Movie Reviews
‘The Souffleur’ Review: Willem Dafoe Is a Hotel Manager Forced Out of His Job in a Poetic, Vienna-Set Character Study
There is an elegiac tone and a dash of wit in this lovely, small-scale film held together by Willem Dafoe‘s magnetic presence and natural but compelling performance. He plays Lucius, the American manager of a grand hotel in Vienna, a job he has taken pride in for two decades and will lose soon when a new owner takes over. “This is the house where I live. And now I find myself forced to abandon it,” he says in voiceover. His sadness is lightened a bit by the oddity of the details he values in that same voiceover. “Hotel Intercontinental Vienna. The first luxury brand hotel in the world and the first one to have telephones in every bathroom.”
As we follow him through several days, he shows himself to be annoyed at the change, unwilling to admit that the hotel’s glory days are over, and finally reconciled to something new, whatever that turns out to be. The Souffleur would be a very different work without Dafoe. He makes the character and the entire film down-to-earth and accessible, two things Gastón Solnicki is not known for.
The Souffleur
The Bottom Line Small but beautifully crafted.
Venue: Venice Film Festival (Horizons)
Cast: Willem Dafoe, Lilly Lindner, Stephanie Argerich, Gastón Solnicki
Director: Gastón Solnicki
Writers: Julia Niemann, Gastón Solnicki
1 hour 18 minutes
The Argentinian-born director is known and admired for his artistically daring but often cryptic films, as varied as Papirosen (2011), built from his own family’s trove of home movies, and Kekszakallu (2016), a quasi-documentary about adolescent girls coming of age, which won that year’s FIPRESCI prize for best film in the Horizons section of the Venice Film Festival.
Even with Dafoe, Solnicki’s approach hasn’t changed all that much. This latest Venice premiere is definitely a work of fragments, isolated scenes that amount to a fly-on-the-wall view of Lucius but are not meant to create a traditional narrative, or for the pieces to fit together as neatly as a jigsaw puzzle.
Weaving in and out of Lucius’ story are black-and-white images of the hotel in the past, from construction to children ice skating outside, to the glamour of a crowded dining room. Much of that footage is archival (the Intercontinental is a real hotel in Vienna, and not dead), some of it enhanced by Solnicki. Those scenes serve to blend the past and present in a way that suits the film’s impressionistic style.
Every now and then some of the hotel’s staff members face the camera and announce their name and room number, for no apparent reason except to let us know they are there and probably about to be displaced. One of those workers is Lilly (Lilly Lindner), Lucius’ daughter, who grew up in the hotel but is far less attached to it than her father and ready to move on. In one scene between her and Lucius, he expresses his concern, looking at her arm and asking if she has been harming herself again. But where a traditional film would lean into the family dynamics, The Souffleur lets those moments sit with us and moves on. At one point we see giraffes. Who knows why?
Although Lucius spends a lot of time walking the halls and checking the hotel’s dining room, he also meets the new owner, Facundo Ordoñez, a rich Argentinian played by Solnicki. Improbably, they have a cordial relationship. And when Ordoñez plays tennis, Solnicki gives him a wiry nervous energy that adds a touch of humor.
There is nothing funny about the film’s jokey title, which is just a strained metaphor. A soufflé rises slowly in the oven at the start, and Lucius and another staff member debate why the chef’s soufflés have been bad lately. The falling soufflé as a symbol of the crumbling hotel is the kind of heavy-handed touch Solnicki rarely indulges.
More often the images are evocative and visually stunning, shot by Rui Poças, the cinematographer who often works with Miguel Gomes, including on the recent, visually arresting Grand Tour. Outdoor scenes especially are artfully composed, such as a distant view of a bridge with the river flowing under it in the foreground, or the glistening look of a puddle on the street at night. Solnicki often likes to keep the camera still, as people walk in and out of the frame.
The Souffleur is a brief hour and 18 minutes long, and just as much a tone poem as it is a character study. Dafoe brings ballast and humanity to it, uniting its fragments as Lucius decides what to do with his future. It’s worth remembering that Dafoe started his career in theater as a member of the avant-garde Wooster Group and understands stories that defy conventional narratives. He is just the person to make this beautifully made little film come to life.
Movie Reviews
Review | 96 Minutes: train bomb thriller forgoes excitement for life lessons
2/5 stars
Guilt proves to be a powerful trigger for a retired bomb disposal expert in the Taiwanese action thriller 96 Minutes, when his past mistakes prove every bit as deadly as a bomb planted on board a cross-country express train.
Austin Lin Po-hung stars as Kang-ren, still haunted by his failure to prevent a deadly department store bomb attack three years earlier, whose past catches up with him at high speed after attending a memorial service for the victims.
Travelling back to the capital with the other attendees, Captain Li (Lee Lee-zen), who was Kang-ren’s boss, receives an anonymous message warning that there is a bomb on board set to detonate in exactly 96 minutes, or if any attempt is made to stop the vehicle or unload its passengers.
Clues point to the bomber being on either their train or the one that left a few minutes prior. Both are filled with grieving relatives, scarred survivors, as well as Kang-ren’s own mother (Lu Hsueh-feng) and fiancée (Vivian Sung Yun-hua).
With the clock ticking, the police must find the device, identify the bomber and save the day before either train hurtles into Taipei station.
Movie Reviews
Review | Another World: macabre human fable is a new milestone for Hong Kong animation
4/5 stars
Hong Kong filmmakers rarely get as philosophical about the human condition as they do in the animated feature Another World, which contemplates the limits of goodness in the face of great evil, set against a vibrant action fantasy backdrop.
Although the film’s focus on reincarnation appears to align it with Eastern religions, Another World’s belief in kindness renders it a universally engaging watch. Young children should stay away, however, as they might be scarred by some of the shockingly grisly moments in this macabre tale.
Leading us into the afterlife is one of its spirit guides, Gudo (voiced by Chung Suet-ying), who is tasked with helping deceased souls let go of their memories and escorting them past a magical waterfall into the next life – all the while making sure the “seed of evil” inside each of them, if any, does not sprout out of resentment.
His latest charge is a girl named Yuri (Christy Choi Hiu-tung), whose pure and lively character fascinates Gudo. Yuri is initially not aware that she has died and is instead persistent in her search for her younger brother, whose fate remains unknown for much of the runtime.
Movie Reviews
Now You See Me: Now You Don’t Movie Reviews Are In – And There’s One Clear Critics’ Consensus
The first critics’ reactions to Now You See Me: Now You Don’t are finally here, and they largely agree that the Lionsgate threequel is another major hit. After being stuck in development, the highly anticipated Now You See Me Sequel will finally arrive in theaters on November 14, 2025, continuing the story of the iconic Four Horsemen, illusionists and street magicians who are experts in orchestrating elaborate heists.
In Now You See Me‘s third installment, the Four Horsemen recruit three skilled illusionists for another heist involving the world’s largest queen diamond before finding it belongs to a powerful crime syndicate. The hype surrounding the movie is poised to rise after the first wave of reactions had high praise for the project.
Critics who saw an early screening of Now You See Me: Now You Don’t in New York shared their first reactions on X. The threequel received largely positive reactions, with nearly all critics saying that it is thoroughly entertaining and fun.
Film critic Andre Saint-Albin described the film as “a sleight-of-hand masterpiece,” noting that Now You See Me 3 has an “entertaining story” and a “phenomenal diamond heist.” He also teased that the film has an “epic” third act while also praising the new casting additions:
“‘Now You See Me: Now You Don’t’ is a sleight-of-hand masterpiece! The Four Horsemen (Eisenberg, Harrelson, Franco, Fisher) return for their next trick with an entertaining story & a phenomenal diamond heist. Smith, Sessa & Greenblatt plant the seeds as Gen-Z firebrands, clashing with old-school magic. New seeds, old tricks, epic third act! Fleischer’s directs a ride so good fun you’d swear it was sorcery!”
Entertainment reporter Jonathan Sim boldly claimed that Now You See Me: Now You Don’t is a “funny, thrilling heist movie” and teased that it was “filled with surprises:”
“#NowYouSeeMe: Now You Don’t gives us the magic we’ve been waiting for. A funny, thrilling heist movie. The Horsemen are back in action with non-stop fun, tricks, and joy. The new characters are an A+ addition. Filled with surprises and just as dazzling and astonishing as ever.”
While Critics Choice’s Tony Mosello admitted that it’s more of the same, he said that fans will love Now You See Me: Now You Don’t due to its fun “twists and surprises, with elevated stakes:”
“NOW YOU SEE ME: NOW YOU DON’T proves the original Horsemen still have “it”, injecting the show with youthful energy via the newcomers and a fun, campy, and villainous Rosamund Pike. Full of twists and surprises, with elevated stakes; it’s more of the same, but fans will LOVE it.”
CinemaBlend’s Riley Utley shared that the threequel made her “smile from ear to ear,” and the movie reminded her why the first movie made her fall in love with films in the first place:
“‘Now You See Me: Now You Don’t’ reiterates with exclamation points why the first ‘Now You See’ movie was one of the projects that made me fall in love with movies. There’s nothing better than projects that make me smile from ear to ear, blow my mind and make it clear why movies are magic.”
That Hashtag Show’s Manny Gomez praised how the latest Now You See entry allowed the original cast to “set the stage for the new magicians to shine:”
“#NowYouSeeMe is a fun addition to the franchise that allows the beloved cast to set the stage for the new magicians to shine. Loved the magic… misdirection… and twists and turns that make going to the movies fun.”
The Direct’s David Thompson was proud to declare that the “magic is back” in the Now You See Me franchise after seeing that the third installment was filled with “some satisfying twists and turns:”
“Happy to report the magic is BACK in the #NowYouSeeMe franchise — loved the new cast, a bunch of fun sequences, & some satisfying twists and turns.”
Film critic and The Film Blerds host Brandon Norwood said that fans of the series will definitely “love” Now You See Me: Now You Don’t because it is “thoroughly entertaining:”
“NOW YOU SEE ME: NOW YOU DON’T: Thoroughly entertaining! The younger cast mixes in well with the OGs. Fans of the series, you’ll love this. Really miss mid-budget studio popcorn fare like this.”
Popternative’s Christopher Gallardo enjoyed the latest Now You See Me entry and described it as a “new-gen rivals old-gen story” that has a special flair:
“NOW YOU SEE ME: NOW YOU DON’T is an exciting thrill-ride with all the tricks and dazzle you’d want. It’s a ‘new-gen rivals old-gen’ story with a special flair that shines with it’s fun cast chemistry. Sessa, Greenblatt, and Smith especially rock all throughout!”
FandomWire’s PossesSEAN gave high praise to the movie’s “impressively staged set pieces,” calling the threequel a “great popcorn movie:”
“#NowYouSeeMe: NOW YOU DON’T was catnip for me — another exhilarating, funny caper with some of the most impressively staged set pieces of the year. A great blend of old and new that effectively ups the stakes and scale. What a great popcorn movie!”
Ethan Simmie of The Movie Draft Podcast admitted that Now You See Me: Now You Don’t went “full Mission: Impossible mode,” with him celebrating the fact that it was “some of the most fun” he’s had at the movies this year:
“NOW YOU SEE ME: NOW YOU DON’T is some of the most fun I’ve had at the movies all year! This entry goes full Mission: Impossible mode and is hilarious, entertaining, and perfectly meta. I could watch one of these every single year forever. We really do come to the movies for magic.”
Directed by Ruben Fleischer, Now You See Me: Now You Don’t is one of the 12 biggest sequels in 2025. The movie has a stacked cast, including Jesse Eisenberg, Woody Harrelson, Isla Fisher, and Dave Franco. They are joined by newcomers Justice Smith, Ariana Greenblatt, Dominic Sessa, and Rosamund Pike. Now You See Me: Now You Don’t will premiere in theaters on November 14, 2025.
Now You See Me 3’s Success Could Lead to Franchise’s Promising Future
Based on the first wave of reactions, Now You See Me: Now You Don’t seems poised for success, which is good for the franchise’s future. Moreover, widespread critical praise could boost the movie’s box office returns.
The long wait for Now You See Me: Now You Don’t could be seen as an advantage because it offers a sense of nostalgia to original fans. The nine-year gap also allowed the movie’s writers to strike an ideal balance, crafting intricate heists while establishing seamless chemistry between the returning cast and new additions.
If successful, Now You See Me: Now You Don’t could lead to future installments or potential spin-offs. With prequel entries to many recognizable franchises like Alien: Earth (read more about Season 2 here) and It: Welcome to Derry finding success in streaming, the threequel’s triumph at the box office could push Lionsgate to explore a spin-off focusing on the younger versions of the Horsemen.
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