Grade: B

A Big Bold Beautiful Journey: Trip or Flop

Jeremy BeckReviews
Colin Farrell and Margot Robbie in A Big Bold Beautiful Journey

He doesn’t want the GPS. Who the hell needs a GPS? He can just use his phone. Aha, the saleswoman points out, but what if his phone craps out on him? A few feeble protests later (“I don’t think it will.” “But what if it does??”), he relents and agrees to the upsell, at which point the woman exclaims in triumph, “Fuck yeah!”

There is no small degree of metaphor in this early exchange in A Big Bold Beautiful Journey, when a lonely single man named David (Colin Farrell) rents—“has foisted upon him” is probably more accurate—a 1994 Saturn from a strangely persistent agent in a pinstriped suit and pencil haircut (Phoebe Waller-Bridge, presumably improvising her thick German accent on the day of shooting). After all, a GPS is designed to guide you to a preplanned destination, allowing you to surrender your agency and simply obey the device’s rhythmic commands. So when this particular model, which speaks in the soothing voice of Jodie Turner-Smith, suddenly asks David, “Would you like to go on a big, bold, beautiful journey?” he hardly has any choice in the matter, and neither do you. Read More

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The Long Walk: Fear Eats the Stroll

Jeremy BeckReviews
David Jonsson, Cooper Hoffman, and other dudes in The Long Walk

As depicted in The Long Walk, the United States is a land of turmoil and suffering. Shortfalls in productivity have led to a crippling economic depression. State-sanctioned violence is broadcast in the form of bread-and-circuses entertainment. The military persecutes citizens who dare voice their dissent. To clarify, the movie is a work of fiction, not a documentary.

Specifically, The Long Walk is based on a novel by Stephen King, though its horror is allegorical rather than supernatural. Taken literally, the story’s premise—in which 50-odd young men compete in a grueling endurance test that doubles a perverse battle for life and death—isn’t especially plausible. But it’s less unrealistic than it might have seemed, say, eight months or three days ago. When the nation’s president declares war on the free press, when his toadies mount an intimidation campaign against anyone who opposes conservative orthodoxy, when TV networks suspend late-night programs out of fear of governmental retribution… well, it becomes more difficult to frame the image of tanks rolling down public streets as a flight of imaginative fancy. Read More

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Splitsville, Twinless, and the Offbeat Romantic Comedy

Jeremy BeckFeatures, Reviews
Dakota Johnson in Splitsville; Dylan O'Brien and James Sweeney in Twinless

It’s been a rough two decades for the romantic comedy. Twenty years ago, the summer box office was already showing signs of intellectual-property creep, but nestled amid the Star Wars prequel and the Batman origin story and the Steven Spielberg and Tim Burton remakes were two smash-hit original rom-coms: Wedding Crashers and The 40-Year-Old Virgin. (You could also throw in Mr. and Mrs. Smith, depending on your level of genre pedantry.) In 2025, you need to scroll all the way down to #18 before finding a single romantic comedy, Materialists (and calling that one a rom-com is a bit of a stretch); at a modest $37M, it’s the only rom-com of the year to scrape its way past $3M domestic.

Were studios just waiting to unleash their laugh riots until after Labor Day? Whatever the reason, last weekend saw the release of two new comedies that, while not strictly adhering to rom-com conventions, nevertheless serve as a welcome change of pace for anyone exhausted by all of the comic-book adaptations and animated sequels. Neither exactly set the box office afire, which is a shame, given that one of the pleasures of a well-made romantic comedy is the joy of experiencing collective laughter and heartbreak with fellow patrons. That, and both of these happen to be pretty good. Read More

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The Naked Gun: Burden of Spoof

Jeremy BeckReviews
Pamela Anderson and Liam Neeson in The Naked Gun

Wander into The Naked Gun at the exact wrong (or right) moment, and you may suspect that you’ve mistakenly arrived at the latest Mission: Impossible flick. As a henchman lies handcuffed to a hospital bed, a detective coaxes incriminating information from him under the pretense that the villain’s master plan has already succeeded. Once the crucial details are revealed—and just before the room’s false walls fall away to reveal a phony set, confirming the elaborate masquerade—the cop asks his unseen colleagues, “Did you get all that?”

You probably didn’t. The chief attribute of The Naked Gun, the new sorta-sequel to the Leslie Nielsen-led franchise from the ’80s and ’90s, is density. It runs 85 minutes and features roughly 10 times as many jokes, to the point where your brain can’t possibly process all of the purported humor in real time. The assault is relentless but also oddly reassuring. If a line or gag or reference sails over your head, you need not spend time chasing it; another one will be arriving within 10 seconds. Read More

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Eddington: Sicking and Screaming

Jeremy BeckReviews
Joaquin Phoenix in Eddington

Some films yearn to transport you to days bygone, preying on your nostalgia for the glories of the past. Then there’s Eddington, the latest freak-out from Ari Aster and the exact opposite of a whimsical memory-lane venture, instead regarding its chosen era with suspicion and exasperation. Set in May 2020 at the outset of the COVID-19 pandemic, it’s an unholy time machine of a movie—the kind that will have you clawing at the walls, breaking your fingernails as you search for a way out.

Aster made his bones with Hereditary, a skin-crawling nightmare that refused to let you ever look at your parents or telephone poles the same way again. Eddington has no curses or demons or decapitations, but thematically speaking, it’s even scarier than his debut, seeing as it grapples with society’s collective cluelessness in response to an encroaching plague. Sure, supernatural forces are disturbing and all, but they’ve got nothing on human stupidity. Read More

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