by Josh Sewell
Anora
(Rated R for strong sexual content throughout, graphic nudity, pervasive language, and drug use. Opens in select theaters November 1.)
The premise: This raunchy but charming comedy centers on Ani (Mikey Madison), a Brooklyn sex worker. Her life takes an unexpected turn when she meets Vanya (Mark Eidelshtein), the immature son of a Russian billionaire, and they impulsively tie the knot in Vegas. When his parents (Aleksey Serebryakov and Darya Ekamasova) hear the news, they send their henchmen (Karren Karagulian, Vache Tovmasyan and Yura Borisov) to annul the marriage, setting off a chaotic night in New York City.
The verdict: Writer-director Sean Baker’s modern retelling of Cinderella (with some Pretty Woman thrown in) won the coveted Palme d’Or at the Cannes Film Festival earlier this year, and it’s easy to see why. Anora will prove too raw for some – I’m guessing a lot of viewers will bail within the first 10 minutes – but those who can handle the barrage of sex, nudity, drug use and crude language will find a surprisingly tender heart beneath the vulgarity.
Not to mention the movie is flat-out hilarious, packed with clever dialogue, deadpan humor and brilliant physical comedy. It’s been a while since I laughed so hard for such a long time, which made the final scene, which features a cathartic release for the ages, even more startling and poignant.
I was already a fan of Madison thanks to her unhinged performances in Once Upon a Time in Hollywood and 2022’s Scream sequel, but she’s on an entirely different level here. Her work is a revelation, signifying a long and fascinating career. I’ll be shocked if she doesn’t get a Best Actress nomination.
While Eidelshtein has the more broadly comedic performance (and he’s great, don’t get me wrong), Borisov comes out of nowhere to become the supporting performance MVP. His dry humor is incredible – a quiet, perfectly delivered “no…” launched me into hysterics.
I really like most of Baker’s previous work, particularly Tangerine and The Florida Project, but he’s at the top of his game with Anora. I absolutely loved it. It’s easily one of my favorite movies of the year and a shoo-in for my Top 10 list in December. I can’t wait to see it again.
Grade: A
Music by John Williams
(Not rated. Available on Disney+ starting November 1.)
The premise: A documentary on the life and career of the legendary composer responsible for a staggering amount of iconic film scores, as well as other recognizable works. The heartfelt tribute features interviews with Steven Spielberg, Kate Capshaw, J.J. Abrams, Chris Martin, Chris Columbus, George Lucas, Itzhak Perlman, Yo-Yo Ma, Alan Silvestri, Branford Marsalis and others whose lives have been impacted by Williams’ music.
The verdict: John Williams helped craft some of the most iconic moments in cinematic history, but even non-movie fans have been impacted by his work. Not only has he written scores for films like Star Wars, Jaws, Jurassic Park, Harry Potter and dozens more, he’s also influenced popular culture in other ways, like composing themes for The Today Show and the Olympics.
However, even film geeks don’t know a lot about Williams’ personal life. While director Laurent Bouzereau doesn’t delve too deeply into those aspects, I still learned more about his relationships with his children and the tragic death of his first wife than I knew before. Aside from that, Williams and his colleagues stick mostly to a “greatest hits” look at a career that has spanned an astounding eight decades.
I was already familiar with a lot of stories covered here, but I’m also a giant nerd. The target demo for Music by John Williams is the average person scrolling through Disney+, so it should work well in that regard. If nothing else, it’s great to see legendary filmmakers talk about Williams using the same effusive language others use to praise them.
Grade: B+
Chasing Chasing Amy
(Not rated but contains strong language and thematic elements. Opens in select theaters November 1.)
The premise: Sav Rodgers’ documentary explores the legacy of Kevin Smith’s cult classic Chasing Amy. The film is both a tribute to the movie he credits with saving his life as a queer kid growing up in Kansas, as well as an exploration of its divisive reputation in the LGBTQ+ community. Featuring interviews with Smith, actress Joey Lauren Adams, cultural critics and more, Rodgers discovers his filmmaking journey will be far more difficult and emotional than anyone could have possibly known.
The verdict: Chasing Amy is Smith’s third movie, but it was my introduction to the director’s frank, filthy cinematic universe (he was doing the connected movies thing long before Marvel). When I was in college, the film – although it hasn’t aged well in terms of language and sexual politics – blew me away. Its mix of humor, anger and heartbreak hit just as I was preparing to leave my teen years behind and enter adulthood.
The movie clearly had an even bigger impact on Rodgers, but he makes sure this isn’t a hagiography. There are thoughts from Smith himself, who clearly views this time in his career as one of his peaks.
However, frank commentary from the queer community and a raw, revealing interview with Adams (who played the iconic Alyssa Jones) prove that the film and its legacy isn’t all rainbows and sunshine. This well-rounded perspective makes the doc a fascinating but often uncomfortable watch, especially as Rodgers begins to separate nostalgia from reality.
Grade: B+
(Rated R for strong sexual content throughout, graphic nudity, pervasive language, and drug use. Opens in select theaters November 1.)
The premise: This raunchy but charming comedy centers on Ani (Mikey Madison), a Brooklyn sex worker. Her life takes an unexpected turn when she meets Vanya (Mark Eidelshtein), the immature son of a Russian billionaire, and they impulsively tie the knot in Vegas. When his parents (Aleksey Serebryakov and Darya Ekamasova) hear the news, they send their henchmen (Karren Karagulian, Vache Tovmasyan and Yura Borisov) to annul the marriage, setting off a chaotic night in New York City.
The verdict: Writer-director Sean Baker’s modern retelling of Cinderella (with some Pretty Woman thrown in) won the coveted Palme d’Or at the Cannes Film Festival earlier this year, and it’s easy to see why. Anora will prove too raw for some – I’m guessing a lot of viewers will bail within the first 10 minutes – but those who can handle the barrage of sex, nudity, drug use and crude language will find a surprisingly tender heart beneath the vulgarity.
Not to mention the movie is flat-out hilarious, packed with clever dialogue, deadpan humor and brilliant physical comedy. It’s been a while since I laughed so hard for such a long time, which made the final scene, which features a cathartic release for the ages, even more startling and poignant.
I was already a fan of Madison thanks to her unhinged performances in Once Upon a Time in Hollywood and 2022’s Scream sequel, but she’s on an entirely different level here. Her work is a revelation, signifying a long and fascinating career. I’ll be shocked if she doesn’t get a Best Actress nomination.
While Eidelshtein has the more broadly comedic performance (and he’s great, don’t get me wrong), Borisov comes out of nowhere to become the supporting performance MVP. His dry humor is incredible – a quiet, perfectly delivered “no…” launched me into hysterics.
I really like most of Baker’s previous work, particularly Tangerine and The Florida Project, but he’s at the top of his game with Anora. I absolutely loved it. It’s easily one of my favorite movies of the year and a shoo-in for my Top 10 list in December. I can’t wait to see it again.
Grade: A
(Not rated. Available on Disney+ starting November 1.)
The premise: A documentary on the life and career of the legendary composer responsible for a staggering amount of iconic film scores, as well as other recognizable works. The heartfelt tribute features interviews with Steven Spielberg, Kate Capshaw, J.J. Abrams, Chris Martin, Chris Columbus, George Lucas, Itzhak Perlman, Yo-Yo Ma, Alan Silvestri, Branford Marsalis and others whose lives have been impacted by Williams’ music.
The verdict: John Williams helped craft some of the most iconic moments in cinematic history, but even non-movie fans have been impacted by his work. Not only has he written scores for films like Star Wars, Jaws, Jurassic Park, Harry Potter and dozens more, he’s also influenced popular culture in other ways, like composing themes for The Today Show and the Olympics.
However, even film geeks don’t know a lot about Williams’ personal life. While director Laurent Bouzereau doesn’t delve too deeply into those aspects, I still learned more about his relationships with his children and the tragic death of his first wife than I knew before. Aside from that, Williams and his colleagues stick mostly to a “greatest hits” look at a career that has spanned an astounding eight decades.
I was already familiar with a lot of stories covered here, but I’m also a giant nerd. The target demo for Music by John Williams is the average person scrolling through Disney+, so it should work well in that regard. If nothing else, it’s great to see legendary filmmakers talk about Williams using the same effusive language others use to praise them.
Grade: B+
(Not rated but contains strong language and thematic elements. Opens in select theaters November 1.)
The premise: Sav Rodgers’ documentary explores the legacy of Kevin Smith’s cult classic Chasing Amy. The film is both a tribute to the movie he credits with saving his life as a queer kid growing up in Kansas, as well as an exploration of its divisive reputation in the LGBTQ+ community. Featuring interviews with Smith, actress Joey Lauren Adams, cultural critics and more, Rodgers discovers his filmmaking journey will be far more difficult and emotional than anyone could have possibly known.
The verdict: Chasing Amy is Smith’s third movie, but it was my introduction to the director’s frank, filthy cinematic universe (he was doing the connected movies thing long before Marvel). When I was in college, the film – although it hasn’t aged well in terms of language and sexual politics – blew me away. Its mix of humor, anger and heartbreak hit just as I was preparing to leave my teen years behind and enter adulthood.
The movie clearly had an even bigger impact on Rodgers, but he makes sure this isn’t a hagiography. There are thoughts from Smith himself, who clearly views this time in his career as one of his peaks.
However, frank commentary from the queer community and a raw, revealing interview with Adams (who played the iconic Alyssa Jones) prove that the film and its legacy isn’t all rainbows and sunshine. This well-rounded perspective makes the doc a fascinating but often uncomfortable watch, especially as Rodgers begins to separate nostalgia from reality.
Grade: B+
Reach out to Josh Sewell at joshsewell81@gmail.com
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