Entertainment
Review: ‘Resurrection’ is a sumptuous, transporting dive into the pure pleasures of the image
One of the downsides of our movie-mad filmmakers — the Quentin Tarantinos who happily plunder from cinema’s illustrious past — is that their worldview can be myopic beyond what’s up there on the screen. For all their technical acumen, the hum and whir of life remains absent in their work, which merely mimics the semblances of behavior they’ve observed from other films. These directors can synthesize the architecture of cinema but not the underlying humanity that transforms movies into something that resonates.
What’s so impressive about Bi Gan’s excellent third feature is that he manages to have it both ways. The Chinese director behind 2015’s “Kaili Blues” and 2018’s “Long Day’s Journey Into Night” makes movies besotted with the act of making movies. They include accomplished long takes and sensuous riffs on well-defined genres.
And yet he’s never lost sight of the fragile characters at the center of his spectacles. With “Resurrection,” Bi delivers something uncommonly rich, boldly conceiving his latest as a salute to the history of film. Still, his focus remains on people — whether they be in his stories or watching in the theater.
Premiering at Cannes, where it won a Special Award, “Resurrection” imagines a fantastical alternate reality in which society has chosen to stop dreaming in order to live forever. However, an unnamed “deliriant” (Jackson Yee) rejects that arrangement, preferring the chaos and pain of a human life. He escapes into a mystical realm that is shown in a series of short films which span the 20th century, each vignette starring him in a different guise. In one, he plays Qiu, who is accused of murder as part of a noirish thriller. In another, he’s Apollo, a small-time crook celebrating New Year’s Eve in 1999, lured by a temptress, Tai Zhaomei (Li Gengxi), who’s also a vampire.
Traipsing through genres and time periods, these excursions are an opportunity for Bi and his creative team to frolic in various cinematic sandboxes. When we meet Yee’s shifting character, he first resembles a hideous beast reminiscent of F.W. Murnau’s title character from 1922’s “Nosferatu.” The segment expertly samples the jagged production design and theatrical lighting of German Expressionism’s heyday.
But Bi is after more than elaborate dress-up, conceiving each episode as an exploration of how movies amplify and comment on life’s cavalcade of emotions. Later, Yee’s monster is reborn as a stoic con artist who recruits a young girl (Guo Mucheng) to be his partner in crime. This wistful chapter evokes classics like “Paper Moon,” but Bi lands on a resolution that’s uniquely heartbreaking, connecting the illusion of movies with the delusions we cling to in the real world.
As he has done in his previous films, Bi creates a climax for “Resurrection” that culminates in a masterfully orchestrated long take, one lasting just under 30 minutes, as we follow Apollo and Tai Zhaomei on an electric adventure through a New Year’s Eve involving gangsters, karaoke bars and random bloodsucking. The segment is easily the film’s showiest, Bi’s camera snaking through streets and darting into different buildings. But the audaciousness is always in service of capturing the headlong rush of new love, the characters as giddy as the filmmaking. Even here, though, “Resurrection” drills down into something unbearably moving, turning the century’s end into an apocalyptic occurrence, the future perilously uncertain for these impetuous lovers.
The 20th century that “Resurrection” chronicles was a pivotal period for China, bringing to a close the Qing Dynasty and ushering in the rise of a communist superpower. It was also a century that heralded cinema’s ascension as the dominant popular art form worldwide. Bi is far more invested in that latter revolution and consequently, “Resurrection” can be seen as an elegy for a medium whose cultural relevance has somewhat slipped. No wonder, then, that the film’s genre-hopping dexterity is laced with a hint of melancholy.
It’s a cliché to say that movies are a form of dreaming, but people who love them understand that as a foundational truth. The wonder of being alive is to grapple with mortality — to know that everything, including a movie, fades away. Bi throws his lot in with the monsters and “Resurrection” concludes with a personal and artistic reckoning that’s as defiant and emotional as anything cinema has produced in recent years.
Turns out, the world did not, in fact, stop spinning when we entered the 21st century. But Bi’s journey through cinema’s past argues that a movie’s greatness stems not from spectacle but, rather, a belief that we can see ourselves in its story. “Resurrection” is the work of a vivid soul who has kept the faith. He invites us to dream along.
‘Resurrection’
In Mandarin, with subtitles
Not rated
Running time: 2 hours, 40 minutes
Playing: Opens Friday, Dec. 12 at Laemmle Royal
Movie Reviews
Movie Review: ‘The SpongeBob Movie: Search for SquarePants’ – Catholic Review
NEW YORK (OSV News) – Cartoon characters can devolve into dullards over time. But some are more enduringly appealing than others, as the adventure “The SpongeBob Movie: Search for SquarePants” (Paramount) proves.
Yellow, absorbent and porous on the outside, unflaggingly upbeat SpongeBob (voice of Tom Kenny) is childlike and anxious to please within. He also displays the kind of eagerness for grown-up experiences that is often found in real-life youngsters but that gets him into trouble in this fourth big-screen outing for his character.
Initially, his yearning for maturity takes a relatively harmless form. Having learned that he is now exactly 36 clams tall, the requisite height to ride the immense roller coaster at Captain Booty Beard’s Fun Park, he determines to do so.
Predictably, perhaps, he finds the ride too scary for him. This prompts Mr. Krabs (voice of Clancy Brown), the owner of the Krusty Krab — the fast-food restaurant where SpongeBob works as a cook — to inform his chef that he is still an immature bubble-blowing boy who needs to be tested as a swashbuckling adventurer.
The opportunity for such a trial soon arises with the appearance of the ghostly green Flying Dutchman (voice of Mark Hamill), a pirate whose elaborately spooky lair, the Underworld, is adjacent to SpongeBob’s friendly neighborhood, Bikini Bottom. Subject to a curse, the Dutchman longs to lift it and return to human status.
To do so, he needs to find someone both innocent and gullible to whom he can transfer the spell. SpongeBob, of course, fits the bill.
So the buccaneer lures SpongeBob, accompanied by his naive starfish pal Patrick (voice of Bill Fagerbakke), into a series of challenges designed to prove that the lad has what it takes. Mr. Krabs, the restaurateur’s ill-tempered other employee, Squidward (voice of Rodger Bumpass), and SpongeBob’s pet snail, Gary, all follow in pursuit.
Along the way, SpongeBob and Patrick’s ingenuity and love of carefree play usually succeed in thwarting the Dutchman’s plans.
As with most episodes of the TV series, which premiered on Nickelodeon in 1999, there are sight gags intended either for adults or savvy older children. This time out, though, director Derek Drymon and screenwriters Pam Brady and Matt Lieberman produce mostly misfires.
These include an elaborate gag about Davy Jones’ legendary locker — which, after much buildup, turns out to be an ordinary gym locker. Additionally, in moments of high stress, SpongeBob expels what he calls “my lucky brick.” As euphemistic poop gags go, it’s more peculiar than naughty.
True to form, SpongeBob emerges from his latest escapades smarter, wiser, pleased with his newly acquired skills and with increased loyalty to his friends. So, although the script’s humor may often fall short, the franchise’s beguiling charm remains.
The film contains characters in cartoonish peril and occasional scatological humor. The OSV News classification is A-I – general patronage. The Motion Picture Association rating is PG — parental guidance suggested. Some material may not be suitable for children.
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Entertainment
Reiner family tragedy sheds light on pain of families grappling with addiction
When Greg heard about the deaths of Rob and Michele Reiner, and the alleged involvement of their son Nick, the news struck a painfully familiar chord.
It wasn’t the violence that resonated, but rather the heartache and desperation that comes with loving a family member who suffers from an illness that the best efforts and intentions alone can’t cure.
Greg has an adult child who, like Nick Reiner, has had a long and difficult struggle with addiction.
“It just rings close to home,” said Greg, chair of Families Anonymous, a national support program for friends and family members of people with addiction. (In keeping with the organization’s policy of anonymity for members, The Times is withholding Greg’s last name.)
“It’s just so horrible to be the parent or a loved one of somebody that struggles with [addiction], because you can’t make any sense of this,” he said. “You can’t find a way to help them.”
Every family’s experience is different, and the full picture is almost always more complicated than it appears from the outside. Public details about the Reiner family’s private struggles are relatively few.
But some parts of their story are likely recognizable to the millions of U.S. families affected by addiction.
“This is really bringing to light something that’s going on in homes across the country,” said Emily Feinstein, executive vice president of the nonprofit Partnership to End Addiction.
Over the years, Nick Reiner, 32, and his parents publicly discussed his years-long struggle with drug use, which included periods of homelessness and multiple rehab stints.
Most recently, he was living in a guesthouse on his parents’ Brentwood property. Family friends told The Times that Michele Singer Reiner had become increasingly concerned about Nick’s mental health in recent weeks.
The couple were found dead in their home Sunday afternoon. Los Angeles police officers arrested Nick hours later. On Tuesday, he was charged with their murder. He is currently being held without bail and has been placed under special supervision due to potential suicide risk, a law enforcement official told The Times.
Experts in substance use cautioned against drawing a direct line between addiction and violence.
“Addiction or mental health issues never excuse a horrific act of violence like this, and these sort of acts are not a direct result or a trait of addiction in general,” said Zac Jones, executive director of Beit T’Shuvah, a nonprofit Los Angeles-based addiction treatment center.
The circumstances around the Reiners’ highly publicized deaths are far from ordinary. The fact that addiction touched their family is not.
Nearly 1 in 5 people in the U.S. has personally experienced addiction, a 2023 poll from the Kaiser Family Foundation found.
Two-thirds of Americans have a family member with the disease, a proportion that is similar across rural, urban and suburban dwellers, and across Black, Latino and white respondents.
“Substance use disorders, addiction, do not discriminate,” Jones said. “It affects everyone from the highest of the high [socioeconomic status] to people that are experiencing homelessness on Skid Row. … There is no solution that can be bought.”
During interviews for the 2015 film “Becoming Charlie,” a semi-autobiographical film directed by Rob Reiner and co-written by Nick Reiner, the family told journalists that Nick, then in his early 20s, had been to rehab an estimated 18 times since his early teens. Nick Reiner has also spoken publicly about his use of heroin as a teenager.
Such cycles of rehab and relapse are common, experts said. One 2019 study found that it took an average of five recovery attempts to effectively stop using and maintain sobriety, though the authors noted that many respondents reported 10 or more attempts.
Many families empty their savings in search of a cure, Feinstein said. Even those with abundant resources often end up in a similarly despairing cycle.
“Unfortunately, the system that is set up to treat people is not addressing the complexity or the intensity of the illness, and in most cases, it’s very hard to find effective evidence-based treatment,” Feinstein said. “No matter how much money you have, it doesn’t guarantee a better outcome.”
Addiction is a complex disorder with intermingled roots in genetics, biology and environmental triggers.
Repeated drug use, particularly in adolescence and early adulthood when the brain is still developing, physically alters the circuitry that governs reward and motivation.
On top of that, co-occurring mental health conditions, traumas and other factors mean that no two cases of substance abuse disorders are exactly the same.
There are not enough quality rehabilitation programs to begin with, experts said, and even an effective program that one patient responds to successfully may not work at all for someone else.
“There is always the risk of relapse. That can be hard to process,” Greg said.
Families Anonymous counsels members to accept the “Three Cs” of a loved one’s addiction, Greg said: you didn’t cause it, you can’t cure it and you can’t control it.
“Good, loving families, people that care, deal with this problem just as much,” he said. “This is just so common out there, but people don’t really talk about it. Especially parents, for fear of being judged.”
After the killings, a family friend told The Times that they had “never known a family so dedicated to a child” as Rob and Michele Reiner, and that the couple “did everything for Nick. Every treatment program, therapy sessions and put aside their lives to save Nick’s repeatedly.”
But the painful fact is that devotion alone cannot cure a complex, chronic disease.
“If you could love someone into sobriety, into recovery, into remission from their psychiatric issues, then we’d have a lot fewer clients here,” Jones said. “Unfortunately, love isn’t enough. It’s certainly a part of the solution, but it isn’t enough.”
If you or someone you know is experiencing a mental health crisis, help is available. Call 988 to connect to trained mental health counselors or text “HOME” to 741741 in the U.S. and Canada to reach the Crisis Text Line.
Jake Reiner, Nick Reiner, Romy Reiner, Michele Singer Reiner and Rob Reiner attend Four Sixes Ranch Steakhouse’s pop-up grand opening at Wynn Las Vegas on Sept. 14, 2024.
(Denise Truscello / Getty Images for Wynn Las Vegas)
Movie Reviews
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