Venice Diary #08 - "The Son", "Beyond the Wall", and "Dreamin' Wild"

by Elisa Giudici

Today on the menu in Venice, there is only one option: crying your heart out. You can choose which missing son and worried parent will tear your heart in pieces, though.

THE SON by Florian Zeller
Who is 'the son' of the title? That's debatable. There is the troubled teenager Nicholas (Zen McGrath) that Peter (Hugh Jackman) had with his ex-wife Kate (Laura Dern). Peter also has a newborn son he is raising with his new partner Beth (Vanessa Kirby). Maybe Peter himself is the titular character? He's learning some hard lessons in being a father while struggling with what it means to be the son of Anthony (Sir Anthony Hopkins). I would say the latter, considering how this movie works best as a reminder of Hugh Jackman’s considerable acting skill...

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Venice Diary #7 - All rise, maestros are back in the courtrooms

by Elisa Giudici

SAINT OMER could be a prize winner!

Have you missed courtroom dramas? Today Venice heard you, providing two strong movies about remarkable trials (one based on a true story, one fictional), plus an old school western. Also, have you heard? France now has a major contender for the Golden Lion (as usual)...

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Venice Diary #5 - L'Immensità, Other People's Children, Padre Pio, Love Life

by Elisa Giudici

Today we have on our menù four movies so different one for the other there's no point in trying to find common ground or a theme. Let’s begin with the surprising and very good Penélope Cruz film... 

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Venice Diary #03 - Unstoppable Women from Isabelle Huppert to Nan Goldin

by Elisa Giudici

BONES AND ALL

The women in the four movies screened today are truly formidable. They're capable of eating their enemies alive -- one quite literally as in Guadagnino’s latest Bones and all. Two more are fighting conventional portraits of females as weak. The last is living an extraordinary life and using her power as an artist to expose rich capitalist shenanigans. What a quartet...

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Review: Isabelle Fuhrman Is Back and Bigger Than Ever In The Camp Blast Of "Orphan: First Kill"

by Jason Adams

Like how The Texas Chain Saw Massacre was really about Vietnam, they say horror movies reflect the big anxieties of their times. And the Orphan franchise -- which I can giddily now call a "franchise" thanks to the gleefully ridiculous sequel Orphan: First Kill hitting Paramount+ this weekend -- is like a dollop of arsenic foamed across the surface of our collective pumpkin-spice latte fetish. In other words, it's a poison dart tossed straight at Big Mommy Blog to puncture the heart of the Social Media Wellness Cult. The diabolical Esther (played to utter perfection by Isabelle Fuhrman again) is a sweet-faced and ribbon-laced Trojan Horse sneaked onto your curated feed and set to blow up your pretty pictures from the inside out. She's Bo Burnham's "White Woman's Instagram" song plucked by ice pick across harp string.

But first, let's step back. (And yes this review will spoil the big surprise of the original film -- it's been thirteen years after all.) The first Orphan came out in 2009 and into the home of Vera Farmiga and Peter Sarsgaard...

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