Another December week full of award contenders and arthouse fair, and it’s a lot of good stuff. This set of write-ups includes a couple of comedies, a couple of dramas, some comedy-dramas, and an ode to French New Wave cinema. The following features reviews for Jay Kelly, The Secret Agent, Nouvelle Vague, Eternity, Die My Love, Chronology of Water, and Fackham Hall.
Jay Kelly: 7 out of 10
The Setup: Famous movie star Jay Kelly (George Clooney) and his devoted manager, Ron (Adam Sandler), embark on an unexpectedly profound journey through Europe. Along the way, both men confront the choices they’ve made, relationships with loved ones, and the legacies they’ll leave behind.
Review: Part of the enjoyment of this film seems to stem from how willing you are to accept that Clooney’s Jay Kelly basically sucks as a person. There’s a subtly cynical film buried beneath the warm photography and light-hearted comedic moments, a feeling that’s very deliberate on Noah Baumbach’s part. It certainly speaks to all of the scrutiny our lead character is put under, but rather than make excuses or provide some copout (which the film almost does late in the game), this movie lets us rest in the knowledge that Jay Kelly is reflecting on all of his life choices and how he could have done things better. For a film about Hollywood, it’s not the rosiest depiction of a major actor on the path to a lifetime achievement award.
In that regard, this movie is merely okay. Part of that comes from the fact that even with this level of dramatic urgency in mind, Clooney is still playing one of the most privileged, sought-after, pampered white men in the world, and asking us to care deeply for his struggles could be a stretch for some. With that in mind, this movie fortunately has a large cast of effective supporting players, most notably Sandler’s Ron, the long-suffering manager whose face could serve as the picture definition of hangdog. It’s no surprise, at this point, to remark upon the excellent dramatic abilities of the Sandman, so I’ll just say they are on a full-on high in this film, allowing him to be vulnerable, tired, and old.
Other actors come and go, including an invaluable Laura Dern and a scene-stealing Billy Crudup. A couple of other welcome surprises arrive late in the film as well. The script by Baumbach and Emily Mortimer puts a whole lot of emphasis on overlapping dialogue, as if they are trying to evoke 70s-era Hollywood, when Robert Altman and Woody Allen ran free with fast-on-their-feet, talky character pieces. This film also benefits from gorgeous Italian scenery and a classy Nicholas Britell score on top of all that. All this flash doesn’t allow the movie to pay off as strongly as some of Baumbach’s recent features. However, it’s still delivering a sturdy look at the end of the line when it comes to veteran actors and old-school cinema, and it fits it with a good-looking package that apparently only Netflix could provide.
Where To Watch: Now available to stream on Netflix.
The Secret Agent: 8 out of 10
The Setup: In 1977, Marcelo, a technology teacher (Wagner Moura), moves from São Paulo to Recife during Carnival to escape his violent past and start over. He finds the city full of chaos, and his neighbors begin to spy on him.
Review: I’ve only seen a few films from director Kleber Mendoca Filho, but the way he presents political turmoil in his home country of Brazil, spanning history, by mashing up a variety of genres, creates tension and entertainment. 2020’s Bacurau, among other things, focused on a conspiracy surrounding a corrupt mayor’s attempt to wipe an entire village off the map for financial gain. It does so through dark comedy, action-thriller tropes, and sci-fi. The Secret Agent is something of a neo-noir blended with 70s paranoia films, and some magical realism for good measure. It’s got plenty of scale and many elements to keep track of, but also knows how to keep it all very interesting.
At the center of this is Moura’s Armando, and it’s a real relief to see the actor receive so much acclaim for this performance. It’s an assured role that is less about standout dramatic moments or flashy touches, and more about the naturalism and sheer confidence he brings as something that shouldn’t stand out but does so anyway. He blends into his environment, but being reliable and a factor in how dangerous missions play out leads the film’s plot into new territory.
With the many real locations being utilized and a lot of effort to evoke 70s period films in general, there’s so much to take away from how this film is structured, what it’s attempting to pull off, and the genuine tension from a story that doesn’t have easy answers as far as its plotlines and character arcs are concerned. It’s honestly a great benefit to see films like this, and It Was Just an Accident lean into the history of their environments by way of filmmakers wanting to spread certain kinds of awareness who just so happen to be gifted in bringing out the great qualities of the genre films and other types that they enjoy so much.
Where To Watch: Now playing in select theaters.
Nouvelle Vague: 8 out of 10
The Setup: After writing for Cahiers du cinéma, a young Jean-Luc Godard (Guillaume Marbeck) decides that making films is the best form of film criticism. He convinces producer Georges de Beauregard (Bruno Dreyfurst) to fund a low-budget feature and creates a treatment with fellow New Wave filmmaker François Truffaut (Adrien Rouyard) about a gangster couple. The result? Breathless, one of the first features of the Nouvelle Vague era of French cinema.
Review: Just saying something along the lines of, “See the story of how the French classic Breathless was made,” could seem like either a decent idea for a doc to some or homework to others. Director Richard Linklater didn’t really have any of this in mind. Instead, he did something familiar to his own work. He made a hangout movie based around vibes and personalities. Sure, we see something of an approximation of what it was to be caught up in the early stages of the French New Wave period. Still, the film is hardly trying to lure you into some flavorless exercise of spilling out information with no real flair.
Having owned a few of these films on Blu-ray, if anything, one of the best things Nouvelle Vague did for me was push me to get the 4K upgrades of Breathless, The 400 Blows, and others right away. It’s nice to have those Criterion editions, and I look forward to seeing those immaculate presentations, but Linklater really does show just how good he is here. It’s not about trying to match the Godards and Truffauts of the world, but simply tapping into the sort of attitudes that are going around and what it means to embrace a creative mind not built around conformity.
It also helps that this film is just a lot of fun to watch. Sure, it’s pretty stylish with its black-and-white photography, various period details, and other atypical choices. But the way the dialogue flows between the multiple leads, the sense of humor on display, everything Zoey Deutch is doing as Jean Seberg, and other cinematic concessions allow for a film that is loose yet totally being arranged accordingly by a filmmaker adept at taking this kind of strung together series of scenes and having it come out exceptionally.
Where To Watch: Now available to stream on Netflix.
Eternity: 6 out of 10
The Setup: In an afterlife where souls have one week to decide where to spend eternity, Joan (Elizabeth Olsen) is faced with the impossible choice between the man she spent her life with (Miles Teller) and her first love (Callum Turner), who died young and has waited decades for her to arrive.
Review: It’s never ideal when you have a film titled “Eternity” and one of the main complaints is how long it feels. At nearly two hours, Eternity does too good a job promoting some aspects as the most favorable outcome, and the movie eventually overstays its welcome by stretching out the drama to the point of exhaustion. Compared to other fantastical afterlife stories like Defending Your Life or A Matter of Life and Death, this movie has a lot to live up to. All of that in mind, I still had a good enough time, thanks to the actors’ effort and the film’s overall attitude.
I wish Olsen had more to play with here, as I do think she’s the most ideally cast element. That said, her time to shine comes later, and she is deployed about as effectively as she can be for an actress who has largely avoided traditional rom-com work. Meanwhile, Teller does what’s needed in channeling an older man trying to deal with a dramatic new status quo. Whether or not it is against type, I did have trouble appreciating Turner’s efforts here. Whether it’s because having these two actors as Olsen’s suitors just made the film feel plainer than it should, or because Turner seems like too much of a Baxter-type, I was wishing for either a cleverer screenplay or more to come out of the performer to make up for it.
Not hurting at all are Da’Vine Joy Randolph and John Early as afterlife coordinators. For a film that doesn’t do much with its depiction of this limbo-like afterlife, their added comedic touches are welcome. The bureaucratic aspects of this film, in general, were enjoyable enough to take in, as it’s always fun to get the rules of these over-the-top fantasy environments. And the comedy is certainly there, with director David Freyne doing all they can. I just wish it hit a bit harder emotionally.
Where To Watch: Now playing in theaters.
Die My Love: 7 out of 10
The Setup: Grace (Jennifer Lawrence), a writer and young mother, is slowly slipping into madness. Locked away in an old house in Montana, her increasingly agitated and erratic behavior leaves her companion, Jackson (Robert Pattinson), worried and helpless.
Review: In the realm of chaotic, surrealist dramas involving a troubled couple that stars Jennifer Lawrence, mother! is still the film earning the highest marks, but there’s enough to appreciate in Lynne Ramsay’s psychological drama about postpartum depression. Joining the likes of other films, such as If I Had Legs I’d Kick You, if the problem becomes getting too many stories about the ways women suffer in life (something that has not been historically seen nearly as often as, say, men going through a midlife crisis), then that’s hardly an issue to worry about. If anything, Die My Love only risks taking us down the same path for a bit too long, clocking in at nearly two hours.
One thing is for sure – Lawrence is down to commit. This is a demanding, uncompromising role that could serve as a reminder as to why she became an ‘It girl’ noted for the quality of work she has behind her, and not just her role as a celebrity. Having to embody a character engulfed in so much negative emotion and realize that physically and emotionally looks so incredibly draining, which is clearly what this film wants to communicate. That doesn’t necessarily make this film one I’d dive into again and again for me, but I can appreciate the effort.
At the same time, the collaboration on display with Pattinson speaks to an acting duo who are very comfortable with each other, and could easily be having more fun if the film required it. Some punk-inspired moments suggest happier times, were the film not so devoted to stressing the damage coming from Lawrence’s psyche (somewhat triggered by Pattinson’s character’s actions that move them so far away from anything). Regardless, as a visually impactful picture, with deeply affecting performances, while perhaps not as fully grasping as some of Ramsey’s other efforts, it really went hard while it lasted.
Where To Watch: Now playing in select theaters.
Chronology of Water: 7 out of 10
The Setup: A young woman (Imogen Poots) finds her voice through the written word and her salvation as a swimmer, ultimately becoming a triumphant teacher, mother, and singular modern writer.
Review: Speaking of visually intense, psychological dramas told from the viewpoint of a female character going through a lot, The Chronology of Water is a strong debut from writer/director Kristen Stewart. Adapted from a memoir by Lidia Yuknavitch, whether Stewart directly connects to the material on display, she certainly seems adept at how one could find the most extreme ways to capture it. Being a film about abuse, commitment, overcoming severe strife, and more, it’s a lot to take on, and yet, between Stewart’s choices and some tremendous work by star Imogen Poots, here’s a film that’s undoubtedly a tough watch, but also one that is ultimately rewarding.
Featuring an array of supporting players that includes Jim Belushi and musician Kim Gordon, I love the idea of all these performers being able to see the vision Stewart had for this film, as it follows unconventional editing patterns and plotting, instead focusing on revealing itself emotionally as it goes along. Not an easy ask, and yet the film’s strengths largely rely on having the audience feel along with it. Whether or not this will be reflective of Stewart’s continued efforts as a filmmaker, the quality of her debut here certainly has my attention.
Where To Watch: Now playing in select theaters.
Fackham Hall: 7 out of 10
The Setup: Done in the style of a parody film, a new porter (Ben Radcliffe) forms an odd bond with the youngest daughter (Thomasin McKenzie) of a well-known UK family. As the Davenport family, headed by Lord and Lady Davenport (Damian Lewis and Katherine Waterston), deals with the epic disaster of the wedding of their eldest daughter (Emma Laird) to her caddish cousin (Tom Felton).
Review: Arriving seemingly out of nowhere, 2025 had another parody film to offer up, which I am all for when done right. The Naked Gun certainly delivered in a way that hadn’t been seen in some time, so I certainly had plenty of joy come over me when the sudden arrival of a preview for Fackham Hall entered my sights. Looking to take on English period dramas such as Downton Abbey and Gosford Park, there’s certainly plenty of material to work with when finding ways to mine broad humor out of such a specific genre. While I’m less familiar with the famed ITV series, it goes to show how much fun can be had when the comedy is designed to play mainly in a universal sort of way. Sometimes, funny is just funny, regardless of context.
Not hurting at all is this committed cast led by McKenzie, of all people, the young performer who has proven excellent in nearly everything she’s touched, proves she’s also not above slumming it with yucksters, either. While not as overly broad as some of the other performers, she’s clearly having fun working with this script, coming from a team of writers, including notable British stand-up Jimmy Carr, who has a small role in this film as a hilarious Vicar.
Directed with a good eye for what works about these sorts of films by Jim O’Hanlon, at a time filled with so much earnestness and sincerity, having a goofy comedy that pokes at a sometimes too stuffy genre feels like it’s coming just at the right time to provide a nice break. Also, it never stops being funny to say and consider the film’s title.
Where To Watch: Now playing in theaters.
