris, Gloria Reuben, and Morgan Freeman
Deadline’s takeaway: While the film occasionally falters in its pacing, My Dead Friend Zoe is a powerful testament to the resilience of the human spirit and the imperative to provide better support for our veterans. It challenges its audience to reflect on the collective responsibility to ensure their well-being long after their service has ended.
Road House
Conor McGregor and Jake Gyllenhaal in ‘Road House’
Prime Video
Section: Headliner
Director: Doug Liman
Cast: Jake Gyllenhaal, Daniela Melchior, Billy Magnussen, Jessica Williams, Joaquim de Almeida, Conor McGregor, Lukas Gage, Arturo Castro, B.K. Cannon, Beau Knapp, Darren Barnet, Dominique Columbus, Bob Menery, Catfish Jean, Kevin Carroll, Travis Van Winkle, Hannah Lanier
Deadline’s takeaway: In spite of a few flashes of technical brilliance in its action sequences and a few tries made by its cast, this rebuilt Road House stands as a testament to just how difficult it is to capture lightning in a bottle.
Sew Torn
Eve Connolly in ‘Sew Torn’
UTA
Section: Visions
Director: Freddy Macdonald
Cast: Eve Connolly, Calum Worthy, John Lynch, K Callan, Ron Cook, Thomas Douglas, Werner Biermeier, Veronika Herren-Wenger, Caroline Goodall
Deadline’s takeaway: Its oddness certainly will be frustrating to those who like their crime hardboiled, but most of all, it’s a great discovery — the kind of film festivals were made for and streamers should fill their boots with. It will be fascinating to see where destiny takes Freddy Macdonald next.
Timestalker
Aneurin Barnard and Alice Lowe in ‘Timestalker’
Ludovic Robert/HanWay
Section: Narrative Spotlight
Director: Alice Lowe
Cast: Alice Lowe, Jacob Anderson, Aneurin Barnard, Tanya Reynolds, Nick Frost
Deadline’s takeaway: The ambitious film recalls classic Monty Python — it’s often very, very stupid and the same time very, very clever — but most of all, it’s an idea of what might have been if that all-male team had ever had a woman or two in its core lineup. Somehow, Alice Lowe has the wide-eyed innocence to carry it all off, a very subversive gift indeed.
We Were Dangerous
From left: Nathalie Morris, Manaia Hall and Erana James in ‘We Were Dangerous’
SXSW
Section: Narrative Feature Competition
Director: Josephine Stewart-Te Whiu
Cast: Rima Te Wiata, Erana James, Nathalie Morris, Manaia Hall
Deadline’s takeaway: We Were Dangerous never quite comes together as the wry, subversive coming-of-age movie that it might have been, but the performances are powerful enough in Josephine Stewart-Te Whiu’s debut that its emotional heft is surprisingly indelible.
Y2K
From left: Jaeden Martell, Rachel Zegler and Julian Dennison in ‘Y2K’
SXSW
Section: Headliner
Director: Kyle Mooney
Cast: Jaeden Martell, Rachel Zegler, Julian Dennison, Daniel Zolghadri, Lachlan Watson, Kyle Mooney, Eduardo Franco, Alicia Silverstone, Fred Durst
Deadline’s takeaway: What sets Y2K apart is its nuanced approach to nostalgia. In a cinematic landscape often saturated with attempts to capitalize on the past. The stands out for its authenticity and restraint. Ultimately, it’s a testament to Kyle Mooney’s vision and a promising start to his directorial career.
Ryan Gosling in Sony Pictures’ ‘Project Hail Mary’
Now in Theaters
“Project Hail Mary”
(Amazon – MGM Pictures)
Rated PG-13
“I put the ‘Not’ in ‘astronaut!’
When was the last time you walked out of movie theater feeling not only better about humanity but also our future?
Based on the revered 2021 Andy Weir novel of the same name, and adapted for the screen by Drew Goddard (“Buffy the Vampire Slayer,” “Daredevil” and “The Martian”), “Project Hail Mary” is an ingeniously crafted and perfectly paced sci-fi drama about a biologist and school teacher who wakes up from a coma aboard a spacecraft that’s on a mission to save all life on Earth. As both the star and co-producer, it took Ryan Gosling seven years to bring this vastly entertaining instant classic to the big screen, and it was so worth the wait.
Admittedly, I wasn’t thrilled with the trailers or even the tone that seemed to give ABC afterschool-special vibes. But after seeing it in its entirety, everything about it blew me away.
Who Are We?
Bursting with fascinating and enthralling moral quandaries, it makes viewers question themselves and our species. And refreshingly, “Project Hail Mary” is a magnificent “grand idea” kind of story that seamlessly weaves themes of self-preservation, obligation, the intrinsic meaning of humanity and most powerfully (and surprisingly) friendship. You will come away with fresh personal revelations and deep, self-examinations that you probably never intended to ponder, which is the beauty of epic sci-fi tales like this. They force us to muse about the kinds of societies we want to live in.
And with the wondrous inclusion of Gosling’s all too real co-star Rocky, I became so emotionally gripped, that I was close to tears a few times. I just love it when a film not only challenges but surpasses whatever preconceived notions you may have held about it beforehand.
Intensely moving, meticulously thoughtful, endlessly nuanced and massively entertaining, it’s easy to see why “Project Hail Mary” is already considered one of the best films of the year.
-@TheAndreKelley
.
ONLY IN THEATERS
“You, Me & Tuscany”
(Will Packer Productions)
Rated PG-13
“You pretended to be the White Italian man’s fiancé?
But ended up catching feelings for the Black Italian cousin-brother?”
As expected, “You, Me & Tuscany” is really, really cute. Halle Bailey (“The Little Mermaid,” “Grown-ish”) and Rege-Jean Page (“Black Bag,” “Bridgerton”) are initially combative, though there’s little doubt as to where the two are headed in this charming and delightfully executed story. Writer-producer Will Packer (“Think Like A Man,” “Girls Trip”) outdid himself in this colorful, feel-good, family-friendly, classic comedy of errors.
Glorious Tuscan Countryside
And while making excellent use of the lush and intoxicating Tuscan countryside, what I found curiously effective was that the dynamic of the ensemble became as big a part of the film as the romance itself. Surprisingly, I was completely caught off-guard as those familial aspects developed. And though Rege-Jean Page is not my cup of tea (too skinny, too pretty) as a lead, I now see why women react to him the way they do. He’s a very good dramatic actor, he holds attention quite easily on the big screen and of course, that face-card would never be declined.
Also, with Black women now becoming the most educated, economically-empowered and increasingly, well-traveled demographic of society, Packer smartly captures that zeitgeist with this well-produced and topically focused vacation vehicle.
Notably, his critically-acclaimed and commercially successful “Girls Trip” was domestically based whereas Tuscany makes faithful and fantastic use of the kinds of village locales and gorgeous countrysides we’d all like to visit. So what better way to explore and find parts of ourselves while also falling in love than abroad?
A Welcome Genre Update
And finally, be it his television shows or movies, I sincerely love Will Packer’s upscale treatment and desperately needed update of the romantic-comedy genre. Typically, the majority are White and situation-based, whereas this one was Black-centered and in an international setting. So, those aspects alone I genuinely enjoyed.
I’m a sucker for thoughtful production with Black folks looking great, being well-lit and shot properly. We don’t often get passport-driven international fare with a wonderful balance of warmth, humor and heart like this, so don’t wait to stream it. “You, Me & Tuscany” is well worth the trip.
@YOUMETUSCANY
#YOUMETUSCANY
.
NOW IN THEATERS
“Hoppers”
(Pixar) Rated PG
“Let’s squish the humans!”
Impressively, within mere minutes of its opening we get a solidly hilarious understanding of Mabel Tanaka’s deeply feisty affinity for animals, and her incessant, almost uncontrollable desire to help them.
Voiced delightfully by Piper Curda (Disney Channel’s “A.N.T. Farm”) as the willful and resourceful protagonist, she makes quick use of new technology that allows her to infiltrate and talk to the animal kingdom.
John Hamm (“Bridesmaids,” “Mad Men”) is fantastic as her arch nemesis, the town’s preening and vainglorious, Gavin Newsom-esque Mayor Jerry, who’s behind the ominous threat to the very habitat that Mabel and her friends are fighting to defend.
State-of-the-art Animation
And true to the magnificent legacy of Pixar’s usual flawless execution (“Hoppers” is their 30th film) the state-of-the-art animation is absolutely gorgeous and intriguing to look at. Much of it, especially with regard to the larger animals, is unlike anything I’ve ever seen. You almost want to reach out and touch them. The hair and body textures are next-level fascinating and so lifelike, it’s as if you’re watching plush animals come to life in this brilliantly spooled sci-fi comedy.
And don’t get it twisted nor let the animation aspects of talking animals fool you. There are some very clear (as well as oblique) nods to our current reality that make this more than what it appears on the surface. Ingeniously, it imparts universal themes of cooperation, community and inclusion, as well as a plethora of life-lessons we want all young people exposed to.
Stay for the Credits
Unfortunately, there’s no usual Pixar short at the beginning of the movie and like any Marvel film, I strongly urge you to stay for the end credits. Witty, warm and a bit whimsical, “Hoppers” is brimming with hilarious and heartfelt laughs and lessons.
And with everything that’s currently happening in our world, there’s never been a better time to enjoy what’s going on in someone else’s.
Good news, grown-ups, even though most of the screens at your local theater are probably still devoted to “The Super Mario Galaxy Movie,” there’s a decent option for adults in one of the other houses. I’m convinced that “The Drama” has stayed in the top three at the domestic box office for the past two weekends by reeling in parents who don’t want to watch Mario with their kids, but don’t want to leave the theater. Or it could be good advertising, good word-of-mouth, good reviews, or other non-cynical reasons.
The film follows Charlie (Robert Pattinson) and Emma (Zendaya), a nauseatingly-cute Boston-area couple a week away from their wedding. He’s a bit of a creep and she doesn’t talk much about her military-family upbringing, but they’re sure they can learn to live with each other’s foibles, after all, they’re in love. Hopefully it’s not much of a spoiler to say that their love will be tested over the course of the film as they deal with, well, drama.
That drama first rears its head at a couples’ dinner with friends Mike (Mamoudou Athie) and Rachel (Alana Haim). Rachel has the bright idea to have everyone at the table reveal the worst thing they’ve ever done. I’m not sure what the “best” case scenario is for a game like this, but it certainly ends in one of the worst. Emma makes the grave miscalculation of thinking that she has the forum to be honest, and reveals a secret that ruins everybody’s night.
I joked about spoilers earlier, but when it comes to Emma’s secret, things are more difficult. Unlike traditional spoilers, this one comes early in the movie, when she and Charlie are still in their “honeymoon phase,” so to speak. Not revealing the secret makes it hard to look at the rest of the movie, but it’s in the movie’s best interest that the audience is taken off-guard so they don’t have time to form opinions about the controversial subject matter in advance.
What I can say is that once Emma’s secret is revealed, Charlie can’t look at her the same way again. He tries to put it out of his mind, but… if you’re told not to think of a red umbrella, you think of a red umbrella, and Emma’s secret might have involved some red umbrellas if people were carrying umbrellas. It is worth noting that Emma’s secret does not involve tangible victims or require tangible consequences. All it can do is affect how people think of her, which is invariably some form of “worse.”
Emma’s secret drives Charlie to madness in his relationship with his friends, his assistant (Hailey Gates), and especially Emma. Eventually his insecurities drive her crazy, and by the time of the wedding, they’re quite the dysfunctional couple. They’re talking about spending the rest of their lives together, but can the relationship even survive the reception? Let’s just say that there will probably be a lot fewer fantasies about getting married to Robert Pattinson after this movie.
“The Drama” really clicked with me, even though its appeal lies in a dark, awkward, cringey comedy that I don’t normally like. Probably the highlight of the film for me was a scene from the trailers, where Charlie and Emma try to pose for wedding photos like everything is okay when it definitely isn’t. It’s not hard to tell from the trailers that “something” is off, but the added context made it funnier than it ever was when being cryptic (though being cryptic was the right tone for the trailers). I recommend this film, but try to wear a beat-up shirt that you won’t mind stretching out from tugging at your collar.
Grade: B
“The Drama” is rated R for sexual content, some violent/bloody images, language throughout, and brief drug use. Its running time is 105 minutes.
Contact Bob Garver at rrg251@nyu.edu.
Perhaps the reason Keanu Reeves doesn’t quite grasp the tone in Jonah Hill’s Hollywood star in crisis over a scandal “comedy” “Outcome” is that director, co-writer and co-star Hill didn’t make what he was going for clear.
Maybe Hill didn’t quite know himself what notes to hit in a not-quite-funny romp through extortion, taking stock and making amends for the selfish lives stars must live to become movie stars. It doesn’t help that Reeves is a frustratingly awkward actor in any film that doesn’t have fight choreography, comedies and sensitive dramas or dramedies especially.
There are a couple of laughs in this picture, and a few poignant, almost “honest” moments provided by Martin Scorsese, who plays the talent manager who “discovered” the former child star Reef Hawk (Reeves), abandoned as Reef ascended to the pinnacle of Hollywood success,by Susan Lucci, as Reef’s estranged “Real Housewives” mother and Cameron Diaz as one of two high school friends (Matt Bomer is the other) who stuck with their 56 year old pal and got a posh free ride for their trouble.
But the picture doesn’t play, doesn’t send much of a message and most certainly never “lands.”
The title “Outcome” is a sophmoric pun, and in Hill’s antic “crisis lawyer” co-starring performance there are traces of every over-the-top comedy of his foul-mouthed cherub youth. As a bald, bearded David Cross-on-uppers lawyer who decorates his office with “client” photos of Kanye, the Clintons and Kevin Spacey, Hill’s Ira is forever trying misread-the-room “jokes” that he freely admits don’t “land.”
“I gotta go. Adam Driver bought a pet chimp and it ate some lady’s face off at the mall!”
Even the ones Ira doesn’t apologize for play as strained, with only Hill’s toothy, tasteless/tactless energy to put them over.
Reef, a former addict and all-around Hollywood “nice guy” is just about to end a five year hiatus from acting, kicking his heroin addiction and keeping much of that and a legion of people who apparently “hate” him — with cause — out of the public eye and unattached to his pristine image.
But the new landscape for celebrity has made him paranoid. “You’re always being watched, observed,” he fearfully grouses to Kyle (Diaz) and Xander (Bomer).
And now somebody has a video they’re threatening to release, something that could ruin Reef and his image. He compulsively Googles “Is Reef Hawk an ass—e,” “Reef Hawk scandal” and “Reef Hawk video,” waiting for a shoe to drop — which shoe, he has no idea.
Which is why fast-talking Ira sends him on an apology tour through his past — that first manager, his mother — who only meets with him in an interview for her “Housewives” show. Mom’s sense of victimhood, living through her wildly popular son’s rise having “sacrificed” and groomed him for stardom since childhood, is genuine and almost touching if not genuinely funny.
“Just because it’s performative doesn’t mean it’s not the TRUTH!”
Hill can’t find laughs in a meeting Ira stages with his crisis-management “team” — an Allred-ish abused women lawyer, a Rev. Al-ish civil rights pastor, an Asian rights advocate.
What? No Jewish anti-semitism minimizer?
“We ran the numbers. It turns out hating Jews doesn’t negatively impact a person’s career.”
David Spade pops up as a new Malibu neighbor whose very young, very pregnant wife (Kaia Gerber) lands the movie’s funniest line.
“I know you. You used to date my grandmother!”
Van Jones plays himself, an interviewer willing to be arm-twisted by the star insisting he be introduced as a (two time) “Oscar winner.” Drew Barrymore plays herself as an interviewer you maybe don’t want to screw with.
Soaking up the one-liners and Hill’s antic but comically winded patter makes one wonder if even recasting the lead would have helped.
But watching Reeves struggle with his alternately serious or faux dismayed reactions, a damaged soul with remorse for those he’s wronged but a human void that potential laughs spiral into to die is a burden this lightweight goof on the devolving nature of “fame” never overcomes.
Rating: R, profanity, a sexual situation
Cast: Keanu Reeves, Cameron Diaz, Jonah Hill, Susan Lucci, Matt Bomer, Ivy Wolf, David Spade, Martin Scorsese and Drew Barrymore
Credits: Directed by Jonah Hill, scripted by Jonah Hill and Exra Woods. An Apple TV+ release.
Running time: 1:24
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