By Jason Osiason

NIGHTBITCH
Marielle Heller is of my favorite female cinematic voices and her follow-up to A Beautiful Day in the Neighborhood, Nightbitch is expectingly good and Amy Adams is fantastic as “Mother,” a former artist who feels her identity slipping away while trapped in the demands of raising her young son. Her husband, played by Scoot McNairy, is largely oblivious to her growing frustrations. As she navigates the isolation of stay-at-home life, she begins experiencing primal urges and believes she’s transforming into a dog. The cinephile in me craved an unsettling, more bizarre tale about a woman giving in to her primal instincts, but instead, we get a nuanced, deeply moving exploration of the complexities and pressures of motherhood. This film serves as a potent warning about the unseen struggles mothers face. Adams brings raw vulnerability and intensity to the role, and her performance places her firmly in the Best Actress race. Nightbitch offers a sharp reminder of the dangers of being oblivious and taking that struggle for granted. [B]

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HERETIC
Hugh Grant hasn’t had this much fun in a long time, chewing scenery in Heretic. He plays Mr. Reed, a wealthy and seemingly charming man who engages two young Mormon missionaries—Sister Paxton, portrayed by Chloe East, and Sister Barnes, played by Sophie Thatcher—in a tense game of faith and manipulation. The film begins with promise, diving into gripping discussions about religion and belief, but it soon becomes convoluted, leaning heavily into nihilism and supernatural elements that can feel forced.

Despite the chaotic direction, Grant’s over-the-top portrayal of a man desperately clinging to his faith amidst madness is a highlight. His character exudes both charm and menace, creating an intriguing dynamic with the sisters. The film’s writing is sharp, filled with dark humor that punctuates the intense exchanges, keeping viewers engaged even when the plot strays into murky territory. The performances shine, but the narrative struggles to find coherence, making Heretic a fascinating yet flawed entry into the horror genre. It’s worth a watch for those who enjoy character-driven stories wrapped in dark thematic explorations. [B-]

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THE ORDER
The Order doesn’t exactly break new ground in the domestic terrorism and bank robbery crime genre, but the filmmaking is undeniably strong. Nicholas Hoult is absolutely chilling as Bob Mathews, a radical Neo-Nazi leader orchestrating a series of violent bank heists. Justin Kurzel directs with a confident hand, capturing the unsettling allure of extremist ideologies and the complexities of the characters involved. While the film might get lost in the TIFF shuffle, it’s absolutely worth your time for its gripping portrayal of a dark chapter in American history.

The performances shine, especially Hoult’s, which brings a disturbing intensity to Mathews, and Jude Law as FBI Agent Terry Husk, who adds depth to the investigation. The Order confronts the harsh truths of radicalization with unflinching honesty, delivering a gripping and unsettling narrative that leaves a profound impact. [B]

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QUEER
Queer is a tender and deeply sad exploration of obsessive love, centered around Lee, portrayed by Daniel Craig. Set in post-war Mexico, it follows Lee’s intense and unrequited feelings for a younger man named Allerton, capturing the agonizing highs and lows of infatuation. Craig delivers one of his most vulnerable performances, making Lee’s pain feel raw and addictive, pulling viewers into the depths of his longing.

Guadagnino’s direction is visually perfect in every regard, creating a world where love feels like a literal drug , beautiful yet elusive. The use of Nirvana in the soundtrack enhances the film’s emotional weight, resonating with the melancholy that permeates Lee’s journey. Jason Schwartzman and Lesley Manville also shine, with Manville’s transformative performance feeling hauntingly unforgettable. It’s starting to feel like Guadagnino’s signature to take recognizable characters and stretch them inside out, presenting them in ways that are both compelling and disconcerting.

The ending is poetic and melancholic, echoing a Lynchian sense of reflective mourning that lingers long after the credits roll. Queer captures the pain and addiction of obsessive love in a way that is dementedly disturbing yet beautifully artistic, making it an unforgettable experience. [B+]