Set to a blistering pace and driven by a fiery, magnetic performance from Timothée Chalamet, Marty Supreme weaves a breathless tale of bravado and humility set in the cut-throat world of competitive ping pong.
It’s 1950s New York and shoe salesman Marty Mauser is determined to assert America’s place in the world of table tennis, his talent in the sport matched by a super-sized ego that blinds him to the way he treats others.
Struggling with financing, sponsorship and a duplicitous relationship, Marty’s very bumpy journey to a championship playoff is laced with humour and some lessons about the price of hubris.
The captivating performances by Chalamet and an excellent supporting roster – including Gwyneth Paltrow, Kevin O’Leary and Odessa A’zion – are framed by vivid cinematography that bring the era and the matches to life.
The film’s been getting a lot of hype and, glad to report, it’s all worth it.
Delivering some nasty fun in the sun, Send Help is a lively revenge comedy with a devilishly dark lining that plunges a red-hot kebab skewer through the heart of male chauvinism.
Put-upon office worker Linda Liddle (a de-beautified Rachel McAdams) and her abusive, neglectful boss Bradley Preston (Dylan O’Brien) survive a plane crash and wind up on a remote island.
With her mean boss immobilised by an injured leg, Linda finds herself in a lovely role reversal where she has all the power – and isn’t afraid to use it.
Spicing up the acidic interplay between the two are a series of killer twists and a very satisfying, cheeky finale. Very entertaining stuff.
Thanks to a transformative hair and make-up job, the usually handsome Ethan Hawke is anything but as legendary Broadway lyricist Lorenz Hart in Blue Moon, a beautiful little period gem about a man facing the fact that he has peaked.
An alcoholic trying to stay on the wagon, Hart plants himself in a famous bar and awaits the opening-night party for Oklahoma!, which his former partner Richard Rodgers (Andrew Scott) has created with his new partner Oscar Hammerstein (Simon Delaney).
A charming raconteur, it’s a bumpy evening for Hart. Full of envy, self-doubt and besotted by actress Elizabeth Weiland (Margaret Qualley), he discovers he might still have one or two glory days ahead of him.
Hawke and director Richard Linklater (they did the Before Sunset films) worked on the film for over a decade, with Linklater insisting they wait until Hawke aged into the role. The only issue was Hawke’s head of hair, which the actor happily shaved so they could replicate Hart’s signature combover. Talk about dedication.
The widely acclaimed historical drama Hamnet has been getting all sorts of love, with nominations for Oscars and BAFTAs and all manner of critic’s awards. It even won a couple of Golden Globes, which some people still take seriously.
And make no mistake, it’s quality stuff, with strong acting and powerful emotions as the young William Shakespeare (Paul Mescal) and wife Agnes (Jessie Buckley) build a family before enduring the death of their son Hamnet (Jacobi Jupe, in an impressive turn).
Directed by Chloé Zhao, who won a well-deserved Oscar for the beautiful Nomadland (catch it on Disney+, please), the film digs deeply into the grief and heartache that accompany the loss of a child.
Worthy beyond question, it is, however – and in all honesty – pretty heavy going. It’s one of those prestige dramas that will move some to tears while moving others to check their watches.
Two quick warnings: Primate is a terrible, scare-free, low-rent horror film about a rabies-infected chimp locked in a remote house with screaming teenagers; Addition is a feather-light, rather dull romance about a mathematician (Teresa Palmer) who falls in love. Chalk it up as yet another Australian film with no audience in mind that will likely draw a blank at the box office.
For a ripper action-drama, head to Netflix and call up The Rip, a frantically paced cop movie with Matt Damon and Ben Affleck (can you believe Good Will Hunting was 1997?) as two Miami cops caught up in a swirl of dirty cops and corruption.
It’s very good, gritty stuff, written and directed by cop-movie specialist Joe Carnahan, who gave us Narc, Bad Boys for Life and Pride and Glory.
Just beware: the film is positively strewn with f-bombs, often several per sentence. It adds to the realism, sure, but it can get a bit much.
For more visit jimschembri.com with updates on X at @jimschembri
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