For those keeping track, we’re still knee-deep in awards season. The BAFTAs are approximately three weeks away, and last week saw the publication of this year’s nominees.
Amongst the many films up for a potential award (Heretic, Wicked, The Wild Robot, Super/Man: The Christopher Reeve Story, etc) is the Spanish musical crime-comedy, Emilia Pérez. The film has an impressive 11 BAFTA nominations, which includes Best Film, Best Director, Best Leading Actress, Best Supporting Actress (twice!), Best Adapted Screenplay, Best Film Not in the English Language, Best Cinematography, Best Editing, Best Makeup & Hair, and Best Original Score.
In short: With 11 nominations, Emilia Pérez stands a strong chance of coming away with something. And I’m pretty sure everyone involved with the picture will be hoping it comes away with more than just a bunch of nominations.
Anyway, should you want to know more about Emilia Pérez, you can check out a review of the movie below. The film features in this week’s edition of Movie Reviews 2025, along with Nightbitch, Saturday Night, and Anora.
Plus, this week ‘00s thriller, The Cell arrives on HD disc and Mark Wahlberg stars in Flight Risk. Oh, and Jharrel Jerome takes the lead in sports drama, Unstoppable.
—
Now streaming…
Nightbitch (2024)
First off the blocks this week is the black comedy body-horror, Nightbitch. Written and directed by Marielle Heller, and based on Rachel Yoder’s novel of the same name, the movie stars Amy Adams and Scoot McNairy, and follows the story of a stay-at-home mum who may or may not be turning into a dog.
In the movie, ‘Mother’ is an artist who has put her career on hold to look after her two-year-old son. However, her current situation has left her feeling isolated and resentful, she constantly feels trapped, and fantasises about lashing out.
If this wasn’t bad enough, one day she begins to notice some bizarre physical changes, including new hair growth. Initially Mother puts the changes down to mum-related stress, but soon she comes to believe she could be transforming into a canine.
Originally conceived as a direct to streaming title, before being given a brief theatrical release back in December, Nightbitch is an interesting, if slightly flawed little movie about identity, mental health, and the sense of loss a person can feel when their life is upended. In this case, the upending is a result of motherhood, which for ‘Mother’ feels less like a blessing and more like a chore.
The more demanding her role as a parent becomes, the more she loses her freedom, as well as a sense of who she is. In turn, Mother finds herself snapping and becoming a bitch – perhaps in more ways than one.
But is she really transforming into a dog, or is this all just a figment of her extremely tired imagination? This is something the movie is keen to explore, as Mother begins to focus her attention on something other than her son.
Now, I don’t have kids myself, but I did recently become a dog dad of a very tiny, very demanding puppy, which took over my life during the early days, and occasionally made me want to bash my head against the wall. As such, I can safely say Nightbitch’s explanation and exploration of parenthood is pretty much on the nose.
The loss of self that comes with looking after someone, the demands on your time, and the way you spend your days with nothing interesting to talk about, all lines up very well. There is certainly a sense that filmmaker Marielle Heller understands this subject inside out, and is able to convey it on screen.
So, yeah, this is all good, all insightful stuff. Many audiences will be able to relate to a great deal of the material in the film and this brings a certain appeal.
Unfortunately, where Nightbitch struggles is in making this as entertaining as it needs to be. Watching and understanding someone go through the difficulties of parenthood is one thing, and relating it to an animal metamorphosis is certainly something interesting too, but is it something you want to invest your time in for 90-mins+? Maybe not.
The sticking point here is that Nightbitch makes some very valid points, gets to the heart of parenting problems rather well, but at times it is a bit of a slog. Once the movie has made its points clear, it struggles to really go anywhere.
The body-horror angle has potential but also feels a tad undercooked, and the story seems to wander a little with no clear sense of direction. This is a shame, because at times it really hits its mark, it just needs a little more oomph in the horror department.
As a drama about motherhood, the film cracks it, and Amy Adams is brilliant. As an allegory or a metaphor for something else, it needs work.
Anyway, should you wish to check out Nightbitch, the movie is now streaming on Disney+ in the UK, and on Hulu in the US.
—
In cinemas…
Saturday Night (2024)
Heading to UK cinemas on Friday 31st January, is the biographical drama-comedy, Saturday Night. The film – directed and co-written by Jason Reitman – stars Gabriel LaBelle, Rachel Sennott, Cory Michael Smith, Dylan O’Brien, Matt Wood, Robert Wuhl, Willem Dafoe, Nicholas Braun, and J. K. Simmons, and details the debut of long-running US TV show, Saturday Night Live.
In the movie, it’s October 11th 1975 and at 10pm producer Lorne Michaels is stressed. In 90-minutes time, his brand new Saturday night entertainment show is due to go live on NBC.
The show – tentatively titled ‘Saturday Night’ – will feature a mix of music, sketches, monologues, and abstract comedy. It’ll be fresh and different, and unlike anything US audiences have ever seen before.
There’s just one problem. As everyone prepares to go live, and various performers wait in the wings (Billy Crystal, Dan Aykroyd, John Belushi, etc), it’s clear there are too many ideas in play and too much content.
Michaels might believe in his show, and he might even be onto something, but at this moment in time it’s a troubling mess. Unless the cast, the crew, and an exhaustive amount of material can be whipped into shape, the show will go down in history as one of the biggest mistakes on television.
Now, it’s fair to say if you live in the UK your interest level in Saturday Night might not be all that high. And this is largely due to the subject matter.
While Saturday Night Live is a TV institution in the States, it barely registers over here. We are aware the show has launched the careers of various actors, and in recent times many sketches and clips have trended on social media, but Saturday Night Live is very much a US thing and nothing more.
As such, unless you are a TV historian or a US citizen spending some time over here in Blighty, this film might not even be on your radar. However, if you ignore or swerve Saturday Night, then you will miss out on a largely enjoyable picture which perfectly captures the buzz and complete madness of producing a live TV show.
The script is sharp, the dialogue is witty, scenes are fast-paced, and it’s agreeable stuff. You don’t need to know anything about Saturday Night Live or even care about the show to get something out of Saturday Night, so you may want to take a look.
Director and co-writer Jason Reitman assembles a fine cast for his feature, with many of the actors playing famous faces from the world of television and film. Cory Micheal Smith pops up as Chevy Chase, J. K. Simmons becomes Milton Berle, and Nicholas Braun pulls double duties as Andy Kaufman and Jim Henson.
The best of the bunch is Gabriel LaBelle as producer Lorne Michaels. LaBelle gives a magnetic performance and it is the star turn in this production.
Outside of the cast, the script co-written with Gil Kenan is electric, while the cinematography from Eric Steelberg, the music by Jon Baptiste, and the costumes and set decoration by Danny Glicker and Claudia Bonfe respectively, perfectly capture the look and feel of the era.
Michaels struck lightning in a bottle when he launched NBC’s Saturday Night (later renamed Saturday Night Live), and Reitman manages to reflect this on screen with his energetic, hyperactive, insightful film. While us Brits await the big budget Noel’s House Party bio-pic (we can but dream), this movie should tide everyone over nicely.
—
On disc…
The Cell (2000)
Now available on two-disc 4K UHD and Blu-ray in the UK, courtesy of Arrow Video, is the 2000 psychological horror-thriller, The Cell. The movie – directed by Tarsem Singh – stars Jennifer Lopez, Vince Vaughn, and Vincent D’Onofrio, and follows the story of psychologist Catherine Deane, as she assists the FBI on a troubling case.
In the film, Catherine is a leading expert in her field. Her skills as a psychologist are second to none, and she regularly works with patients who live with disturbed minds.
As well as her razor-sharp intellect, which helps in her work, Catherine also has access to advanced (yet experimental) technology which allows her to enter the minds of her patients. This technology gives Catherine unbridled access to the dreamscape and beyond.
And it is this combination of intellect and technology which becomes invaluable to the FBI, when they enlist Catherine’s assistance on a murder case. The FBI has managed to capture serial killer Carl Stargher, but they have one very tricky problem – he’s in a coma.
This is particularly problematic as Stargher has recently kidnapped his latest victim, and she is being held captive somewhere unknown. They need Catherine’s help to enter Stargher’s mind, and uncover her location before it is too late.
But when Catherine embarks on this journey into Stargher’s psyche, she discovers more than she bargained for. Stargher is a truly disturbed individual, with a really dark heart.
Mesmerising, mind-bending, and visually arresting, The Cell is a twisted thriller which is part Silence of the Lambs, part Manhunter, and part fever dream. The movie is deeply disturbing like the best Hannibal Lecter films, yet the picture’s unique selling point is its focus on abstract imagery, with Stargher’s mind providing the backdrop to a great deal of the drama.
This imagery ranges from a dissected cow and a basque-wearing J.Lo, to a white stallion romping around the desert and a pair of gold seahorses. At every stage of his film, director Tarsem Singh fills The Cell with bonkers things to look at – even during scenes that don’t involve the dreamscape.
Watching The Cell is effectively like entering an art gallery while on acid. One minute you’re in the gift shop, looking at some of the novelty items and having a whale of a time, and the next minute you’re tripping your tits off in front of a painting of peacocks and a nun.
It’s crazy, it’s cerebral, and at times it’s a bit all over the place. Yet watching The Cell is an immersive experience and if you like your thrillers on the dark side, then this one is for you.
Upon release, The Cell was a box-office hit, but the reviews at the time were somewhat mixed. The general consensus was that the visuals overshadowed the story, and at times it moved a little slowly.
This criticism was fair, but perhaps a little harsh. Yes, The Cell is very much a visual experience, and the pacing does drop in places, but it is also a fascinating film which offers something more than your standard psychological thriller.
With every frame, The Cell looks to engage with its audience, to stimulate the synapses, and to get under the skin. The movie is very much a piece of art, which can be poured over at your leisure, and is ideal for those looking to be taken somewhere different.
The movie also includes some great performances from Lopez and Vaughn, as well as a terrifying turn from D’onofio. The actor makes Stargher into the stuff of nightmares, and you certainly wouldn’t want to bump into him in a dark alley.
All-in-all, impressive stuff. The Cell has ‘cult movie’ written all over it, so it may not tickle everyone’s pickle, but if you like this sort of thing and you haven’t managed to catch it in the past 25 years, now is your opportunity.
The 4K and Blu-ray editions of The Cell feature a wealth of bonus material including brand new 4K restorations of the theatrical cut and the director’s cut, as well as a previously unseen cut of the film. The set also includes two new audio commentaries, plus two archive commentaries; a couple of new interviews with director Tarsem Singh and director of photography Paul Laufer; plus there are theatrical trailers, an image gallery, archive vignettes, and more.
All of this is housed within a two-disc case, and nestled alongside a double-sided poster and a booklet featuring new essays on the film. To top it off, the set includes a reversible sleeve as well as an outer slipcase featuring all new artwork.
Should you wish to grab a copy of The Cell, the movie is available from all good entertainment retailers including HMV, Fopp, Amazon, and Zavvi, or directly from Arrow’s website. The Blu-ray is priced around £17.99, while the 4K edition is £21.99.
—
Now streaming…
Emilia Pérez (2024)
Written and directed by Jacques Audiard, Emilia Pérez is a Spanish musical crime picture starring Zoe Saldaña, Selena Gomez, and Karla Sofía Gascón. The film – which is currently available to stream on Netflix – follows the story of a lawyer named Rita Mora Castro, who takes on an unexpected new client.
In the film, Rita is a somewhat frazzled lawyer working on a high-profile murder case. After winning the case, by putting her morals to one side, she is approached by Manitas Del Monte – the head of a crime cartel.
Del Monte has an important, yet secretive proposal he wishes to run past Rita. A proposal so secretive, if Rita merely hears it, Del Monte will take this as her acceptance to assist him.
After being offered vast sums of money, Rita accepts and Del Monte puts forward his wishes. He wants Rita to help him transition from male to female, by finding a surgeon to conduct the operation and by covering all the legal leg work.
With Rita now Del Monte’s hired help, she sets to work on fulfilling his goal. Soon Del Monte will be no more, and Emilia Pérez will take his place.
As noted in the intro blurb (see above), Emilia Pérez is currently in the running for 11 BAFTAs. Now, whether or not I believe it deserves all these nominations (and I’m certainly not convinced on a couple of them) there’s no denying this is a unique film.
It’s not often a Spanish musical crime picture comes around, and it’s even rarer to have said picture tell a story about a gender-swapping crime boss. So, whatever way you look at it, Emilia Pérez is a one-off and deserves to be recognised accordingly.
But is it a one-off worthy of your time? Well, this is debatable.
I’d suggest approaching this one with an open mind, but also some caution. While it’s easy to see what Emilia Pérez is attempting to do (and occasionally pulls off), the film isn’t as strong as it needs to be and ends up being a mixed bag.
Emilia Pérez has the bones of something interesting, and demonstrates some bright moments, but it doesn’t always come together. The musical sequences also don’t entirely catch and occasionally feel more like an after thought than a fully mapped out piece.
Where the movie is at its strongest is in the casting department, with Zoe Saldaña the standout star of the picture playing Rita. Likewise, Karla Sofía Gascón is excellent as Emilia Pérez, and so is Selina Gomez as Del Monte’s ex-wife, Jessi.
Emilia Pérez also has some interesting things to say about Del Monte/Pérez’s character development, and some of the choreography in the musical sequences is fun. I wouldn’t go so far as to say any of it is amazing, but lively and suitably staged nonetheless.
So, yeah, some good, some not so good. I understand why Emilia Pérez may have received many of its BAFTA nominations, but I do wonder if all these noms make it appear stronger than it is.
At times, Emilia Pérez neither feels like one thing nor the other, and I can’t help but think it would be better as a full crime picture without the musical interludes. Anyway, should you wish to take a look for yourself, you can find Emilia Pérez on Netflix.
—
Now streaming…
Anora (2024)
Now available to rent or buy on video on demand platforms in the UK, is the drama-comedy, Anora. Written, directed, and edited by Sean Baker, and starring Mikey Madison and Mark Eydelshteyn, the film tells the story of an American sex worker who marries the son of a Russian oligarch.
In the film, Anora ‘Ani’ Mikheeva is a 23-year-old woman who works as a stripper in a club in Brooklyn. By day she lives with her flat mate, sleeping most of the daylight hours away, while at night she provides lap dances for customers, as well as VIP treatment for the high-paying clients.
One night while at work, Ani is asked to look after Ivan ‘Vanya’ Zakharov. Vanya is the son of a wealthy Russian oligarch, Ani understands the Russian language, so her boss believes they are the perfect match.
And as it turns out, Ani and Vanya do prove to be a good pairing. So much so, the next day Vanya hires Ani to come to his house for sex.
The arrangement is beneficial to both parties and soon Vanya goes one step further and offers to pay Ani $15,000 for a week of her time including more sex. Ani accepts and the pair spend the next seven days banging like bunnies, snorting anything they can get their hands on, and partying like it’s 1999.
Once the week is up, Vanya and Ani don’t want to part, so they crank things up a notch and get married in Vegas. However, while this should be a joyous time for the couple, Vanya’s family are not so pleased with his choices, causing significant problems for the newlyweds.
Featuring a stellar performance from Mikey Madison, a humorous script from writer/director Sean Baker, and more shagging than a low budget porno, Anora is an absolute treat of a picture. The film starts off as a seemingly adult drama about a hooker; turns into a more playful picture about two twenty-somethings embarking on a hedonistic journey; transforms into a farcical film about family disharmony; and then moves into something far more poignant.
Along the way Anora is irresistibly likeable, consistently funny, and always fully involving. The film presents highs and lows for the central character which allow for a complete rollercoaster ride, with Madison strapped in at the front.
Anora is currently nominated for seven BAFTAs, with Mikey Madison also in the running for the Rising Star award. It would be a damn shame if the movie or Madison didn’t scoop up something, because Anora is a great picture.
The film is very much an exploration of love, with Ani finding and potentially losing her dream relationship in quick succession, and yet it’s not your typical romance. Anora is more a comment on the swiftness of love, with Ani looking for it in the wrong place, and thanks to Baker’s marvellous writing, direction, and editing it all flies by rather brilliantly.
—
Now streaming…
Unstoppable (2024)
Now available to stream on Amazon Prime Video is the biographical sports drama, Unstoppable. The movie – directed by William Goldenberg – stars Jharrel Jerome, Jennifer Lopez, Michael Peña, Don Cheadle, and Bobby Cannavale, and tells the real-life story of disabled wrestler, Anthony Robles.
For those unaware, Robles was born without a right leg and throughout his life he has overcome various challenges and prejudices to live his dream. Through perseverance and determination he has achieved great success, becoming a NCAA Division I wrestling champ in the process.
As the title of the movie suggests, Robles has continually proved unstoppable, and this film details his early journey. It’s an inspirational tale which looks at Robles’ home life, his time in college, and his desire to move beyond any perceived limitations.
Leading the movie is Jharrel Jerome, who gives a magnificent performance as Robles. The actor conveys the sport star’s strength, his guts, and moxie, and it’s a strong turn.
The supporting cast is equally as impressive, with Bobby Cannavale putting in a great performance as Robles’ arsehole step-father, Rich, while Don Cheadle proves ever dependable as coach Shawn Charles. However, it is Jennifer Lopez who is truly excellent as Robles’ supportive mother, Judy – the one person Robles can count on to champion his cause.
A big part of Unstoppable is Robles’ family life, as well as his relationship with his mother, so when approaching this picture don’t think of it as a run-of-the-mill sports drama. Sure, Unstoppable is a traditional underdog story, and it does hit certain beats you might expect, but it’s also a picture about domestic difficulties and the love shared between mother and son.
While the film might walk a well-worn path, Unstoppable offers an interesting hook about family life. It’s a hook which is backed by a stellar cast, and if you’re after a solid drama to invest your time in, Unstoppable is for you.
__
In cinemas…
Flight Risk (2025)
And finally, touching down in UK and US cinemas (but probably not for long) is the plane-based action thriller, Flight Risk. Directed by Mel Gibson, and starring Mark Wahlberg, Michelle Dockery, and Topher Grace, Flight Risk follows the story of a US Marshal who finds herself in a tricky situation when travelling with a government witness.
In the movie, Deputy US Marshal Madelyn Harris is tasked with escorting a witness to trial. To get him from A to B the pair have to take a flight across Alaska.
Shortly into their journey, Madelyn comes to suspect something isn’t quite right with the pilot, and as it happens, she’s correct! The pilot is a hitman sent to bump off the witness, and this is just the beginning of Madelyn’s problems.
Will she survive the journey and deliver her witness? And more importantly, will the audience survive this film?
If you’ve been to the cinema at any point over the last few weeks, particularly over the festive period, you will have seen the preview trailer for Flight Risk. It seems to be playing before every movie imaginable, and it’s pretty much inescapable.
And if you have caught the trailer for Flight Risk, you’ll already be familiar with the story and tone of the film. The trailer sells Flight Risk as a by-the-numbers actioner, which probably should have gone out in the ‘90s, and guess what? This is more or less what it is.
The film does exactly what you think it does, exactly when you think it will. There are no real surprises, the story is straightforward stuff, and that’s about it.
Yet, Flight Risk is a perfectly fine, perfectly serviceable film. Yes, there is a moment of unintentional hilarity, which is centred around Mark Wahlberg’s baffling bald cap (which is practically a character in itself), but other than this, Flight Risk is easy viewing and that’s not particularly a bad thing.
Do I think Flight Risk will be packing out cinemas this month? No, I do not. This sort of film might have done fine back in the day, but it’s not the type of thing that whips up excitement these days.
But do I think it’ll be received well enough when it inevitably hits streaming? Absolutely.
In fact, Flight Risk is the sort of movie streamers should be focusing on, rather than the bland drivel Netflix serves up on a regular basis. The industry needs to shift this type of film to streaming where they arguably belong, leaving room for A-grade material and movies with much bigger appeal in cinemas.
But yeah, it’s fine. If you like perfectly watchable action films, seek out Flight Risk when it makes its way to your telly-box.
—
Movie of the Week
OK, so all the reviews are in and it’s time for Movie of the Week, which this week goes to Anora. The movie feels like a breath of fresh air, with an electric performance from Mikey Madison, and it is a must-watch for those seeking a deftly scripted drama-comedy – especially one with a bit of shaggin’ in it.
And if you like Anora you may wish to check out:
- Tangerine (2015) – Director Sean Baker’s low budget comedy-drama about a transgender sex worker who discovers her boyfriend has been cheating on her.
- Scream (2022) – Mikey Madison appears amongst the teen ensemble in this fifth entry in the Scream series.
- Pretty Woman (1990) – Richard Gere and Julia Roberts lead this highly popular rom-com about a wealthy businessman who hires an escort for companionship and more.
—
Forthcoming attractions
And that’s it for yet another edition. But before you give your eyes a rest, here’s what’s on the horizon in the coming weeks.
Adrien Brody, Felicity Jones, and Guy Peace star in The Brutalist; Sam Raimi’s classic supernatural thriller, The Gift gets a 4K release; and Amy Schumer isn’t being completely honest in new comedy, Kinda Pregnant. Plus, there are supernatural shenanigans in Presence.
However, before we get to any of that, you may wish to check out this month’s jam-packed edition of Movie Reviews Special, which will be popping up very shortly. Inspired by The Cell, this month’s Special focuses on ‘00s thrillers including many recommendations for your viewing pleasure.
Alex
—
—
Thank you for taking the time to read Movie Reviews 2025 on It’s A Stampede!. For more reviews, check out the recommended reads below.
It's A Stampede! 
Leave a comment