![‘Eddington’ Review: Ari Aster’s COVID Reckoning [Fantasia 2025]](https://images.squarespace-cdn.com/content/v1/5816af52e6f2e15be207b0cd/1752762913641-8245JLVN0XN2FKPBD6BW/IMG_3961.jpg)
FilmSpeak begins the Fantasia Festival looking at Ari Aster’s attempts to make sense out of a year (and decade) that doesn’t make sense with his latest dark comedy, ‘Eddington’.
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When ‘Superman’ was first announced, and since subsequently teased and advertised, a lot of folks wondered what writer/director James Gunn was going to do to break the genre’s ongoing funk.
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While Ilya Naishuller remains a cogent action artist who knows how to frame and shoot a succession of kinetically exciting sequences, everything around the action in his latest, ‘Heads of State’, falls incredibly flat.
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While Bryan Cranston and Allison Janney give somewhat impassioned performances, Jon S. Baird can’t follow up the same momentum he built with ‘Tetris’ in his latest motion picture, ‘Everything’s Going to Be Great’.
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Wes Anderson culminates his cycle of self-reflexion with ‘The Phoenician Scheme’, a film that throws all of his formal sensibilities out the window, as he looks to break what made him such a revered filmmaker for the past thirty years.
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While ‘Jane Austen Wrecked My Life’ boasts solid performances, the array of subjects and themes it explores is far too underdeveloped to make a good movie.
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Thanks to the effervescent chemistry from Anna Kendrick and Blake Lively, alongside a story that knows it shouldn’t take itself too seriously, Paul Feig makes his first good movie since ‘A Simple Favor’ with the sequel ‘Another Simple Favor’.
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While no one can deny the intricate puppetry of ‘The Legend of Ochi’, Isaiah Saxon’s directorial debut is a frequently grating, listless carbon copy of better, more poignant family adventures, without any personal voice behind the images that the director unabashedly steals from.
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While ‘On Swift Horses’ boasts compelling performances from its star-studded cast, the film’s lack of identity makes it difficult for audiences to latch onto its story and thematic underpinnings.
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While James Griffiths’ The Ballad of Wallis Island does not reinvent the wheel, it illustrates a moving portrait of grief with three devastating performances at the core of the movie.
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While The Actor doesn’t reach its high ambitions, Duke Johnson’s surreal thriller mostly works thanks to a highly committed and nuanced performance from André Holland.
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Thanks to a magnifying lead turn from Susan Chardy, Rungano Nyoni ensures you will not forget ‘On Becoming a Guinea Fowl’, as one of the year’s most important movies.
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Paolo Sorrentino looks at youth’s deepest regrets as time goes by in ‘Parthenope,’ a study on how we we choose to spend the finite period we have on this planet.
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Renée Zellweger gives her best and most vulnerable performance of Bridget Jones in the fourth instalment, ‘Mad About the Boy’ which pieces the titular character’s life back together in the wake of insurmountable loss.
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Ke Huy Quan finally has an action vehicle to his name with ‘Love Hurts’, but his effervescent performance sadly can’t overcome the many hurdles this 83-minute-long affair is sadly stuck in.
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Amy Schumer and Tyler Spindel destroy the joyful nature of screwball comedies with the horrifically unfunny ‘Kinda Pregnant’, which gets progressively worse as its eternal ninety-minute runtime stretches to unbearable heights.
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Christopher Abbott’s towering lead performance elevates ‘Bring Them Down’ from petering out, but the film itself leaves a lot to be desired when it unjustifiably switches perspectives halfway through.
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Walter Salles attempts to denounce Brazil’s military dictatorship in his family drama ‘I’m Still Here’ but accomplishes very little despite a committed performance by Fernanda Torres.
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Keke Palmer and SZA make one hell of a comedic duo in the uproariously funny ‘One of Them Days’, a perfect January surprise for moviegoers looking for pure escapism.
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Leigh Whannell reinvigorates interest in the werewolf through his frequently thrilling ‘Wolf Man’, even if the movie stumbles as it reaches its uneventful conclusion.
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