Movie Reviews

The Long Game (2024) – Movie Review

Published

2 years ago

April 9, 2024

The Long Game, 2024.

Directed by Julio Quintana.
Starring Jay Hernandez, Dennis Quaid, Cheech Marin, Julian Works, Jaina Lee Ortiz, Brett Cullen, Oscar Nunez, Paulina Chávez, Gregory Diaz IV, José Julián, Christian Gallegos, Miguel Ángel García, Gillian Vigman, Richard Robichaux, Jimmy Gonzales, Michael Southworth, Mykle McCoslin, Chet Grissom, Boo Arnold, Larry Jack Dotson, Mariana Alvarez, and Heather Kafka.

SYNOPSIS:

In a segregated Texas, five Mexican-American teenage caddies were prohibited from playing at the country club where they worked. Against all odds, they formed their own team, built a one-hole course in the fields, and won the 1957 Texas State championship. Based on a true story.

Golf is a significant focus in director Julio Quintana’s period piece, racially-charged sports drama The Long Game. It’s also not the game that the title is referencing. That would be more of a mental game of when to pull ahead and when to play nice with insecure, racist white people that is, sadly, as relevant as it is today than it was in the mid-1950s for the true story of a scrappy Mexican-American high school golf team who went on to win a Texas state championship.

In a time for sports when minorities were either considered a humiliating form of entertainment or thankless help, this complicated reality at least one of the boys, Joe Trevino (Julian Works), is aware of (and has further reinforced unto him by his father) almost prevents him from joining the team entirely. What good could come from trying to compete with white teens on their turf when the rules will be bent and broken to stack the deck against talented minorities, anyway? Yes, these are sports clichés despite being an unfortunate, unfair true-to-life past, but the filmmakers (which includes a screenplay from Paco Farias, Julio Quintana, and Jennifer C. Stetson based on the novel by Humberto G. Garcia) smartly stay focused on these mindsets.

For one, it’s frustrating that there are minorities here who either feel the need or are talked into playing nice with white people and told that further stoking their flames will only provoke more drama and violence. There is a key moment here where a white teenage golfer is practically saying every racist thing imaginable to one of the Mexican-American players, begging to be punched in the face. We want to see it happen, but when that character is told to stand down, not let the nastiness get to him, and let his actions on the course speak for itself, it’s probably the right call for this era even if we still desperately want to see this kid knocked on his ass. In 2024, however, there would be no excuses or reason to let that racial harassment fly, with the consequences for such a scuffle possibly feeling more balanced. Or maybe I’m talking out of my ass, and the world hasn’t changed all that much. Nevertheless, The Long Game succeeds at inciting such conversations.

It is those smaller, thought-provoking political moments that compensate for what is otherwise a straightforward sports movie about an underdog team of likable kids trying to find their footing in life. Even the presence of Dennis Quaid here as war hero Frank Mitchell with connections and a key to allow his former military squad mate turned high school superintendent JB Peña (Jay Hernandez) access to the golf course for the team to practice is wise enough to never stick with his perspective for too long and go down the dreaded white savior path. The character has a thing or two to learn about complicity in prejudiced behavior and some wartime guilt, none of which overwhelms the rest of the experience.

As for JB, his motives initially aren’t entirely pure. At first, he puts together the team as an alternative punishment for giving teenagers community service, following the recognition that they had thwacked a golf ball through his car door windshield while he was on the road. He sees talent in them, but he also sees an opportunity to coach on the same segregated golf course that denied him a country club membership. From there, he bonds with the kids and enters into several discussions on race relations with them, most of which make up the most engaging aspects of the film. Each kid shows some distinct personality, with one romantic subplot, although those personal elements to the narrative here are less satisfying.

The second half of The Long Game leans into the sporting aspect and golf tournament, although there is still a surprising amount of edge for this film that somehow got away with a PG rating despite numerous instances of harsh language and racial slurs. In the best way, it feels like the PG rating of yesteryear, where movies were allowed to be authentic and challenge younger audiences. It’s moving and inspiring in the expected ways, but also a smart examination of race relations for the time that can be traced to today for further analysis, a time where it’s hopefully okay to punch a racist in the face.

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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Movie Reviews

Maxime Giroux – ‘In Cold Light’ movie review

Published

6 hours ago

March 4, 2026

Press Room

Maxime Giroux – ‘In Cold Light’ movie review

(Credits: Far Out / Elevation Pictures)

Wed 4 March 2026 9:30, UK

Maxime Giroux – ‘In Cold Light’

The action is relentless in the complex thriller In Cold Light, a tense combination of crime and fugitive tale and family drama. It is the third feature and first English language film by Maxime Giroux, best known for a very different kind of film, the critically acclaimed 2014 drama Felix & Meira.

The tension and high energy of In Cold Light almost overwhelm the film, but are relieved, barely, by moments of character development and introspection that keep the audience pulling for the restrained and outwardly cold main character.

Speaking at the film’s Canadian premiere, director Giroux admitted he found creating an action film a challenge. Part of his approach was using very minimal dialogue, especially for the central character, letting the action speak for itself, and allowing silence to intensify suspense. Giroux has said he likes the lack of dialogue and speaks highly of the importance of silence in cinema; he prefers using “physical aspects of communication” in his films.

Young Ava Bly (Maika Monroe) is a competent and businesslike drug dealer, working in partnership with her brother Tom (Jesse Irving) and a small team. As the film begins, Ava has just been released from a brief prison sentence. She is hoping to return to her former position, but her brother’s associates consider her a risk due to her recent incarceration. While she works to re-establish herself, a shocking encounter with a corrupt police officer sends Ava’s life into chaos and forces her to go on the run.

Ava’s fugitive experience introduces a new character, to whom Ava turns for help: her father, Will Bly, played by Troy Kotsur, known for his excellent performance in CODA. Their first interaction is handled in a fascinating way, as Will is deaf and the two communicate through sign language. This, of course, provides another form of the silent interaction the director prefers; he explained that much of the father-daughter interaction was rewritten with the actor in mind. Their conflict is nicely expressed through a scene in which their initial conversation is intermittently cut off by a faulty light which goes out periodically, making communication through sign momentarily impossible, nicely expressing the rift between father and daughter.

As Ava continues to evade danger, her escape becomes complicated by new information, placing her in a painful dilemma. We gradually learn more about Ava, her background, and her character through occasional flashbacks and glimpses of her dreams. The plot becomes more complex and more poignant, and gains features of a mystery as well as an action tale, as she is pressed to choose from among equally unacceptable alternatives.

The climax of her efforts to protect both herself and those close to her comes to a head as she meets with the director of a rival drug gang. Veteran actress Helen Hunt is perfect in the minor but significant role of Claire, the rival drug lord, who plays odd mind games with Ava in an intriguing psychological fencing match. It’s an unusual scene, in which Ava’s personality is made clearer, and Claire’s understated dominance and casual speech do not quite conceal the threat she represents.

The frantic pace and emotional turmoil are enhanced by the camera work, which tends to focus tightly on Ava, and by a harsh, minimal musical score that sets the tone without distracting from the action. Giroux chose to shoot the film in Super 60; he describes digital as “too perfect” for the look he was going for, and since “Ava is rough,” the film portrays her better. The director describes the entire movie as “rough,” in fact, and deliberately chose a dark, washed-out look for much of the footage, occasionally using light and colour, in the form of fireworks, lightning, or a colourful carnival, to both relieve and emphasise the darkness.

The dynamic, intense story holds the attention in spite of the lengthy, sometimes repetitive chase scenes and subdued dialogue. Ava’s predicament, and the difficult decisions she is forced to make, are made surprisingly relatable, from the initial disaster that starts the action to the surprising flash-forward that concludes the film, on as high a note as the situation could allow. Fans of action movies will definitely enjoy this one.

Movie Reviews

Jeremy Schuetze’s ‘ANACORETA’ (2022) – Movie Review – PopHorror

Published

18 hours ago

March 4, 2026

Press Room

Jeremy Schuetze’s ‘ANACORETA’ (2022) – Movie Review – PopHorror

PopHorror had the chance to check out Anacoreta (2022) ahead of its streaming release! Does this meta-horror flick provide interesting story telling or is it a confusing mess.

Let’s have a look…

Synopsis

A group of friends heads to a secluded woodland cabin for a weekend getaway, planning to film an experimental horror movie. As the shoot progresses, the project begins to fall apart—until a real and terrifying presence emerges from the darkness.

Anacoreta is directed by Jeremy Schuetze. It was written by Jeremy Schuetze and Matt Visser. The film stars Antonia Thomas (Bagman 2024), Jesse Stanley (Raf 2019), Jeremy Schuetze (Jennifer’s Body 2009), and Matt Visser (A Lot Like Christmas 2021)

My Thoughts

Antonia Thomas delivered an outstanding performance as the female lead in Anacoreta. It was remarkable to watch her convey such a wide range of emotions with authenticity and depth. I was continually impressed by her ability to switch seamlessly between different dialects. I absolutely loved her delivery of the dialogue of telling The Scorpion and the Frog fable.

Anacoreta employs a distinctive, meta-horror style of storytelling. The narrative follows a group of friends creating a “scripted reality” horror film, and as the plot unfolds, the boundary between their staged production and their actual lives becomes increasingly blurred. This was interesting, but at the same time frustrating as a viewer.

Check out Anacoreta on Prime Video and let us know your thoughts!

Movie Reviews

‘Hoppers’ review: Pixar’s best original movie in years

Published

1 day ago

March 3, 2026

Press Room

‘Hoppers’ review: Pixar’s best original movie in years

“So it’s like Avatar?” one character quips in Disney and Pixar’s “Hoppers,” bluntly translating the film’s high-concept premise for the sugar-fueled kids in the audience. And yes, the comparison is apt. The story follows a nature-obsessed teenage girl who manages to quite literally “hop” her consciousness into the body of a robotic beaver in order to spark an animal rebellion against a greedy mayor determined to bulldoze their forest for a freeway.

It’s a clever hook. The kind of big, elastic idea Pixar used to make look effortless. “Hoppers” does not reach the rarified air of “Up,” “Wall-E,” or “Inside Out,” but after a stretch of uneven originals like “Turning Red” and “Luca,” and outright misfires such as “Elemental” and “Elio,” this feels like a genuine course correction. The environmental messaging is clear without being preachy, the animals are irresistibly anthropomorphized, and the studio’s once-signature emotional sincerity is back in sturdy form.

Pixar can afford to gamble on originals when it has a guaranteed cash cow like this summer’s “Toy Story 5” waiting in the wings, but “Hoppers” earns its place in the catalogue. Director Daniel Chong crafts a warm, heartfelt film that occasionally strains under the weight of its own ambition, yet remains grounded by character and theme. Its meditation on conservation and animal displacement feels timely in a way that never tips into after-school-special territory.

We meet Mabel, voiced with bright conviction by Piper Curda, as a child liberating her classroom pets and returning them to the wild. Her moral compass is shaped by her grandmother, voiced by Karen Huie, who imparts wisdom about nature’s sanctity. True to both Pixar tradition and the broader Disney playbook, this beacon of guidance does not survive past the opening act. Loss, after all, is Pixar’s favorite inciting incident.

Years later, Mabel is still fighting the good fight, squaring off against the smarmy Mayor Jerry, voiced with slick menace by Jon Hamm. He plans to flatten the glade where Mabel and her grandmother once found solace. Mabel’s resistance feels noble but futile. The animals have already mysteriously vanished, the machinery is coming, and her last-ditch plan involves luring a beaver back to the abandoned forest in hopes of jumpstarting the ecosystem.

That’s when the film gleefully pivots into mad-scientist territory. At Beaverton University, Mabel discovers her professor, voiced by Kathy Najimy, has developed a device that can project human consciousness into synthetic animals. The process, dubbed “hopping,” allows Mabel to inhabit a robotic beaver and infiltrate the forest from within. It’s an inspired escalation that keeps the film buoyant even when the plotting grows predictable.

Her new posse includes King George, a lovably beaver voiced by Bobby Moynihan with distinct Bing Bong energy; a sharp-tongued bear voiced by Melissa Villaseñor; a regal bird king voiced by the late Isiah Whitlock Jr.; and a fish queen voiced by Ego Nwodim. As is often the case with Pixar, even in its lesser efforts, the world-building is meticulous. The animal hierarchy, complete with titles like “paw of the king,” is layered with jokes that play for kids while slyly winking at adults.

The plot ultimately follows a familiar template. Scrappy underdog rallies community. Corporate villain twirls metaphorical mustache. Emotional third-act sacrifice looms. At times, you can feel the machinery working a little too cleanly. Pixar, and Disney at large, has grown increasingly reliant on sequels and established IP, and “Hoppers” does not radically reinvent the wheel. In an animated landscape where films like “K-Pop: Demon Hunters,” “Across the Spider-Verse,” and “Goat” are pushing stylistic and narrative boundaries, being safe and sturdy may not always be enough.

And yet, there is something refreshing about a Pixar original that remembers how to tug at the heart without squeezing it dry. “Hoppers” is playful, peppered with cheeky needle drops, and builds to a sweet emotional catharsis that may or may not have left this critic a little misty-eyed. It feels earnest and engaged.

“Hoppers” may not be top-tier Pixar. But it is a welcome return to form, a reminder that the studio still knows how to marry big ideas with a bigger heart.

HOPPERS opens in theaters Friday, March 6th.