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The Front Room Film Review: Thrilling Debut

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The Front Room Film Review: Thrilling Debut

Sam Eggers and Max Eggers give a thrilling directorial debut in The Front Room, which harkens back to the psycho-biddy films of the past.


Directors: Max and Sam Eggers
Genre: Horror, Thriller
Run Time: 94′
US & CA Release: September 6, 2024
UK & IE Release: October 25, 2024
Where to watch: in theaters

I was today years old when I found out that filmmaker Robert Eggers had twin brothers, Sam and Max, who are now making their feature directorial debut with The Front Room. I already have a feeling that some will unfairly criticize this film or compare it to Robert’s work, who has already made a name for himself in the world of horror with The Witch, The Lighthouse, and the upcoming Nosferatu.

However, one must always look at a movie like this as a singular authorial work, not as ‘the sibling of’ a popular filmmaker. Too many people did this with Ishana Night Shyamalan’s The Watchers, looking at her feature debut as ‘the daughter of’ M. Night Shyamalan rather than a singular work from Ishana. Approaching The Front Room as a unique film from The Eggers Brothers distances us from Robert’s work and instead showcases a talent that’s bound to develop, with a hagsploitation (also known as psycho-biddy) movie that grows decidedly wicked and darkly funny as its 94 runtime progresses.

It’s not perfect, and it certainly won’t be for everyone. There are plenty of elongated, gross-out sequences that involve bodily fluids and vomit, and an unsettling atmosphere that begins to stick with you as its obscene sequences get more disgusting. I won’t reveal a thing here, not necessarily because of spoilers, but due to my rather sensible stomach (and as I’m writing these words, I’m beginning to remember everything that went down in the movie). It definitely won’t be for people who are perhaps too squeamish with these types of scenes, as the movie’s more ‘horrific’ moments mostly see its protagonist, Belinda (Brandy Norwood), having to clean copious amounts of fluids from Solange (Kathryn Hunter), whom she is now taking care of.

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After Norman’s (Andrew Burnap, playing Belinda’s husband) father dies, the couple is now forced to take Solange, Norman’s stepmother, into their care. In her last will and testament, she is willing to give all of her life savings to them, should they accept. Norman immediately refuses, and tells Belinda about his abusive childhood with her as Solange believes she is the reincarnation of a disciple of Jesus Christ and forced her stepson to do things he did not want to. However, Belinda is more accepting of Solange, due to her age and limited physical capabilities.

The Front Room
The Front Room (A24)

Thinking the two will share responsibilities, as Belinda is expecting their first child, Norman reluctantly accepts, and Solange now lives in their home. But it doesn’t take long for Solange to take over the house, and begin to not only reshape it, but Belinda’s newborn children too, in her image, while Norman is absent at work. In classic What Ever Happened to Baby Jane? fashion, Solange begins to torment Belinda to the point where Norman begins to take her stepmother’s side, thinking his wife is physically abusing her and the baby, while Solange is doing it to herself.

At first, it’s Belinda who gaslights Norman into thinking everything will be fine, but as the movie reaches its climax, Norman now believes her stepmother’s gaslighting, when he was the one who told his wife it would be a terrible idea to bring her in their home. This psychological shift is rivetingly portrayed on screen with a career-best turn from Brandy, whose portrayal of Belinda is both thrilling and morbidly comedic. Belinda is excited by the prospect of starting a family with Norman, but as he grows noticeably absent, her turn becomes sharp when she is stuck with someone who not only doesn’t hide her blatant racism towards her, but is also born out of pure spite and hatred towards her stepson.

Hunter also impresses as Solange, completely transforming herself in a performance that’s completely unrecognizable from anything she was previously in, with an accent that seems plucked from Michael J. Anderson in Twin Peaks and adopting a tone that’s never too serious, but never too funny either. You never know when she’s joking or not, which makes it even more disturbing when she makes snarky remarks at the dinner table. It’s often funny, reminding us all of the bitter grandma we may or may not know, but it quickly gets unnerving. And that’s how The Eggers Brothers get under your skin. They do it in such a subtle way that you don’t even realize you’re starting to be discomforted until it’s too late.

It’s a shame, however, that movie never fully develops the relationship between Belinda and Solange past the unsettling point. Yes, it gets fairly petrifying in its final moments (even a comedic needle drop isn’t so funny when you realize exactly how an element that won’t dare be revealed here occurred, even if the final shot brings satisfaction), but one can’t help but feel the core story to be fairly undercooked. The Eggers Brothers attempt to bring as much Biblical imagery as possible to the story, such as a shot of Solange as the reincarnation of The Virgin Mary holding Belinda’s baby as her vision of Jesus Christ, but it feels fairly jarring, because this part, which should be the film’s main focus, is treated as an afterthought.

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The Front Room: Trailer (A24)

One scene in particular, in which Solange invites some of her friends in the house, should act as a pivotal point in Belinda’s rivalry with Norman’s stepmother, but is entirely dropped once the scene ends and has no impact on how she will eventually perceive Solange. Belinda’s relationship with Norman is also fairly cyclical, but perhaps that was the point. He can’t be there, because he’s too busy at work. But the dialogues and situations feel frequently the same and don’t develop in intensifying drama, or with a true sense of friction between the two (it also doesn’t help that Burnap feels woefully miscast and barely has any chemistry with the effervescent Brandy). It makes their relationship feel less important when it’s the catalyst of the film’s inciting event.

But even with imperfect character (and thematic) beats, The Front Room remains an impressive feature directorial debut from The Eggers Brothers. Its aesthetic grows darker as the relationship between Belinda and Solange becomes more sinister, while Brandy and Kathryn Hunter give two wholly impressive turns, harkening back to the classic young/old relationships we’d usually see in hagsploitation films in the 1960s and 1970s. It may not be a full-on psycho-biddy picture, but it remains tons of fun nonetheless.


The Front Room is now available to watch in US & Canadian theaters and will be released in UK & Irish cinemas on October 25, 2024.

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Movie Review: “Super/Man: The Christopher Reeve Story” Is This Year's Most Moving Film – The Independent | News Events Opinion More

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Movie Review: “Super/Man: The Christopher Reeve Story” Is This Year's Most Moving Film – The Independent | News Events Opinion More

MOVIE REVIEW: SUPER/MAN: THE CHRISTOPHER REEVE STORY (PG-13)

Pound for pound, I don’t know that there will be a more emotionally resonant film in 2024 than “Super/Man: The Christopher Reeve Story.” I first saw this moving documentary back in January at the Sundance Film Festival, and quite frankly, I haven’t been able to stop thinking about it.

Of course, I’ve always been a fan of Christopher Reeve and in fact, I will always maintain that his casting as Superman remains the superhero casting coup to which all others will forever be measured. As the man of steel, Reeve did so much more than make audiences truly believe a man could fly. He also made us believe that Superman and Clark Kent were actually two different people and I always felt like that was the true key to the overall effectiveness of “Superman” as a movie. Perhaps even more than the spectacular special effects, the incredible production design, John Williams’s unforgettable score, and the hit film’s much talked about reverence to the source material. That said, “Superman” is pure fantasy. This stellar documentary by comparison is real in every sense of the word. 

The Christopher Reeve Story
The Christopher Reeve Story

“Super/Man: The Christopher Reeve Story” traces Reeve’s career from his humble beginnings as a classically trained actor to his hitting the big time after being handpicked by director Richard Donner to play the world’s most famous superhero. Following his legendary turn as the man of steel, Reeve would appear in several other noteworthy films including “Deathtrap,” “The Remains of the Day,” “Noises Off,” “Somewhere in Time,” and “Street Smart,” just to name a few but ultimately, his life would forever be altered following a tragic equestrian accident that would leave him permanently paralyzed.

As directed by Ian Bonhote and Peter Ettedugi, “Super/Man” is inspirational and moving in all of the ways you’d expect, but it certainly doesn’t shy away from the darker aspects of Reeve’s highs and lows. Included; A strained relationship between he and his father as well as thoughts of suicide following a horrific accident that very well could have taken his life. Beyond that, “Super/Man” is punctuated by rare behind-the-scenes footage and candid interviews with the likes of Reeve himself as well as his loving wife, his adoring children, and many of his lifelong industry friends (i.e. Susan Sarandon, the aforementioned Donner, and a compassionate Robin Williams.)

As was the case with last year’s stellar Michael J. Fox documentary, “Still,” “Super/Man” emerges as so much more than a tribute to a world-famous actor. This is a movie filled with real pathos. It’s a story of courage and resiliency to be sure. In short, it’s a multifaceted look at a real-life superman and how, in many ways, Reeve was able to take a horrific negative and turn it into a monumental positive.

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Some might argue that “Super/Man: The Christopher Reeve Story” is an easy sell given the subject matter but believe me when I tell you, that makes this documentary no less powerful. This is moving stuff and by the time it comes to a close, you really will believe a man can fly. On a final note, you’d be well-advised to take a box of Kleenex with you because you’re going to need it.

“Super/Man: The Christopher Reeve Story” will receive a limited theatrical run on September 21st and 25th, courtesy of Warner Brothers and Fathom Events. You can expect a streaming service debut shortly thereafter. 

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35-Chinna Katha Kaadu Telugu Movie Review

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35-Chinna Katha Kaadu Telugu Movie Review

Movie Name : 35-Chinna Katha Kaadu

Release Date : September 06, 2024

123telugu.com Rating : 3.25/5

Starring : Nivetha Thomas, Priyadarshi, Vishwadev Rachakonda, Gautami, Bhagyaraj, Krishna Teja

Director : Nanda Kishore Emani

Producers : Srujan Yarabolu, Siddharth Rallapalli

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Music Director: Vivek Sagar

Cinematographer: Niketh Bommi

Editor: T C Prasanna

Related Links : Trailer

Actress Nivetha Thomas’ latest movie, 35-Chinna Katha Kaadu, hit theaters today. Read our review to see how the film holds up and whether it’s worth watching.

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Story:

Set in the scenic town of Tirupathi, 35-Chinna Katha Kaadu tells the story of Saraswathi (Nivetha Thomas), a happy middle-class woman who lives peacefully with her husband, Satya Prasad (Vishwadev Rachakonda), and their two sons, Arun (Arundev Pothula) and Varun (Abhay Shankar). However, their peace is disturbed when Arun starts having trouble with mathematics. He asks unusual questions about the subject, and his strict Maths teacher, Chanakya Varma (Priyadarshi), judges students based only on their grades. Upset by Arun’s poor performance, Chanakya calls him “zero,” which worries his parents. Saraswathi decides to help her son improve his math skills. Will she succeed? What is Arun really thinking? And does Chanakya end up helping Arun? The film answers these questions.

Plus Points:

In today’s world, it’s rare to find a movie that the entire family can enjoy together. 35-Chinna Katha Kaadu is one such film – it is clean, family-friendly, and doesn’t rely on cuss words or love tracks to tell its story. It’s a film that can be watched by people of all ages without discomfort.

The performances are top-notch. Nivetha Thomas shines as Saraswathi, with her heartfelt expressions and emotions. She once again proves that she is a nice performer.

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Arundev Pothula, who plays Arun, also does a wonderful job, bringing depth to his character. Vishwadev Rachakonda, in the role of the father, delivers a solid performance as well.

Priyadarshi’s portrayal of the strict teacher Chanakya is also memorable and adds a lot to the film. The supporting cast plays their roles well, staying true to the story.

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The comedy scenes involving Arun and other students are entertaining. The dialogues are thoughtful and add meaning to the film. Vivek Sagar’s music is another highlight. The background score blends beautifully with the story, and the songs fit well into the scenes without feeling forced.

Minus Points:

One downside is that the promotional campaigns revealed much of the plot beforehand, leaving little suspense. The story is simple, focusing on how students are often judged based on their grades and how important it is for parents to support their children in shaping a bright future. While the message is relevant, the film lacks the emotional highs or twists that could keep the audience on the edge of their seats.

The film feels slow in both halves. While it’s not boring, it could have been more engaging with a faster pace. The character of Gautami had potential for more screen time, which could have added depth to the story. Additionally, the emotional bond between Saraswathi and Arun could have been explored further to add more drama.

Technical Aspects:

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Nanda Kishore Emani, as both writer and director, does a commendable job, though he could have made the narration more engaging. If he continues to choose meaningful scripts, he has a promising future in the Telugu film industry.

Niketh Bommi Reddy’s cinematography brings vibrant visuals to the screen, making the film a treat to watch. Vivek Sagar’s music elevates several scenes, and the background score and songs enhance the overall feel of the film.

The editing is decent, though a few more cuts could have improved the pacing. The production values are good, giving the film a polished look.

Verdict:

On the whole, 35-Chinna Katha Kaadu is a feel-good family drama that parents and children should watch together. The performances by Nivetha Thomas, Arundev Pothula, and Priyadarshi, and the music by Vivek Sagar are the film’s strengths. On the flip side, the movie feels slow at places, and the emotional depth could have been improved. However, it still manages to deliver a nice message about the importance of parental support in a child’s education. If you’re looking for a clean, heartwarming family drama, this movie is worth watching. Don’t miss out – book your tickets and enjoy a film that will leave you with a smile.

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123telugu.com Rating: 3.25/5

Reviewed by 123telugu Team

Click Here For Telugu Review

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TAGS:  35 movie review, 35 review and ratings, 35 telugu movie review, 35-Chinna Katha Kaadu Telugu Movie Rating, 35-Chinna Katha Kaadu Telugu Movie Review, 35-Chinna Katha Kaadu Telugu Movie Review and Rating, Bhagyaraj, Gautami, Krishna Teja, Nivetha Thomas, Priyadarshi, Vishwadev Rachakonda

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Joker: Folie à Deux – Joaquin Phoenix, Lady Gaga in musical sequel

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Joker: Folie à Deux – Joaquin Phoenix, Lady Gaga in musical sequel

4/5 stars

Joaquin Phoenix returns to the role that won him an Oscar and gave him the biggest hit of his career in Joker: Folie à Deux.

Playing in competition at the Venice Film Festival, where 2019’s Joker won the prestigious Golden Lion, this sequel upends the comic-book movie even more than its predecessor.

Director Todd Phillips takes the brave decision to turn this into a Hollywood musical. Yes, you read that right: Phoenix’s Arthur Fleck sings old standards, the clown turning crooner.

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Joker: Folie À Deux | Official Trailer

The film begins with an old-school, Warner Brothers-style cartoon, loosely replaying events as Arthur’s Joker persona shot dead TV interviewer Murray Franklin live on air.

Now incarcerated in Arkham Asylum, this deranged loner is awaiting to see if he will stand trial. Near-silent in the beginning, Arthur only brightens when a prison guard (Brendan Gleeson) admits him to a music class.

“We use music to make us whole,” says the teacher. And it’s here where he meets his soulmate, Lee Quinzel (Lady Gaga).

An arsonist whose mother had her committed to Arkham, Quinzel is familiar to all DC Comics fans as Harley Quinn, the character known as the Joker’s paramour.

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