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movie review charge over you

Charge Over You

Dove review.

“Charge over You” is a story about how one young woman’s life changes after her mother’s death and how evil tries to take her life over. There are times in one’s life that are full of unexpected changes and we sometimes lose our way without realizing it. As Sara tries to go forward in college, her grades drop and her mind does not focus on her purpose. She allows an evil to try to take over her life. But when the time comes God sends help.

Sometimes we don’t understand the plan that God has for our lives and we turn our thoughts to other things. He always works in mysterious ways. “Sometimes life takes things from us so that others will go in the right direction” to quote the film. But one thing is for sure is that He is always there when we need Him, all we have to do is ask for His help.

This is a faith-friendly story that will connect with a lot of people.

Dove Rating Details

Girl dead from overdose; boy accuses girl of cheating; boy comes in dorm room without permission; girl is followed.

A couple kisses; guy and girl on dorm bed making out.

Girl on bathroom floor with pills; EMT's administrating CPR.

Girl's shirt is cut off and she is in bra; cleavage; girl in shower shown from shoulders to head.

Girls in dorm with Ouija board doing a séance; girl with facial piercing; mother dying of HIV; guardian angel.

More Information

Film information, dove content.

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movie review charge over you

Charge Over You

movie review charge over you

Where to Watch

movie review charge over you

Danya Cox (Sarah Goodall) Dominic Deutscher (Mike) James E. Lee (Dane) Brenton Thwaites (Sam) Jacqui Hall (Dr. Lillian Boyde) Gabriella Di Labio (Sarah's Mother) Ray Croft (Sarah's Father) Aimee Whitman (Janet) Samantha Sword (Clare) Miriam Bell (Bianca)

Regardt Steenekamp

When Sarah meets Mike, everything she thought she knew about the world is turned upside down.

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Charge Over You Movie Review – Dances With Films

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By Brent Simon

Title: Charge Over You

Director: Regardt Steenekamp

Starring: Danya Cox, Dominic Deutscher, James Lee, Jacqui Hall, Brenton Thwaites, Ray Croft

An Australian, college-set love triangle drama studded with a few supernatural elements, ‘Charge Over You’, which just had its U.S. premiere as part of the 14th annual Dances With Films festival, is an earnest, low-budget freshman effort, marked by all the sorts of sincerity and shortcoming which that tag frequently implies.

The plot centers around college student Sarah (freshfaced newcomer Danya Cox), who slips into a seemingly irretrievable funk after witnessing a fellow student pass away. That death, you see, brings back memories of Sarah’s dear, beloved and also recently departed mother, whose death she hasn’t really been able to discuss with her father (Ray Croft). Her teacher (Jacqui Hall) warns Sarah, an aspirant doctor, that she’s in danger of losing her scholarship if she doesn’t buckle down and commit to a “Logic 201” term paper on a creation myth subject (!), but Sarah lets herself be continually led astray, first by Dane (James Lee) — a blond, wraith-like, slightly menacing figure who seems to have stepped out of either the ‘Twilight’ or ‘Harry Potter’ franchises, possibly both — and then by UCLA transfer student Mike (Dominic Deutscher), a sort of Central Casting nice guy. Observing all of these goings-on from friendship alley, meanwhile, is Sam (Brenton Thwaites), a bespectacled, wishy-washy do-gooder who’s always encouraging Sarah to study and do her work.

Without truly giving much of anything away, ‘Charge Over You’, written by Julia Matthews and directed by Regardt Steenekamp, bears all the hallmarks of a slice of adolescent tortured psyche/imaginary friend cinema, mainly since Dane keeps popping up in Sarah’s room unannounced. Rather than freak her out, however, she always blithely accepts his excuse, thrice-repeated, if not more, that her “door was open.” In essence, the movie tips its hand far too early. There’s no suspense or drama or worry about Sarah’s corporeal safety. Dane is obviously less a real character than a figure/device, so the movie unfolds as an exercise of time-whiling, waiting to see exactly how he is outed, and what the motivations might be.

The performances help all of this go down at least a bit more smoothly. Whereas so many young American actors — be it because of television training or myriad other factors — would amp up the emoting and deploy stressed, declarative speech rhythms, the Australian actors here (with the exception of the creepy Lee, who’s acting on advice of counsel one supposes, and in his own separate movie) trade in slightly more restrained and realistic strokes, making for some pleasant, unforced moments of getting-to-know-you (nonsexual) connection between Cox and Deutscher. Unfortunately, Sarah isn’t a proactive enough character, and the material as a whole just isn’t sketched out deeply enough to get its hooks in an audience. But the solid if unspectacular technical credits and Charge Over You’s narrative reach for something a bit beyond the norm make this a modest and entirely forgivable failure — the sort of calling card first feature film of which its makers need not be overly embarrassed.

Technical: C+

Written by: Brent Simon

A graduate of the University of North Carolina at Chapel Hill, Brent Simon is a three-term president of LAFCA, a contributor to Screen International, Newsweek Japan, Magill's Cinema Annual, and many other outlets. He cannot abide a world without U2 and tacos.

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Charge Over You

Where to watch

Charge over you.

Directed by Regardt Steenekamp

Boy meets girl. Girl meets someone else...

When Sarah meets Mike everything she thought she knew about the world is turned upside down.

Danya Cox Dominic Deutscher James Lee Brenton Thwaites Jacqui Hall

Director Director

Regardt Steenekamp

Writer Writer

Julia Matthews

Thriller Drama

Releases by Date

01 aug 2010, releases by country.

  • Theatrical PG

85 mins   More at IMDb TMDb Report this page

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Charge Over You

Charge Over You

  • When Sarah meets Mike, everything she thought she knew about the world is turned upside down.
  • After the death of her mother, Sarah Goodall struggles to make sense of her life, her purpose and her faith. Having spent most of her adolescent years positioning herself to find a cure for her mother's illness, she battles with feelings of guilt and failure that send her spiraling downward. Her intensifying relationship with a mysterious bad boy only seems to add to the confusion. Once an honor student, Sarah begins failing her classes, jeopardizing her scholarship and her future. When an American transfer student arrives on the scene, he takes a vested interest in Sarah, helping her find what she's counted as lost. — Anonymous

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Dominic Deutscher, James E. Lee, Brenton Thwaites, and Danya Cox in Charge Over You (2010)

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Charge Over You (Movie Review)

movie review charge over you

Plot Summary

After Sarah’s mother tragically dies, she begins to lose her sense of purpose in life.  Then, in a moment of weakness, she allows herself to be influenced in a dangerous way and finds herself being pursued by a dark and mysterious man who suddenly takes interest in her.  Life becomes more confusing for her when her father tells her his future plans.  She wants to believe that there is more to life than she can perceive, but as the darkness closes in, she has nowhere to turn.

Production Quality (1.5 points)

For a low budget production, Charge Over You is great, though it still has some issues.  Video quality and camera work are mostly good, though the opening sequence is pretty roughly done.  The audio quality is sometimes too poor, including loud background noises, but the soundtrack is superb.  Sets and locations are realistic, but some of the inside scenes are too dark.  There also tends to be too much silence throughout, along with too many wasted sequences.  However, it is clear that thought was put into this effort as there is plenty of positive to find here, especially for a first time work.

Plot and Storyline Quality (1 point)

Despite the confusing opening sequence, Charge Over You makes excellent use of flashbacks and well-constructed dialogue that is centered around the debate of logic versus spirituality.  Though this film deals with the demonic and the Satanic, it handles the issues differently than most films, although we would have liked to see a deeper storyline to accompany it.  There are great ideas embedded into this plot, but they need more development and complexity, as do all of the characters.  Dialogue ranges across many topics, but more focus is needed to give this film a sense of direction.  The mysterious elements in this film are commendable, but they also seem to waste too much time—more content was needed to make them effective.  While there is a good message in this film that is not overly-preachy, there are some cheesy characters to derail it.  Also, the ending sequence is fairly amateurish and leaves something to be desired.  In short, this is a great effort and has tons of potential; cultivating this will lead to great things.

Acting Quality (2.5 points)

The casting and acting are the strongest points of this film.  Though these are mostly ‘amateur’ actors and actresses, they do a great job.  Line delivery is effective and emotions are believable.  The only caveat to highlight here is some cheesy acting by one particular cast member, but it’s not enough to hurt this effort.  This portion is a job well done.

The CitiPointe Church team has a lot of potential and creatively waiting to be tapped into.  They handle spiritual warfare issues fairly well, though this movie is overall an unfinished idea that desperately needs a remake.  Nonetheless, this low budget production shows promise and the casting is excellent.  Therefore, it will be interesting to see if this team has any more productions planned for the future, because they could be onto something big.

Final Rating: 5 out of 10 points

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Charge over You (2010)

Genre: drama / thriller, duration: 85 minuten, country: australia, directed by: regardt steenekamp, stars: danya cox , dominic deutscher and james lee, imdb score: 5,1  (150), releasedate: 1 august 2010.

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Charge over You plot

"Boy meets girl. Girl meets someone else..." After the death of her mother, Sarah Goodall no longer has a purpose in her life. She has always hoped to one day find a cure for her mother's illness and feels guilty that it didn't work out. Then, however, she meets someone who helps her pick up the thread of her life again.

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Danya Cox

Sarah Goodall

Dominic Deutscher

Dr. Lillian Boyde

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When Sarah meets Mike everything she thought she knew about the world is turned upside down.

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Charge Over You  (2010)  ينطلق من فوقك

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  • Release Date: 1 August 2010 (US) (more)
  • Genre: Drama (more)

In the wake of a personal tragedy, Sarah struggles to put her life back together. As she goes on a downward spiral, the arrival of an American transfer student might be just what she needs to pull ...Read more herself out of her pit of despair.

  • Regardt Steenekamp (Director)
  • Julia Matthews (Writer)
  • Dominic Deutscher
  • James E. Lee
  • Brenton Thwaites
  • Jacqui Hall
  • Gabriella Di Labio

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In the wake of a personal tragedy, Sarah struggles to put her life back together. As she goes on a downward spiral, the arrival of an American transfer student might be just what ...Read more she needs to pull herself out of her pit of despair.

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After the death of her mother, Sarah Goodall struggles to make sense of her life, her purpose, and her faith. Having spent most of her adolescent years positioning herself to find a cure for her mother's illness, she battles with feelings of guilt and failure that send her spiraling downward. Her intensifying relationship with a mysterious bad boy only seems to add to the confusion. Once an honor student, Sarah begins failing her classes, jeopardizing her scholarship and her future. When a transfer student arrives on the scene, he takes a vested interest in Sarah, helping her find what she's counted as lost.

Product details

  • Is Discontinued By Manufacturer ‏ : ‎ No
  • MPAA rating ‏ : ‎ NR (Not Rated)
  • Product Dimensions ‏ : ‎ 7.5 x 5.5 x 0.5 inches; 3.2 ounces
  • Media Format ‏ : ‎ NTSC, Widescreen, Multiple Formats, Dolby, Color
  • Run time ‏ : ‎ 1 hour and 25 minutes
  • Release date ‏ : ‎ April 2, 2013
  • Actors ‏ : ‎ Brenton Thwaites, Dominic Deutscher, Danya Cox
  • Studio ‏ : ‎ Bridgestone Multimedia Group, LLC
  • ASIN ‏ : ‎ B00B9GD0OC
  • Number of discs ‏ : ‎ 1
  • #35,589 in Drama DVDs

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Now streaming on:

J.K. Simmons knows how to do sociopath. There’s something so fascinating about a performer like Simmons who can pivot from a guy who looks like your average suburban neighbor to a total lunatic with a perfectly timed malevolent smile. He’s having a blast in most of “You Can’t Run Forever,” and the fact that it was co-written and directed by his wife of almost thirty years probably made this an even more memorable shoot. Sadly, he’s the only one having fun. You certainly won’t.

To be fair, “You Can’t Run Forever” does open with a memorable blast, but it’s a scene that’s indicative of the tonal problems that will follow. Simmons’ Wade pulls up to a gas station in the middle of nowhere just in time to see a fight between a couple sitting in chairs outside the convenience store and a dude yelling at his yappy dog. He marches up to the dog owner, solving the dilemma by shooting him and the couple before driving off over the horizon. He’s deranged. And not just your typical Movie Villain deranged. In one scene, he pleasures himself to a photo of the wife of the guy he’s just killed. There’s a version of “You Can’t Run Forever” that plays like “ High Tension ” or “ Martyrs ,” truly leaning into its ultra-violent view of the world.

The problem is that director Michelle Schumacher didn’t have the courage to make that movie. She’s constantly losing the tonal grip on this story, directing scenes with a flat lack of energy that leaves Simmons lost in a movie that has no idea what to do with him. The film really gets started when Wade encounters Eddie ( Allen Leech ) and his stepdaughter Miranda ( Isabelle Anaya ), killing the former and sending the young woman into the woods to survive. While Miranda’s very pregnant mother Jenny ( Fernanda Urrejola ) panics at home, and the inept local cops bumble their way through the investigation of what appear to be the first murders in their area—the best bit in the film involves an incompetent deputy reading a manual about how to handle a crime scene—Wade hunts Miranda through the woods. It’s another variation on “The Most Dangerous Game.”

And yet it’s not really. Schumacher and co-writer Carolyn Carpenter don’t really even trust their “predator vs. prey” concept, constantly bursting any rising tension by cutting back to a worried Jenny or the officers trying to figure out who is terrorizing their small town. And when flashbacks vaguely try to give Wade a loose motive for what he’s doing, the whole thing falls apart even further. This kind of movie only works with a ruthless, motiveless killer who pushes a victim into discovering their inner strength. But that kind of direct ‘one on one’ thriller requires trust in both performers and collaborators like editors and cinematographers who can make the setting into a threatening backdrop. There is absolutely zero tension in “You Can’t Run Forever.” It all feels like a lark, a project that would completely dissolve if not for the Oscar winner at its center.

About that Oscar winner—there is some perverted glee in watching a performer who is so far above everything else around him. The ruthlessness in his eyes, a twisted smile when he knows he’s in charge, a true sense of danger—that’s all there in Simmons’ choices. And yet none of his scene partners rise to meet what he’s trying to do, creating a weird professional/amateur dynamic that’s like watching mediocre athletes try to keep up with an all-star. Schumacher turns to cheap emotional tricks to try to amp up everything around her star, including using exploitative plot devices like suicide and the dangers of imminent childbirth, but none of it rises to Simmons’ level. He’s just running so fast that the film can’t keep up with him.

Brian Tallerico

Brian Tallerico

Brian Tallerico is the Managing Editor of RogerEbert.com, and also covers television, film, Blu-ray, and video games. He is also a writer for Vulture, The Playlist, The New York Times, and GQ, and the President of the Chicago Film Critics Association.

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Even with likable youngsters, a vast array of cartoonish characters, various pratfalls and shenanigans, and Ryan Reynolds in non- Deadpool mode, the family comedy “IF” isn’t really a "kids movie" – at least not in a conventional sense.

There’s a refreshing whiff of whimsy and playful originality to writer/director John Krasinski’s bighearted fantasy (★★½ out of four; rated PG; in theaters Friday), which centers on a young girl who discovers a secret world of imaginary friends (aka IFs). What it can’t find is the common thread of universal appeal. Yeah, children are geared to like any movie with a cheery unicorn, superhero dog, flaming marshmallow with melting eye and assorted furry monsters. But “IF” features heady themes of parental loss and reconnecting with one’s youth, plus boasts a showstopping dance set to Tina Turner , and that all leans fairly adult. Mash those together and the result is akin to a live-action Pixar movie without the nuanced execution.

Twelve-year-old Bea (Cailey Fleming) doesn’t really think of herself as a kid anymore. Her mom died of a terminal illness, and now her dad (Krasinski) is going into the hospital for surgery to fix his “broken heart,” so she’s staying with her grandma (Fiona Shaw) in New York City.

When poking around her new environment, Bea learns she has the ability to see imaginary friends. And she’s not the only one: Bea meets charmingly crusty upstairs neighbor Cal (Reynolds) as well as his IF pals, like spritely Blossom (voiced by Phoebe Waller-Bridge) and overly sensitive purple furry monster named Blue (Steve Carell). They run a sort of matchmaking agency to connect forgotten IFs whose kids have outgrown them with new children in need of their companionship, and Bea volunteers to help out.

'Welcome to Wrexham': Ryan Reynolds talks triumph, joy and loss of new season

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Bea is introduced to an IF retirement community located under a Coney Island carousel with a bevy of oddball personalities in the very kid-friendly middle section of the movie. “IF” low-key has the most starry supporting cast of any movie this summer because of all the A-listers voicing imaginary friends, an impressive list that includes Emily Blunt and Sam Rockwell as the aforementioned unicorn and superdog, Matt Damon as a helpful sunflower, George Clooney as a spaceman, Amy Schumer as a gummy bear and Bradley Cooper as an ice cube in a glass. (It's no talking raccoon, but it works.)

One of the movie's most poignant roles is a wise bear played by Louis Gossett Jr. in one of his final roles. Rather than just being a cameo, he’s nicely central to a key emotional scene.

While the best family flicks win over kids of all ages, “IF” is a film for grown-ups in PG dressing. The movie is amusing but safe in its humor, the overt earnestness overshadows some great bits of subversive silliness, and the thoughtful larger narrative, which reveals itself by the end to be much more than a story about a girl befriending a bunch of make-believe misfits, will go over some little ones’ heads. Tweens and teens, though, will likely engage with or feel seen by Bea’s character arc, struggling to move into a new phase of life while being tied to her younger years – not to mention worrying about her dad, who tries to make light of his medical situation for Bea.

Reynolds does his part enchanting all ages in this tale of two movies: He’s always got that irascible “fun uncle” vibe for kids, and he strikes a fun chemistry opposite Fleming that belies the serious stuff “IF” digs into frequently. But unless your child is into old movies, they probably won’t get why “Harvey” is playing in the background in a scene. And when “IF” reaches its cathartic finale, some kiddos might be wondering why their parents are sniffling and tearing up – if they're still paying attention and not off playing with their own imaginary friend by then.

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‘kinds of kindness’ review: emma stone and jesse plemons headline yorgos lanthimos’ insidious and intriguing studies in love and control.

Willem Dafoe, Margaret Qualley and Hong Chau also star in a return for the Greek director to the subversiveness and ambiguity of his early films.

By David Rooney

David Rooney

Chief Film Critic

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Emma Stone in Yorgos Lanthimos' 'Kinds of Kindness'

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Filming in hungary comes with a 20-year-old tax rebate - and thermal baths, cannes: body-horror flick 'the substance' wows fest, getting nine-minute standing ovation, kinds of kindness.

Irrespective of the degree to which the three stories are interwoven, this is a work of audacious originality, vicious humor and balls to the wall strangeness, giving the impression there are few places the director won’t go. That includes places of darkness, perversity and mutilation not for the squeamish, but there’s a counterbalancing lightness to Kinds of Kindness that serves the material well.

The feature came together quickly while the Greek director was still in post on Poor Things . It allowed him to extend his collaboration with Emma Stone a third time, while also bringing back two of her castmates from their most recent film together, Willem Dafoe and Margaret Qualley . Watching those actors, plus new recruits including Jesse Plemons and Hong Chau , play different roles with different relationship dynamics in the three stories is a significant part of the pleasure. That aspect adds to the intriguing idea that Lanthimos could be assembling his own like-minded repertory company.

In The Death of R.M.F. , Plemons plays mild-mannered Robert, the husband of Chau’s Sarah. As part of an arcane pact with his wealthy boss Raymond (Dafoe) — who bankrolls the couple’s middle-class comfort and sends them lavish gifts of sports memorabilia like a mangled John McEnroe tennis racquet — Robert has basically surrendered all free will. He receives regular written outlines of each day’s events from Raymond, accounting for every last detail, such as what he wears, what drink he orders at a bar and even when he has sex with Sarah.

Lanthimos has the actors play all this as if it’s an entirely normal transaction, with Plemons projecting Robert’s eagerness to please while Dafoe conveys Raymond’s thinly veiled malevolence.

But the arrangement hits a snag when Robert follows instructions and rams a car with R.M.F. at the wheel but neither kills that other driver nor is hospitalized himself, as was outlined in the plan. Robert balks at Raymond’s order to repeat the crash at a higher speed, prompting his boss to cut him off with cold finality. But taking back control of his life proves challenging, especially once it’s revealed how many people, from Raymond’s wife Vivian (Qualley) to friendly optician Rita (Stone), are a part of the puppet master’s scenario.

Plemons, an actor with extraordinary range who’s the standout of a stellar ensemble, plays Robert’s escalating desperation with grim inevitability. But that’s nothing compared to the descent into sinister obsession of policeman Daniel, his character in the next story, R.D.F. Is Flying .

Daniel’s maritime biologist wife Liz (Stone) has gone missing on a research expedition, causing the cop to sink into depression. When his partner on the force, Neil (Mamoudou Athie), and his wife Martha (Qualley) try to offer emotional support over dinner, a distraught Robert begs them to watch a video of Liz with him. Their reluctance doesn’t come close to preparing you for what’s revealed in the home movie, a kinky source of comfort that’s perhaps Kinds of Kindness ’ most hilarious gag.

When a rescue helicopter finds Liz and a fellow researcher on a deserted island, her return home is tainted by Daniel’s growing certainty that the woman in his house is not his wife. Every little way in which she differs from his spouse heightens Daniel’s suspicious hostility. Liz relates a dream she had on the island, in which dogs were in charge, people were animals and animals were people. The savagery that emerges from Daniel’s paranoia — or justified certainty? — becomes decidedly inhuman, allowing Stone to take a macabre plunge into horror as Liz acquiesces to her husband’s insane need for appeasement.

She plays Emily, who has abandoned her husband Joseph (Joe Alwyn, returning to the Lanthimos fold after The Favourite ) and their daughter to pledge her devotion to a creepy sex cult led by Omi (Dafoe) and Aka (Chau).

Partnered with fellow acolyte Andrew (Plemons) and receiving assistance from a morgue attendant (Athie), Emily’s task is to find a potential spiritual leader with reanimation powers. She’s shunned from the sect once her purity is compromised by Joseph. But when a stranger (Qualley) comes forward insisting that her twin sister is the one Emily is seeking, she goes rogue in a bid to regain Omi and Aka’s favor.

This is a wacko package to be sure, and overlong at two-and-three-quarter hours, so mileage will vary even for devoted Lanthimos fans. But Kinds of Kindness compels as a deranged look at our need to be loved, even at the cost of submitting to someone else’s insidious control.

Every one of the actors — including Hunter Schafer in a small role in the final episode — fully connects with the director’s peculiar wavelength. They keep the film engrossing even when it’s most perplexing.

The other distinguishing factor is the use of music, starting with The Eurythmics’ “Sweet Dreams (Are Made of This),” which opens the movie with a punchy jolt. As he did for Poor Things , English musician Jerskin Fendrix contributes an unconventional score that’s frequently abrasive, in keeping with the disquieting tone. It ranges from dissonant tinkling piano to crashing chords, passages by turns chiming and staccato, and choral pieces of feverish intensity.

Kinds of Kindness will likely be something of an acquired taste, but at the very least it’s a movie that keeps you wondering where it’s going next. A debt to Luis Buñuel notwithstanding, Lanthimos is his own breed of storyteller, and that alone makes his work something to be savored.

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This Is the Last Charger You’ll Ever Have to Buy

The Ugreen Nexode Pro 160W goes anywhere you do and can power up to four devices at the same time.

Key Takeaways

  • Ugreen Nexode Pro 160W is a small, fast charger that can power multiple devices at once, making it ideal for travel.
  • It has 3 USB-C ports and 1 USB-A port, with varying power outputs suitable for different devices.
  • The charger is efficient, making it a versatile and reliable choice, but it can generate some heat.

Most electronic devices no longer come with their own chargers. This is especially true with small accessories, like smartwatches and earbuds, portable Bluetooth speakers, and premium smartphones.

Because of this, you should invest in a charger that won’t take up much space but can charge everything you have. This is what the Ugreen Nexode Pro 160 GaN Fast Charger is.

movie review charge over you

Ugreen Nexode Pro 160W GaN Fast Charger

The Ugreen Nexode Pro 160W is a compact, fast charger that can power four devices simultaneously. Its small footprint and light weight make it an ideal travel companion and everyday carry in your laptop bag.

  • Extremely fast for its size
  • Folding plugs make it easy to pack
  • Fits in one hand
  • Not terribly power efficient

Power in Your Hand

The Ugreen Nexode Pro 160W has a small footprint of just 7.3 x 7.3 x 3.5cm, equal to about 2.8 x 2.8 x 1.4in. This means it is small enough to fit any normal-sized adult hand easily. And although it may feel heavy at about 320g or 11.2oz, that’s because all that weight is compressed in such a tiny space.

Its plug also complements its small form factor, as it can neatly tuck inside the power brick. This means you can easily drop it in your bag, and you don’t have to worry about it puncturing a hole into it or damaging other articles you might be carrying.

One thing you should consider is that Ugreen Nexode Pro plugs directly into the socket. This won’t be an issue for most cases, but you might run into a loose socket a couple of times. If so, you might have trouble keeping this charger plugged into the wall, as its weight might cause it to fall off.

Charge Everything in One Go

You get four ports with the Ugreen Nexode Pro 160W—three USB-C ports and a USB-A port. The maximum output you can get is 140 watts, depending on the port you use. But if you’re charging multiple devices at once, they’ll have to share the charger’s output capacity.

These are the maximum power outputs of each port:

  • USB-C1: 140 watts
  • USB-C2: 100 watts
  • USB-C3: 30 watts
  • USB-A: 22.5 watts

However, if you start using two or more ports simultaneously, the maximum output of each port will change, depending on the port you use. This is how this charging brick manages the watt output of each port if you’re charging two devices:

As the table shows, the first two USB-C ports are designed for fast-charging devices, like laptops and some smartphones, while the USB-C3 and USB-A ports are best for those that require less power, like accessories, or for slow-charging your phone.

The charging brick also lets you charge three or four devices at once. This is how it divides its power output if you’re doing so:

So, even if you need to top-up four devices at once, you still get a respectable 65-watt output on two USB-C ports while the other ports slowly charge your other devices. This is perfect for charging all your devices at night, ensuring you have a full charge in the morning.

Conversion Efficiency and Heat Levels

Although the Ugreen Nexode Pro 160W has a maximum output of 160 watts, it may consume more than that. That’s because it has to power some of its onboard electronics, and of course, internal resistance affects anything that transfers electricity, so you have to consider that, too.

So, I plugged the charger into my watt output tester while delivering power to four devices. My gear drew a total of 114 watts from the charger, while my testing equipment showed it’s consuming 145 watts. This gives the Ugreen Nexode Pro 160W a 78.6% efficiency rating, which is about average when compared to chargers that have similar output levels.

The power the charger doesn’t deliver to your devices is converted into heat. So, when operating at full steam, you can expect the Ugreen Nexode Pro 160W to hit as much as 54.5 degrees Celsius. Though it might be hot to the touch, you can still hold it briefly without burning yourself. It’s also the average temperature you would get for other fast chargers that deliver this much power.

You Won’t Need Another Charger Again

The Ugreen Nexode Pro 160W GaN Fast Charger quickly delivers a lot of power for its size. With its four ports, you can pretty much power everything you own—from your laptop and tablet down to your smartphone, smartwatch, and earbuds.

Its small size and relatively light weight make it a great travel companion, while its utility means it deserves a place in your laptop bag. If you need to buy one charger you will use for the rest of your life anywhere you go; you should go ahead and choose the Ugreen Nexode Pro.

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Movie Review: ‘IF,’ imperfect but charming, may have us all checking under beds for our old friends

This image released by Paramount Pictures shows Cailey Fleming, left, and the character Blue, voiced by Steve Carell, in a scene from "IF." (Paramount Pictures via AP)

This image released by Paramount Pictures shows Cailey Fleming, left, and the character Blue, voiced by Steve Carell, in a scene from “IF.” (Paramount Pictures via AP)

This image released by Paramount Pictures shows the character Blossom, voiced by Phoebe Waller-Bridge, left, and Cailey Fleming in a scene from “IF.” (Paramount Pictures via AP)

This image released by Paramount Pictures shows Ryan Reynolds, from left, Cailey Fleming, the character Blue, voiced by Steve Carell, and the Blossom, voiced by Phoebe Waller-Bridge, in a scene from “IF.” (Paramount Pictures via AP)

This image released by Paramount Pictures shows Cailey Fleming, right, and Ryan Reynolds in a scene from “IF.” (Jonny Cournoyer/Paramount Pictures via AP)

This image released by Paramount Pictures shows Cailey Fleming, left, and Ryan Reynolds in a scene from “IF.” (Jonny Cournoyer/Paramount Pictures via AP)

This image released by Paramount Pictures shows Cailey Fleming in a scene from “IF.” (Jonny Cournoyer/Paramount Pictures via AP)

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How do you make a kid’s movie that appeals not only to the kids, but the adults sitting next to them? Most movies try to achieve this by throwing in a layer of wink-wink pop culture references that’ll earn a few knowing laughs from parents but fly nicely over the heads of the young ones.

So let’s credit John Krasinski for not taking the easy way out. Writing and directing (and acting in, and producing) his new kid’s movie, “IF,” Krasinski is doing his darndest to craft a story that works organically no matter the age, with universal themes — imagination, fear, memory — that just hit different depending on who you are.

Or maybe sometimes, they hit the same — because Krasinski, who wanted to make a movie his kids could watch (unlike his “Quiet Place” thrillers), is also telling us that sometimes, we adults are more connected to our childhood minds than we think. A brief late scene that actually doesn’t include children at all is one of the most moving moments of the film – but I guess I would say that, being an adult and all.

There’s only one conundrum: “IF,” a story about imaginary friends (get it?) that blends live action with digital creatures and some wonderful visual effects (and cinematography by Janusz Kaminski), has almost too many riches at its disposal. And we’re not even talking about the Who’s Who of Hollywood figures voicing whimsical creatures: Steve Carell, Matt Damon, Bradley Cooper, Jon Stewart, Phoebe Waller-Bridge, Maya Rudolph, Emily Blunt, Sam Rockwell, and the late Louis Gosset Jr. are just a few who join live stars Ryan Reynolds and Cailey Fleming. Imagining a table read makes the head spin.

Goro Miyazaki, left, and Kenichi Yoda pose for photographers with the Studio Ghibli honorary Palme d'Or upon arrival at the premiere of the film 'The Apprentice' at the 77th international film festival, Cannes, southern France, Monday, May 20, 2024. (Photo by Vianney Le Caer/Invision/AP)

The issue is simply that with all the artistic resources and refreshing ideas here, there’s a fuzziness to the storytelling itself. Just who is actually doing what and why they’re doing it — what are the actual mechanics of this half-human, half-digital world? — occasionally gets lost in the razzle-dazzle.

This image released by Paramount Pictures shows the character Blossom, voiced by Phoebe Waller-Bridge, left, and Cailey Fleming in a scene from "IF." (Paramount Pictures via AP)

Blossom, voiced by Phoebe Waller-Bridge and Cailey Fleming in a scene from “IF.” (Paramount Pictures via AP)

But, still, everything looks so darned lovely, starting with the pretty, brownstone-lined streets of Brooklyn Heights in New York City, where our story is chiefly set. We begin in flashback, with happy scenes of main character Bea as a little girl, playing with her funloving parents (Krasinski and Catharine Daddario). But soon we’re sensing Mom may be sick — she’s wearing telltale headscarves and hats — and it becomes clear what’s happening.

Bea is 12 when she arrives with a suitcase at her grandmother’s Brooklyn apartment, filled with her old paint sets and toys. Grandma (Fiona Shaw, in a deeply warm performance) offers the art supplies, but Bea tells her: “I don’t really do that anymore.”

She says something similar to her father, visiting him in the hospital (it takes a few minutes to figure out that they’ve come to New York, from wherever they live, so Dad can have some sort of heart surgery.) He tells Bea he’s not sick, just broken, and needs to be fixed. Hoping to keep her sense of fun alive, he jokes around, but she says sternly: “Life doesn’t always have to be fun.”

And then the creatures start appearing, visible only to Bea.

We first meet a huge roly-poly bundle of purple fur called “Blue” (Carell.) Yes, we said he was purple. The kid who named him was color-blind. These, we soon understand, are IFs —imaginary friends — who’ve been cut loose, no longer needed. There’s also a graceful butterfly called Blossom who resembles Betty Boop (Waller-Bridge). A winsome unicorn (Blunt). A smooth-voiced elderly teddy bear (Gossett Jr., in a sweet turn.) We’ll meet many more.

Supervising all of them is Cal (Ryan Reynolds.) An ornery type, at least to begin with, he’s feeling rather overworked, trying to find new kids for these IFs. But now that Bea has found Cal living atop her grandmother’s apartment building, she’s the chosen helper.

The pair — Reynolds and the sweetly serious Fleming have a winning chemistry — head to Coney Island on the subway, where Cal shows Bea the IF “retirement home.” This is, hands down, the most delightful part of the movie. Filmed at an actual former retirement residence, the scene has the look down pat: generic wall-to-wall carpeting, activity rooms for CG-creature group therapy sessions, the nail salon. And then the nonagenarian teddy bear gives Bea a key bit of advice: all she need do is use her imagination to transform the place. And she does, introducing everything from a spiffy new floor to a swimming pool with Esther Williams-style dancers to a rock concert with Tina Turner.

This image released by Paramount Pictures shows Cailey Fleming, right, and Ryan Reynolds in a scene from "IF." (Jonny Cournoyer/Paramount Pictures via AP)

Cailey Fleming and Ryan Reynolds in a scene from “IF.” (Jonny Cournoyer/Paramount Pictures via AP)

The movie moves on to Bea’s matchmaking efforts. A tough nut to crack is Benjamin (Alan Kim), an adorable boy in the hospital who favors screens and seems to have trouble charging his own imagination (spoiler alert: that’ll get fixed).

There are segments here that feel like they go on far too long, particularly when Bea, Cal and Blue track down Blue’s now-adult “kid” (Bobby Moynihan of “Saturday Night Live”), now nervously preparing for a professional presentation.

Still, the idea that adults could still make use of their old “IFs” at difficult times — and, to broaden the thought, summon their dormant sense of whimsy, as a closing scene captures nicely — is a worthwhile one. And by movie’s end, one can imagine more than one adult in the multiplex running home, checking under the bed, hoping to find a trusted old friend.

“IF,” a Paramount release, has been rated PG by the Motion Picture Association “for thematic elements and mild language.” Running time: 104 minutes. Two and a half stars out of four.

movie review charge over you

The Image of You Review: Sasha Pieterse Shines Twice, Though It's All Too Over the Top

Nestor Carbonell also highlights director Jeff Fisher's knowingly soapy love-triangle thriller based on Adele Parks' best-selling novel.

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Exploring the perils of modern dating, a delicious third act twist.

Sometimes, a movie is accidentally overkill. In other instances, it's safe to say the movie and its makers are well aware of its over-the-topness. From director Jeff Fisher, The Image of You , which is out this week, offers Pretty Litle Liars star Sasha Pieterse the perfect follow-up role to her small-screen star-making character — assuming she's still game for juicy, soapy, gossipy fun. Oh, and add "dark" to the list of adjectives to describe her latest project, which offers a unique little love triangle between twin sisters and a handsome dude (Parker Young) they met through one of those infamous dating apps.

Sure, there are success stories when it comes to Bumble, Hinge, and more — but in other instances, there are horror stories. The Image of You does an adequate job of addressing this epidemic and taking it a step further, but it's not enough to save the overall silliness that plagues the third act in particular. The storyline digresses significantly from the hit novel by Adele Parks MBE by the end, but other elements are also responsible for hiccups along the way, such as cheesy stylistic choices on the filmmaking front that almost make this feature film feel like an elongated network TV episode.

The Image of You (2024)

  • Sasha Pieterse shines
  • Killer twist that isn't spoiled in the trailer
  • Knowingly ridiculous
  • Mira Sorvino and Nestor Carbonell are underutilized
  • Third act becomes too ridiculous to buy into

Some of us have our best friends to warn us against potentially toxic love interests. But what if it's a twin sibling by your side instead, providing these kinds of red flags? The responsible and seemingly dignified Anna (Pieterse) is on the dating scene in this digital age, and her rebellious twin Zoe (also Pieterse) is keeping her company along the way. Anna meets nice guy Nick online, and he seems equally nice in person. This has all the makings of a romantic comedy, right? That's the point, at first.

But then, like many modern-day films, the genre shifts — to something more sinister. Why is Anna and Zoe's dad, David (Nestor Carbonell), looking at Zoe weirdly when she pays him a visit? Zoe stalks Nick's profile and finds inconsistencies with his public image — is that the central conflict here? Nick, the new Tinder Swindler? Actually, as the promotional trailer seems to reveal, Nick remains a sort of dueling protagonist alongside the twins, as his life is slowly invaded by Zoe, to the point where just the two of them are meeting in private, without Anna even knowing...

10 Movies That Offer Terrible Dating Advice

Also along for the ride is Mira Sorvino as Nestor's wife and stepmom to Anna and Zoe. Sorvino, let's not forget, is an Academy Award winner for her role in Woody Allen's film Mighty Aphrodite . It's too bad, then, that she is vastly underused in The Image of You , only appearing in a handful of scenes as Alexia. It wouldn't come as a shock to learn that this supporting character plays a more vital role in Parks' source-material novel, which went on to become an international bestseller .

Carbonell also seems to be merely going through the motions, a veteran actor who has been thriving ever since his scene-stealing turn as Richard Alpert in ABC's Emmy-winning series Lost . More recently on the small screen, he's been a knockout on Apple TV+'s The Morning Show and also on FX's Shogun , which is nearing a second-second renewal. As the conflicted father in The Image of You, David has the honor of revealing at least one shell-shocking twist that viewers might not see coming, as it isn't revealed in any of the trailers. After the big reveal, however, the movie falters and makes a few plot choices that might just leave you rolling your incredulous eyes, even for a blatantly melodramatic movie like this.

Pretty Little Liars: Every Person That Was A, Explained

Until then, some hot and steamy sex scenes help pass the time between Nick and at least one of the twins. Watch as Nick's co-worker buddy Hal (Ben Milliken) even walks in on Nick getting down and dirty in an elevator, with his female counterpart looking over his shoulder at Hal square in the eyes with a sort of "yeah, so?" look to her. There are a handful of outrageous moments like this that will be best consumed with a rowdy group of friends by your side, but it's not enough to keep the cinephiles chattering about it all after the credits roll.

From Republic Pictures, The Image of You is now playing in select theaters and available to buy on digital.

Screen Rant

The most unnerving ai movie of the past 10 years is now on netflix.

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10 Sci-Fi Movies That Deserved To Launch Franchises

Every leigh whannell movie ranked from worst to best, why upgrade 2 hasn't happened yet (& how it's a blessing).

  • Upgrade is an unnerving AI movie available on Netflix, showcasing the impact of artificial intelligence in a thrilling way.
  • The film's positive reviews and success highlight its standing as one of the best sci-fi action movies in recent years.
  • Directed by Leigh Whannell, Upgrade stands out as a shining example of a successful action revenge movie worth watching.

Upgrade is one of the most unnerving AI movies of the past 10 years, and the film is now on Netflix for a new audience of viewers to find. Artificial intelligence has been one of the biggest fears of the past few years, with discussions over AI's impact on the world constantly raging. Because of this, movies dealing with the consequences of AI have become increasingly popular, causing audiences to look for more examples. Upgrade is one of the best artificial intelligence movies in recent years, and for viewers wanting to check it out, the film is now on Netflix.

Movies about the dangers of artificial intelligence have been around for years, with all kinds of movies focusing on AI becoming self-aware and attempting to destroy humanity. Beloved franchises like The Matrix, Blade Runner , and The Terminator center around this idea, while other critically acclaimed movies like 2001: A Space Odyssey and Ex Machina look at AI through new lenses. Due to the overabundance of AI movies, the genre died out for a little while, although one movie from the past 10 years has been a shining example of an unnerving film that deals with artificial intelligence: Upgrade .

Even in the age of sequels, reboots and spinoffs, some great standalone sci-fi movies still haven’t grown into the franchises which they could have.

Upgrade Is Now Streaming On Netflix - What The Movie Is About

Here's why you should watch it.

As of May 16, 2024, Upgrade is now streaming on Netflix , meaning that fans of the film and curious audience members can finally check the movie out once again. The 2018 action film is directed by Leigh Whannell, the filmmaker behind Insidious: Chapter 3 , The Invisible Man , and the upcoming Wolf Man movie, and it stars actor Logan Marshall-Green, who has appeared in movies like Prometheus , Spider-Man: Homecoming , and Devil .

Upgrade takes place in the future year of 2046, with it following Logan Marshall-Green's Grey Trace, an auto mechanic who is the victim of a brutal mugging. Grey is left paralyzed, although he is given the opportunity to undergo an experimental surgery that uploads artificial intelligence into his body. Grey agrees to undergo the surgery, with it healing him and giving him enhanced strength, speed, and durability. With these new skills, Grey decides to hunt down the men who mugged him, turning Upgrade into an incredible action revenge movie.

Why Upgrade's Reviews Are So Good

Critics loved upgrade in 2018.

Ever since Upgrade was initially released in 2018, Upgrade has gotten incredibly good reviews, with it being one of the highlights of the year for many critics. Upgrade has an 88% on the Rotten Tomatoes Tomatometer, highlighting just how positive the reception of the film was. Upgrade got fairly positive reviews across the board, which is unusual for a low-budget action film. However, this goes to show just how good the movie is, with these scores possibly getting even higher now that the film has been released on Netflix.

Upgrade was a box office success, with it making $17 million on a $2 million budget, with the film making its budget back several times over. However, this apparently wasn't good enough to warrant making a sequel to Upgrade , with the one film being all that has been released so far. As the review scores indicate, Upgrade is an incredibly fun watch, and the movie needs to be checked out by fans of action and sci-fi now that it has been released once again on Netflix.

Upgrade Is Still One Of Leigh Whannell's Best Movies

Despite the competition.

Not only is Upgrade a super underrated sci-fi movie, but it is still one of Leigh Whannell's best movies, with it standing up to the competition in a pretty big way. Whannell has currently directed three feature films that have been released, with those being Insidious: Chapter 3 , Upgrade , and The Invisible Man . Insidious: Chapter 3 received mixed reviews, with it being the worst of the three films, but this can't be said for The Invisible Man . The Invisible Man was a huge critical hit , with it redefining the Universal monster genre for the modern era.

Saw co-creator Leigh Whannell has gone on to become an acclaimed filmmaker - here's Whannel's directorial efforts ranked from weakest to strongest.

Despite this, Upgrade is still the better film, with it sitting on top of Leigh Whannell's filmography. The action, story, and tone are perfect, and in a genre that is full of stories about extraordinary men getting revenge on the people who killed their families, Upgrade manages to stand out as a shining example. Even all these years after the release of the film, fans are still begging audiences to check out Upgrade , and the Netflix release will hopefully boost the film's popularity even further.

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Written and directed by Leigh Whannell, Upgrade is a Sci-Fi, Action, and Cyberpunk film starring Betty Gabriel, Logan Marshall-Green, and Harrison Gilbertson. The plot sees a man suffering a tragic accident and becoming paralyzed as a result. He soon accepts a STEM implant that gives him back his body and much more.

upgrade (2018)

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‘Megalopolis’ Review: Francis Ford Coppola’s Bold, Ungainly Epic Crams in Half a Dozen Stars and Decades’ Worth of Ideas

Back in Cannes 45 years after 'Apocalypse Now' won the Palme d'Or, the legendary director constructs a deeply personal, but sloppy allegory on his relationship to art.

By Peter Debruge

Peter Debruge

Chief Film Critic

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Megalopolis

Popular on Variety

In some corners of the real world (such as China and Saudi Arabia), leaders have sought to create forward-thinking “smart cities” from scratch. But that’s not how thriving metropolises typically come to exist. Instead, they’re built up and burned down, then they’re rebuilt and improved in fits and starts, dragged into modernity — not without outrage and criticism — by visionary urban developers like Robert Moses (New York) and Georges-Eugène Haussmann (Paris). Men like Cesar Catilina, the fictional city planner single-handedly trying to drag New Rome into the future, whom Driver plays with the wild-eyed, monomaniacal intensity of Howard Roark (the speechifying architect in Ayn Rand’s “The Fountainhead”).

Like such slow-to-evolve population centers, “Megalopolis” is positively awe-inspiring in some places and an absolute eyesore in others, until you pull back and try to take it all in. Only then can you see the unwieldy way old and new concepts crowd next to another, like an art deco skyscraper squeezed between a cathedral and a Starbucks. The film opens with Catilina stepping off an upper ledge of the Chrysler Building, at which point he commands time to stop. And it does. There, hovering 70-odd stories above the streets of New Rome, he takes a page not from Plutarch (who documented the Catilinarian conspiracy that loosely inspired Coppola), but from the Wachowskis. This time-freezing “Matrix” move — which immediately follows a Laurence Fishburne-narrated scene-setter — suggests something far more fantastical than what follows.

“Megalopolis” is not so much a sci-fi movie, as some have reported, as it is a sexless “Caligula,” transposed to New Rome. As photographed by Mihai Malaimare Jr., this sleek neo-noir/neo-classical city looks like modern-day Manhattan, except that men sport bowl cuts and women wear see-through robes. Their toga-like garments are made either of gauze or an innovative, all-purpose building material called Megalon, discovered by Catilina and central to his scheme to revamp the city. In this, he is opposed by “slumlord”-turned-mayor Franklyn Cicero (Esposito). The two first have it out at a high-concept press conference, where most of the film’s key figures — including Jon Voight as obscenely rich oligarch Hamilton Crassus III and Plaza as manipulative TV personality Wow Platinum — navigate catwalks dangling amid a scale model of the city. Franklyn plans to erect a casino, whereas Catilina wants to create “a perfect school-city for its people, able to grow along with it.”

Cicero isn’t happy that his daughter has taken Catilina’s side in the redevelopment scheme. And he’s even more annoyed when Julia falls in love with his adversary, whom ex-DA Cicero once prosecuted over the death of his wife, still unsolved. That subplot introduces an element of ambiguity to Catilina’s otherwise heroic-seeming character. As the film goes on, it feels that Coppola has projected himself onto both Cicero (whose first name, Franklyn, stems from “Francis”) and Catilina (the artist-architect whose ambitions recall the director’s costly Zoetrope Studios folly “One From the Heart”). Family matters to the former, as it clearly does to Coppola, while atoning for infidelity and his “bad boy” ways is part of Catilina’s journey. Their power struggle pales compared to HBO’s brilliant “Succession,” though the film digs into what makes such time-stoppers tick. “When we ask these questions, when we have a dialogue about them, that basically is utopia,” says Catilina.

At times, Coppola injects bawdy and outrageous moments into his “fable,” which keeps the often-sentimental tale from becoming too self-important. Plaza and LaBeouf bring a satirical edge to their scenes, which recalls a previous Cannes debacle, “Southland Tales,” in which Richard Kelly cast comic actors and outside-the-box celebrities (like Dwayne Johnson and Justin Timberlake) to heighten the absurdity. By contrast, most of Coppola’s ensemble is composed of “serious” actors, which lends everything a stilted, almost theatrical quality, while angst-meister Driver taps into those deep wells of internal torment he brought to the “Star Wars” movies. When Catilina steps out onto a giant clock face floating high above New Rome, fuming about the obstacles in his way, he looks not unlike the sulky Kylo Ren.

And yet, apart from Megalon (which sounds suspiciously like James Cameron’s laughable “Unobtanium”), the sci-fi elements here aren’t so far from reality. At one point, characters refer to a Soviet satellite dumping radioactive debris on the city, and though Coppola depicts such a shower, no further mention is made of the disaster. Perhaps the budget didn’t allow for it, which may also explain why no screentime is dedicated to the construction of Catilina’s elaborate urban development project — though it certainly seems like Coppola spared no expense. Consider the wedding scene, so different from the one that opens “The Godfather.” This one transforms Madison Square Garden into a decadent Roman arena, swinging between “Ben-Hur”-style chariot races and a Taylor Swift-sounding original song from Grace VanderWaal, “My Pledge.”

Reviewed at Cannes Film Festival (Competition), May 16, 2024. Running time: 138 MIN.

  • Production: An American Zoetrope production. (World sales: Goodfellas, Paris.) Producers: Francis Ford Coppola, Fred Roos, Barry Hirsch, Michael Bederman. Executive producers: Anahid Nazarian, Barrie Osborne, Darren Demetre.
  • Crew: Director, writer: Francis Ford Coppola. Camera: Mihai Malaimare Jr. Special cinematography: Ron Fricke. Editors: Cam McLauchlin, Glen Scantlebury. Music: Osvaldo Golijov.
  • With: Adam Driver, Giancarlo Esposito, Nathalie Emmanuel, Aubrey Plaza, Shia LaBeouf, Jon Voight, Laurence Fishburne, Talia Shire, Jason Schwartzman, Kathryn Hunter, Grace VanderWaal, Chloe Fineman, James Remar, D.B. Sweeney, Isabelle Kusman, Bailey Ives, Madeleine Gardella, Balthazar Getty, Romy Mars, Haley Sims, Dustin Hoffman.

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  29. The Most Unnerving AI Movie Of The Past 10 Years Is Now On Netflix

    Not only is Upgrade a super underrated sci-fi movie, but it is still one of Leigh Whannell's best movies, with it standing up to the competition in a pretty big way. Whannell has currently directed three feature films that have been released, with those being Insidious: Chapter 3, Upgrade, and The Invisible Man.Insidious: Chapter 3 received mixed reviews, with it being the worst of the three ...

  30. 'Megalopolis' Review: Francis Ford Coppola's Ungainly Career-Capper

    'Megalopolis' Review: Francis Ford Coppola's Bold, Ungainly Epic Crams in Half a Dozen Stars and Decades' Worth of Ideas Back in Cannes 45 years after 'Apocalypse Now' won the Palme d'Or ...