Review: "Supergirl" is Perfectly Fine, Which is a Little Disappointing

By Ben Miller

You can blame Superman for plenty of the failures with Craig Gillespie's Supergirl. The critical and audience success of that entry reignited the DC Universe. Now, the expectations are too great and the middle-of-the-road film that follows is sure to be considered a disappointment.

It's not like the film does anything wrong, it's just slight. I love not having a plot hinge on universe-changing implications, but this film just establishes the Supergirl character enough to lead to other stories. Table-setting is always a part of the deal with these connected universe stories, but it's surrounded by such low stakes and forgettable characters, it's hard to care...

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First Predictions: Adapted & Original Screenplays

by Nathaniel R

Four inspirations for 2026 movies: Mrs Dalloway becomes CLARRISA, The Unfaithful Wife becomes MINOTAUR, Rocky (1976) gets a making of bio with I PLAY ROCKY, and of course the bestseller turned blockbuster PROJECT HAIL MARY

As someone who never used to have writers block but who has it frequently now, I have a newly reinvigorated respect for fellow writers who perservere. That said, the screenwriters life can't be easy given the amount of script doctoring, star and director and studio "notes", multiple drafts, and anything else that can change an original concept or even an adapted one -- and what is the difference really in some cases? Cheers to anyone who sees anything they wrote up on screen, even if it's only partially their vision in the end. Let's look at some Oscar possibilities after the jump...

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Split Decision: “Train Dreams”

In the Split Decision series, two of our writers face off on an Oscar-nominated movie one loves and the other doesn't. Today, JUAN CARLOS OJANO and CLÁUDIO ALVES discuss Train Dreams...

JUAN CARLOS: So why don't you like Train Dreams?

CLÁUDIO: Seriously, that's how you start our convo?

I guess it's an appropriately blunt opening to argue over a blunt movie that wears the costume of subtlety and gentleness without quite pulling it off. Well, in my opinion, of course, since being the one organizing this series has made me well aware that everyone on the team likes Train Dreams. And, to be fair, the picture's grown on me to the point I'm actually rooting for it in the Best Cinematography race and wouldn't even be mad if it pulled off an unprecedented victory in Best Original Song. It's a picture full of great elements that ultimately falters under the weight of one or two major failures, some misbegotten choices that collapse the potential it might have had in different circumstances…

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Gotham Awards Revue: "Pillion"

by Cláudio Alves

Harry Lighton's Pillion has just opened in UK and Irish cinemas, ahead of a stateside February release by A24. This free adaptation of Adam Mars-Jones' Box Hill novella premiered at Cannes in the Un Certain Regard section, where it won the Best Screenplay prize. Still at the Croisette, Rosie, one of its canine stars, was also laurelled with a special Palm Dog – Mutt Moment Award. Sadly, other voting bodies don't have categories for the likes of Rosie, though Pillion has already scored eight BIFA nominations (the main ceremony is tonight!) and two wins for its costumes, hair and makeup. At the Gotham Awards, which will be handed out tomorrow, the film is up for two prizes – Best Adapted Screenplay and Outstanding Supporting Performance for Alexander Skarsgård. 

All this talk of awards may obfuscate what a fascinating piece of work Pillion turns out to be. Sensual like the kiss of leather straps on hard muscle, as tender as a fresh purpling bruise, Lighton's feature directorial debut is unlike most visions of queer love that get welcomed into the picture house…

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Cannes at Home: We're Back!

by Cláudio Alves

Could SOUND OF FALLING be the first German film to win the Palme since THE WHITE RIBBON?

As the title says, we're back! Well, I'm back, to be precise. Apologies for my absence in the last few weeks, but I've been busy, here in Portugal, covering the IndieLisboa Film Festival. Indeed, I might still write something about the many great works I caught there for The Film Experience readership. But, in the meantime, my attention shall be on Cannes and batting away the cinephile FOMO that befalls those of us who're staying home, watching from afar as some of the year's most anticipated films make their bow at the Croisette. Nick Taylor is doing some anniversary posting while Elisa Giudici is reporting from the festivities, so I'll be doing my usual schtick and explore past works from this edition's Official Competition auteurs. 

A few days of competition screenings have passed. Still, it all started with German director Mascha Schilinski's Sound of Falling, which received sterling reviews from international critics and is already considered a contender for end-of-the-festival honors. Sergei Loznitsa's Two Prosecutors marks a more unheralded return to fiction from the Ukrainian filmmaker. Let's look at their triumphs from years past…

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