This Valentine’s season, love isn’t the only thing soaring—so is the shield! Get ready for heart-racing action and thrilling new battles as Marvel Studios’ Captain America: Brave New World hits theaters on February 12.
Anthony Mackie returns as Sam Wilson, the new Captain America, stepping into the role with courage and conviction. But with new challenges, formidable enemies, and a world in turmoil, can he uphold the legacy of the star-spangled hero?
Kevin Feige, President of Marvel Studios, teases what’s in store:
“In Captain America: Brave New World, Sam Wilson is Captain America, and he has made the decision to unabashedly become Captain America. But what does it mean to be Captain America when you’re not a super soldier, which we definitely know Sam Wilson is not, and in a world where the Avengers are not currently active?”
A New Era, A New Battle
Directed by Julius Onah, Captain America: Brave New World brings a modern, grounded aesthetic that makes every fight feel real and every decision carry weight. Production designer Ramsey Avery shares:
Sam isn’t facing this fight alone. The film introduces a powerful mix of allies and enemies:
Joaquin Torres (Danny Ramirez) embraces his role as the new Falcon
President Thaddeus Ross (Harrison Ford) asserts his authority in a changing world
Samuel Sterns / The Leader (Tim Blake Nelson) returns with dangerous intelligence
Ruth Bat (Shira Haas)—a former Black Widow—enters the fight
Red Hulk emerges as a force of unstoppable power
The Serpent, a shadowy villain, brings new threats to the MCU
“Steve was a superhero. Steve had a body that couldn’t break and a system that couldn’t break down, but Sam is just a regular guy trying to save the day. So, he has to use not only his wits and charm but also his humanity and dignity.”
A Valentine’s Date Like No Other
As Marvel’s first film of 2025, Captain America: Brave New World kicks off an explosive new MCU chapter. This Valentine’s, ditch the predictable dinner dates—treat your special someone to high-flying action, thrilling twists, and unforgettable heroism.
After meeting with newly elected President Thaddeus Ross, Sam Wilson gets entangled in an international crisis. To prevent a global catastrophe, he must uncover a sinister plot before it’s too late.
I missed ‘Gitling’ when it came out during Cinemalaya and all of its little pocket screenings around the metro and I’ve wanted to see it on the big screen. Fortunately, the film returns to the cinemas from February 5 to February 11 in Ayala Cinemas and FDCP Cinematheques around the country (take note that sometimes it’s labeled with its English title ‘Hyphen’). Written and directed by Jopy Arnaldo, ‘Gitling’ is a quiet, intimate film about two people in the midst of flux who come together for professional reasons but bond over the personal and in the process, find some form of resolution for their own issues.
Makoto Kanno (Ken Yamamura) is a Japanese film director who finds himself in Bacolod City to screen his film at a film festival. Jamie Lazaro (Gabby Padilla) is the local who is hired to act as his interpreter and translator for his new film. They bond over language and movies, they discuss Makoto’s film, which leads them to opening about their own troubles. Makoto is separated from his wife and some scenes show his awkward, strained phone conversations with his wife while Jamie just ended her engagement with her fiancé under difficult circumstances. One is trying to repair a broken relationship while the other is trying to unburden herself from the fallout of the breakup.
This is a story that can only be told in a movie because it’s told in five languages – Japanese, English, Filipino, Hiligaynon, and a made-up language that Jamie invented – and the subtitles play a big part in this, each translation coloured to signal what language is being used in what is being said. The two leads navigate their character’s feelings as they tiptoe around potentially difficult conversation topics jumping from Japanese and English, with Jamie having to shift to Filipino or Hiligaynon when she’s speaking to the world outside of their little intimate space, and later on, as Makoto begins to study and learn Jamie’s language, they speak to each other creating even more walls to shut them out from the world around them.
Arnaldo emphasizes this isolation by his exquisite use of extreme close-ups and his preference to shoot his characters from behind or at their profile. Makoto and Jamie are tearing away any sort of awkwardness by getting through the small talk and pushing deeper and deeper into who they are inside, vulnerable and bare, and Arnoldo, by way of Mycko David’s brilliant cinematography, pushes us away by focusing on their hands, the food they eat while talking, the back of Jamie’s neck, Makoto’s jawline, the blaze of the hot coals that grill their orders of chicken inasal. Arnaldo makes us voyeurs, trying to keep us away from this intimate moment that is entirely theirs to keep for themselves.
And here is where I find myself conflicted as I love the piece on an intellectual level. The performances of Gabby Padilla and Ken Yamamura are pitch perfect. It’s natural and nuanced and it feels so unscripted, so real and authentic. The script is verbose, wordy but these are two people who love language and are trying to connect, to talk about difficult things and finding the words to describe the wealth of emotions they have but also keeping some of it to themselves because this connection is creating complications. Then, at some point, the film that they are both working on, becomes the film that we are watching – the conceit of subtitles transcribing the subtext, the things unsaid on screen for the audience to mull over – and this whole exercise of the film in the film being somewhat the film we are watching. It’s an intellectual exercise that is so enjoyable to sink your teeth into.
But on an emotional level, I feel quite distant from the characters. Their stories, their struggle, I feel the film didn’t give me permission to enjoy it. Their release, their insights were kept at a distance from me. The film protected their safe space. It’s wonderful to take note of as an outsider but as someone watching a movie about healing and relationships, I felt like an intruder. It’s an interesting feeling to have while watching a film, especially one in the romantic drama genre. Beautifully shot, wonderfully acted, great direction, and excellent music by Emmanuel Aguila, ‘Gitling’ is an intelligent movie that made me feel like an unwanted visitor in someone else’s story. There are no easy answers in ‘Gitling’ and the film will make you work for the resolution for yourself but it’s done so beautifully that you should just give in.
My Rating:
Gitling (Hyphen) is now showing in cinemas. Check showtimes and buy your tickets here.
Rihanna Leads an All-Star Cast in the Upcoming Animated Adventure, Smurfing into Cinemas on July 16!
La la la-la la la—get ready to smurf along! The beloved blue crew is back in an all-new animated adventure, Smurfs, directed by Chris Miller (Shrek the Third, Puss in Boots). Featuring a stellar voice cast led by Rihanna as Smurfette, this fresh take on the classic franchise is packed with fun, magic, and heartwarming adventure.
A Smurfy Mission Like Never Before
When Papa Smurf (John Goodman) is mysteriously captured by evil wizards Razamel and Gargamel, it’s up to Smurfette (Rihanna) to lead the Smurfs on their most daring mission yet! Venturing into the real world, they team up with unexpected allies to unlock their true destinies and save the universe from peril.
This heartfelt and action-packed adventure brings the Smurfs to life like never before, blending classic charm with a modern twist.
Mark your calendars because Smurfs lands in Philippine cinemas on July 16, 2025! Be part of the adventure and join the fun on social media using #SmurfsMovie—don’t forget to tag @paramountpicsph!
Photo and Video Credit: “Paramount Pictures International”
Get ready for heart-pounding action, high-stakes thrills, and colossal dinosaurs as Jurassic World Rebirth marks the dawn of a new chapter in the legendary franchise! Starring Scarlett Johansson, Jonathan Bailey, and Mahershala Ali, this gripping adventure follows a daring mission to secure genetic material from prehistoric titans—holding the key to a groundbreaking, life-saving discovery.
Will they succeed, or will the past prove too dangerous to control? Find out when Jurassic World Rebirth stomps into Philippine cinemas on July 2!
Follow Universal Pictures PH on Facebook, Instagram and TikTok for exclusive updates and behind-the-scenes content.
The Jurassic franchise is back and bolder than ever! Three years after the Jurassic World trilogy shattered box office records—each film soaring past $1 billion globally—the saga continues with a thrilling new direction in Jurassic World Rebirth.
Led by Scarlett Johansson, Jonathan Bailey, and Mahershala Ali, this high-octane spectacle sees an elite team embarking on a classified operation to infiltrate an abandoned research island from the original Jurassic Park. But what they encounter is far beyond their expectations—some of the most dangerous creatures ever left behind.
Set five years after Jurassic World Dominion, Earth’s ecosystem has forced dinosaurs into isolated equatorial zones, mirroring their prehistoric habitats. Within this perilous environment, three colossal dinosaurs—ruling land, sea, and sky—hold the key to a medical breakthrough that could save countless human lives. But can this dangerous mission succeed without awakening something even more terrifying?
It’s Wednesday, and you know what that means—brand-new movies are hitting the big screen! Get ready for an emotional rollercoaster with the heroic drama Firefighters, or experience IU’s electrifying concert film IU Concert: The Winning. If you’re in the mood for adventure, Out of the Nest and Woodwalkers bring fantasy to life. Horror fans can brace themselves for Peter Pan’s Neverland Nightmare and The Baby in the Basket. So grab your movie squad, load up on extra-buttered popcorn, and catch these must-watch films at a theater near you!
Now, let’s take a sneak peek at what’s premiering this week:
If you’re a fan of gripping real-life stories, Firefighters is here to set your emotions ablaze. This intense drama takes you inside the world of first responders as they battle one of the deadliest blazes in South Korea’s history. The film follows Cheol-woong, a young firefighter thrown into the chaos of a raging fire that broke out at 3:47 AM on March 4, 2001. With lives at stake and the clock ticking, these heroes must put everything on the line to rescue those trapped in the inferno.
Expect pulse-pounding action, heart-wrenching moments, and a deep appreciation for the unsung heroes who run toward danger when everyone else runs away.
If you couldn’t be there in person, now’s your chance to experience IU’s legendary concert on the big screen! Dubbed “The Icon of Firsts,” IU delivers a spectacular 100th performance at the Seoul World Cup Stadium, where she wows UAENA (her devoted fanbase) with hits like Love Wins All, Shopper, and Celebrity.
But this isn’t just a concert movie—it’s a full-fledged cinematic experience, featuring breathtaking visuals, an awe-inspiring drone show, and moments that will give you goosebumps. Whether you’re a longtime fan or just discovering IU’s music, The Winning is a must-see event that captures her magic like never before.
2025 • G • 1 hr 25 mins ANIMATION, DRAMA, FAMILY GET SHOWTIMES
Embark on an unforgettable animated journey in Out of the Nest, where a delivery boy named Arthur the Goat suddenly finds himself responsible for seven royal fledglings—the kidnapped heirs of the Kingdom of Castilia. Forced to set aside his dream of becoming a world-class barber, Arthur must grow up fast as he journeys through mystical lands to bring the young royals home.
This heartwarming tale blends epic adventure, heartfelt lessons, and a touch of magic, making it a perfect pick for families and animation lovers alike. Will Arthur rise to the occasion and save the kingdom?
Forget everything you thought you knew about Peter Pan—this is not the fairy tale you grew up with. In this chilling reimagining, Wendy Darling must embark on a terrifying journey to rescue her brother Michael from a twisted, evilPeter Pan who has sinister plans for him in Neverland. Along the way, she encounters a disturbing version of Tinkerbell, whose addiction to a mysterious dust makes her even more unpredictable.
Blending dark fantasy with psychological horror, Peter Pan’s Neverland Nightmare puts a sinister spin on a childhood classic, turning Neverland into a place you never want to visit.
Looking for something truly terrifying? Set in a remote Scottish convent in the 1940s, The Baby in the Basket follows a group of nuns preparing for an incoming storm when a baby mysteriously appears at their doorstep. While most of the sisters see it as an innocent child in need of care, Sister Agnes believes it is the Devil himself—and she will stop at nothing to destroy it.
As paranoia spreads and eerie occurrences shake the convent, the line between faith and madness begins to blur. Will Sister Eleanor uncover the truth before it’s too late? Or is something much darker lurking within St. Augustine’s?
2025 • PG • 1 hr 42 mins FAMILY, FANTASY BUY TICKETS
A hidden world exists among us—where humans can shapeshift into animals. Woodwalkers introduces us to a community of secret shapeshifters who are fighting to protect their home from destruction. While some wish to coexist peacefully with humans, others believe that drastic action is the only way to preserve their lands.
Packed with stunning visuals, heartfelt storytelling, and a powerful environmental message, this fantasy film offers a fresh take on the classic “humans vs. nature” narrative. Can these mystical beings find a way to make the world see their worth before it’s too late?
FAN FAVORITES STILL SHOWING
Meanwhile, don’t forget to catch up on some of the movies that are still playing in cinemas – catch them before they’re gone! Here’s a list of fan favorites that are still showing in cinemas:
2024 • G • 1 hr 58 mins ADVENTURE, ANIMATION, DRAMA, FAMILY GET SHOWTIMES
That’s it for this week’s must-watch movie lineup! Don’t miss out—check our Movie Section for showtimes and snag your tickets today. Stay tuned for next week’s fresh releases and updates. Enjoy the movies!
The queen of chaos is back—and she’s deadlier than ever. Blumhouse has just unveiled the teaser trailer for “M3GAN 2.0,” the highly anticipated sequel to the 2023 horror hit that turned a robotic companion into a murderous icon.
A brand-new “M3GAN 2.0” is set to launch in Philippine cinemas on June 25—and if the teaser is anything to go by, this chilling upgrade is going to be bigger, bolder, and bloodier. Want the latest updates? Follow Universal Pictures PH on Facebook, Instagram, and TikTok.
The pop culture sensation that took over 2023 is back, but she’s not alone this time. Reuniting the brilliant creative minds that first brought M3GAN to life, horror masters James Wan (Atomic Monster), Jason Blum (Blumhouse), and director Gerard Johnstone are ready to unleash another chaotic chapter in AI horror.
Returning & New Cast Members
M3GAN 2.0 sees the return of Brian Jordan Alvarez and Jen Van Epps as tech experts Cole and Tess, along with new cast members: Aristotle Athari (Saturday Night Live, Hacks) Timm Sharp (Apples Never Fall, Percy Jackson and the Olympians) Jemaine Clement (Avatar: The Way of Water, What We Do in the Shadows)—a Grammy winner and 11-time Emmy nominee!
Considering its stellar cast – Song Hye-kyo, Jeon Yeo-been, Lee Jin-wook, and a breakthrough performance from young star Moon Woo-jin – there’s a lot that feels missing in the horror film ‘Dark Nuns’ by director Kwon Hyeok-jae. The filmmaking is flashy: lots of extreme close-ups, quick cuts, loud sound design, and imagery that’s meant to be dark, vague, and disturbing. All this is great in the first twenty minutes of the film but as the film unfolds, it cannot substitute the lack of genuine scares or the absence of a stronger, compelling story.
Song Hye-kyo plays Sister Junia, an unordained nun who performs exorcisms for a sect within the Catholic Church. She is known as the “dark nun,” who is knowledgeable in all matters of demonic possession. It opens with her arriving at a home where a priest is struggling to exorcise a demon possessing a young boy named Hee-joon (Moon Woo-jin). We know she’s tough and experienced because she doesn’t go straight to the scene on her arrival. She first has a cigarette and bides her time before she makes her move. There she battles the demon and while she rescues the priest, she only manages to force the demon back into hiding. Hee-joon is transferred to a hospital where Sister Junia finds opposition from Father Paolo (Lee Jin-wook), a priest who is also a doctor, and he frowns upon exorcisms, insisting that these are psychological issues that can be fixed medically. Caught in-between is Father Paolo’s protege, Sister Michela (Jeon Yeo-been). Sister Michela is also a doctor and a nun, but she also has visions and has the potential to be a shaman
The two sisters must find common ground to save Hee-joon from the demon inside of him before… well, this is where the film becomes sketchy because it never really underlines the stakes. Yes, we know the child must be free of the possessing spirit, but the film muddles the cost. Will the child die? Will the demon – a personification of something called “the 12 manifestations,” an idea that is never really explored in depth – become more powerful after a certain point? What is this “12 manifestations” and does it have any effect on the world outside of this child?
The film skirts through most of the story elements. We know Sister Junia is not well, but we don’t know of her life before this. Sister Michela has an implied history with the supernatural, which seems to have caused someone’s suicide. But this is not fully explored either. Aside from saving the boy’s life, we don’t really know what this exorcism means for the two women, and it sort of diminishes the sense of accomplishment one may feel from this whole exercise.
The whole film, from the very opening scene, until it’s conclusion, is completely centered on this one possession. What is wonderful is how, on the orders to save this boy by “any means necessary,” Sister Junia employs shamans and include shamanistic rites to aid in the exorcism creates a wonderful intersection of cultures. Western prayers spoken in Latin (or is it Italian, I’m not sure) while the colorful, energetic rituals of Korean shamanism are playing in the foreground and in the background is such an exciting imagery that is at work.
But the film has no genuine scares. The boy is restrained, he’s shouting expletives and saying vulgar and disgusting things – with an excellent performance by Moon Woo-jin who delivers this with such commitment – while the two sisters are praying over him and demanding him to leave the body. It’s dramatic for the first 20 minutes or so but as the film progresses (and the film is almost two-hours long) it starts to get repetitive. And you start to realise that there’s no inherent danger here.
Despite it being a horror film that isn’t horrifying and with characters that I feel distant and indifferent towards, I do appreciate director Kwon Hyeok-jae’s approach to filming this religious aspect of the film. There’s no reverence or mystery to how he captures the Catholic faith. In fact, he’s not afraid to show the in-fighting within the sects and battles of ideology that is happening inside the church. All of the religious aspects of the film are really just decoration here, juxtaposed side-by-side with Korean shamanism, not favoring one over the other in an imagery sense, Kwon Hyeok-jae creates a battle not between a demon and religion but that of a demon and a human being, who just happened to be a nun. Sister Junia could have been a plain doctor or a shaman or a Filipina witch doctor and it would have been the same movie. The de-mystification of the Catholic faith feels refreshing and new. I wished the film just took less time trying to impress us with its mood shots and dramatics and explored a bit more of the characters to give us something to chew on.
My Rating:
Dark Nuns is now showing in cinemas. Check showtimes and buy your tickets here.
“In the books, on the screen, it feels like you’re having a reunion with your friend” That’s how two-time Academy Award® winner Renée Zellweger describes stepping back into the beloved role of Bridget Jones after all these years.
Bridget’s journey has always resonated deeply with fans, evolving alongside them through life’s ups and downs. And now, in Bridget Jones: Mad About the Boy, we get to catch up with her once more—this time as a single mother, navigating love, loss, and laughter.
With a star-studded cast and a heartfelt story, this film is the perfect Valentine’s treat. Catch Bridget Jones: Mad About the Boy in Philippine cinemas on February 12!
A Story That Grows With Its Audience
For director Michael Morris, Zellweger’s return is nothing short of magical.
“Renée is one of these people who is absolutely herself,” Morris says. “She’s wildly friendly and bursts through any preconception you may have about what a Hollywood star is like. This woman has been in all my favorite films. For as long as I can remember, character after character—from comedies and dramas to musicals, there’s nothing that she doesn’t do. But when you’re talking to her, she’s completely present. I think that’s why she’s so wonderful in this role.”
The film explores Bridget’s life after heartbreak, as she raises her two children while adjusting to a world without Mark Darcy (played by Oscar® winner Colin Firth). Though life has taken unexpected turns, Bridget’s charm, humor, and resilience remain stronger than ever.
Zellweger on Why Bridget Still Matters
For Zellweger, playing Bridget is more than just a role—it’s a personal and emotional journey.
“It’s funny, I can chronicle my own decades and life experiences around making these films with the extended Bridget family,” Zellweger says. “It’s always very emotional when we get back together with true friends, and more so when we leave. There is a correlation between Bridget and me that is strongest with people who love her…but it’s within themselves. We had the opportunity to create Bridget on screen, but people were already in love with her. Bridget reminds us that it’s okay to be imperfect. You can still get the guy, still succeed and be happy when you’re just yourself. You’re okay being imperfect.”
This sentiment has made Bridget Jones an icon of modern romance, proving that even with all her awkward moments and mishaps, she is endlessly relatable.
What to Expect in Mad About the Boy
In this new chapter, Bridget is facing a whole new set of challenges—raising her 9-year-old son Billy and 4-year-old daughter Mabel while grappling with the loss of Mark. But she’s not alone. Her loyal friends and even her former flame Daniel Cleaver (Hugh Grant) are by her side.
Bridget’s journey takes her through the chaotic world of modern dating, juggling motherhood and rediscovering herself in the process. Expect laughter, romance, and the signature heartwarming moments that make Bridget Jones films so special.
Produced by Working Title Films, the movie brings together the brilliant team behind hits like Les Misérables, The Danish Girl, and The Theory of Everything.
Zellweger is joined by an all-star cast, ensuring that this installment delivers the perfect mix of nostalgia, romance, and humor.
Are you ready to reunite with Bridget Jones? Mark your calendars and get your tissues (and laughs) ready!
I went into the cinema to watch the thriller ‘Companion’ without any knowledge about the film. I didn’t watch a trailer. I didn’t read any notes or reviews. All I know was that it was marketed as “from the creators of Barbarian,” which is one of my favourite films of 2022. ‘Barbarian’ was written and directed by Zach Cregger and he produced ‘Companion,’ which is directed and written by Drew Hancock. The film is a creepy thriller that is a refreshing take of the genre of films populated by films like ‘Don’t Worry Darling’ and ‘Blink Twice.’ Watching the trailer now that I’ve seen the movie, it’s safe for me to say that the film involves the power struggle between a woman and a man but is further complicated by the commodification of AI and the human form.
Sophie Thatcher is incredible as Iris, a woman who is going out of town for the weekend with her boyfriend Josh (Jack Quaid). They are going to a secluded mansion in the woods to spend a weekend with Josh’s friends. There she meets Eli (Harvey Guillen) and his boyfriend Patrick (Lukas Gage), Kat (Megan Suri), and her partner Sergey (Rupert Friend). Iris is not comfortable in that crowd, her attachment to Josh seems weak and laughable to Kat, and it triggers her anxiety and discomfort. But things turn chaotic and murderous when Iris inadvertently discovers that she is a companion robot and that Josh is not the man she thought he was.
Much like the uneven ‘Don’t Worry Darling’ and the brilliant ‘Blink Twice,’ ‘Companion’ explores how women are manipulated and controlled by men. But unlike both movies, ‘Companion’ finds its own voice by being whimsical, funny, irreverent, and takes pleasure in giving space for the woman in question – here, represented by a robot – to find her revenge. Unlike the other two movies mentioned that focuses on the depravity of the men who do these things and the imperative of women to fight for their freedom, ‘Companion’ is more geared towards entertaining us with the thoughts of getting back at the people who did this to her.
It is riding a wave of a political discourse that is fighting oppression with the same fire that has fueled the oppressors. This has the same tone as the eat-the-rich films that have sprouted in the past few years, but this film has set its sights on the men who abuse and dominate women. In this sense, the film feels related to even the recent MMFF film ‘Uninvited’ with the way that it stirs the audiences and gets them to cheer for Iris when she takes the reigns and fights back. The way that Hancock has maneuvered his plot, and his character development allows the audience to actually cheer when the tables are turned and the robot finds their power to enact their vengeance.
And that’s really the power of comedy to use humor to allow us to embrace darker themes and ideas. By making us laugh, we lower our guard and allow us to cheer for what is essential murder but allowing us to justify it by focusing on the heinous actions of the perpetrator. We leave the cinema entertained but the film has planted that seed that we will think harshly of anyone who will be caught doing these acts in real life. Hopefully, not murder, but we will take it seriously.
Thatcher is incredibly arresting as Iris. The nuance of her performance becomes even more apparent as we see her at the point of discovery that her life is a lie. Every look, every reaction is connected to her character being a sentient robot. The other stand out here is Guillen, whose comedic timing is pitch perfect.
Surprising at every turn. If you like bloody gore, violence, and female-driven movies, ‘Companion’ is the film to watch and it’s best to not see the trailer coming in. It’s best to be surprised.
My Rating:
Companion is now showing in cinemas. Check showtimes and buy your tickets here.
I genuinely miss the mid-range and small budget dramas and comedies like ‘Sideways’ or ‘The Holdovers.’ These are personal, intimate stories that’s completely character-driven and while the story feels contained, the writing and the performances expand the scope that makes it feel universal and authentic. This is where the Jesse Eisenberg written and directed film ‘A Real Pain’ falls under and it does so quite well.
On the surface, it’s about two Jewish cousins, polar opposites of each other, who travel to Poland to reconnect with their recently passed grandmother and with their heritage. They join a tourist group for a holocaust tour and in the process the cousins collide as their personalities clash and their histories are dug up and strung out for everyone to see. It’s funny but also painful and embarrassing at times but it’s also honest. But deep down, the film really is a study on mental health, but it also explores the burden and weight of the immigrant narrative, how the stories of their grandparents and the struggles they had in coming to America can sometimes spark a sense of responsibility and, in the other, a sense of guilt.
While the film feels so far removed from our own experiences here in the Philippines, I got to see shades of these emotions bubbling over all my cousins and friends who are first generation immigrants to the United States, and even some in the second-generation. We may never have suffered the ranks of genocide the way that Jewish people have during World War II or the genocide that one of the characters in the film shared, as he was from Rwanda, but we Filipinos have also seen the horrors of war.
And this is the magic of Jesse Eisenberg’s script. The story is so rooted in the cousins – the anxious David (Jesse Eisenberg) and the charismatic but also destructive Benji (Kieran Culkin) – and their story and their connection to the holocaust but the way they interact with each other, the way that David is scared to call out Benji when he’s being rude or destructive and the way that Benji can’t help but be disappointed that his cousin did not grow up to be the person he thought he would be. These little dynamics of their relationship and the precision of Eisenberg and Culkin’s performances convey these nuances really remind us of our interactions with our family. We have siblings or cousins that are like this, and we tiptoe around them while others just bulldoze over us and it’s all out there for us to see in this lovely little film.
It’s wonderful to be in a dark, cold cinema and seeing these seemingly ordinary lives struggling through a life moment but seeing it on full screen. It’s so humanizing. This is the cinema that I miss. Sure, the blockbusters are fun. They are a feast for the eyes but as the studios release one big tentpole blockbuster after another, one sequel after the next, it all gets muddled and boring. But movies like ‘A Real Pain’ helps me get back to myself and to my own little issues and personal demons.
There’s no question as to why Culkin is nominated for Best Supporting Actor in the current award season rush, including winning the Golden Globe. It’s a bravura performance that truly encapsulates Benji’s issues. The film never openly states it but, from my experience, his manic followed by depressive and confrontational states is just representative of bi-polar disorder; as I’ve seen it in family members, friends, and even co-workers. Eisenberg has played this character before so we know he does it well but the rest of the cast – Jennifer Grey, Kurt Egyiawan, Liza Sadovy, Daniel Oreskes, and the ever-reliable Will Sharpe – help fill out this world and gives the two leads a space to really play out their character’s inner worlds.
I really want more movies like this to return to the cinemas rather than just immediately sending them over to streaming. These intimate; personal stories are elevated by putting them on the big screen. It reminds us of our humanity in the most surprising of ways.
My Rating:
A Real Pain is now showing in cinemas. Check showtimes and buy your tickets here.
