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October began much as September ended, with a flood of new releases. That includes some highly anticipated releases. Below is my take on this week’s new films. You can keep up with everything I’m watching by following me on Letterboxd @knighthawk7734.

A Different Man (Theaters)
Starring: Sebastian Stan, Adam Pearson, and Renate Reinsve
Synopsis: We all have things about ourselves we wish were different. But what happens when those outward issues are removed? Does it mean we can live the perfect life? That’s part of the heart of this new film, which features Stan as a man with a face mutation that has led him to lead a life in the shadows. But when he undergoes a radical new procedure that fixes his face, he still doesn’t find perfection. When he encounters another man (Pearson) who never let his affliction dictate his life, Edward begins to realize it’s not the outside but the person inside that’s long been part of the problem. The ideas here are interesting, as is the way this film is put together. It’s something of a dark comedy, but it really allows Stan to shine. Writer/director Aaron Schimberg does a nice job putting this all together. I also really loved Pearson and the way he kind of steals the spotlight of the film as well as his character steals the spotlight from Edward. This is an engaging film to check out.
Rating: Rated R for sexual content, graphic nudity, language and some violent content.
Verdict: Three and a half stars out of five

Hold Your Breath (Hulu)
Starring: Sarah Paulson, Ebon Moss-Bachrach, and Annaleigh Ashford
Synopsis: We’ve reached October, which means Spooky Season is in full effect. Nothing demonstrates that more clearly than getting three original horror films streaming on Thursday. One of those, Hold Your Breath, features a very unique set up. The film comes from writer Karrie Crouse, who co-directed the film with William Joines. It’s set in Oklahoma during the 1930s, the height of the Great Depression and the Dust Bowl that ravaged the region. It left people scrambling for enough money and food to stay alive and keep their family intact. The focus here is on Margaret (Paulson), a mother who is doing her best to protect her daughters. She’s in a raw state as her husband had to head away to make money to provide for the family and she’s recently lost a child. That leaves her raw and on edge, and the weather and conditions aren’t improving matters. When a traveling healer (Moss-Bachrach) arrives, at first it seems a miracle. He helps Margaret’s daughter and helps to heal the cow, whose milk is their main means of surviving. But when a letter arrives from her husband, Margaret realizes the preacher is a threat. Though he leaves the house, it’s with a warning. As the Dust Bowl continues to ravage the area, Margaret becomes increasingly paranoid that this traveler is the mythical Gray Man. She believes he means to do her family harm. But her visions and mental duress have those in her small town skeptical. Can she keep her family safe before it’s too late—or is it all in her head? This is a psychological thriller of a different kind. The atmosphere created by Crouse and Joines is alienating and severe. That’s intentional. It’s a cold, desolate landscape where even the air is trying to choke the life out of the people there. You feel that suffocation come through on screen, which helps aid in the set up here. But a lot of this rests on hanging in with a tough set up and a tough location. I thought Paulson did a nice job in the role, and the conditions created in the film work well to heighten the mood, but it doesn’t always hold that tension. This is a decent set up for a streaming horror film and it has its moments, but ultimately it didn’t totally work for me. Still, for those looking for something different, this is an interesting streaming option.
Rating: Rated R for some violence/disturbing images.
Verdict: Two and a half stars out of five

House of Spoils (Prime Video)
Starring: Ariana DeBose, Barbie Ferreira, and Arian Moayed
Synopsis: The new Spooky Season entry from Prime Video that is set at a somewhat gothic house in the country that Andres (Moayed) is turning into a boutique restaurant. He taps an up-and-coming Chef (DeBose) to lead the way. She lives on site and sets about building the kitchen and the menu, which leads to a connection to a garden that was planted by the former owner. While she finds culinary inspiration, it leads to a connection to the spirit of the land that threatens to drive her to madness. The idea here was interesting, as was some of the production in the film. I liked DeBose in the lead role and some of the settings and shots. But ultimately, this doesn’t really sink into the scary here. It’s OK and has some tense moments but it fails to create the kind of intense experience it seems to be going for here. The story is just OK as well. It’s entertaining at times but doesn’t meet expectations.
Rating: Rated R for language and some violent content.
Verdict: Two and a half stars out of five

It's What’s Inside (Netflix)
Starring: Brittany O’Grady, Alicia Debney-Carey, and James Morosini
Synopsis: This film got a debut at Sundance and now is dropping on streaming just in time for the Spooky Season. In it, a group of old friends gather for a party and celebration on the eve of a wedding. Among them is a couple (O’Grady and Morosini) who are having a bit of trouble connecting. Things are made more tenuous during the party when one of the guests brings an experimental device that allows a consciousness to change bodies. Predictably, some things go off the rails once that begins. This is an interesting idea for a film but the execution and story here is mostly flat. The story goes in fairly predictable ways and doesn’t do enough to build up its characters. And then, we get an ending section—titled Coda—that sort of produced the most interesting part of the film. I was engaged a bit by the ending, but I wasn’t as taken with the journey. That makes this just OK.
Rating: Rated R for pervasive language, sexual content, drug use and some violent content.
Verdict: Two stars out of five

Joker: Folie a Deux (Theaters)
Starring: Joaquin Phoenix, Lady Gaga, Brendan Gleeson, and Catherine Keener
Synopsis: In this modern era, it seems everything needs a sequel—or a reboot. So, it’s hardly a shock that Joker, the 2019 film from Todd Phillips that gained a following and an Oscar for Phoenix, would get a round two. The fact that it’s a musical, however, has seemingly caught some audiences by surprise. The film picks up two years after the events of that original film. Arthur Fleck (Phoenix) is heavily medicated, locked up in Arkham, and awaiting his trial. The question is whether he’s sane, or better yet whether Joker was just an alternate personality. That’s what his lawyer (Keener) believes, but his guards, led by Jackie Sullivan (Gleeson) think he’s faking it. After doing well enough in Arkham, Arthur is allowed to join a musical therapy group. There, he connects with Lee (Lady Gaga), a fellow patient who is taken with him. She’s seen the TV movie of his life and loves The Joker—who she believes is Arthur’s true self. Habitually lonely in his life, Arthur is drawn to someone who wants to be with him. And their connection ignites in him a life of the mind as he imagines their possible future. As his trial draws near, Lee encourages him to let the Joker out to take control, creating the means of his salvation. His lawyer has other ideas. Arthur is caught in the middle, torn between love, guilt, and what he wants the world to see. I wasn’t a fan of the first film. I thought it touched on important topics relating to mental health in a dangerous, often callous way. This film isn’t remarkably different, but it felt more nuanced in some ways that helped the narrative go down easier. It’s undeniable that the story of Arthur Fleck—and the Arthur Fleck’s out there in the world—is a tragedy. He was failed by the system time and again, which took an immeasurable toll on his fragile mental health. Into that, in this film, comes Lee. She offers love and companionship—but it comes with strings. Arthur has been abused and manipulated his whole life and, sadly, gets that in what he perceives as his first true relationship, too. In terms of filmmaking, Phillips has some brilliant shots and some great locations. I enjoyed the use of fantasy sequences more here as it’s clearer this is Arthur’s life of the mind, allowing them to go bolder. But at times, there’s an overreliance on certain camera tricks and movies. There was a lot of slow-motion shots at times. The biggest swing is trying to make it a musical. That doesn’t always work, and the music does little to add to the story or the emotional depth. It feels almost like a tack on at times that doesn’t quite fit the rest of the film. What does work is Phoenix and Gaga. Phoenix already won an Oscar for this role but does perhaps better work here. His final speech in the courtroom is surprising, engaging, and heart-breaking, and Phoenix sells it beautifully. Gaga also sinks into the part and adds a lot of style and intrigue to the role. The film works best when these two are together one screen. Ultimately, Joker: Folie a Deux feels like something of a mixed bag. It’s got its moments, but it doesn’t totally work, making for a middling theater-going experience.
Rating: Rated R for some strong violence, language throughout, some sexuality, and brief full nudity.
Verdict: Two and a half stars out of five

Monster Summer (Theaters)
Starring: Mason Thames, Mel Gibson, Nora Zehetner, and Kevin James
Synopsis: The spooky season often presents a variety of scary options for viewers. This year is no exception, with options ranging from the incredibly graphic to more family-friendly fare. This week’s new release of Monster Summer decidedly falls into the latter category. The film comes from writers Bryan Schultz and Cornelius Uliano, who have worked on a number of Peanuts projects, including the full-length film in 2015. Now, they are plying their talents to a live-action film set in a small-town during summer where strange things are occurring. Noah (Thames) is a baseball player who is trying to keep out of trouble as his mother (Zehetner) tries to keep the family afloat. Noah’s father was a famous journalist who passed away. But he left his gift of storytelling behind in his son. Noah crafts broad and wild stories for the local paper, but the editor (James) doesn’t always let them see the light of day. Still, he remains doggedly committed to investigating anything strange in his town. When his friends start disappearing and having strange reactions, Noah becomes convinced there is something supernatural at play. He can’t get anyone to believe him until he manages to catch the interest of a retired cop, Gene (Gibson), who is mourning his own personal loss. Together they begin to investigate and seek to find answers about what’s happening in their town. Can they stop it before it’s too late? It’s fun to have different kinds of creepy tales during spooky season. This one is definitely more of a family-friendly vibe, with the tone and style of the story being something of a fun young detective journey. I liked Thames in the lead role, and I thought it was one of the most fun roles we’ve seen for Gibson in some time. I also had fun with the inclusion of Patrick Renna as the umpire. It brings back a connection in older viewers to The Sandlot, then had sort of a fun twist going forward. I thought it was a clever piece of casting. The mystery here isn’t overly deep. The other adult actors—James, Zehetner, and Lorraine Bracco—are fine and seem to fit their parts. The ending was somewhat clever, and it provides a decent ride for viewers. It feels like dropping into the season in a lighter way. It’s not incredible, but it was a fun watch that has some solid emotional beats.
Rating: Rated PG-13 for some violence and terror.
Verdict: Two and a half stars out of five

The Outrun (Theaters)
Starring: Saoirse Ronan and Stephen Dillane
Synopsis: This new film is based on the memoir of the same name from Amy Liptrot. In it, we meet Rona (Ronan), who is just out of a 90-day program and headed home to Orkney Island in Scotland. There she connects with nature, connects with her roots, and thinks back on the previous 10 years in London that led to her struggle with substance abuse. Through it all she tries to grow and come out strong on the other side. This film is based on Liptrot’s own personal journey and that comes through the material. Director Nora Fingscheidt does a nice job putting this together with some beautiful looks and shots at times. But what really sells this is Ronan, who gives a fantastic performance. The film doesn’t always work as a whole, but I was moved by Ronan and the journey she goes on as Rona. It’s a powerful performance that should be on the short list come Awards Season.
Rating: Rated R for language and brief sexuality.
Verdict: Three and a half stars out of five

Salem’s Lot (Max)
Starring: Lewis Pullman, Bill Camp, Makenzie Leigh, Jordan Preston Carter, and Alfre Woodard
Synopsis: Just in time for October, Max is finally releasing this new version of this novel from Stephen King. We’ve seen it adapted twice before—in 1979 and 2004. This new version was originally shot in 2021 and set for a theatrical release. Three years later, it’s finally here. The film takes place in the small town of Jerusalem’s Lot, dubbed Salem’s Lot for short by residents. It’s 1975, and author Ben Mears (Pullman) has arrived to spend some time finding inspiration for his new work. It was a place he lived as a child until his parents were tragically killed, and it holds a weird draw for him. There, he makes a connection with Susan Norton (Leigh) and strikes up a friendship with a local teacher named Matt Burke (Camp). When some strange things begin occurring it’s clear a vampire has moved into the Lot, leaving Mears and his friends to battle the evil and save the town. This is a solid adaptation but at times it feels like too much action is condensed to make it work as a feature film. I liked the performances, and I thought director Gary Dauberman did a nice job of putting this together. There’s some solid set up and plenty of action that makes this a solid streaming watch.
Rating: Rated R for bloody violence and language.
Verdict: Two and a half stars out of five

White Bird (Theater)
Starring: Helen Mirren, Gillian Anderson, Ariella Glaser, and Orlando Schwerdt
Synopsis: Back in 2017, we got the film Wonder based on the novel by R.J. Palacio. It focused on a young boy, who despite physical and emotional obstacles, managed to find his place in the world. The cast featured Julia Roberts and Owen Wilson, and it became something of an emotional hit for target audiences. A part of that movie was a bully named Julian, played by Bryce Gheisar, who was eventually booted from the school. The film White Bird is based on another Palacio novel and is connected to Wonder through Julian. We pick up with Julian at a new school where, after his past experiences, he’s just trying to keep his head down. When he connects with his grandmother (Mirren), he conveys that the lesson he learned was that he should try to be unnoticed. His grandmother urges Julian that wasn’t the real lesson to take away from his past experience. In order to push him in a new direction, she tells him the story of her childhood and of his namesake. We meet a young Sara (Glaser), a budding artist and a Jew trying to survive in France as World War II is breaking out. Her parents are split on the danger, but the presence of the Nazis, and their increasing move through France to occupation, has them concerned. When the Nazis begin rounding up all the Jews, Sara hides in her school. There, a young boy named Julian (Schwerdt) finds her and brings her home to hide. Though Sara was never particularly friendly toward Julian before, he and his family risk everything to keep her safe and keep her hidden. Along the way, their friendship deepens as his display of unfailing kindness has a profound impact on all her life. This film had a long journey to the screen, with marketing at different times over the past few years. It started out with strong connections to Wonder, but as we’ve moved closer to release the film is being marketed to stand on its own. Whether you remember that first film, or just come in cold this will work fine. The connection to the previous film is faint and has little to do with how this story plays out. We spend most of our time in flashback. The story of young Sara and her Julian is the heart of the film. Stories of WWII, and the cruelty, courage, and kindness of the various participants continues to be inspiring. That’s certainly the case here. As one might guess by how the story begins, we have an inkling of the darker twists to come. Still, the third act here is powerful and beautiful. Both the playing out of events in the past and the resolution when we move back to the present is effective and, at times, beautiful. Mirren does a nice job, as does Gillian Anderson in a moving supporting role as Julian’s mother in flashbacks. Glaser and Schwerdt are also good, drawing you into this story and relationship. This is an emotional and engaging tale that surprised me. It will be a powerful experience for those who go to check it out.
Rating: Rated PG-13 for some strong violence, thematic material and language.
Verdict: Three and a half stars out of five