RIDE OR DIE – Review by Susan Granger

Obviously inspired by Thelma & Louise , Amazon Prime’s new female-focused action-adventure Ride or Die stars Hannah Waddingham and Octavia Spencer as unlikely best-friends on the run across Europe.​ Their relationship takes some explaining. Although she claims to be a forensic accountant, Judith Burton (Hannah Waddingham) is really an elite professional assassin known as Whiptail.​ Indeed, when we first see her, she’s a sassy, sly sharpshooter at an Austrian ski resort, deftly taking out her target, making a spectacular escape, then James Bond-like bedding a bartender.​ On the other hand, Debbie (Octavia Spencer), a Yale Law School graduate, is the underestimated, wily wife of a dim-witted British politician who took money from Albanian mobsters who – understandably – want it back.

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THE WILD ROBOT – Review by Susan Granger

When a storm at sea dislodges a shipping container from a cargo ship, a large box washes ashore on a faraway island inhabited only by animals. Battered and bruised but incredibly resilient, the sole occupant of the box is a Rozzum 7134 android assistant (voiced by Lupita Nyong’o) that can walk, talk, assimilate information and help around the house. She’s designed to serve. Confused about her kindly nature, the animals (beavers, possums, porcupines, deer, bears) view Roz as a monster and try to kill her – until by accident she accidentally crushes all but one goose egg in a nest.

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THE WILD ROBOT – Review by Susan Kamyab

While the animation is stunning, the beauty of this movie is the simplicity. Director Chris Sanders has taken Peter Brown’s story and effectively touched on the current state of humanity, the impacts of global warming, and most importantly, the significance of compassion and motherhood. It may sound like a basic or familiar plot, but through its characters, visuals, and subtly it’s a surprisingly refreshing tale. Lupita Nyong’o and Kit Connor’s mother-son relationship is breath-taking and will likely make you want to immediately hug your own mother or parental figure in your life. It also reminds us; you don’t have to give birth to a child to give them life.

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THE WILD ROBOT – Review by T.J. Callahan

What would an intelligent robot do in the wilderness? Find out in DreamWorks’ computer animated sci-fi adventure, The Wild Robot, based on the New York Times bestselling children’s book series by Peter Brown. We get to know Roz (ROZZUM unit 7134) after the utilitarian android is shipwrecked on an uninhabited island and must learn to adapt to the harsh surroundings while building relationships with the variety of animals living there plus taking care of an orphaned baby goose. It’s Castaway meets Wall-E meets Migration.

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THE WILD ROBOT – Review by Valerie Kalfrin

I’ve long had a weakness for robots that burst with personality, from R2-D2 to The Iron Giant to WALL-E. The Wild Robot, while not as transcendent as 2008’s WALL-E, is nevertheless a gorgeous and gratifying animated film about discovering where you fit. Through a robot that experiences empathy, it encourages an audience’s compassion, celebrating kindness as a survival skill.

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THE WILD ROBOT (TIFF 2024) – Review by Nadine Whitney

Adapted from the beloved grade school illustrated novel by Peter Brown, Chris Sanders’ The Wild Robot is an enchanting fable about purpose, identity, kindness as a way to survive. The Wild Robot is an adventure story about unlikely heroes, but more than that it’s a story about motherhood and ‘instinct’ – or programming. The Wild Robot is a superb film that is richly layered rewarding viewers of all ages.

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THE FIRST OMEN – Review by Nadine Whitney

Arkasha Stevenson’s 1971 set The Omen prequel is a gloriously gothic vision mixed with genuine body horror and dark critique of extended abuse in the Catholic Church, and it is sophisticated and chilling. Two characters return from the original film. Father Brennan (originally played by Patrick Troughton and here played by Ralph Ineson) and Father Spiletto. Otherwise, The First Omen written by Ben Jacoby is mostly an original beast which plays with the lore set out by Seltzer but does so in a manner more punishing and psychologically sadistic than any of the films since the original.

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LIVING – Review by Lois Alter Mark

A remake of Akira Kurosawa’s highly acclaimed To Live, Living is equally powerful, thanks to Bill Nighy’s quietly dignified performance and a beautiful script by Nobel Prize winner, Kazuo Ishiguro. Nighy plays Mr. Williams, a very average British civil servant in postwar London, whose first name we never even get to know because no one is close enough to him to refer to him personally.

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MINIMATA – Review by Susan Granger

It’s hard to imagine a Johnny Depp film being ignored but that’s what happened after Minamata premiered at the Berlin International Film Festival back in 2020, when Covid shuttered most theaters. Depp plays renowned W.W.II photojournalist W. Eugene ‘Gene’ Smith, who, by 1971, had become a jaded recluse: broke, wasted, estranged from his children, and suffering from PTSD.

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LIVING (Sundance FF 2022) – Review by Leslie Combemale

Director Oliver Hermanus and writer Kazuo Ishiguro have that rare mix of hubris, knowledge of film history, and love of subject that have led to adapting the screenplay of writer/director Akira Kurosawa’s 1952 masterpiece Ikiru. Bill Nighy’s performance and the evocative cinematography that captures mid-century London make Living a film that will have its own staying power and great value in repeat viewing. Shame on any critic that points to Ikiru in denying the richness of Living. Note to Hermanus and Ishiguro: Kurosawa would be proud.

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