Movie Reviews

LGBTQ+ Cinema Club – On Swift Horses (2024)

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I’ve heard quite a bit about this one and finally got around to checking it out. In my opinion, phenomenal!

Quick Info:

  • Title: On Swift Horses
  • Year: 2024
  • Directed by: Daniel Minahan
  • Starring: Daisy Edgar-Jones, Jacob Elordi, Will Poulter, Diego Calva, and Sasha Calle
  • Where I Watched It: Netflix (curled up on my couch, blinds half-closed because this film demands moody lighting)

Queer-o-Meter:
🏳️‍🌈🏳️‍🌈🏳️‍🌈🏳️‍🌈 (4 out of 5 Pride Flags)
Rated on how gay it feels — characters, themes, vibes, chaotic queer energy. This one? Pretty darn queer. It’s got longing, repression, and that “I might ruin my life for this feeling” energy that queer cinema loves. Plus I loved that Jacob Elordi messed around with men and Daisy Edgar-Jones with a woman!

One-Line Summary:
Two people trapped by circumstance and haunted by desire — a young wife and her enigmatic brother-in-law — risk everything in a postwar fever dream of love, betrayal, and blackjack.

Standout Scene:
There’s a moment in a neon-lit casino where Jacob Elordi’s character, Julius, gazes across the table at a stranger — it’s quiet, smoky, and the tension between them hums louder than the slot machines. No words, just a flicker of understanding, attraction, danger. It’s one of those rare cinematic moments that makes your breath hitch because you know this is the beginning of trouble — the kind that changes lives.

Favorite Line:
I have to choose two favorites for this film:

“The world’s not built for people who can’t keep their hearts quiet.”
(I really love this one!!! It stings.)
and
“We’re all just a hair’s breadth away from losing everything. All the time.”

Would I Rewatch?
☑️ Absolutely

Review:

On Swift Horses is one of those films that starts slow, almost deceptively so, and before you realize it, you’ve sunk into its dusty, sunburnt world. Set in the 1950s, it follows Muriel (Daisy Edgar-Jones), a newlywed whose life takes a turn when her husband’s brother Julius (Jacob Elordi) — a charming, self-destructive ex-soldier — reenters their lives. He’s the kind of man who drags both trouble and beauty behind him, and Muriel, who’s been living quietly, starts to feel her world stretch and crack under his influence.

At first, it plays like a domestic drama — polite dinners, small-town gossip, a woman trying to fit the mold. But then, like a mirage in the desert, the movie tilts. Julius drifts westward, landing in Las Vegas, and his story becomes something altogether different: all heat, risk, and yearning. He meets Henry (Diego Calva), a gambler with eyes that see right through him, and suddenly, we’re not in the quiet Midwest anymore. We’re in the blurred lines of forbidden love, queer desire, and the illusion of escape.

The pacing is deliberate, and the film luxuriates in silence — long stares, half-smiles, the rustle of wind through motel curtains. It’s very much a “watch it unfold” experience. Daisy Edgar-Jones nails that fragile, restless energy, while Elordi (in maybe his best role yet) balances swagger and vulnerability like a tightrope walker. Diego Calva is magnetic; their chemistry burns quietly but completely, like a match that refuses to go out.

There’s also this undercurrent of longing that feels specifically queer — not just for a person, but for a different life. Every choice feels dangerous and deeply human. These characters aren’t just falling in love; they’re clawing at the edges of the cages built around them.

The cinematography deserves a standing ovation. The desert isn’t just a backdrop — it’s a character. The lighting shifts between golden nostalgia and harsh neon realism, reflecting the two halves of these characters’ lives: the dream they want and the reality they can’t quite escape.

That said, this isn’t a film for someone looking for a tidy narrative or constant action. It lingers. It aches. Sometimes it even drifts. But if you’ve ever felt trapped between what you want and what the world expects, it hits home.

Final Thoughts:

Watching On Swift Horses felt like reading a love letter that was never meant to be sent. It’s subtle, sensual, and quietly devastating. The queer storyline doesn’t feel like a subplot — it’s the pulse of the movie. Every frame aches with what’s unsaid.

Is it a happy film? Not really. But it’s honest in the way that love stories rarely are — it understands that desire doesn’t always fit neatly into morality, and that freedom sometimes costs more than we expect.

⭐⭐⭐⭐½
4½ out of 5 Stars. It loses a half-flag for its slow pacing in parts, but everything else — the performances, the tension, the aching beauty of it — more than makes up for it.

If you’ve seen On Swift Horses — or have another film I need to add to my queue — tell me what you thought or shout at me on BlueSky.

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LGBTQ+ Cinema Club: There’s a Zombie Outside (2024)

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There's a Zombie Outside movie poster

Directed by Michael Varrati

Quick Info:

  • Title: There’s a Zombie Outside
  • Year: 2024
  • Directed by: Michael Varrati
  • Starring: Ben Baur, Phylicia Wissa, Danny Plotner
  • Where I Watched It: Dekkoo.com — curiosity got the better of me

Queer-o-Meter:
🏳️‍🌈🏳️‍🌈🏳️‍🌈🏳️‍🌈 (4 out of 5 Pride Flags)
Plenty of queer energy, self-aware horror nods, and existential dread — even if some of it went straight over my head.

One-Line Summary:
A horror filmmaker starts seeing his movie monsters creeping into real life — and the lines between creation, obsession, and reality get delightfully (and sometimes bewilderingly) blurred.

Standout Scene:
There’s a point where Ben Baur’s character stares out the window, watching something shambling in the dark — and it’s hard to tell whether it’s a zombie or his own imagination turning against him. The tension is thick, the lighting perfect, and for a second, I thought, okay, now we’re cooking.

Favorite Line:

“I already let the zombie in.”
That tagline alone sums up the film’s whole vibe — the idea that the monsters we fear most are the ones we create ourselves.

Would I Rewatch?

Once was enough – unless there’s a lot of wine

Review:
Okay, cards on the table — this one really wasn’t for me. I wanted to love it (especially since Michael Varrati’s been doing some cool things for queer horror lately), but somewhere between the metaphor-heavy dialogue and the dreamlike pacing, I got a little lost. It’s one of those movies where you keep thinking you missed something important, but then realize, nope — that was the scene.

Ben Baur plays a horror creator haunted by his own imagination, and he’s solid here — charming, anxious, and a little unhinged in all the right ways. Phylicia Wissa brings grounding energy to her scenes, while Danny Plotner adds humor and bite. I actually liked the cast a lot; it’s just that the story itself kept zig-zagging between reality and hallucination in a way that left me squinting at the screen.

That said, there are flashes of brilliance. Some of the visuals are striking — washed in eerie neon light, with just enough grain to give it that late-night VHS feel. And yes, I did get a good laugh out of the zombie sex scene. Totally unexpected, kind of ridiculous, but it made me grin — and honestly, any movie that can still make me laugh after confusing me for half an hour deserves a little credit.

It’s clear that Varrati had something deeper on his mind: how artists become consumed by the monsters they create, and how fear can be a reflection of our own identities. I just wish it had been a touch more straightforward about it. There’s a great movie somewhere in there — it just feels like it’s buried under too many layers of self-awareness and symbolism.

Final Thoughts:
There’s a Zombie Outside is ambitious, moody, and unapologetically queer — and I respect the hell out of that. But it’s also the kind of movie that’ll either click for you or leave you checking the time. For me, it leaned toward the latter. Still, I’m glad I watched it. Even if it left me scratching my head, it at least gave me a good chuckle along the way.

The Cinema Club Verdict:
⭐⭐⭐
3 out of 5 Pride Flags. Points for creativity and queer horror representation, but minus a couple for confusion and pacing — and bonus points for zombie sex, because… wow.

If you’ve seen There’s a Zombie Outside, tell me if you figured out what was going on — or if you, too, were just along for the weird, undead ride. You can find me rambling about movies on BlueSky.

Norian's Gamble book cover

What happens when the heir to a kingdom is bound by the curse of the wolf? For Prince Norian, the answer comes with blood, fire, and the terrifying knowledge that dark magic has singled him out. As shadows close in, he must protect his people from an enemy who will stop at nothing to seize the throne. Danger, destiny, and deadly secrets entwine in Norian’s Gamble.

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So I Watched James Gunn’s Superman and Honestly? I’m Kind of in Love

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image of Superman

Okay, so listen. I just got back from watching Superman—yes, the shiny new 2025 reboot directed by James Gunn—and I’m still buzzing. Like, I was not expecting to feel this giddy about a superhero movie, especially one about a guy who wears his underwear over his tights and saves cats from trees. But here we are. I loved it. I mean, loved it.

You know when you watch something and you’re like, “Oh no, this is gonna live in my head for a while”? Yeah, that was me about twenty minutes in, when David Corenswet soared across the sky for the first time. That man is Superman. Like, not in a cosplay kind of way. I mean, if Superman were real and had impeccable hair and smoldery eyes that make you question everything about your allegiance to Batman—yeah, that’s David.

Plot Stuff (Because Apparently That Matters)

So, the film sets us in a world that’s kind of tired of superheroes. Like, “oh great, another flying dude with laser eyes” kind of tired. But Clark Kent, fresh out of Smallville and new to Metropolis, still believes in truth and justice and helping people because it’s the right thing to do. I know, radical, right?

We get a peek into his early days at the Daily Planet, where Lois Lane (played by Rachel Brosnahan, who was absolutely magnetic, by the way) is already deep in conspiracy theory land about something sketchy going on at LexCorp. Meanwhile, Lex Luthor—cue Nicholas Hoult doing his best “menace in a tailored suit” energy—is rolling out a new AI-powered defense system that’s totally not evil. (Spoiler: it’s evil.)

And then bam! Everything goes full-on chaos when Lex’s “security bots” turn on the city, and Superman has to decide whether being good is enough when people are afraid of what you can do. It’s kind of philosophical in that James Gunn way—like, here’s a guy who could crush a tank like it’s a soda can, but he’s still out here second-guessing whether saving people is even welcome anymore.

The Cast (AKA: Let’s Talk About That Bald Brilliance)

Can we just take a second to talk about Nicholas Hoult as Lex Luthor? I wasn’t sold at first, to be honest. I had flashbacks of his Beast makeup from X-Men: First Class and couldn’t unsee it. But he absolutely ate this role. He’s cold, calculated, weirdly charming in a “this guy absolutely has a cryogenic chamber for his skincare routine” kind of way. And the dude’s got this crew of Gen Z tech bros sitting behind massive gaming monitors, fist-pumping and meme-ing every time Superman gets knocked down. I had to laugh. Like, I get what Gunn was going for—corporate villainy meets Silicon Valley absurdity—but it was a little much. Funny, but maybe turned up to 11 when 8 would’ve done the job.

Still, Hoult nailed it. There’s this one scene where he’s just quietly watching the city fall apart outside his skyscraper window, sipping coffee like he’s watching Succession. No evil monologue, no shouting—just vibes. Chilling, in the best way.

And let’s circle back to David Corenswet, because yes. The dude has the wholesome charm down pat. He’s got the dorky Clark Kent shrug and the “I could lift a mountain but would rather help you carry groceries” sincerity. There’s this scene with Ma Kent back at the farm (yes, it’s still in Kansas, yes, I cried), and it’s like, this is why Superman works. It’s not just the flying or the lasers—it’s the heart. And David brings it.

Rachel Brosnahan’s Lois is smart, fierce, and somehow not just a side character. She’s doing things. She’s chasing leads, pushing Clark to think harder, and holding her own without falling into that tired “damsel in distress” trap. And I loved that they didn’t try to force the romance too hard—there’s chemistry, but it’s slow burn. My favorite kind.

Now Let’s Talk About the Elephant in the Red Cape

Superman Immigrant

So the film has gotten some flak online. Certain corners of the internet (read: right-wing pundits with too much free time) have been calling for a boycott because of how the movie leans into Superman’s identity as—brace yourself—an immigrant. Groundbreaking, right?

I mean, Superman has always been the original immigrant story. The guy literally crash-landed from another planet, was raised in Kansas, and grew up wanting to do good in a world that didn’t fully understand him. That’s not new. That’s baked into the mythos. If that makes you uncomfortable, maybe superheroes just aren’t your thing?

James Gunn didn’t sugarcoat it either. The movie draws some pretty clear parallels to current political tensions—fear of outsiders, media manipulation, weaponizing “national security,” all that fun stuff. Watching Lex whip up public paranoia with sleek soundbites and AI surveillance while Superman’s just trying to be the good guy? Yeah, it felt real. A little too real, honestly.

There’s this scene where Superman saves a group of refugees and then gets accused of interfering in “sovereign affairs” by some snaky government mouthpiece. That hit hard. Like, it wasn’t even subtle. But that’s kind of the point. Good science fiction—and superhero films, when they’re brave—hold up a mirror. And this one doesn’t flinch.

I only hope we get the same hopeful outcome in real life. Because if Clark Kent can still believe in the goodness of people after all that, maybe there’s still hope for us too.

So, Yeah…

This wasn’t just a “good Superman movie.” It was a good movie, period. Like, I went in expecting popcorn fun and walked out with a slight identity crisis about morality, immigration, and AI surveillance. Thanks, James Gunn. I guess I needed that?

If you’ve been on the fence, hop off and go see it. It’s smart, heartfelt, funny, a little chaotic—and it gives Superman his soul back without making it corny.

Can’t wait to see what’s next. Also, if Nicholas Hoult ever plays a Bond villain, just take my money now.

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Rewatching an Old Favorite — Why “Latter Days” Still Hits Different After All These Years

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Young man crying and wiping tears while watching watching drama movie at home.

So I had this random urge to revisit “Latter Days” the other night, This gem actually came out in 2003 and quickly became one of my favorite films. This is a beautiful mess of a film that somehow manages to be heartbreaking and hopeful at the same time.

I’ll be real with you – I went into this rewatch expecting it to feel dated or cheesy, but damn if it didn’t grab me by the feelings again. The whole thing revolves around Christian, this party boy living in West Hollywood who’s basically the human equivalent of a glitter bomb. Steve Sandvoss plays Aaron, one of the Mormon missionaries who moves in next door, and honestly, the chemistry between these two just jumps off the screen in the most unexpected way.

What gets me every single time is how the movie doesn’t paint anyone as completely good or evil, you know? Christian starts out as this shallow club kid who makes a bet with his friends about seducing one of the missionaries. It sounds gross when I put it like that, but Wes Ramsey brings this vulnerability to the character that makes you root for him even when he’s being awful. And Aaron? He’s not just some naive religious boy—Sandvoss gives him this quiet strength that builds throughout the film.

The supporting cast is pretty solid too. Joseph Gordon-Levitt has this tiny role as a hustler, and even though he’s barely in it, he leaves an impression. Jacqueline Bisset shows up as Christian’s boss at the restaurant, and she’s got this world-weary wisdom thing going on that I absolutely love. But honestly, it’s Mary Kay Place as Aaron’s mother that just destroys me every time. That woman can say more with a look than most actors can with a whole monologue.

What I appreciate about this movie is how it doesn’t shy away from the messy parts of faith and sexuality colliding. Director C. Jay Cox doesn’t give us easy answers, and some of the religious stuff might make you squirm—but that’s kinda the point? The whole excommunication subplot is brutal to watch, especially knowing that this stuff happens to real people every day.

The pacing feels a bit uneven in places, I’ll admit. There are moments where it drags, and some of the dialogue gets a little preachy. But then you get these absolutely gorgeous quiet moments between Christian and Aaron that just hit you right in the chest. That scene where they’re talking on the roof? Pure magic.

Here’s something wild I learned while looking this up again—the movie was actually banned from playing in Salt Lake City when it first came out because of its content. According to The Salt Lake Tribune, several theater chains refused to show it, which is both infuriating and sadly not surprising. You can check out their coverage from back then if you want to dive deeper into that particular drama.

I think what makes this movie stick with me is how it captures that feeling of discovering parts of yourself you didn’t know existed. Both Christian and Aaron go through these massive transformations, but they feel earned rather than forced. It’s messy and imperfect, just like real life.

And OMG…that ending! But I shall not say more lest I venture into spoiler territory.

Would I recommend it? Absolutely, 100%. Is it perfect? Not even close. But sometimes the flawed movies are the ones that end up meaning the most to us.

Nick’s Awakening is the first book in my Ghost Oracle series and follows a teen boy who reads Tarot cards, receives visions and sees ghosts. Follows his adventures as he tries to help the spirits that come to him: https://buff.ly/3R31RCV

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Kolchak: The Night Stalker – A Blast from the Past (with Fangs!)

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Kolchak Night Stalker book 2025So, in my latest weekly newsletter (which, let’s be honest, is just me ranting about whatever I’ve been obsessing over that week), I talked about something I hadn’t thought about in years—Kolchak: The Night Stalker. Yes, that delightfully campy 1972 TV movie that scared the ever-loving crap out of me when I was twelve. And yes, it’s been that long. Let’s not dwell on that part.

The whole thing started because I recently got my hands on the restored version of the original book, which came out via Kickstarter (but don’t worry, it’s available at retailers now if you missed out). After devouring the book in record time, I had that I must see this on screen again moment and went on a YouTube hunt. Lo and behold, there it was. And let me tell you, watching it as an adult was an experience.

For the uninitiated, Kolchak: The Night Stalker is about Carl Kolchak, an investigative reporter with the fashion sense of a man who fell into a thrift store in the dark and came out looking fabulous (or at least, memorable). Played by Darren McGavin (who you probably recognize as the dad from A Christmas Story), Kolchak is a snarky, wisecracking journalist who stumbles onto what should be the biggest story of his career: a vampire terrorizing Las Vegas. Because yes, this movie isn’t just a fun little detective mystery—it’s full-on supernatural horror, complete with a very old-school bloodsucker who isn’t interested in brooding or tragic backstories. This guy just wants to eat people.

It’s got everything: frantic newspaper office scenes, police who refuse to listen (because of course they do), and that classic 1970s TV movie feel—which, if you know, you know. It’s a perfect mix of noir and horror, with a heavy dose of that era’s delightful over-the-top dramatics. And McGavin? Oh, he absolutely carries this thing. His Kolchak is exasperated, relentless, and way too determined for his own good. I love him for it.

As for the book? It was a blast. Originally written by Jeff Rice, it tells the same story but with even more of Kolchak’s dry, sardonic wit. You can feel his frustration oozing off the page every time someone calls him crazy—which, to be fair, happens a lot. If you’ve ever been the one person in the room who knows the truth while everyone else just dismisses you as ridiculous (I see you, conspiracy theorists), then you’ll get a kick out of Kolchak’s struggles. Plus, the restored 2025 version has a bunch of bonus material, making it an even better excuse to dive in.

So if you’re in the mood for some classic ‘70s horror goodness, I highly recommend both the book and the movie. Read it, watch it, and then join me in wondering why we don’t have more cranky reporters fighting the supernatural on TV anymore.

Until next time—don’t let the vampires get you!

The Night Stalker-eyes.

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Movie-a-Day Challenge: The Creator

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The creator movie posterThis post is part of my movie-a-day challenge in which I will watch a film every day for 365 days. Today is Day 305! You can see all the posts for this challenge HERE. To see the original Movie-a-Day Challenge post, click HERE.

Hey, friends!

So, I finally got around to watching The Creator—you know, that new sci-fi flick from 2023 that had everyone talking like it was the next big thing. It’s directed by Gareth Edwards — you know, the guy who brought us “Godzilla” (2014) and “Rogue One”? I’ve gotta say, I went in with this weird mix of excitement and skepticism—like, I was pumped for the visual feast but also low-key worried it would be all flash and no substance, just another shiny robot movie trying way too hard to be profound. But, boy, was I wrong. It’s like a rollercoaster ride that slams on the brakes halfway through and turns into a leisurely stroll through a philosophical garden. Intrigued?

So, the movie’s set in, like, this dystopian future where AI and humanity are basically at war, and I couldn’t help thinking about the whole “art imitates life” situation we’re in right now with AI getting smarter and (according to some folks) kinda terrifying. Now this isn’t your everyday Siri-gone-rogue scenario, but a full-blown conflict with advanced robots.

John David Washington plays Joshua, a hardened ex-special forces agent tasked with hunting down the Creator, the elusive architect of the AI’s ultimate weapon. is tasked with finding and destroying this super-powered AI weapon.

But here’s the kicker: the weapon is a kid, named Alphie (Madeleine Yuna Voyles). A freaking six-year-old AI who looks more like an actual kid than any doll I had growing up, and, yeah, cue all the complicated feelings.

Washington is his usual intense self, bringing a gravitas to Joshua’s haunted past and inner turmoil. But it’s Voyles who steals the show. Like, you know how some kids seem to have wisdom beyond their years? It’s like that, but times ten. Alphie’s connection with Joshua is, okay, unexpected. I was half-prepared for their relationship to fall into cheesy territory, but there’s this raw, almost parental love that sneaks up on you. Believe me, it’s quite disarming, especially when you start to question who’s saving whom here.

But despite being an AI, Alphie is surprisingly emotive, thanks to Voyles’ nuanced performance and some impressive CGI. Her bond with Joshua forms the emotional core of the film, and it’s genuinely touching to see Joshua’s hardened exterior soften as he interacts with Alphie.

But then, the film takes a sharp turn. It shifts gears from action-packed spectacle to a more introspective exploration of humanity and AI. We delve into questions of consciousness, free will, and what it truly means to be alive. It’s heady stuff, and while some might find it a bit jarring, I appreciated the ambition. It’s like Edwards is trying to challenge us, to make us think beyond the explosions and laser beams.

One of the things that got to me was the moral grayness of the whole thing. There’s no clear hero or villain—just a bunch of beings, human or otherwise, trying to survive in this mess of a world (though there are a couple of characters who tiptoe dangerously close into ‘asshole’ territory). The film doesn’t spoon-feed you ethical answers, which is almost frustrating at times, but also gave my brain some much-needed food for thought. I guess I’m into movies that make me think while I’m still trying to digest my popcorn, you feel me?

Now, I’m not usually one to get all philosophical, but this film hit me. Like, in this blend of circuits and flesh, where does humanity actually end? And am I really that different from a machine just trying to make sense of feelings and memories? Maybe it was the movie or maybe it was the late-night popcorn-induced existentialism, but yeah, I went there.

Anyway, The Creator is the kind of movie that packs an emotional punch in places you weren’t expecting it to, while still delivering on the shiny sci-fi spectacle we all crave. It’s not perfect, but it’s certainly ambitious and visually stunning. And, honestly, sometimes that’s exactly what I want: something that’s a little messy, a little beautiful, and sticks with you longer than just the two-hour runtime. Just be prepared for a wild ride that might leave you with more questions than answers.

Cheers!
Roger and Out

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Movie-a-Day Challenge: The Brothers Grimm

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The brothers grimm movie posterThis post is part of my movie-a-day challenge in which I will watch a film every day for 365 days. Today is Day 304! You can see all the posts for this challenge HERE. To see the original Movie-a-Day Challenge post, click HERE.

Hi friends!

So, last night, I finally got around to watching “The Brothers Grimm” (2005), directed by the one and only Terry Gilliam. I’d heard mixed things about it over the years, but I’m a sucker for anything with a fantastical twist, so I was excited to give it a shot. Let me tell you, this movie is a wild ride from start to finish!

Let me just start by saying this movie is weird in the best possible way. Like, if you’ve ever seen any of Terry Gilliam’s other work (Time Bandits or Brazil, anyone?) you’ll know the kind of bizarre-yet-wonderful visual feast you’re in for. But instead of cheering on a dystopian paper-pusher or time-traveling oddballs, this time we’re gallivanting through the twisted fairytale universe of the famous Brothers Grimm, who are not exactly the Disneyfied storytellers we’ve grown up loving.

Matt Damon and Heath Ledger—yeah, that’s right, that Matt Damon and that Heath Ledger—play the brothers themselves, and first of all, can we just take a moment to appreciate how weird it is seeing these two handsome dudes tripping around in 19th-century Europe with fake German accents? But you know, it works. In fact, the brothers are conmen, essentially scamming villagers with supposed “exorcisms” and “witch hunts” in a sort of Scooby-Doo-esque gig. They create elaborate spooky traps, “save” helpless townspeople from their own fake ghosts, and then collect their reward. It’s all fun and games—until they encounter a small village with real freaky happenings.

Without giving too much away, I will say the plot takes a seriously trippy turn into a Tim Burton-esque forest that’s straight out of a nightmare. You’ve got a cursed mirror, an enchanted forest, possessed children, and some unpleasantly creepy “come to life” moments. In contrast to their scammy shenanigans, this reality is genuinely perilous. I actually felt bad for them—I mean, imagine being neck-deep in a horror show when you’re used to rigging fake ghosts with fishing wires. It’s like going from playing at a haunted house for kids to suddenly being plopped into The Exorcist.

Matt Damon and Heath Ledger are, without a doubt, the heart of this movie. Their chemistry is fantastic; they play off each other like seasoned comedians, and you can tell they’re having a blast. Damon’s Will is the brains of the operation, always scheming and calculating, while Ledger’s Jake is the more sensitive, imaginative one, often getting lost in the stories they create. It’s a classic dynamic, but it works so well here.

A good portion of the movie’s charm (and weirdness, honestly) stems from Gilliam’s distinctive style. Everything from the colors to the set design has his signature wacky touch. The special effects are super surreal—sometimes grotesque, other times just borderline goofy, but in a way that’s uniquely Gilliam. You know when you watch something as a kid that isn’t necessarily horror, but it still kind of unsettles you and stays in the back of your mind? Yeah, it’s like that.

Now, speaking of unsettling—Monica Bellucci as the evil Mirror Queen is just perfection. She’s not in the movie a ton, but she brings this bizarrely magnetic presence like she’s stepped right out of the darkest version of Sleeping Beauty ever.

And then you’ve got Lena Headey, best known for later playing Cersei Lannister, as Angelika—a skilled huntress who becomes entangled in the Grimm brothers’ misadventures and is someone who doesn’t fall for the boyish charms of the two brothers.

Now, let’s get to the good stuff: the plot. “The Brothers Grimm” is a visual feast, with Gilliam’s signature fantastical imagery on full display. The enchanted forest is a thing of both beauty and terror, filled with twisted trees, eerie fog, and all sorts of creepy creatures. The film seamlessly blends elements of classic fairy tales with a darker, more macabre sensibility. Think “Little Red Riding Hood” meets “Sleepy Hollow” with a dash of “The Princess Bride” thrown in for good measure. It’s a unique and imaginative concoction that’s sure to keep you on the edge of your seat.

I should also mention that the film has a surprisingly poignant message about the power of storytelling. As the Grimm brothers confront the very tales they’ve exploited, they’re forced to reckon with the consequences of their actions. It’s a reminder that stories, whether real or imagined, can have a profound impact on our lives. And that’s something we can all relate to, right?

So yeah, “The Brothers Grimm” might not be a cinematic masterpiece that won all the awards (not every film has gotta be Schindler’s List level intense, okay?), but it’s something that’d be fun to throw on a lazy Saturday. The acting is solid, albeit a bit hammy—honestly part of the charm—and the plot is wild but in a way that keeps you hooked until the very end. It’s one of those movies that balances on the line between fantasy, horror, and just straight-up dark comedy. Keep your expectations set somewhere between comedic confusion and gothic strangeness, and you’ll have a good time.

Cheers!
Roger

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