Screening Season in Los Angeles - 10 Capsules
Thursday, October 9, 2025 at 10:00AM by Eurocheese
It’s that time of year! Los Angeles screening season is in full gear, with Oscar hopefuls sending out invites right and left. Here are my comments and rankings (by preference order)on the last batch of 10 films (!) with more to come soon.
One Battle After Another – A+. Paul Thomas Anderson’s brilliance can be hit and miss, but this is among his very best works. DiCaprio capitalizes on the comedic energy he’s brought to Tarantino films, bringing frenetic energy to this sprawling, action-packed epic. Teyana Taylor’s popping introduction, newcomer Chase Infiniti’s grounding steady hand and an insanely madcap villain from Sean Penn are all nomination-worthy, with even the smaller parts for Benicio del Toro and Regina Hall packing a punch. The must-see of the season...
It Was Just an Accident – A. Jafar Panahi’s follow up to his gut punch No Bears turns a potential dark revenge plot into a comedy of errors. Sharp direction allows the film to bounce between moments of intensity and levity, with an always palpable sense that any plot twist can turn the result on a dime. The stakes are never lessened, though, and once again he finds a way to end on a perfect moment. Excited to see his well-deserved awards attention play out this season.
Blue Moon – A-. The buzz on this film was that it was reminiscent of a play, but Ethan Hawke is marvelous here, carrying his protagonist’s fate on his shoulders. In a Q&A after the film, he spoke eloquently on feeling early in his career that being authentic meant staying close to his own personality, only realizing later in life that who we are is much more decision and culturally based, opening doors for him as a character actor. The film’s witty dialogue leaves a memorable portrait of a fall from grace.
Tessa Thompson is HEDDA
Hedda – B. High energy and willing to experiment, Hedda also has the feel of a play, and at times leans into dramatics too easily. Tessa Thompson is up for the challenge of playing the complicated central character, but it’s Nina Hoss who steals scene after scene, nailing her bewilderment, guile and descent as the evening progresses. The melodrama can be overwhelming but since everyone is game, the final result is worth the journey.
Train Dreams – B. Beautifully shot, this haunting story slowly unwinds the pace and longing of a life removed from loved ones in the early 1900s Old West. The loneliness of a work life separating the central family is only deepened by the joyful images of time spent together. A quiet meditation on our need for love from each other.
Eleanor the Great – C+. June Squibb returns with another leading role in her 90s, this time as a lonely woman moving in with her daughter after her lifelong friend passes away. The story becomes controversial when she falls in with a Holocaust survivor group and begins telling her late friend’s stories as if they are her own. The story sidesteps the moral issues of this identity theft, making it difficult to fully get on board with its message. There are some touching moments, but in the end, it doesn’t come anywhere near the heights of Squibb’s performance in Thelma last year.
Anemone – C. Two reasons to watch this movie – some gorgeous imagery and a few monologues that Daniel Day-Lewis (predictably) knocks out of the park. Outside of that, the characters are more types than fully fleshed out human beings and the plot is not particularly compelling. Are the monologues enough for a nomination? It’s possible, but the material doesn’t rise to the leading actor’s level.
The Mastermind – C. Usually Kelly Reichardt films reel the audience in over time as we learn about the characters, but instead, this locks in quickly as we see ideas come together for an art heist. Josh O’Connor is entertaining to watch early on, but the film soon meanders, and the second and third acts can’t maintain the level of initial intrigue. By the end, it’s difficult to maintain interest in where things are headed.
Julia Roberts in AFTER THE HUNT
After the Hunt – D. Confusing messaging hinders this film, and unfortunately it overshadows some great performances, especially a muted turn from Julia Roberts. It’s not just a likeability factor with these characters; it becomes hard to believe any of these people would have interactions along these lines. It’s a film worth discussing, but not one that seems to actually care about its own characters.
The Smashing Machine – D. Johnson and Blunt give fine performances, but after trying too hard to get us to like its protagonist, the script pushes towards one note characterizations. Oscar has loved many boxing movies, but this doesn’t bring anything new to the conversation. I would like to see Johnson attempt more challenging work and am always happy to see Blunt, but this film simply isn’t memorable.
Reader Comments (7)
I’m looking forward to seeing It Was Just An Accident and Blue Moon. I love Andrew Scott who plays Richard Rodgers in Blue Moon. Such a good actor and sounds like a great supporting role, full of love, exasperation, and the need to be true to one’s art, pulling away from ex-partners.
I have seen Hedda, and loved it. It’s fabulous looking, all the design elements are top notch. I credit the director for hiring the best, and allowing them to give their best.
And I agree that the wonderful Nina Hoss is, yet again, wonderful in it. Both Hoss and Tessa Thompson should be top considerations for awards.
I’m not sure that I agree with the idea of “stealing” a scene. Hoss is given time, space, and attention by the director. Thompson’s achievement in making the character of Hedda intensely vivid (and gleefully appalling), lets Hoss go full blast in creating a contrasting character. It takes a lot of people working in artistic concert to create a space where great actors shine.
To be cynical (yet again) when you have a movie with a lead black actress, directed by a black woman (oh and there’s a gay love story) and have the general response be “yeah, it’s pretty good”, you know that there is a great movie there, just waiting for you to see it.
I really loved Thompson in most scenes, though there were a few where her poise (which is central to the character, I get it) could have slipped just a bit more to let us peek behind her mask. Not enough people are talking about Hoss though. One of the best performances of the year for me. I enjoyed the film, but it isn't making my personal Top 10.
ONE BATTLE is so overrated, sorry not sorry! The characters are so thin and the visuals are lacking! How do you waste the greatest asset from your last movie, Alana Haim, using the pseudonym of all people... the divine Mae West! Bottom-tier PTA for me!
I'm so curious about THE MASTERMIND and no amount of negative or lukewarm reviews will dissuade me. To date, the only Reichardt film I don't care for is NIGHT MOVES. Like or love everything else.
I am intrigued for most of these due to their awards friendly possibilities.
I like Hawke and felt he was unfairly snubbed for First Reformed,he is more interesting now than in the 90's.
Can't see me watching It Was Just An Accident unless the b/f hears about it but doubtful.
I am saddened Julia is not getting a nomination,I thought this was her hot ticket back to the Oscars,doesn't look like DDL is getting a nomination either.
I am looking forward to Train Dreams,seems like a 90/00's indie about character.
The Smashing Machine seemed like Oscar bait for The Rock which isn't panning out as easily as it seemed,Blunt is going to have to wait a lot longer.
I hope Hall manages to get her flowers and Chase is going lead now so she could.
Man I feel like I watched a different movie than everyone raving over One Battle After Another. There were so many plot elements that were just nonsensical, and it had wonky pacing. Good performances, though!
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