All of Us Strangers (2023)
Directed by Andrew Haigh
The first time I saw actor Adam Scott, as Moriarty in the BBC’s Sherlock (the one with Benedict Cumberbatch), I knew he was going to be someone to keep an eye on. Since then, he’s popped up here and there, and every time I see him, whether or not the project is worthwhile, I always think to myself, “Well, at least it has Adam Scott in it.” Now, with the help of Paul Mescal (another one to watch), Jamie Bell, and the always fantastic Claire Foy, Scott has delivered one of 2023’s best performances in Andrew Haigh’s emotional ghost story, All of Us Strangers. Based on the 1987 Japanese novel by Taichi Yamada, All of Us Strangers, better than most, delves into the power of grief and loneliness by connecting the past and the present with a delicate web of memory and forgiveness. Frank conversations about love and acceptance ground its more fantastical elements, while its darker side meanders through sweaty, drug-fueled chaos and uncertainty about the future. This disparity works like a charm and gives everyone involved enough room to explore the lives they have, the lives they once had, and the lives they can’t quite convince themselves they deserve.
Road House (2024)
Directed by Doug Liman
I’d like to know who exactly asked for a remake of 1989’s Road House. Who looked at the Patrick Swayze cult classic and thought, “You know what—let’s do that one again”? Who was it? Stand up and let yourself be counted among Hollywood’s least creative souls. As if one Road House wasn’t enough, now we have two, but instead of starring the angel of a man that was Patrick Swayze, we get an aloof and phoned-in Jake Gyllenhaal. But, as annoying as Gyllenhaal’s lack of enthusiasm is, it’s far from this film’s weakest point. His detached performance is a masterclass compared to UFC star Conor McGregor’s non-stop shit-eating grin. I don’t expect much in the way of acting from my MMA fighters, but McGregor is virtually unwatchable as a completely incompetent hitman. Say what you will about the original, but at least it had a worthwhile cast of scene-chewing badasses. Not to mention a polar bear.
You’ll Never Find Me (2024)
Directed by Indianna Bell and Josiah Allen
For most of its runtime, Australian indie horror You’ll Never Find Me lives in that sweet spot between solid atmosphere and engaging mystery. It’s essentially a back-and-forth, cat-and-mouse battle of wits between eccentric loner Patrick (Brendan Rock) and a disheveled and lost woman (Jordan Cowan) who, while looking for help during a rainstorm, knocks on the wrong trailer park door. Both characters have quirks and are clearly hiding something juicy, but unfortunately, directors Indianna Bell and Josiah Allen don’t capitalize on this in any way. Instead, they choose the easy way out of this surreal encounter by pulling a “Newhart Finale” on us out of nowhere and for seemingly no reason. The disappointing ending we’re left with drains all the life right out of the entire film, leaving us with nothing more than 99 minutes of squandered potential.
James is a writer, record collector, wrestling nerd, and tabletop gamer living with his family in Asheville, North Carolina. He is a member of the Southeastern Film Critics Association, the North Carolina Film Critics Association, and contributes to The Daily Orca, Razorcake Magazine, Mountain Xpress, and Asheville Movies.