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.

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.

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.

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.

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.

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. 

“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.

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. 

José Balvin remembers being 17 when he noticed an ad for a used 1997 Volkswagen Golf in the local newspaper. With dreams of driving around Colombia to sing reggaeton and sell CDs out of a trunk, he felt that the only thing he needed to make them a reality was this car.

“I didn’t have any money and my dad also was super broke. But he knew that I really loved it, and he knew my purpose with it,” said Balvin.

The vehicle, fondly named Rayo, took the fresh-faced singer to every city in Colombia willing to give him a chance. Now, seven albums and six Latin Grammys later, the 39-year-old self-proclaimed “Prince of Reggaeton” returns to his first car as the main source of inspiration behind his newest project, “Rayo.”

Per request of the singer’s team, I meet the “Mi Gente” singer at the Petersen Automotive Museum. Shiny lowriders fill the lobby while high-end sports cars of the past and prototypes of the future fill its four floors to the brim. Inside, J Balvin spots the museum’s “crown jewel” — a 1925 Rolls-Royce Phantom — and behind his flashy chrome sunglasses, his eyes widen. The glassy black car with a seductive red interior exudes the feeling of true luxury, something the singer has become accustomed to. Dubbed “the rarest Rolls-Royce in existence” by the museum, the vintage vehicle is circled by Balvin, who takes in every small detail, from its circular doors to its reflective grill. The same teenager who was excited about a newspaper ad emerges, playfully insisting it’s the only car he wants to be photographed with.

As he continues to lap the Rolls-Royce, his silver accessories, a grill for his bottom teeth and lustrous Jordan sneakers, shine from under his all-black attire. His outfit aligns with the vision of “Rayo” — its album cover depicts a luxury-looking, metallic version of his Volkswagen with scissor-style doors.

As a unifying symbol of the singer’s beginnings and the life he leads today, his seventh studio album attempts to make these two versions of Balvin meet sonically. Turning to the pure sounds of reggaeton he has built his legacy around, “Rayo” evaluates how Balvin can distinguish himself in today’s Latin music scene.

The world first came to know J Balvin with his debut studio album, “Mi Familia.” The 2013 release helped popularize the then-fresh blend of reggaeton with current hip-hop and club-style beats. Consistent hits like his first No. 1 on Billboard’s Latin Airplay, “6 AM,” and “Ay Vamos,” the first video to reach a billion YouTube views by a “Latin urban/reggaeton artist,” put him on the frontlines of the genre at the time.

By the end of the 2010s, his reach expanded beyond the Latin market. With the 2017 release of “Mi Gente,” Balvin became the first entirely Spanish-language song to ever top Spotify’s Global chart, which eventually garnered a remix with Beyonce. With frequent collaborations with fellow high-profile artists such as Cardi B, Bad Bunny and Rosalia, he dethroned Drake as Spotify’s most listened to artist worldwide in 2018. To this day, he still holds the title of Spotify’s second most streamed Latin artist in the world, under Bad Bunny.

J Balvin flashes his silver grill.

(Michael Blackshire/Los Angeles Times)

As he released his sixth album, “Jose” in 2021, his reputation began to crumble. He became the subject of several controversies — a multilayered industry beef with Puerto Rican rapper Residente; the offensive nature of the “Perra” video, which had Black women dressed as dogs on leashes; and his contentious acceptance of the Afro-Latin artist of the year award by the African Entertainment Awards.

Balvin hit a breaking point, not only in his image but also in his sound.

“Once you start doing what people want, you start losing your identity. But that’s not me,” said Balvin. “I see this point of strength where people want to keep going with the trend. It’s OK. But what makes me special is me.”

After finishing a 10-year record deal with Universal Music Latino, Balvin inked a new contract with Interscope Capitol in May. Nir Seroussi, the executive vice president of Interscope Capitol Labels Group, looks to the singer as “an ambassador of Latin music.”

“We all have our ups and downs. Regardless of what has happened, what matters at the end of the day is how you are able to get up. That’s just really been my focus [with Balvin],” said Seroussi. “The Jose I know is someone who is very mature and disciplined. He’s like a boxer getting ready to go into the ring. He’s at the top of his game for his energy, mental stamina and drive.”

Balvin says his process began to feel “calculated.” When it came to making albums, he often found himself falling into a steady routine.

J Balvin poses in front of a 1953 Cadillac Series 62.

(Michael Blackshire/Los Angeles Times)

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“We would go in [to the studio and] say, ‘This is the mission. This is what I wanna do.’ It works with all the other [albums] that we have done. But in this case, it was so pure and so joyful and so real to myself,” said Balvin. “ This is the most fun that I’ve had with an album in a long time.”

With “Rayo,” he didn’t go into the studio with any sort of expectation or pressure.

“I went in and was just kind of freestyling, like the way I used to. I was playing with the beat and the melodies. I would even do 10 or 20 takes,” he said. “It didn’t matter because we were just having fun. It took me to the very beginning of my creative process when it was more go with the flow.”

His return to a more organic process eventually led him back to his roots in party-centric music.

Instead of blending the popular sounds of the early 2000s into reggaeton as he once did on records like “Mi Familia,” now he turns to the more current trends of synth pop, EDM and trap beats to create a modern-day version of J Balvin. On tracks like “Swat” he pays tribute to a more belligerent version of old-school reggaeton, while on “Doblexxó,” featuring frequent collaborator and fellow Colombian singer Feid, Balvin blends an industrial electronic feeling into a classic perreo tune.

The biggest risk on the album was “Stoker,” featuring musica Mexicana crooner Carin Leon. The track starts off as a melodic ballad — a rare moment for Balvin. But as the chorus starts, an underlying Afro-beat becomes the song’s backbone. As he and Leon pass the baton between their combined individual styles, the musicians bring their worlds of reggaeton and Mexican folk together seamlessly.

“How can we do a song where Carin fans are happy and where my fans are happy without not feeling like J Balvin is a sellout? Personally, I’m not someone who likes to jump in on the hype because I have a lot of respect for their movement [musica Mexicana],” said Balvin in reference to the current popularity of musica Mexicana. “I wanted to be super cautious in the way we were gonna make the song together.”

The two initially connected at this past year’s Coachella Valley Music and Arts Festival, where the lineup consisted of the most Latin music acts ever at the desert festival.

“The best thing about the song was the surprise for both of us,” Leon said. “The most beautiful thing about collaborating with Jose is the simplicity with which he approaches things. He always makes room to welcome his friends.”

They began the process by sending each other ideas for potential songs back and forth. But upon hearing an unfinished version of “Stoker,” Balvin knew he could add something “really new and special” to the track.

“There’s a fine line between changing something to make it cooler and destroying something,” Balvin said.

When asked if he has ever destroyed any of his songs, he begins to laugh and says, “Sometimes I don’t know what happens, but I’m like, ‘What did I do?’ Most of the time, it’s worth taking the risk.”

J Balvin shows off his hand tattoos and braids for a portrait.

(Michael Blackshire/Los Angeles Times)

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“I’m not afraid. I have proof in the years of my career. We make these switches, and we’re game changers.”

To his credit, the game — the Latin music scene — looked very different when he started than what it is today. He feels “grateful” to have started his career when he did. In the age of streaming and the current saturation of the genre, he says he’s aware of how hard it is for new artists to distinguish themselves.

Something he’s always been adamant about is singing exclusively in Spanish — refusing the idea of crossing into the English-language market. Now that Latin music is the U.S.’s fastest-growing genre, he lets a smile shine through and says, “I knew it.”

“Growing up, I would listen to Shakira and Enrique Iglesias and they were doing the same songs in English [that they previously released in Spanish]. I respect that because at that moment, the timing wasn’t right,” said Balvin. “But my language is the way I express myself and the way I express my heart.”

After all these years of J Balvin being hailed as a leader in Latin music, today “Rayo” is seen as one of the many newly released Latin albums. In the currently flourishing genre, his legacy is what he will continue to rely on.

“It’s so gratifying. It feels like I manifested it. I had a vision of what we’re living now,” said Balvin. “We have the doors open and this is the time we have to say they are going to be open forever.”

After a half hour of Balvin posing with the glamorous Rolls-Royce, his publicist calls a wrap on the shoot. Balvin puts his chrome sunglasses back on and heads out of the exhibit. Too sidetracked by the endless rows of showstopping vehicles, he foregoes a goodbye. As his entourage of about 15 people slowly trails behind him, a member of the group stops to ask a nearby employee where they keep the Batmobile. After confirming its location on the fourth floor, he hustles to catch the elevator Balvin was headed toward. Despite having a busy day packed with press interviews and business meetings, the “Prince of Reggaeton,” who has the Batman symbol tattooed on his chest, refused to leave the museum before checking out the iconic ride featured in Tim Burton’s 1989 superhero film.